Producing

Maurice... And what do you think — if a screenwriter, even a very famous or progressive one, comes up with sequel scripts because they love it and have ideas, does that make sense? Or would it make them seem like an average fan?

Since I was a kid, it’s happened to me that after watching a great movie in the theater, or something like The Walking Dead, a sequel, prequel, or spin-off just pops into my mind. I don’t actively want to write those kinds of stories or seek them out, but the ideas come naturally. I write them down so they don’t get lost. That’s actually how I got started.

A lot of writers come up with sequel/prequel/spin-off ideas and scripts for movies and shows, Patrick Kovács. I write fan fiction short scripts for fun, practice, and to use as writing samples. One of my fan fiction scripts is a sequel.

"I don’t actively want to write those kinds of stories or seek them out, but the ideas come naturally. I write them down so they don’t get lost." You could try and turn those ideas into your own original scripts.

Maurice ...That's exactly how I feel too — I'd actually prefer to keep these as direct sequels, because I genuinely want to see those original worlds continue and evolve. Especially in cases where no continuation is in sight (but absolutely should be), or where the official follow-up was poorly executed.

Some of my concepts are sequels to forgotten or overlooked films — which of course would require a reboot approach, but I don’t see that as a problem.

My question is this: what’s the best path to get these kinds of scripts to the right people? Are there proven strategies for pitching sequel/reboot scripts when the rights are still with studios, or is it better to focus on building momentum through writing samples and connections first?

I've heard it's hard to pitch sequel/prequel/spin-off scripts to producers and companies, Patrick Kovács. They usually won't listen to the pitches. My advice is network (it might lead to opportunities to pitch the sequel/prequel/spin-off scripts) and become established in the industry (you might get opportunities to pitch sequel/prequel/spin-off scripts or get hired to write them).

I believe that when a movie is packed with action, the audience naturally craves a sequel.

Hi Christopher Charlton . To answer your questions: 1) If the source material you are basing your project on has received praise, absolutely use it! If you have artwork that demonstrates the tone of what you want to achieve, use it but don't over clutter your deck with too much (I've pitched projects in the past based on graphic novels and the artwork looked incredible). 2) There are different schools of thought on how much information about the show you should include but my rationale for the amount is - Give a bit more information about your pilot episode as it will be the most important episode of your show (if its a dud, people won't keep watching) and to give a good overview of your first season, as executives will need to have a good idea of the complete audience experience of this season to make a judgement on it - If it is incomplete, they don't know if it is interesting enough to keep an audience hooked from start to finish. 3) In total the text of your deck when written in a word/pages/sheets document on normal sized paper and in a normal sized font with paragraph breaks etc. should come to about 10 pages.

Hi James Victor . I think someone on here runs monthly pitch practice sessions which you may be able to sit in on. Maybe in the writing lounge? @Maurice Vaughn or @Ashley Renee Smith may be able to help with this one. Some film festivals also run live pitching sessions you can sit in on too.

Hi David Austin Veal . For a TV show it is good to include: Logline, short synopsis, practical information about your show (number of episodes etc.), information about your characters, world and tone, why this show now, season 1 story overview, a little information on future seasons (if any) and practical information about yourself as the creative. If you're making a pitch document for a broadcaster, financier or sales agent you may need to include information on comparable shows and their audience stats etc.

Good question Inessa Kraft ! Strongest move I've seen is someone that knows their unique creative voice and is unafraid to use it in every aspect of their deck. If its a comedy with a strong and irreverant sense of humor - use it. If the reader doesn't get it, they're not the partner for you. If the reader is falling out their chair laughing at your sense of humor, you've made an ally.

Yeah, you can sit in on the Pitch Practices like Ewan mentioned, James Victor. Pitch Practice is every Thursday night at 5:30 P.M. PST/8:30 P.M. EST in the Writers' Room. 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 before you can pitch (I think once or twice). One night each month is the Pitch Practice Happy Hour where everyone hangs out and gets to know each other better. I think it's the 3rd or 4th week every month.

Maurice, Exactly, you’re right — and that’s the problem!

I know the industry. I can build any kind of mainstream film from scratch — alone or with a team. I even know who it’s for, how to distribute it, position it, pitch it. But seriously:

Why does a screenwriter need to have the knowledge of an entire studio just to write, sell, or develop a film for a studio?

Do you think the person who once wrote Casablanca on a typewriter, with a little alcohol and some late nights, had to understand development pipelines, marketing, social strategy, coaching, networking, or packaging?

Back then, all you needed was paper, imagination, and some time.

Now we have time for everything — except imagination.

Sure, maybe some people enjoy learning the entire industry.

But then I have to ask — when are the studio execs learning how to write screenplays?

When are they pulling all-nighters, building characters from scratch, wrestling with theme and structure?

When are they suffering for years to shape a story?

I’m not saying “that would be fair” — but honestly, it would.

I’m not saying “it makes sense” — because it doesn’t.

The writer should write.

The studio should read. Not the packaging — the actual work.

And here’s something no one really says out loud:

A screenplay’s true value often isn’t in the pitch.

Maybe not even in every page.

Maybe only 30% of it is pure gold — but that gold is there.

And all it takes is one professional eye to see it.

But if we’re only judging based on the wrapping,

it’s like saying:

“Wow, this Christmas gift is wrapped so nicely, the kid’s gonna love it!”

Even though — guess what? — it’s not what the kid asked for.

A screenwriter doesn't need to have the knowledge of an entire studio just to write, sell, or develop a film for a studio/indie production company, Patrick Kovács, but knowing about different areas of the industry can help a screenwriter navigate the industry, especially if they want to be a writer-director, writer-producer, etc.

I agree. A screenplay’s true value often isn’t in the pitch. It's the concept and script, but the pitch is how a writer gets people and companies to know about the script.

Maurice, let’s take a quick trip through film history together:

At first, films were adapted from novels and short stories. Then someone said, "Let’s create a screenplay format so decision-makers can read submissions in a unified style."

But that wasn’t good enough — too many to read.

So came the 2-sentence logline.

But that was too little.

So, “Write a 2-page synopsis!”

Then that wasn’t convincing enough: “Give us a 10-page treatment.”

In recent years:

“Write 2 sentences… but also a synopsis… and a treatment.”

Wait — “We need a pitch deck.”

“But that’s not enough — make a mood board.”

Still not sure? “Build a website for the film.”

And now? We’re generating posters and animations with AI.

At this rate, we’ll end up making the whole film before we even sell it.

Give it a few more years, and we’ll be the audience too.

Yes Patrick exactly! I agree 100%, we the writers have to supply everything and don't forget "development" money. I'm a writer...who the hell says I have any money? But I must surely have friends/family/investors who do and don't get me started on producers who want money before they do any work, they want to be paid to go find the financing...how do I know they will find it (even if I did have money to give them) and they all say "I can't work for free" EARN YOUR PAY like most other occupations. I've worked on 5SR for the last year and I didn't get paid a dime. If a producer knows they can get financing then prove it.

Phil Savage I still believe in the American and broader international film industry. I truly think that most people out there want to make good films – and I want to be a real partner in that. Yes, it’s hard for everyone: for writers, directors, and producers alike.

But let me offer a glimpse into what it’s like in some parts of the world – places like where I’m from, which I’m currently trying to move away from, along with my scripts.

In my country, what we call “producers” are often just people who know how to fill out a 100-page government grant application for the one state-controlled film fund – let’s call it "NFI." If they have the right connections inside (family, friends, even pets…), they might get $1-5-10 million in public funds.

It used to be $1 million. But then they realized they could steal more with $10 million.

The so-called “studio” receives the public money, produces something that merely resembles a film, then the funds are distributed internally. There’s no accountability. No responsibility. The producer isn’t liable. No one cares whether the audience watches it or not.

And the writer? If they're part of the inner circle, they might get $10,000 for a half-baked story no one actually wants. If you're not in that circle, good luck finding any support.

There are no professional screenwriting organizations, no education, no training, no recognized industry path. As a writer, you spend years writing at night, trying to find a fake “studio” that can apply for funding. Writers can't apply directly.

Oh – and what kind of scripts do they want? Only the ones that follow their messaging, their approved narrative. Every dialogue, every plot point is filtered. The state even has final cut rights.

So no – I’m not surprised by anything anymore. But I do want to believe in the power of storytelling, and in the idea that good stories – even raw ones – have value. That scripts matter, regardless of how polished they are.

I know others are going through tough times too. I’m sorry to hear that. But some of it could be avoided – if we treated ideas and writers with the respect they deserve from the very beginning.

Do some research about what films shot in each location recently. Track down the UPMs and ask what their daily, weekly rates for department heads and crews were. They can share that.

Rosi Acosta is familiar with PR - she was the commissioner there. And I believe Thomas A. Crowell has either shot in DR or has had clients who have. Send them network requests and I’m sure they can help!

TYVM Amanda, will do, I can't find Thomas A. Crowell when searching.

Thank you Ashley and Sydney! Appreciate all your help with the site !

TYVM to Ashley & Sydney :) :)

Thanks for teaching the Open House, Ashley Renee Smith. Fantastic job, as always!

Thanks for moderating, Sydney S. You're a terrific moderator!

It was so nice to meet everyone today! I appreciate the kind words, have a lovely weekend! Always here at edu@stage32.com with any questions!

1. It's all in the prep. 2. Don't shoot what won't make the final cut (easier said than done! - pre-edit yourself.)

Thank you Jack Binder. That’s the secret, I guess :))

Not surprised Sandra... They say.,

"No TIME like the PRESENT"

And me? I just say... "ALL IN Buddha TIME"

When it's meant to happen, it WILL happen.

Apparently MISSTEP IS meant TO happen!

Congrats! And WISHING YOU & YOUR Film Tribe

THE Greatest Success MORE than ALL the STARS in the SKY....

So happy for YOU!

Thank you illuminating soul, I appreciate you Sherri ZImmerman, and loved to see you :)))

Sandra Isabel Correia, I couldn’t agree more that creative problem-solving is at the top of the list. The unexpected is a given on any set, and having a team that can pivot with grace and resourcefulness makes all the difference in keeping things on track without losing creative momentum.

Alongside that, I look for people who are solution-oriented and ego-free, those who can bring their best ideas forward while staying focused on the collective goal. Communication and trust are huge. A technically brilliant crew is great, but if they can’t communicate under pressure or collaborate across departments, even the best plans can fall apart.

You are right Ashley Renee Smith and thank you for sharing your experience with production team. Yes, creative-solve problems is on top of it, because it’s crucial for the success of the shooting. Also, I agree with you that “people solution-oriented and ego-free” it’s so vital. We must do a list of the requirements:)) Thank you for sharing on this topic. We never think about it, but for me it’s crucial.

Hi, Elmare Hendricks. This year is going fast. I've made progress on my screenwriting goals, and I've been thinking about producing an audio drama (turning one of my script ideas or scripts into a podcast). I'll probably start with a really short audio drama to test it out.

Great, BBBBBIG CONGRATULATIONS, I know you will receive so much great feedback and that the audiences will enjoy the Film, to the fullest. Rich Terdoslavich All the best

Thanks, Elmare! Unfortunately, won’t be able to attend, but hope to see the film very soon. I read the script and drew the boards. So, to see it all these scenes filmed with actors plus how the shots were framed and lit, I am looking forward to seeing it, to see how these pages and boards translated into actual scenes. And definitely congrats to Rory and his crew. It was his vision and was happy to be part of the team, to illustrate his script into boards. Will send a connection request. Thank you for your positive comments, Elmare and talk to you soon!

Just sent you a request. Talk to you soon!

Hahaha, love the subject line Elmare Hendricks! =)

So excited!! Thank you for hosting Ashley!!

Thanks for sharing Elmare!

Hello Elmare Hendricks

I wanted to join the session. I am facing an issue - The link isn't loading properly, it says - Application error: a client-side exception has occurred (see the browser console for more information).

P.s - I am from India.

Thanks.

Amrit Mukherjee, try this link: https://www.stage32.com/education/products/stage-32-community-open-house...