Producing

Hello!

I have been using StudioBinder on a few projects and generally liking it, although budgeting is yet to be integrated. I know several other platforms (e.g., Yamdu) do have budgeting, while others like Causality from Hollywood Camera Work looks like it's revving up to do EVERYTHING! :) [ I use Causality for story dev and screenwriting ]

has anyone had any experience with any of these platforms? Any favorites?

cheers!

I’m working through the financing and distribution strategy for my feature Barrage (budgeted at ~$15M), and it got me thinking about something I’d like to hear your take on.

Do you think there’s value in producers or filmmakers being able to follow a real, in-progress case study — not a course or pitch — but a transparent breakdown of the actual decisions, challenges, and strategy as a film moves from development to financing to distribution?

Not promoting anything here — I’m genuinely curious how helpful something like that would be to the Stage 32 community, especially for those navigating the business side of independent film.

Would a real-time case study actually help creatives and producers better understand how this side of the industry works?

I’d love to hear your thoughts.

— Michael Gordon Bennett

Independent producers now have access to a major new set of resources designed to strengthen workplace safety and prevent harassment on set. The Anita Hill-led Hollywood Commission has officially released a comprehensive toolkit as part of its Respect on Set initiative, created specifically for indie productions and developed in partnership with INDIE, IATSE’s harassment-prevention committee for low-budget filmmakers.

Read the full article here: https://deadline.com/2025/11/hollywood-commission-workplace-safety-indie...

The toolkit includes:

• Sample codes of conduct

• Customizable policy templates

• Pre-production audit and implementation checklists

• Communication tools

• Training materials

• Practical guidance for fulfilling responsibilities under IATSE’s Low Budget Agreement (covering films under $15M)

These resources are aimed at helping independent producers build safe, accountable, and supportive environments from prep through post, especially as the LBA now requires multiple non-union avenues for reporting harassment or abusive conduct.

INDIE leaders Jeanette Volturno, Monica Levinson, and Bart Rosenblatt noted that this is “the resource independent producers have been asking for,” while IATSE International President Matthew D. Loeb emphasized that preventing abuse depends on “continued vigilance” and clear, consistent practices.

For many low-budget teams that don’t have access to studio-level infrastructure, this toolkit could mark a meaningful shift in how safety standards are implemented across independent film.

Producers, how are you approaching on-set safety in your own productions, and what additional tools do you wish existed to support you and your teams?

Hello, awhile back on the Netflix webinar it was mentioned that an attorney is able to contact an acquisitions executive to open the door to pitch the producer's project. So, I wanted to know if anyone here has done that and how successful was that process.

Q&A: From Script to Screen: How Projects Get Made with Producer Ethan Erwin

FREE webcast open to everyone on November 19th at 11am PT featuring renowned producer Ethan Erwin, whose films have grossed over $1.5 billion dollars worldwide.

With credits including Sherlock Holmes: A Game of Shadows, Book of Eli, Unknown, The Gunman, The Nice Guys, and the CBS cult hit TV show Moonlight, Ethan brings over fifteen years of experience as both a writer and producer. He’ll break down how projects actually get made in today’s industry—essential insight for any writer looking to understand the path from script to screen. This is a can’t-miss conversation.

Come prepared with questions.

RSVP: https://www.stage32.com/education/products/from-script-to-screen-how-pro...

The list below is very interesting as it represents movies that were quite a success but didn't have any well known names in it at the time.

The Blair Witch Project

Slumdog Millionaire

City of God

American Beauty

Once

Amélie

Mad Max

The Full Monty

Whiplash

Moonlight

Looking at your own projects, would you prefer star-studded and why?

The short-film landscape is full of creative talent, but monetization often lags behind. One model that could change this is the combination of art certificates and auction-based sales.

- Each short film is issued a unique digital “Art Certificate”

A cryptographically secured certificate (not hype-driven NFTs, but professionally validated digital provenance) acts as proof of authenticity, ownership, and edition count. This elevates the film from “content” to “collectible.”

- Limited editions, just like fine art prints

A filmmaker could release, for example, 20 certified editions of their short film—each with its own number, rights bundle, and added value such as behind-the-scenes access, exclusive cuts, or festival screening rights.

- Auctions introduce real market dynamics

Instead of flat licensing fees, sales could happen through curated, film-focused auction platforms. Collectors, cultural institutions, distributors, and brands could bid on editions, driving value through demand rather than fixed pricing.

- Resale royalties ensure long-term revenue

Just as artists receive royalties on resold artworks (in several countries), filmmakers could automatically earn a percentage every time a certified edition changes hands.

- Cultural positioning

This reframes the short film as a cultural asset, not just a stepping stone. It creates a space where films are collected, traded, and valued for their artistic significance.

For investors and collectors, it offers a way to support creators while owning a unique part of film culture.

https://chatgpt.com/s/m_691cae33e5788191b35f13b5a0fde10a

If you’re interested in the collaborative (and occasionally combative) realities of running a TV series, this interview with creator Erin Foster and showrunner Jenni Konner is a must-watch.

Watch the full conversation here: https://www.youtube.com/watch?v=52HXycTY76Q

Warning: This video contains spoilers.

The pair break down some of Season 2’s biggest creative decisions and reveal where they strongly disagreed — including one major turning point involving the season’s romantic arc. They talk openly about why they fought for their preferred versions, how they ultimately resolved it, and why the final choice works for the story.

They also unpack another surprising behind-the-scenes moment: a pivotal emotional scene that didn’t feel right in the edit, prompting them to rewrite and reshoot it an entire month after production wrapped. As they explain, it became one of the most meaningful moments of the season, proving how essential flexibility and instinct are in the finishing stages.

The discussion dives into:

• How producers weigh chemistry, character arcs, and audience expectation

• When to follow the room’s instincts vs. hold your ground

• Why reshoots can be the difference between “fine” and resonant

• Managing story tension without boxing characters into corners

• How Season 2 mirrors and reverses Season 1’s emotional beats

Season 2 of Nobody Wants This is now streaming on Netflix, but this conversation stands on its own as a fascinating look at producing decisions in action.

Producers, what’s your approach when you and your creative partner fundamentally disagree on an ending or major story choice? How do you navigate it?

Hi, I run Itsbuz Productions – The Rating Tales, which is my own registered brand/trademark.

I have created some custom laurels for branding, curated selections, and showcase presentations on my website. These laurels are not festival or award laurels — they are only for my platform’s branding and for highlighting curated films.

Can I use these custom laurels on my website and social media for branding purposes?

Are there any rules or restrictions I should follow to ensure this remains compliant?

Just want to confirm before using them officially. Thanks!

Margot Robbie’s production company, LuckyChap Entertainment, is officially expanding its global footprint with the launch of LuckyChap International, a brand-new film and television company based in London, in partnership with Mediawan Group, one of Europe’s leading independent studios.

Read the full article here: https://deadline.com/2025/11/luckychap-international-venture-mediawan-gr...

This new venture will be led by powerhouse sisters Mona Qureshi (formerly Netflix UK) and Tanya Qureshi (formerly BBC), both bringing years of experience producing acclaimed series like I May Destroy You, The Night Manager, and This Is Going to Hurt. Together, they’ll focus on creator-driven, globally minded storytelling across film and TV, all while strengthening LuckyChap’s presence throughout the UK and Europe.

The partnership is a strategic move that positions LuckyChap to take advantage of the region’s robust co-production and funding opportunities, proving once again that thinking globally isn’t just smart business, it’s the future of filmmaking.

With more production companies following LuckyChap’s lead and building international partnerships, what do you think this means for the next generation of producers? How are you approaching global opportunities in your own projects or collaborations?