Filmmaking / Directing

The head of Prime Video in Europe basically gave a "state of the union" and it's pretty clear what they're doing over there. Their whole model is a mix of crowd-pleasing stuff everyone will watch (Clarkson's Farm, obviously) and prestige shows that win awards (Malice). They basically said not every show has to be a global mega-hit, some can just be really successful in specific countries and that's a win.

It's actually a relief to hear a streamer admit they don't need every show to be the next Stranger Things. Sometimes a show can just be a solid hit in one region and that's... enough.

Read the full breakdown: https://deadline.com/2025/11/prime-video-europe-on-business-model-malice...

Universal’s Wicked: For Good is poised to cast a much-needed spell over the box office. After a sluggish autumn, the second half of Jon M. Chu’s adaptation of the beloved Broadway musical is projected to open north of $200M globally, making it the biggest debut ever for a Broadway feature adaptation.

Read the full article here: https://deadline.com/2025/11/wicked-for-good-box-office-global-projectio...

The film is already Fandango’s biggest PG-rated pre-seller of all time and the strongest advance ticket seller of 2025. Early estimates point to $125M–$150M domestically and $70M+ internationally across 78 markets, and that’s before we even account for premium formats and the film’s huge fan previews.

Last year’s Wicked set a record with a $112.5M domestic opening and a $164M global debut. With its current presales and massive global tour, featuring Cynthia Erivo, Ariana Grande, Michelle Yeoh, Jeff Goldblum, Jonathan Bailey, and more, Wicked: For Good looks ready to surpass those numbers and reset the bar for musical adaptations.

The first film went on to earn 10 Oscar nominations, including Best Picture, and grossed $758.7M worldwide. The sequel enters theaters with a 97% audience score from early Amazon sneak previews and strong momentum from fans of both the musical and the franchise’s first installment.

For filmmakers, this raises some interesting industry questions:

• What does this mean for the future of large-scale musical adaptations?

• How much of this success is tied to built-in IP vs. global marketing strategy?

• And what can we learn from the way Universal and Chu have positioned this as a two-part cinematic event?

What’s your favorite musical adaptation of all time, and what made it work?

Calling all writers! A dynamic new batch of Open Writing Assignments (OWAs) is now live, featuring a diverse range of requests from a top-tier producer and showrunner, a London-based production company, and more.

These opportunities are highly specific and represent a direct line to industry leaders actively developing new projects. But you must act fast—this batch will be closing for submissions in just two weeks.

Here’s a look at the exciting opportunities launching today:

FOR YOUR PRECISE & CHARACTER-DRIVEN PROJECTS:

A Top-tier Producer And Showrunner is looking for sharp, comedic micro-dramas for pre-teen girls, specifically featuring the intelligent and relatable outsider archetype.

A London Based Production Company seeks culturally specific stories with universal resonance.

A Production Company is in the market for elevated genre and prestige, character-driven dramas/thrillers.

FOR GENRE & FAITH-BASED CONTENT:

A Producer And Showrunner, who works with top-tier talent and companies, is seeking fantasy scripts.

The same producer is also looking for faith-based content in all forms and for all ages.

A Producer And Director is on the hunt for compelling book IP to adapt for television and feature films.

This is a targeted call for unique, compelling stories. If you have a script or book property that matches these specific needs, the OWA program is your direct pathway to submission.

New to Stage 32? You can join the Writers' Room for a FREE month and apply to these OWAs immediately.

Start Your Free Trial and Submit Today: https://www.stage32.com/writers-room

The clock is ticking! Ensure your script is submitted before these OWAs close in two weeks.

Happy writing!

https://nofilmschool.com/filmmaking-tips-from-damien-chazelle

David Zucker, the filmmaker behind AIRPLANE!, The Naked Gun, Top Secret! and a whole catalog of comedy classics — breaks down something every director eventually faces: what to say to your actors the moment the camera stops.

Watch the full video here: https://www.youtube.com/watch?v=12idCrIVG-k

Zucker’s answer is funny (of course), but the conversation goes deeper. He talks through:

• Why most directing happens in the writing, long before you hit the set

• How to give actors clear, specific adjustments instead of vague notes

• When to improvise, when to stay locked to the script, and how to handle suggestions

• Why confidence — or perceived confidence — is essential for actors who need to feel the director knows what they want

• The danger of over-directing and how easily it can kill a performance

• His take on pacing, comedic timing, and why pauses can ruin a joke

• Why the “first take” is often the best one

• How he handles frustration, and why transparency can sometimes backfire

The video becomes a thoughtful look at directing actors with clarity, trust, and intention, using decades of experience across some of the most iconic comedies ever made.

Filmmakers and directors, what’s your go-to approach after calling “cut”? Do you jump in with notes, give actors room to breathe, or reset and go again?

Think back to the first time a film made you feel something so deeply you wanted to create that feeling for others — what was it?

My Take on The Sixth Sense

Just dropped the first episode of my new series “No Filter with Darshan”. Even though I already knew the twist, the film still surprised me — and I shared my honest experience watching it for the first time.

Would love for you to watch it and tell me how you felt about the movie and its iconic reveal.

In this 20 minute clip you can see an AI shortfilm and a guy working on a chasing scene using current available AI consumer software.

https://www.youtube.com/watch?v=I5TBTdQpFsY

Directing a film is a complex job that requires a unique blend of creativity, technical skill, leadership and budget acumen. While directors are usually the visionaries behind any film, we are also human beings with different skill sets, individual vulnerabilities and insecurities.

Despite our outward confidence and creative vision, we often have to deal with a myriad of insecurities that hide beneath the surface. These insecurities manifest themselves in various ways, influencing our approach to storytelling, self-expression and collaboration.

As a director, true confidence in our ability includes a deep-rooted belief in our skills, creativity, and capacity to overcome challenges. It also involves understanding (and acknowledging) our strengths and weaknesses, as we continuously seek to improve and learn from our experiences.

True confidence also means trusting our instincts and vision while being open to collaboration and feedback from others. It involves resilience in the face of setbacks and the ability to adapt to changing circumstances. (We’ve all been there!) Ultimately, we need to continually focus on our forward progress (and continuous improvement) for our entire career.

As film directors, we have to have the courage to take risks, make decisions, direct our actors and lead our crews with conviction toward realizing our unique artistic vision which builds genuine confidence in ourselves and helps to achieve our aspirations.

20 Common Insecurities that Directors May Experience (And How You Can Navigate Them)

1. Ability to Communicate: Directors must clearly share their vision with the cast and crew. Struggling to express ideas can lead to inefficiencies and misunderstandings. Improving communication helps better collaboration and ensures everyone is in sync with the director’s vision.

2. Balancing Artistic Vision with Commercial Considerations: Directors often juggle their creative vision with budget limits and producer demands. This can be challenging, but finding a balance ensures the film stays true to its message while meeting financial and logistical needs. Directors must also negotiate compromises that satisfy stakeholders without compromising the film’s core message or aesthetic.

3. Comparison: Directors often compare themselves to their peers, both in terms of their work and their career trajectory. They may feel like they are falling behind or that they are not as successful as others in the industry. Focusing on their unique strengths and understanding that every career progresses differently helps combat these insecurities.

4. Creative Blocks: Struggling to find ideas or solutions can be frustrating for directors. This can be frustrating and can lead to feelings of inadequacy. Taking breaks, seeking inspiration, and collaborating with others can help overcome these blocks and spark fresh ideas.

5. Criticism: Directors face criticism from both collaborators and audiences, which can be intimidating. They may worry about how their work will be received and how they will be perceived by others. Learning to embrace constructive feedback and ignore unhelpful negativity is essential for growth and confidence.

6. Fear of Failure: Directing a film is a high-stakes endeavor, and the fear of failure is a common insecurity among directors. They may worry that their film won't live up to expectations or that it will be poorly received by audiences and critics. This fear can be paralyzing, but taking risks and learning from failures is essential for growth.

7. Financial Insecurity: Filmmaking can be financially risky, especially for independents. Directors may worry about how they will support themselves and their families while working on a project. Directors need careful planning, funding, and diverse income streams to support themselves and manage budgets effectively.

8. Handling Pressure: Tight deadlines, long hours, and challenges can overwhelm directors. Directors may worry that they are not coping well with the stress and demands of the shoot, leading to burnout, anxiety, or compromised decision-making. Managing stress and delegating tasks can help handle the demands of filmmaking.

9. Handling Conflict: Disagreements and challenges are common on set. Directors may fear that they are ill-equipped to navigate these conflicts, leading to tension, delays, or compromised relationships. Directors need strong conflict resolution skills to keep the team productive and maintain positive relationships.

10. Handling Praise: Directors may worry that they are not handling praise well, leading to imposter syndrome, self-sabotage, or an inability to fully embrace their achievements. Directors need to acknowledge their successes and use them as motivation for future projects.

11. Handling Rejection: Rejection is common in the film industry, whether from investors, festivals, or audiences. Directors may fear rejection will discourage them or make them overly critical. Building resilience and seeing rejection as a learning opportunity helps maintain motivation.

12. Handling Success: While success is desirable, it can also be daunting for directors who may feel pressure to replicate or surpass their previous achievements. Staying grounded, continuing to learn, and setting new goals can help directors manage success constructively.

13. Imposter Syndrome: Many directors, especially those who are just starting or working on their first big project, may experience imposter syndrome. They may feel like they don't deserve their success or that they are not as talented as their peers. Recognizing achievements and understanding that self-doubt is normal can help overcome these feelings.

14. Making Decisions: Directing involves countless choices, from casting to script changes. Directors may fear that they are not making the right decisions for the film, leading to doubts about the project's overall direction and quality. Trusting their instincts, seeking team input, and staying open to feedback can build confidence.

15. Managing a Team: Directing a film is not only overseeing creative aspects but also managing a diverse team of professionals, including actors, editors, cinematographers and production crew members. They may feel unsure about their leadership skills, but clear communication and inspiring collaboration are key to effective team management.

16. Navigating the Industry: The film industry is renowned for its competitiveness, ever-changing trends, and complex networks of relationships and opportunities. Directors may feel unsure about their networking or business skills, but understanding the landscape and building strong relationships can help them succeed.

17. Pressure to Succeed: Directors are under a lot of pressure to succeed both from themselves and others. They feel like they have to live up to certain expectations or they have to prove themselves to be taken seriously. Balancing ambition with self-care helps maintain clear thinking and creativity.

18. Staying on Schedule: Keeping on schedule is crucial for ensuring that the film is completed on time and within budget. Directors may fear that they are falling behind schedule or struggling to manage the logistics of the shoot effectively, jeopardizing the project's timely completion. Falling behind can cause delays, but effective planning, time management, and problem-solving help avoid setbacks.\

19. Staying on Budget: Budget constraints are a constant concern for directors who are tasked with managing resources efficiently to avoid overspending. Directors may worry that they are exceeding the budget or failing to allocate funds effectively, risking financial instability for the project. Directors must balance creative goals with financial constraints to prevent overspending and ensure the project's success.

20. Technical Skills: Directors may worry about their technical knowledge, like camera work or editing. They may fear that their lack of expertise could hinder their ability to bring their creative vision to life effectively, leading to subpar results on screen. Learning continuously and working with skilled crew members can bridge gaps and achieve the desired results.

So You Wanna Work in Movies? is a response to people who ask: “What do I do to get into Movies?” by Oliver Stapleton BSC http://www.cineman.co.uk/

What makes a perfect sci-fi thriller? Is it the tension? The worldbuilding? The emotional punch that keeps you thinking long after the credits roll?

CBR just released a great roundup of 10 sci-fi thrillers that get it right from beginning to end, from genre-defining classics like Blade Runner and Invasion of the Body Snatchers to modern masterpieces like Arrival, Children of Men, and Moon.

Read their full list here: https://www.cbr.com/sci-fi-thrillers-perfect-start-to-finish/

Each film on the list blends suspense, mystery, and moral questioning, proving just how versatile and thought-provoking sci-fi can be when it leans into its thriller roots. Whether it’s V for Vendetta’s political rebellion or 12 Monkeys’ time-bending chaos, these stories remind us how powerful pacing, tone, and theme can be when every frame counts.

Filmmakers — when you think about your own work (or dream projects), which sci-fi thriller do you think sets the bar for tension, worldbuilding, or storytelling perfection?