Producing

Hi, Michael Thorn. Stage 32 has two written pitch examples (one for a show and the other for a movie). Stage 32 also has a verbal TV pitch beat sheet and a verbal feature pitch beat sheet. You can get them by emailing success@stage32.com.

Here's three Lounge posts with pitch advice:

www.stage32.com/lounge/screenwriting/Pitch-Advice

www.stage32.com/lounge/screenwriting/Pitching-44

www.stage32.com/lounge/screenwriting/Why-Pitching-Matters-And-How-to-Mak...

The Pitch Practice in the Writers’ Room is the best pitching resource in my opinion. Pitch Practice is every Thursday night at 5:30 P.M. PST/8:30 P.M. EST. You can sit in and listen to members practice their projects and give them feedback. You can pitch your project too, but you have to sign up. The hosts, Noel Thompson and John Mezes, take names during Pitch Practice for people to pitch the following week. You have to sit in and listen at the practice one or two times before you can pitch.

The Pitch Tank in the Writers’ Room is an incredible pitching resource too. The Pitch Tank is where you pitch your script to an executive and get feedback. The Pitch Tank is once a month.

Stage 32 has a free webinar called "How to Write a 2 Page Pitch for Your Television Series" (www.stage32.com/education/products/free-stage-32-webinar-how-to-write-at...).

Stage 32 has a free webinar called "How to Create a 2 Page Pitch For Your Feature Film" (www.stage32.com/education/products/how-to-create-a-2-page-pitch-for-your...).

Stage 32 also has a free pitch webinar: www.stage32.com/education/products/pitching-tips-from-the-pros-your-blue...

Michael Thorn You pitch the whole series. You need the pilot written and maybe another epsode or two, plus a comprehensive series bible. Pitching a series is different than a film as you will generally target different production companies. In either case, with no credits, it's difficult if you want to stay on the team throughout.

Maurice Vaughan yes I've been getting as much of the available advice as possible, watching webinars etc - I have't yet tuned in to the Pitch Practice sessions - will try and have a listen this week (UK time difference permitting) - it was really the distinction between pitching a pilot and pitching a series I was unsure about and Shadow Dragu-Mihai, Esq., Ipg has told me what I was hoping - you pitch the whole series, which is exactly what I've been preparing. Thanks both...

Good to see more and more independent financing in television production.

Absolutely Jack Binder - series do tend to feel out of reach often, if not managed by studios. Any further insight on what he may have referred to with "when there is disruption?" cheers

Sebastian Tudores Uncharted Freedom, which we just wrapped on October 31, is our docu-reality series not funded by any network. We are in post now. It will form part of the original core of FilmPod and Digital Box Office. We have other productions in-house that are on the same basis, mostly features, and we are looking for suitable features and series as well. Creative and production team include members of the Independent Producers Guild as well as members of S32. As a nascent platform, FilmPod needs support, but also has lots of opportunity for independent film producers at this time.

Very excited for this upcoming webinar with Crickett! Thank you James!

Always mention it, like it will happen. If you ask, it's easier to say, "No." It also depends on the supporting role.

You'll have to find a producer that has the power to make you play the lead. I have been working with known people in the industry that stated everything is possible, so better believe it. But it will be a hard find, so you have to have some luck.

If an actor is also funding the project, then sure, play the lead.

Also - it depends on the budget level you are after.

Hi Yan Ju Zeng - I second Lindbergh E Hollingsworth 's advice and will add yet another avenue - if the producer would do the project with other actors, do the project. make the film. have a writing credit. then continue creating whatever is possible with yourself as actor, and then the next time you pitch yourself as wanting to do both, you'll have these stronger elements with which to convince a producer to take it on. good luck! :)

Do what you want to do.

@PatAlexander Thank you for the question, fellow Patrick. Balancing artistic vision with commercial viability is usually the producer’s responsibility. Creatives are often focused on the emotional and artistic truth of the story, which is exactly what you want, but they are not always thinking about market position, cast value, or the financial realities. The producer’s job is to take the tools you actually have and make the strongest possible version of the film within those limits.

You might have an incredible script, but you may not be able to send a fully financed offer to the star you want. You may love a creative idea that becomes impossible once you look at the schedule or the budget. This is where communication becomes essential. Everyone has to be on the same page, and expectations have to be aligned early.

There is no formula that works every time, but gut instinct plays a real part in this. It helps if you understand your audience before you begin packaging. Who is the film for, and how do we serve that audience while still giving the creative team the freedom to execute their vision? If you can hold both of those priorities at the same time, you usually end up with the best version of the movie.

@RowanTaylorLaska Thank you for the question. I recently hired a director for an indie erotic thriller I am putting together. In this case, it is a first-time feature director, but she has directed many episodes of television. TV and film are different, but the experience still matters. It showed us she could handle performance, workflow, and the pressure of a real set.

When I hire a director, I look for qualities that fit the specific needs of the project. My producing partner and I knew exactly what this film required in terms of tone, style, and leadership, and we found those qualities in this filmmaker. Once we are confident in someone, it becomes much easier to present them to financiers, cast, and all the stakeholders involved.

I also look for directors who are naturally collaborative and entrepreneurial. The good ones understand that the journey is difficult and that there will be moments of give and take. That mindset is incredibly important on an independent film. And yes, professionals absolutely consider indie directors and directors who have only made shorts. Shorts, proofs of concept, commercial work, and episodic work can all demonstrate voice and capability.

What matters most is a clear vision for the material and the ability to bring that vision to life within the real limits of production. If that is there, the door is wide open.

Thank you very much for your response. It’s truly appreciated Patrick Raymond

Thank you Patrick Raymond ! I copied your replies into my knowledge file. My feature has some high-dollar scenes (airshows, etc.) but I have connections for free performances & locations. I think those (high-value/free) scenes cause doubt about my low budget.

Thank you so much, Patrick Raymond. I really appreciate you taking the time to share this perspective. That’s excellent advice, and I’ll definitely look into Whiplash as an example of how a short can serve as a proof of concept for a feature.

I’ve been treating The Misstep in that spirit: it’s already on the festival circuit, and I recently finished writing the screenplay, staying faithful to the concept I established with the short. I’m now moving into packaging, and your point about articulating the audience really resonates with me as I refine the plan, building a clear strategy that balances vision with realistic production goals feels essential.

I’m grateful for your encouragement. It means a lot to know that the path I’m on with The Misstep aligns with what producers look for in a first feature. Thank you and I am looking forward to watch LOVE LOVE :))

Randall Scott White Good question. All over the map from free to how much money is in existence, to don't you dare touch our footage. You should have a representative or entertainment attorney clear rights, or at least and experienced director

I'm loving the global reach Stage32 is establishing with real value for those involved Maurice Vaughan - thanks for posting this :)

You're welcome, Sebastian Tudores. I'm loving it too. Which Certification course did you take?

Maurice Vaughan I'm working my way through Key Production Legal Agreements Master Certification - I'm one down and quite a few to go ;) are you doing any of them?

Congratulations, Sebastian Tudores! I haven't, but I've been thinking about taking a Certification course.

Very cool. I'm Croatian. I live in Canada, and have only visited my relatives back in Croatia twice in my life. I'd love to go there again. I haven't looked into their films or film industry though.

I'd love to see more topics like: How to Produce, Finance, and Distribute Your SAG Ultra-Low Budget Film... The development funds breakdown sheet, distribution agreement, talent agreement and a film slate template are some of the things writers and new producers want to learn here - (I'm speaking for myself).

I love these topics. How about one that helps screenwriters work with producers- letting us in on the terminology and points producers look for so we can have that info available for them during a pitch? I know it seems basic- but not everyone goes to film school and not everyone knows the best way to not just find a producer, but also to help a producer, even if it means becoming one yourself.

Hi, James Lagrimas. How about Education for producing a video game?

Hi, James Lagrimas. I said I'll be back :)) Here are some suggestions: The Producer as Entrepreneur: Building a slate, pitching investors, and scaling your career. From Shorts to Series: Scaling Your Producing Career Transitioning from indie shorts to episodic television; Mentorship & Networking in Global Markets How to connect with film commissions, festivals, and financiers worldwide; Building Festival-Ready Narratives What programmers look for in 2026, with examples from Sundance, Berlinale, and Cannes; Tax Incentives & Rebates Masterclass How to leverage incentives in Europe, Latin America, and Asia; Alternative Financing Models: Crowdfunding, NFTs, and Impact Investing Practical strategies for producers outside traditional studio systems, and last one Distribution in 2026: Hybrid Release Models Balancing theatrical, streaming, and festival circuits for maximum ROI. I hope this helps.

I second video game production. I know some developers in startups that might be interested if they become available.