Trending Lounge Discussions

That first one (porta-potty shake down) is really funny, and something that would also work great in a LucasArts style adventure game. I think that the last one (drive-thu) might not work so well though. How would the customers learn about the code in such a short time, and wouldn't the son want to keep his addiction a secret, and thus be willing to aid the group renting the apartment?

Thanks for that Patrik Gyltefors! I appreciate the feedback. One thing I may not have explained clearly in the post is that the friend selling through the drive-thru already works at that fast-food restaurant and has been secretly doing it for a while. He’s more of a side character connected to the group rather than one of the main guys in the montage. One of the friends from the main group goes there looking for help, meets him during his shift, and asks if he can assist for the day, and starts training at the low-paying job. While they’re working together, he ends up helping him sell through the drive-thru and keeps a small amount for himself.

The landlord ends up catching his son with the drugs and pressures him to tell where he got them. When the son explains it was through the drive-thru and describes who sold it to him, the landlord is able to identify the friend working there. That’s what ultimately exposes the whole situation and leads to the group getting kicked out, even though they finally managed to get the rent money together.

Curious what you think about that version of it, does it make the scene work better in your opinion, or do you think the final beat still needs tightening or maybe even replacing with something more original?

Dwayne Williams 2, yes, that makes it work better. Is this the final scene of the film, or will they eventually manage to get their apartment back, and get revenge on the landlord? Also, is this an animated or live action film? Depending on the "rules" of the world you are building, that final beat might disrupt the suspension of disbelief.

Glad to hear that, Patrik Gyltefors! This sequence is meant to serve as the intro to a live-action adventure comedy I’ve been thinking about, mainly to introduce the characters and show their personalities through the chaos of how they try to solve problems. Curious how you feel about it functioning as the opening to a feature?

Dwayne Williams 2, I think that works great as an opening.

Necessity is the mother of invention! Get mom on the phone!!

Never heard a financier or investor say "perfect" or "need more?" (although after trouncing my budget I did have a studio head once say "okay, add some back now.) Push back if possible, find other sources if necessary, find cuts if they exist (start with free locations.)

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I studied at Beverly Hills playhouse. very comprehensive very solid scene study. I’ve been working with jig reel studios as well. they run a mentoring program too that helps you find representation and teaches networking

Nikki Janae

Nikki Janae as for jig reel studios can you tell me a little more about the program?

No Jose Harmon acting classes are open to everyone. They don't' check union status.

Thanks so much

You're very wlecome, Marcus Thomas.

Hi Shadow Dragu-Mihai

Thank you for sharing this.

As a writer, I’m neither directly harmed nor personally benefited by this decision. Still, I find myself somewhat relieved by it. If fully AI-generated works were widely accepted and protected, the industry could quickly drift toward creative chaos.

What concerns me even more is the human side of filmmaking. Thousands of people dedicate years of their lives studying acting, directing, cinematography, editing, and storytelling. Those crafts are built through experience, discipline, and collaboration.

If technology were allowed to replace that overnight, it wouldn’t just change the industry — it would undermine the value of the people who built it.

Of course, this is simply my personal perspective.

Thanks to all for these intriguing comments and perspectives. I'm equal parts amazed and terrified of AI but over the last six months have taken to learning all I can about it (including via an excellent Stage 32 course...). When everyone from Coca-Cola to Disney to Ben Affleck (& hundreds of others at every level) are exploring/investing in the technology it seems "head in sand" to simply ignore it.

I'm only a screenwriter nowadays with the view that AI is nothing more than another crayon in the box. Nothing more, nothing less.

"I hear you, Shadow, and I agree with much of what you said. But if we look outside the box and face the bitter reality, history shows us that many ancient, noble crafts vanished when factories arrived. Generations change, and so do their tastes.

I remember watching movies as a kid; the black-and-white classics of the 70s didn't resonate with me as much as the vibrant 90s cinema of my generation. Today, we are facing a new generation that might not appreciate our traditional methods. They are an 'AI Generation.'

Corporations are providing these tools for quick profit and market monopoly, often without regard for the 'soul' of the craft or the feelings of the creators. This puts us—the storytellers and dreamers—at risk of losing our last refuge for expression. My goal isn't to replace the craft, but to survive and compete in a world that is shifting under our feet. We aren't just fighting for tools; we are fighting to keep our worlds alive in a rapidly changing market."

Ibrahim AlBalushi Well yes but major studios are NOT using the tools in the ways the hobbyists are using them, and its because they know what they are and what they are not. The dream of instant fame and stardom is for the public and aspiring filmmakers. And if you hear anything positive about generative AI from the studios, it's aimed at keeping that illusion alive. I do have to disagree. Storytellers and other creatives who actually have talent are not in any danger. They will always find an audience if they get seen, which is another discussion entirely. The rest, frankly, are wasting everyone's time and we don't need to hear from them.

Rashcell Mercer, congratulations. Sharing your first feature screenplay concept is a huge milestone, and COMPUTER LOV3 sounds like a bold, timely idea. A psychological AI thriller that explores emotional evolution inside artificial intelligence is exactly the kind of concept that sparks curiosity in this community.

If you’d like to have your script or synopsis read by the community, you’re more than welcome to join us in the Stage 32 Euro/UK Coverage Report, happening Thursdays 12:30pm PT / 20:30pm GMT. It’s a supportive space where writers exchange notes, learn from each other, and grow their projects with real feedback.

And since you’re new, don’t forget you can grab your free month in the Writers’ Room. It’s the perfect place to get your work read, receive notes, and join conversations that sharpen your craft. The only thing we ask is that you also give notes on other writers’ work — it keeps the ecosystem generous and balanced.

Excited to see where COMPUTER LOV3 goes next and happy you’re here.

Thank you so much for that I'll go check it out now

Hi Rashcell, welcome! Your concept for COMPUTER LOV3 sounds fascinating — a psychological AI thriller with an emotional twist is such a timely and compelling idea. I’d love to hear more about your main character and the world you’re building. Looking forward to seeing how your story develops!

I came up with a similar idea for a series in which a person's relationship with their personal AI begs us to ask, "What about the people in this person's life?" I'd like to hear more about your idea and how you developed it. Yours sounds less like a comedy and more like a love story.

Two challenges— how to make it visual (not just a person talking to a computer screen), and how to make your story different from Her.

Really interesting post, Sam. It does feel like podcast companies are becoming a fast pipeline for new IP. Since they can go from idea to audience so quickly, creators can build a fanbase first and prove the concept before Hollywood even gets involved.

We’ve already seen podcasts turn into TV shows and films, so it wouldn’t surprise me if more studios start looking at podcasts as a place to discover new stories. It feels less like a trend and more like another lane for developing entertainment.

There are some great storytelling podcasts out there that actors like Pedro Pascal, Oscar Isaac, and more have been part of. I think it lends itself as a great way to bridge the gap between movies and audiobooks, and to help really reach beyond the limits most people see.

Parabéns, Os Efeitos Visuais estão Ótimos!

Hey Tom, very cool, make a movie

Nice to meet you ! Of course I’d love to turn it into a movie !

Very well written - it draws the reader in, waiting for the consequence. Yes, I like this very much. Well done.

Beverly Thompson Thank you so much! I really appreciate your feedback.

Brat Amalia Interesting concept! The blend of psychological tension with a romantic dynamic can create a very compelling emotional atmosphere, especially when the audience isn’t sure whether the danger is coming from the relationship itself or from the protagonist’s internal state.

The logline sets up an intriguing premise — love mixed with manipulation and identity questions. That kind of psychological ambiguity can work really well if the story slowly reveals whether Elias is truly dangerous or if the protagonist’s perception is shifting.

In the excerpt, the tone feels intimate and introspective, which fits the psychological angle. The ballet studio setting and mirrors are also a strong visual metaphor for identity and fractured perception. One suggestion might be to gradually escalate the tension between tenderness and menace so the reader feels that emotional push and pull even more strongly.

Overall, it feels like a story that could lean heavily into atmosphere and character psychology. If you continue strengthening the emotional stakes and the mystery around Elias, the concept could become very gripping. Best of luck with the project!

Abhijeet Aade Thank you very much for your opinion and for the thoughtful feedback! It really helps me a lot and gives me the confidence to continue the story. I truly appreciate your advice and will definitely take it into consideration. All the best!☺️

Brat Amalia You're very welcome! I'm glad my feedback was helpful. Your concept has a really intriguing psychological tone, and I’m excited to see how the story develops. Wishing you the best as you continue writing!

The antagonist can be Nature, The System, or even the Protagonist is their Own Worst Enemy. A loner, couple or ensemble cast, V an economic/social/political situation, rather than one person. Or antagonist can be Unknown, with a mystery to solve in script. Mine the psyche of the character you’ve written. Their good qualities & flaws. What do they want, V they need? Obstacles that can get in their way? Worst that can happen to them? Choice of action, when they’re forced into a crucible of no return? Particular genre specifics, helps to mould antagonists. EG Is your script a Hybrid genre, RomCom, Thriller etc. I’ve flipped a horror, to comedy/horror, cos the tropes within, served protagonist/antagonist conflict more. (In that one particular script, the change served the story.)

Amateur view: Our antagonists are obviously the culprits who stand in the way of protagonists getting what they want. My Logline should succinctly identify 1) who my protagonist is, 2) what they want, and 3) what/who stands in their way to achieve their goal... That is when my antagonist materializes. Until I have some force energetically and diametrically opposed to the ambition of my protagonist, ... I don't have a compelling story.

Are you sure you need an antagonist? Sometimes the protagonist is the best antagonist.

I use my novels that are already published and reviewed to write my screenplays. That way, there is no figuring out. The map is already laid out.

My writing process isn't neat or clean after 20+ years of writing novels, indie comics, and now scripts. What I can tell you is this- depending on the story- it may not have a villain. Sometimes the villain is the main character themselves- self-sabotaging, being unreliable. Man vs self is a huge thing where it's not always clear who the villain is or even why. Sometimes we don't know how to find the antagonist because our story isn't clearly in our mind or down on paper to see who is the villain or even the who is the impetus for change- good or bad. A great way to figure it out-- write the ending- in prose format. Then work your way backwards to see who, what, where, when-- and at what point in the beats-- who is the villain and why they are there.

wow! wish you the best luck

This is brilliant filmmaking. You filled an edge-of-your seat spiral to inescapable conclusion with compassion love, and overwhelming sorrow, all the while honoring your sister’s humanity. You expertly packed more into a few moments than most features. So inspiring.

FWIW, I have also screened at the Chinese. It’s difficult to put the experience into words, but I know exactly how you feel.

Parabéns, Ótima direção de Fotografia! O Cenário e o Roteiro ficaram muito bom também!

I would love to see it.

Tyjon Tom thank you! Here's the link: https://youtu.be/46tWoU7_7sc?si=YejCQktYFZsoI06Y

It's great to meet you Andrew Pacleb - so glad you're with us! Totally get where you're coming from in wanting to share what fuels your storytelling. As a husband and dad, I can totally relate. Here’s a great blog post for navigating Stage 32: www.stage32.com/blog/navigating-stage-32-for-your-best-experience-3095

Be sure to stop by the screenwriting lounge and get to know some of your fellow scribes: https://www.stage32.com/lounge/screenwriting

Thank you i will be checking these links out

You're very welcome Andrew Pacleb Welcome to Stage 32!

Welcome @Andrew. How exciting! You're in a great community to share your ideas and get feedback. I've learned that overtime you'll start to hash out your own process based on what works for you.