Producing

totally agree it’s harder more than ever with so many options out there, and people wanting a faster turnaround for their investment

pushed send too soon! I wanted to add it’s important to decide on the canon format that will build up a loyal fanbase. that’s why having the Ip in forms of books is a huge thing at the moment

Celeste Rigo IMO same as it always has been. A good human story. TV/Digital isn't a thing, really. Unless it's feature film, it's now all "TV" (as broadcast is nearly now all switching to on-demand digital formats). But, also same as always, genre matters as some simply don't translate well culturally or linguistically. Which is why comedy has always been, and remains, problematic, and why horror has always been, and remains accessible.

Celeste; From a world-building standpoint, scalability usually comes from strong underlying mechanics and cultural flexibility. If the core rules of the format are simple and universal, but the surface layer can adapt to local values, humor, and stakes, it travels well.

What really seems to push formats internationally now is the ability to extend beyond the episode: community participation, digital touchpoints, and a clear identity that can live across platforms without losing its core. When the “engine” is solid, everything else can localize around it.

Sounds like a huge and exciting project! In my experience, the most scalable formats have a universal emotional hook and simple core rules, but are designed with clear points. Something like Netflix's international an UK titles have earned huge viewers. I hihgly recommend checking out this great behind the scenes of ADOLESCENCE! https://www.stage32.com/blog/stage-32-presents-a-behind-the-scenes-look-...

Its great to go with someone that has been before, but don't worry if you don't and just dive in! Each festival has it's own unique flavour. If you go in with a purpose (even if it is just to explore) then you will get a lot out of it. There are countless youtube videos on how different festivals work, but these are usually targeted for people going for specific reasons which may not be your own. Get talking to people and you will learn a lot, maybe get some good party invitations, and help you make the most of it!

Adam Reiver, agreed. This is a very polished, very professional, very common pay-to-play packaging scheme that operates at the inside edge of outright scam. It's not legitimate producing, but a gray-zone business that feeds on exactly the moment we’re in right now.

The moment money flows from writer to producer, you're no longer in a film industry model. You're in the consulting/services model. In this text, "...shopping the project to our network of financiers, distributors, sales agents, studios, and streamers...” it's evident that if they had real access to those people they would not need your retainer to do it. They would just do it.

The “retainer credited against EP fee” trick is the smartest part of the pitch. It seems like, “I’m not paying them — I’m prepaying their success.” But the reality is they make their money on the retainers, not on produced films.

The IMDbPro piece is another classic move. The person is likely real, has real credits, and has attached their name to the company. But they're also not personally reading, pitching, or shopping your script.

"Forbes" is tossed around as a reliable reference. It's no qualification. Consider that Theranos, FTX, Frank and Slync were all "Forbes" darlings.

Darrell Pennington Wouldn't be B8 would it? Because this sounds like their M.O. and they are quite aggressive. The IPG gets complaints and requests to look at B8's offered contracts at least a dozen times a year. A legal company yes, and well established, but "legit" no, if by that you mean "ethical". B8 is the "services" sub of Bondit Media, which itself I consider a legit company. But there is no necessary legal or funding connection between them. What B8 does is sell you at premium rates the services you should be doing as a producer yourself - and that is all they do. Matters not if you have a good pitch package or a fully packaged project - they will redo it for you, and "represent" you to casting, etc. They do not provide nor are they directly connected with legitimate funders. What they are doing, is getting paid to insinuate themselves into a project so that if it does get traction, they are producers. If it doesn't - no problem it's not their project anyway, it's yours. They may cross-pitch Slated.com, which itself as a scammy organization without any access to the investor pool they claim, and I say that without qualification.

They charge $10K and up. Despite multiple negative insights, some will still rush headlong to these scummy clowns while waving fistfuls of cash for them to take for essentially zero.

BTW, there are those who trawl this site solely to separate writers from their cash. They're a lot closer than you imagine.

Caveat emptor, for chrissake.

E Langley Shadow Dragu-Mihai Great feedback, thanks so much.

Darrell Pennington You're welcome. These people represent the largest single organization I get industry contract review requests about...

I think the new concept is stronger and more marketable, Aleksandr Rozhnov, and I think the title Giant is catchier.

Thank you Michael Wormser !

Thank you so much for attending everyone!!

Michael well done, awesome info :) Seb, thank you for being a great moderator!

Hi everyone!

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If you have any issues accessing the recording or the template from your My Library or your Stage 32 profile, please email edu@stage32.com and we’ll be happy to help!

I had no idea the plot was about Maurice Vaughan. That's why I asked. And that's enough to be an outstanding film. I will learn more about it. Thank you for sharing.

You're welcome, Sandra Correia. I think you'll really like the film! I like watching a movie without knowing the plot.

I do that sometimes, Maurice Vaughan, especially on streaming. If I go to the theater, I read about the plot. Now, I want to watch it!

Let me know what you think of the movie, Sandra Correia.

I will <3

Thank you, Meriem Bouziani, and you’re right, algorithms can help us understand who might connect with a story. When they’re used with intention, they can be a powerful tool for reaching the right audience. My worry is just when the tool becomes the driver instead of the guide. The sweet spot is exactly what you said: using data to support the storytelling, not replace the soul of it.

Yeah, we keep using it to our advantage. Sandra Correia

Always my friend, always :)) Meriem Bouziani

We as creators hopefully can keep that in mind but still try to get out original movies - those movies that can sneak up on and compete against the cookie cutter movies and get enjoyed by movie goers!

Absolutely, Xochi Blymyer, that’s the hope. Even within all the industry patterns and algorithms, there’s still room for the films that surprise people, the ones that don’t fit the mold but somehow cut through anyway. We only need to be aware of everything around us. Thanks for sharing <3

Thank you, everyone.

You're welcome, Rich Terdoslavich.

This is something we hear constantly in the Writers' Room when executives join our weekly Pitch Tanks and Q&As. Producers have to be incredibly strategic about budget allocation, making painful cuts while fighting to preserve the core vision. It's brutal, but as they always say: a finished film with compromises beats a perfect script that never gets made.

Congrats on getting it to the finish line. Can't wait to see what you and the team have made!

Hi, Amanda Toney. Microbudget filmmaking really does demand a different kind of resilience, and the sacrifices you describe are so real, not just for writers, but for producers and everyone who loves the story enough to fight for it. I felt that deeply on my first short film, The Misstep, a thriller I wrote and directed on a minimal budget. We had to condense the entire shoot into 14 hours just to stay within budget, and once we were on set, I quickly realized that some things on the shooting script simply didn’t work in practice. Adapting on the spot wasn’t easy, but I was genuinely happy with the final result. Those challenges are tough, but they’re also what fuel the energy behind the work.

Can’t wait to see your film make its way into the world. Cheering.

Congratulations Amanda Toney! Bravo! Perseverance pays off!

Collaboration and rising to challenges- that’s what it’s all about. Congrats.

Thank you for all the feedback and support everyone!