
FREE Stage 32 Webcast Event – Wednesday, October 8th at 11am PT!!
Register by clicking the link below!
When you’re crafting an indie film, the music you choose isn’t just background—it’s storytelling. The right score sets the tone, builds emotional depth, and can make your film unforgettable. But too often, filmmakers bring composers in too late or struggle to align visions, leaving powerful opportunities on the table.
That’s why we’re thrilled to announce our Stage 32 + Film-Raderie Webcast: Composer + Filmmaker Relationship: How to Make Your Indie Film Successful—a FREE live event designed to help you navigate this crucial collaboration.
This expert panel features:
- Dara Taylor, celebrated composer (Marvel’s Ironheart, The Tender Bar)
- Lagueria Davis, director of Black Barbie (acquired by Shondaland)
- Phil Popham, veteran composer (Helix Collective)
- Emilie Upczak, filmmaker and storyteller
Together, they’ll share real-world insights on:
- Why early music integration shapes your film’s tone from day one
- Practical strategies for aligning creative visions with composers
- Case studies from projects like Ironheart and Black Barbie
- How to overcome common challenges like budget and timing
This is your chance to learn how to use music as a storytelling superpower—and to build the creative partnerships that can elevate your indie film.
Click here to register, if you can't make it live you'll recieve the full recording on-demand: https://www.stage32.com/education/products/stage-32-x-film-raderie-composer-filmmaker-collaboration-webcast
Let us know in the comments below- What’s a film where the music completely transformed the story for you?
3 people like this
That's a great plan, Elle Bolan! I always suggest to writers that they build a portfolio. I've pitched to producers and directors who asked me "what else you got?" And I'm glad I had other stuff to pi...
Expand commentThat's a great plan, Elle Bolan! I always suggest to writers that they build a portfolio. I've pitched to producers and directors who asked me "what else you got?" And I'm glad I had other stuff to pitch.
2 people like this
Great points, Lindbergh E Hollingsworth! I "sell" a script idea to myself when I outline it, and I write the script for myself. I didn't used to do that.
2 people like this
Your script sounds interesting, Erik Gagnon. It might've served its purpose as a turning point in your development as a writer, but it might be more. Suggest pitching it. I'd watch it!...
Expand commentYour script sounds interesting, Erik Gagnon. It might've served its purpose as a turning point in your development as a writer, but it might be more. Suggest pitching it. I'd watch it!
2 people like this
You and Lindbergh are right, Jay Gladwell. "If you don't believe in your script, how will you convince anyone that they should?" Exactly. And it'll show in a writer's pitch....
Expand commentYou and Lindbergh are right, Jay Gladwell. "If you don't believe in your script, how will you convince anyone that they should?" Exactly. And it'll show in a writer's pitch.
Maurice and Jon, thank you both for the shout-outs!
Speaking of budget, Jon...I DO understand that cost is what holds back lots of scripts about yesterday's people. [Hmm...with that in mind, I just mig...
Expand commentMaurice and Jon, thank you both for the shout-outs!
Speaking of budget, Jon...I DO understand that cost is what holds back lots of scripts about yesterday's people. [Hmm...with that in mind, I just might have more of a chance with "Fine Tooth Comb" (set in 1994-95) or "Thumpers," which took place in 1984-85. And that's only because quite a few locations in both scripts are still standing.]