Producing

Disney, NBCU, and Warner Bros. Discovery just filed suit against Chinese AI firm MiniMax, saying its Hailuo AI lets users generate characters like Darth Vader, Minions, and Wonder Woman without permission. For now, it’s framed as a copyright case — but it forces us to ask: once our work is “out there,” how much control do we really have?

AI is inevitably shifting paradigms - we've seen cases where fans who were being libertine with the use of their favorite characters/films were eventually brought into the fold and leveraged instead of combated. But these are private for-profit companies... quite different.

As producers, do we build with protection in mind, or accept that replication is inevitable and focus elsewhere? Does trying to protect even matter in the long run?

Article link: https://shorturl.at/KMQsd

Another day, another game-changing partnership announcement for Stage 32 members!

Deadline just published an article about our new partnership with Erika Alexander's Color Farm Media for our Diversity Talent Accelerator Competition. We are welcoming writers from all underrepresented communities (using a broad DEI definition) to apply for this extraordinary opportunity to have you work developed, packaged, and pitched throughout Hollywood alongside A-list actress Erika Alexander (GET OUT, AMERICAN FICTION) and her producing team.

Six mentors from Emmy and Oscar-winning companies will provide career guidance and support to the top 10 finalists. This is a once-in-a-lifetime chance to connect with top decision-makers and secure the advocacy you need and deserve.

Read here: https://deadline.com/2025/09/color-farm-media-stage-32-partnership-diver...

Attention, writers! A fantastic new batch of Open Writing Assignments (OWAs) is live, and this one is packed with unique opportunities tailored for the voices of today. This is your chance to connect directly with A-list talent, major production companies, and top-tier literary managers.

Here’s a breakdown of who’s searching for projects like yours:

- For Gen Z & Millennial Audiences: A production company is specifically seeking Comedy, Rom-Com, Thriller, Horror, and Action feature scripts that start in a grounded place and explore themes Gen Z & Millennials will instantly understand and identify with.

- A-List Talent Seeking a Star Vehicle: An A-list actor's production company is on the hunt for a powerful, character-driven, dark, smart, and unique drama for them to star in and produce.

- Fresh Worlds & New Voices: A literary manager at a major firm is actively looking for fresh material and new clients with "new worlds we haven’t seen before," whether grounded or high-concept.

- Horror & Thriller: A film financier seeks high-concept horror for a studio output deal. A literary manager wants genre-driven, hooky thrillers and horror. Multiple companies are seeking these genres.

- Global & Mid-Budget Films: An international prod co needs clean, universal scripts in Crime, Thriller, Comedy, and Crime-Comedy for features under $5M-$10M.

- Sci-Fi & Speculative Fiction: A producer is looking for high-concept sci-fi features and TV pilots with near-future, dystopian, or utopian elements.

- Dramas & Biopics: Literary managers are seeking powerful biopics and features of all genres.

- TV Lit Agent Seeking: Native American-centered narratives for features and pilots, as well as live-action features and pilots for 10-12 year-olds driven by female leads.

- Paid Writing Gigs: A paid OWA is looking for a comedy story editor for script doctoring on a financed project.

The OWA program is your most direct path to getting your work in front of the exact right people. New to Stage 32? You can join the Writers' Room for a FREE month and apply to these incredible opportunities right away. Start Your Free Trial and Submit Today: https://www.stage32.com/writers-room

What's your experience with product placement in movies, shows, etc.? Or if you have questions about product placement, post them in the comments. The community might be able to answer them.

Hi everyone, I’m developing a feature project called AEGIS. It’s a unique blend of action, supernatural mystery and social commentary. I understand from your advice that marketability and budget range are key for producers and I’d love to connect with experienced producers here who could share insights on shaping a concept so it’s both creative and industry ready.

If you’re open to a conversation or collaboration, I’d be honored to connect.

With so many platforms in play, I’ve been thinking about the real trade-offs between producing a series for a streaming service like Netflix, Amazon, or Apple — versus going the traditional route with a network or cable outlet.

Streamers are often praised for offering creative freedom, global reach, and full-season orders, but they usually retain full ownership of the content. That can limit long-term financial participation for creators and producers. Traditional networks may offer more restrictive development processes, but sometimes leave room for back-end upside, syndication, and longer-term value — especially if a show builds momentum over time.

What’s also interesting is how this plays out in different markets. In the UK, for example, there’s a strong public broadcaster tradition (BBC, ITV, Channel 4), but also increasing collaboration with global streamers. Co-productions are common, and some creators seem to be navigating both models at once.

So I'm curious: Whether you're producing in the U.S., UK, or elsewhere — what route feels like the better long-term play today? Is it about creative control? Financial upside? IP ownership? I’d love to hear how others are weighing these options, especially in a climate where the business models are shifting so quickly.

For producers, so much success hinges on what we do when opportunity knocks. Whether it’s a pitch meeting, a coffee with an exec, or even a DM reply from someone you admire, what you ask, how you listen, and what you need most in that moment matter.

So let’s talk about it.

If you had the chance to sit down with a professional producer who’s worked across both film and television, sold shows to HBO, Starz, CBS, FOX, and developed feature films with Universal, what would you ask them right now?

• What answer could help move your project forward?

• What pain point in your process are you trying to solve?

• What insight would help you make smarter producing decisions?

Let’s share these in the comments. Not only can we learn from each other, but you may also get the chance to ask those very questions live.

This Wednesday, July 17, in the Stage 32 Writer’s Room, we’ll be joined by powerhouse producer Regina Lee for an exclusive Executive Hour. She’s done it all: feature films, network pilots, animated comedies, thrillers for Lifetime, and more. She’ll be answering your questions live on Zoom and sharing what she’s learned across her incredible career.

If you want to attend and ask Regina your question, you can join us with a first free month of the Writer’s Room right here: https://www.stage32.com/writers-room/plans-vip

Let’s help each other make the most of every opportunity. Drop your questions and producing hurdles below: what do you need most right now?

Hi everyone! I’m currently developing a short film and a feature, and I’m exploring the use of volumetric capture to help reduce production costs and solve some logistical challenges.

I’m especially interested in studios based in London, like Mars Volume and Dimension Studio, which seem to offer powerful virtual production tools and immersive environments.

Has anyone here:

Worked with volumetric capture on a project?

Found it helpful for indie budgets or creative flexibility?

Faced any unexpected challenges or learning curves?

Also, if you happen to have a contact at Mars Volume or Dimension Studio (or similar companies), I’d be incredibly grateful if you could point me in the right direction for future outreach.

Thanks so much for any insights, stories, or connections you’re willing to share!

“The audience comes last. I’m not making it for them. I’m making it for me. And it turns out that when you make something truly for yourself, you’re doing the best thing you possibly can for the audience.” ~ Rick Rubin

https://variety.com/2025/film/news/film-news-in-brief-sept-8-2025-123651...

No, I don't just want to be that, I also want to be a film director and screenwriter, I want to be the producer of my own films, because then I'll have a lot of creative control as a director, and many auteurs were/are the producers of their own films, many of them had/have their own film companies and productions.