You know that feeling when you leave the cinema, but the story keeps playing in your head?
That world, those characters—they don’t just vanish when the screen fades to black.
Some people turn their nose up at sequels. I get it. But personally, I think expanding a great story is a creative opportunity, not a compromise.
Honestly, I have a whole stash of sequel ideas—most for films I didn’t even write. Some stories just spark something, and I can’t help but imagine what comes next.
So here’s what I’m really curious about:
What do you think when a sequel pitch shows up—but it’s not from the original screenwriter?
Do you roll your eyes and say:
"Eh, it’ll never happen. Come back with something original."
Or do you lean in and say:
"Wow, even the creators didn’t think of that. Let’s make it happen."
Are you open to sequels? Do you think in franchises?
I'd love to hear your take.
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I know that feeling, Patrick Kovács. I like sequels. Not all of them though. I'm more of "Wow, even the creators didn’t think of that. Let’s make it happen." I like watching original movies and shows too.
I think in franchises when I outline and write scripts. I also mention franchise potential in my pitch decks, treatments, etc.
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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.
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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.
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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?
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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).
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I believe that when a movie is packed with action, the audience naturally craves a sequel.
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Mine certainly hasn't yet.