Producing

It must be coincidence the administration held the lawsuit over Paramount's head. A miracle! The merger through when Paramount paid out the 16 mil and made concessions in a "pay-for-play."

This is the widely held understanding. Not a buncha blah-blah-blah.

At first, it was quite exciting to learn of this because of how things are shifting and changing - plus, there is no denying the influence and success of Netflix. However, there is something special about the cinema experience so, with shorter release windows before moving to the streaming platform, would anyone then bother going to the cinema?

Movie theaters are going the way of the pay telephone. Soon you may find one or still around, but they'll be damaged beyond being useful anymore. Raising prices on everything from tickets to concessions is also not the way to go. The more you raise prices, the more incentive you give your customers to just stay home and find something to watch on streaming. Let's face it, if have a tv that's 50 inches or over in your bedroom or living room, you are pretty much proportionately enjoying the cinematic experience without the regular annoyances of a general audience that can be rude, inconsiderate and in the worst possible scenario; violent.

I really don't see how lowering costs would improve traffic except for an even more unruly crowd that think, for some reason, their interruptions are why people go to the movies in the first place. Dignity and a respect for others has been replaced by boorish, selfish behavior which has no place in a civilized society. Many Left leaning politicians push this behavior and there are enough ignorant, primitive humans out there that will blindly support them. Death by stupidity..It is a common theme through history that impacts every facet of society and is universal in it's ultimate results.

Netflix has amassed enough money to buy Warner Brothers, with even the whole DC world at it's disposal, can't make things work out. Netflix isn't without it's failures given the overall lackluster impact of the $300M budgeted The Electric State and the horribly unoriginal Star Wars ripoff, Rebel Moon. The basic fact of the matter is that any project needs to bring in revenue and must be able to turn its budget into profit. Only brutally honest accounting can do that. Hollywood used to be able to fudge numbers and cook books to their advantage because cash is easy to manipulate. I don't really know how one equates minutes watched to revenue when the numbers of any particular room watching content could range from 1-10 people.

Will the Netflix-Warner Brother's merger hurt the film industry? Hard to say without knowing the specifics of what the structure will be moving forward. The simple fact is, if you keep producing crap, no matter how well intended it was meant to be, the basic consumer won't watch it and in the end, the consumer, no matter where they watch their entertainment, must be entertained.

The Entertainment Industry doesn't really get any more complicated than that. Its purpose in in it's name! Entertainment! If you focus on that, you'll be successful no matter how the industry changes. Merging two specific groups of idiots won't make things more entertaining unless you like watching car accidents on the side of the road.

As of yesterday, Paramount is making a hostile takeover bid. So WB might not get it in the end...

Philip David Lee Theatrical has fallen to ~30% of it's highest average. But the bleating you hear about revenues is from people who are used to making WILD profits from product they don't pay for, who are now just making good profits from product they don't pay for. Producers should keep in mind that theaters are not film industry people per se. They are real estate investors & landlords who make money on very short rentals of a room and screen, and on unbelievable markups on concession food. They are, at the end of the day quite profitable and won't be going anywhere soon.

Hi, Chiera McLaughlin. I’m a Stage 32 Lounge Moderator. I wanted to let you know I moved your post from the Screenwriting Lounge to the Producing Lounge since it's about producing a short film. Let me know if you have any questions.

You could make a post on the Job Board (www.stage32.com/find-jobs).

You could also search for a crew in the Browse Members section (www.stage32.com/people).

And Stage 32 has free in-person Meetups that are great for networking (www.stage32.com/meetups). If you don't see a Meetup in your area, keep an eye on that page for new Meetups. And you're welcome to start your own Meetup.

Sebastian Tudores thanks for your insight. No, I don't have any rights, I was just curious because I loved this trilogy. I wondered if someone today decides to adapt, if it's too late, or if it could still benefit from an old fandom. I hoped so because I'd like to watch such a show :D

Chiara Torrisi If the book is still in print, and there is a demonstrable fanbase, that will make it stronger. If the book vanished from the market, then it's likely not very strong. But you do need to negotiate rights before doing any adaptation.

Thanks Shadow Dragu-Mihai, Esq., Ipg

I agree with both Sebastian and Shadow, a demonstrated fan base is certainly helpful, but 10-15 years ago is (unfortunately) a long time in the adaptation business. Take for example Twilight, which had one of the most die hard fanbases out there. They rereleased in October to 1.5M in box office which is respectable: https://deadline.com/2025/10/twilight-reissue-box-office-1236603542/#:~:.... - but it's far cry from the $700M+ that the originals were making in the box office. There isn't that direct contact to the fan base that was once there 16 years ago.

Thanks Amanda Toney

Hi, Darrell Pennington. Some producers accept cold query letters and some will read a cold query letter if the subject line/something in the letter interests them.

Thanks Curt, it was super fun to make! The whole movie is funny if a producer wants the script - the exact goal of making the trailer, yes

Would love you to drop in today (2pm pacific) and talk about it. We're adapting it at DSP. Here's the link for you and anyone esle:

Drop In Meet & Greet

Tuesday, December 9 · 2:00 – 3:00pm

Time zone: America/Los_Angeles

Google Meet joining info

Video call link: https://meet.google.com/etf-cdxy-jpiOr dial: ‪(US) +1 407-986-7174‬ PIN: ‪106 966 557‬#

More phone numbers: https://tel.meet/etf-cdxy-jpi?pin=1591965138351

Randall Scott White, I'm also an AI Producer! Recently also finished a Trailer for my film. You can see the link for the trailer & of course my bio for more videos using AI

https://www.stage32.com/media/3818717423226334543?ref=search

Also for more interest....AI plus simple CGI

https://www.stage32.com/media/3906910036609214094?ref=search

As far as I'm concerned.....The AI journey, has just begun!

Impressive work on your Trailer! Can't remember seeing any type of software mentioned!

Very good! Very enjoyable! You should teach an online class about how you did it, prompts used to keep consistency, etc.

I apologize for a misunderstandment. The company had an official sundance selection earlier this year. And they have more entries at IMDb. No, they don't expect me to estimate a precise budget. But I have stated that it would be extremely cheap to film my script. So they simply want me to give more details. I wrote that I have earlier filmed a lot, including 3 TV movies.

Göran Johansson Well that makes these people sound even sketchier. If they are producers, they are the ones who can make movies, no one cares what the writer can or cannot do aside from writing. And how & why are they pitching a film without reading the whole script? Are you selling the script or asking for production funds so that you can do the film? If selling the script, then without a doubt these people should be avoided, based on what you have told us. If you are asking them for production funds, then it raises alarm bells because they aren't even assessing the whole script.

Good Luck Göran Johansson.

Hhat you’re saying hits very close to home. I’m in ongoing talks with a production company that’s been circling my project for months now. They keep asking how I calculated a ten-million-plus budget, as if I suddenly turned into their in-house line producer. Sure, I wear the executive-producer hat when needed, and I do my homework thoroughly, but let’s be honest: it’s not the writer’s job to build their budget for them. I simply do it to make everyone’s work easier, not because I owe them that level of detail.

What concerns me is that, despite all the enthusiasm they show, I still haven’t received a clear commitment that they’ll produce the film. Instead, every time the conversation gets serious, they try to steer me toward selling the script. Which, for me, is a polite way of saying “we want your gold, but without the miner.” And that’s not happening. I’m keeping my rights, not out of stubbornness, but because my stories aren’t short-term assets. They’re long-term revenue machines. Selling may be simple, but simple rarely builds an empire.

The funny thing is, they know the value. They know my project fills a massive gap, something audiences have been waiting for years: originality. A story nobody else has had the courage or imagination to bring forward. And despite their hesitation, I’m still giving them the chance to be the studio that finally backs something truly new, instead of the tenth remake in a row.

But after months of indecision, my trust in their clarity is fading. If a company can’t decide whether to produce a project with this kind of potential, it makes you wonder whether the problem is the project… or simply their vision. At some point, hesitation speaks louder than any “we love your script.”

Stay calm and persistent, every screenwriter who truly believes in their work eventually gets their film made. It’s only a matter of finding the right team, the one that’s prepared, aligned with your vision, and brave enough to follow it through. Keep your head up, keep moving forward, and I’m wishing you nothing but success in everything you’re building.

Thanks for further comments. And I honestly wish you all good luck with your projects.

Perhaps I should had posted this in financing/crowdfunding instead.

The production company asked me to write about 10 pages, to show potential investors. When it comes to telling who I am, I included the photo with me having the big camcorder on my shoulder. I wrote that I have done a lot of no-budget filming. Including creating 3 TV movies. Which makes it logical for potential investors to assume that I have some basic knowledge about estimating the cost. So I was asked to write something about how I estimate the cost.

If nobody has anything to say, then I plan to write something like the following :

"

This is a micro-budget script with only five actors and few locations. I expect a few hundred thousand Australian dollars to be enough because I wrote in such a way that everything can be filmed with a minimal crew. For editing, one hardly needs to do more than hard cuts and normalize the sound level. The few special effects are trivial. Most scenes are indoors, and can probably be filmed inside the same building. The locations for the outdoor scenes should be available nearby, for no cost.

"

But I welcome suggestions so I can write something more selling.

Stephen Folker the decline of the theater is an unfortunate by product of progress I suppose. Most everyone is a product of the time they grew up in and I cannot imagine a more personally satisfying way to watch a feature film but like most things, expense and convenience are factors that most strongly influence entertainment (and other) spending decisions. For me. it is a bummer. But the Stranger Things approach is evidence that industry leaders are still seeing value in theatrical showings and if the audience clamors enough for something it will be provided.

I hear you, Stephen Folker. Mobile viewing and binge culture have definitely changed habits. But I think moves like Netflix’s finale experiment show that the communal big‑screen experience still has unique value. Times are different today, and when a show becomes a cultural moment, theaters can offer something life‑changing that home viewing can’t replicate.

Great insight, Jack Binder. The Stranger Things finale really does highlight how streamers are leaning into event-style promotion to cut through the noise. With so much content on their platforms, visibility is a real challenge, and this kind of theatrical push feels like both a spectacle and a strategy to drive subscriptions and ad-tier revenue. Times are different today, and moves like this could be life‑changing for distribution and audience engagement.

Darrell Pennington, likewise. The decline of theaters does feel like a loss, especially for those of us who value the big‑screen experience. Expense and convenience have reshaped habits, but I agree the Stranger Things approach shows that industry leaders still see real value in theatrical showings. Times are different today, yet when audiences clamor for a cultural moment, theaters can deliver something life‑changing that streaming alone can’t replicate.

My major concern is that the amount of money it takes to sustain a nationwide infrastructure is so much that we may, as an industry, be running out of time to re-establish monetary incentives that will allow theaters to rebound. I was fortunate, and maybe foolish, enough to have a home theater set up before we sold everything to travel. I remember a distinct 'this isn't the same' feeling after a few days of the set up. 100 inch TV, surround sound, reclining theater seats and yet it still didn't give me anywhere near the same sensation of being in an actual theater. Times changes and industries evolve and it may be that the theatrical experience will be one our grandkids equate with DVD's , landlines and french press coffee hahaha

Congratulations on not quitting and not listening to the nay-sayers, Terri Morgan! Congratulations to you and your team on the podcast reaching 38 countries and getting the partnership!

“Each time I have listened to our shows, I paid attention to different things. Sometimes, I listened for the sound effects. Sometimes for the timing in the music. Mostly, I paid attention to the actors.” Those are great ideas! They’re something podcast producers, movie producers, and more could do.

Must-read post producers, actors, etc.! Thanks for sharing it. I hope you and your team get sponsors!

Absolutely, Sebastian Tudores. Stories now have to travel fluidly across screens, almost like they’re composed for movement as much as meaning. Entertainment everywhere, yes, but the real art is keeping depth and resonance intact as it shifts from phone to laptop to TV.

Sandra Isabel Correia "almost like they’re composed for movement as much as meaning." I'm gonna run out of space in my quotes notebook because of you! hahaha ;)

Ahahahaa Sebastian Tudores, take me with you lol :))

Vertical (or micro-dramas) are a huge wave of entertainment, surpassing U.S. domestic theatrical figures in China. The anticipation and promotion of its emergence in the U.S. and Western markets it growing, suggesting a new pathway for storytelling. Truncated audience attention span and the sector's growth would seem to indicate a space for these productions to explode in popularity.

Such a great point, Jack Binder. The rise of vertical and micro-dramas really does feel like a tectonic shift in how stories are conceived and consumed. The fact that they’ve already surpassed U.S. theatrical figures in China shows just how powerful this format can be when it aligns with audience habits.

What strikes me is that these productions aren’t just shorter; they’re designed for immediacy, intimacy, and portability. They meet audiences exactly where they are: on the move, in between tasks, or scrolling late at night. That truncated attention span you mentioned isn’t necessarily a limitation; it’s a new rhythm of engagement.

For creators, this opens up a fascinating pathway: stories that unfold in micro-beats, yet still carry emotional weight and narrative depth.

I’d say we’re watching the birth of a format that could redefine “episodic” storytelling altogether, not less, but different.