Trending Lounge Discussions

@Sailyn Barlow my answer is going to make your eyes roll, just know that up front. But the best way for you to get into development is to start as an assistant for a production company, studio, agency, or network/buyer. It's great experience and exposure then you can work your way up, it will take a while but if you stick to it, it will happen.

Hello Nikiita! I have an idea for an adult animation series with lots of music since I want it to be a successful outlet for my music as well as my inclinations, What package would you recommend to make it look like a viable vehicle to show to studios, distributors, etc? Here is the first 2 minute video piece of IP I have created, all by myself to get started with: https://youtu.be/20j950I9rRU

Nikita Adams Lol! Your comment didn't make me roll my eyes, but it definitely made me sigh. I've applied to numerous assistant positions at multiple production/network companies, but I've found the playing field is very crowded, with a lot of talent coming in. I'm trying to find a way to stand out. I would LOVE to have an assistant position, not only to get my foot in the door, but also to LEARN! I am just having trouble getting past the "resume" phase.

Thank you, Nikita! Will do; sounds politically correct as stated in your remarks.

Hello Nikita! I'm sure you've gotten (and still get) countless responses like this, but I have aspirations to build a career as a screenwriter of television and film. I'm twenty-three, so I recognize that I'm young and early in my career and that I have my whole life ahead of me to make this happen. I'm currently writing spec scripts and reading scripts of movies I like to practice my craft, but I'm also looking for some professional opportunities. What are some of the best career decisions I can make right now? What are some habits I can get into? Who are some people I should try getting in contact with?

Thanks All, happy to connect with you all!

Xochi Blymyer bravo on the dictator project...that's a (sadly) funny line haha.

Darrell Pennington - ha, yes. and Thank you!

That dictator project sounds interesting! Sadly considering the world today, that does sound too realistic.

Haley Mary - true. But it is a comedy - more in the vein of Coming to America or the new Anaconda. :)

I agree with your assessment on this situation. Most of the screenplays that I have written are inspired by adult animation or anime. But when I pitch it as an animation, the reader is turned off by the fact that I am pitching it that way, even though they are requesting animated projects. I believe they are looking for more adult comedy animation than action, fantasy, and science fiction.

I would say the pacific would be the next big theme, for animated series, I mean look at moana, if a company would seriously dive into the pacific communities and culture, I am sure new materials for new projects would be found alot

Malcolm Kewa The thing with Moana is that it's more of our tradition Western 3D Animation. Those are all in the same basket as Toy Story and Zootopia. Moana 2 cost $250 million to make and promote. That's a big budget, IP driven project that a studio would not take a risk on if it were to come from an up and comer.

The style of adult 2D animation that I'm referring to is more like Castlevania or Chainsaw man. The Chainsaw man movie was distributed over from Asia and costed $4.1 million to make. It made $100 million in the box office.

Thats what they are doing in the international market that the US market currently doesn't have a financial answer for, nor does it seen to want to take the risk and find out. I already have a commitment from an animation studio overseas that can do my animation for $3.5 million, but to find Western producers or investors to take the chance....hard pressed.

The global gross revenue for animation is getting ready to be a 900 billion dollar industry and the US is only pushing heavy IP-driven projects, which to me is a mistake. They need to find a way to fund smaller animation projects and develop a "western" anime culture.

HA Damian Watzen! Nope. Nobody's volunteered yet for the enemy role, so I will go ahead and settle for a constructive rivalry, thank you very much!

Jamison Hi, I’m Charlie… I’m an alcoholic—

I mean screenwriter. Easy mistake. Same late nights, same questionable decisions, same “this seemed like a good idea at 2am" energy.

I respect the Bet-A-Verse concept though. That’s commitment to a theme and I’m here for it. Also, a talking record player feature? That either ends in brilliance or therapy, and I’d watch both.

Also, important question: how is Barbara handling all of this?

Charlie Solomon Stupid comments are being weird and wonky. I wrote a big, long message about how I'm not prepared to die for the Bet-A-Verse as a bit, that the record player feature needs a rewrite, that I wrote another feature combining the 12 labors of Hercules with the 12 steps of AA, and Barb is pretty ambivalent about anything that isn't food she's either fed or finds on walks. I wrote a longer message that had all of that, but it didn't get posted somehow. So. There's most of it. Again.

Jamison, as a marketing pro, I accept your apology for the 'gambling spokespeople', but only if we can find a way to bet on the success of the 'Bet-A-Verse.' It’s a brilliant hook, and Barbara deserves the high-end dog food that only a funded writer can afford.

I’d love to handle the technical 'wonkiness' by building you a Patreon or Ko-fi 'Home Base.' I work on a 'success-first' basis: I don't charge for my time, only a small budget for the tools. When you thrive, I thrive. Let's get Barb those treats!

Jamison — The fact that you rewrote your comment after it disappeared tells me everything I need to know about your commitment to the craft.

Hercules + the 12 steps of AA sounds like the kind of concept that either wins awards or starts arguments — I'm interested either way.

And Barb clearly understands what actually matters in life. Food> everything. She's ahead of all of us.

One Battle after Another, score by Jonny Greenwood

What made this score special Tony DiGregorio ?

Maybe a reflective movie.

Interstellar - hands down. The movie was ruined by the casting - especially the lead, and the fact you can't understand a word he mumbles - but the music is the whole show. Then again, Notes On A Scandal was made all the more powerful by the Philip Glass's ethereal score.

Libby, I liked the way he built tension in certain scenes with a minimalist kind of melody and growing intense rhythm.

Emmanuel Jomy Congrats - that has to be very exciting. As I was reading your post 'Dan In Real Life' kept running through my mind. Great movie if you've never seen it.

I have never seen it Darrell. But I sure will if I have time. Thanks for reading!!!

Joshua Jones Social media platforms and low level producers have followed the common trend to charging for "mentorship" - it's just another way of upcharging for one on one tutoring. Actual mentorship still exists, has always been informal and personal.

Joshua Jones, this is a really thoughtful question, and I want to offer a slightly different perspective that might help reframe it a bit.

I don’t think the industry has suddenly become “pay to win.” I think what’s changed is visibility and access.

If you look back at the 80s, 90s, even early 2000s, that kind of mentorship you’re talking about absolutely existed, but it was mostly only accessible to a small group of people. If you had a connection through family, friends, or proximity to the industry, you might find a mentor more easily. But for most people, that door was closed. Otherwise, the path looked like this: you moved to LA or New York if you could afford it, took an entry-level job that barely paid enough to survive, worked long hours for years, and hoped you’d impress the right person enough that they’d give you a bit of their time. And even then, there was no guarantee.

And if someone did agree to meet you, you were still investing, just in different ways. Buying drinks, covering meals, giving your time, energy, and years of your life for the chance to build those relationships. So the “cost” has always been there. It just used to be hidden in things like geography, time, labor, and access.

What’s changed now is that platforms like Stage 32 have made access more transparent and global. You don’t have to move across the country/world or spend years trying to get in the same room as someone you respect. There are structured ways to connect, learn, and get feedback from professionals. It’s also often more direct, more efficient, and absolutely more accessible than the traditional path ever was.

That said, mentorship still exists in both forms. There are people who give their time freely, like the director mentoring you, and the many professionals that are part of the Stage 32 Community in these lounges, writing blogs, hosting events like last week’s Free Heated Rivalry webcast, etc.

I think the key is recognizing that there’s no single path. It’s about finding the mix of relationships, community, and opportunities that work for you. But the great thing is there are more options and opportunities available for more people, than ever before.

Sam, that's tremendous news! Let's REALLY hear it for the writers who got those script requests and meeting requests during the last two weeks!

Congrats to all.

Congratulations, everyone~

That's amazing! Congrats to all.

Each week I see this list, and it never fails to excite me. Congratulations on everyone getting after it!

My muse is asking questions. I get really curious, ask a question, and then my mind is off!

Kat Spencer My current project was inspired initially by an experience I had and then from a whole bunch of research .

The late great Paddy Chayefsky advised writers to "empty" their experiences into their writing and then rely on research. If there is no pain, it's tougher to distinguish exactly what the conflict is since the characters determine the plotline through their emotional arcs.

For me; a cafe that allows me to sit and drink tea, and the noisier the better. For some bizarre reason, I can write and write until, when i raise my head, several thousand words are completed.

At home, I'm distracted, by the laundry, the washing up, the cat etc.

To me, I would say, it's a spark flash thought I get whenever I am active and out and about, but I try to catch it as soon as possible. when I get the idea, I always get the idea for a story, whenever I am in the thought process during my normal 9 to 5 job, it's like a burst of idea, as soon as I get it, I write it down immediately as so not to lose it. I would say my muse, is unexpected when I am working. but I pride myself of that, though people sometimes catch me talking to myself, when jotting down ideas, I know I am vibing on a wavelength others don't feel.

Great to see OpenAI lose this battle this soon. A positive signal for filmmakers over the next 5 years. Can't imagine they won't be back though once they get ideas on how to do it for cheaper and bring the energy costs way down. A well deserved win for copyright, nice to see our country still upholads laws every now and again

Pat Alexander Honestly I don't think it impacts filmmakers either way, and I don't think generative AI does either. These are marketed to the retail public and, as noted by The Dailies, are novelties, and the novelty is wearing off. Gen AI is an animation tool, nothing more and nothing less. Which is to say that the professional and talented will be able to integrate it into their pipeline appropriately, and the wannabe and talent free will just spend their money producing unwatchable and public domain drivel. Just my opinion.

"Very helpful insight."

.

Hi Timothy Miller I think I would find the first three as a challenge. I considre myself a dramatic actress, and when I was cast in a comedic role, it was a struggle at first. (that is what rehearsals are for!) I stopped telling myself I am not a comedic actress, I can do this. It felt unnatural at first, the over top movements, the exaggerated line readings, the more I did it, the more natural i became.

I am not sure I could play someone who is particulary or traumatized for my own mental health. It would definately be something I would need to work on with my therapist.

Suzanne Bronson that is fantastic, knowing what your limitations are will boost your performance, breaking through those limitations will make your acting even better.