Trending Lounge Discussions

Over the past few weeks, I had an experience that made me step back and look more carefully at how I approach new connections in the industry.

I was in conversation with someone who presented themselves professionally, spoke the language of development, and showed interest in my script. Initially, everything seemed genuine.

But as the conversation progressed, the focus started shifting toward shared development costs and financial contributions at an early stage. That raised concerns for me.

It made me realize how important it is to:

Take time to understand someone’s background and track record

Be cautious about any upfront financial involvement

And not rush into agreements just because there’s interest in your work

I’m sharing this not out of frustration, but as a reminder especially for those of us building our way into the industry to stay aware and protect our work.

There are great people out there, but there are also situations that require us to be careful.

Curious to hear have others experienced something similar, or how do you usually approach new collaborations?

I have a series of four crime/romance novels that I’m scripting gradually, as the story would be ideal for a TV drama series or even a movie. I’m just dubious of spending my savings on pitches, to have someone thousands of miles away - read and recommend my pitch… who then says it can’t be done from the UK. How does it work? Do I need to pitch to UK executives?

I've been a member of Stage32 almost since its inception, and although I wasn't active on it for many years, I have enjoyed watching it grow as a safe space for seasoned pros and aspiring filmmakers to connect.

This is a safe space, but it is also one for honesty and transparency, so to anyone just starting out or maybe just a few years in and wanting to produce their first project, I want to offer some solicited advice (if you're poking around in this lounge, you're looking for advice). Here it is... START SMALL!!!!

Notice I didn't say "Dream small." I said, "Start small."

I get a lot of folks hitting me up for direction on how to bring their (insert MILLIONS here) production to life, when they've not even written, produced, or directed so much as a short film. Hear me now: I am not saying you can't make your multi-million-dollar epic. I'm just telling you not to focus on that as the first one out of the gate, because, plain and simple... unless you have a trust fund or a studio head as a parent... it won't get made.

Aim for some closer targets first. Start with a short. Get your hands on a great short film script or write one yourself. Build a stellar team to help you make it, and then once that is out into the world... make another, and then another. Work those creative muscles, start building that reputation. Get noticed for what you have done, and it will make what you are trying to do a little more realistic.

I hope this little bit of insight helps, but if you're still not convinced, do some research on those overnight successes the industry loves to tout. I do happen to know some overnight successes myself, and I can assure you... They spent decades getting there.

So, if you're just starting out, what's your next step? Let us know in the comments.

I'm sharing this to protect other creators on this platform. Over the past 4 months, I was targeted by a coordinated advance fee fraud network operating specifically in the film/TV industry. Here is everything I documented. The pattern: A "producer" contacts you on a creative platform. Professional vocabulary, signed contract, structured fees. Then every milestone requires a new payment — investors, casting directors, travel expenses. The amounts escalate. The urgency increases. The proof never comes. The network — accounts to block:

Hey everyone — Jores Philippe Jr. here, director and writer based in New York City.

My short film script, The Hands That Beat The Drum, just made the Quarterfinals, and I'm genuinely grateful to be in this space.

The film is about a Haitian family living in NYC trying to navigate through grief and legacy. It's a bilingual story, part English, part Haitian Creole, and it's deeply personal to me as a Haitian filmmaker.

We're currently in pre-production and moving toward a summer and fall shoot in New York. If you're a filmmaker, writer, or just someone who loves stories rooted in culture and family, I'd love to connect.

Congrats to all the fellow Quarterfinalists. Let's keep going.

Should I use real-world space agencies (like NASA / ESA equivalents) for authenticity,

or go with a fictional, self-created organization to have full creative freedom?

The story is very realism-driven , so both options feel valid:

Real agencies:

Instant credibility

Familiar to audience

– Less creative flexibility

– Risk of inaccuracies / legal sensitivity

Fictional agency:

Full control over tech, decisions, failures

Easier to shape narrative

– Needs extra work to feel believable

Curious how you all approach this in sci-fi that leans realistic.

What would you choose—and why?

Thank You

---ROY

This is a pet peeve of mine. Putting the terms “prestige drama” or “elevated horror” in your logline sounds like you think a lot of your material compared to everyone else’s.

It’s like saying “well written.” Well, of course YOU think so. Let the reader decide if it’s prestige or not. Let the producers decide how much production value to throw at it to make it prestige. Sheesh.

Okay, rant over. :)

School of Terror

In the quiet town of California, there’s a school that everyone fears: Claudia School. Rumors of disappearances, strange noises, and dark secrets keep parents warning their children to stay far away.

But three fearless girls—Sophia, Eva, and Lorinta—refuse to be intimidated. Sophia, adventurous and determined, convinces her friends to join her in uncovering the truth about the mysterious school. Despite her mother’s desperate warnings, the girls, along with a few daring neighborhood kids, enroll at Claudia School, unaware of the horrors waiting inside.

What begins as a thrilling adventure soon turns into a nightmare. The school’s corridors are alive with shadowy figures, eerie whispers, and unseen dangers. As the girls uncover horrifying secrets about Claudia School, they realize escaping may not be as simple as entering. Friendship, courage, and quick thinking are the only tools they have to survive.

School of Terror is a suspenseful and chilling tale of bravery, secrets, and the terrifying consequences of curiosity, where the bravest girls may be the only ones capable of surviving the school’s dark legacy.

Hello Screenwriters, I need your help with the logline for my new script, I CAN'T GO TO HEAVEN YET. I'm really stumped on this one, so I'd really appreciate your input.   Synopsis: A Japanese man hides in the forest with his family and dog to evade internment. The dog valiantly tries to save them, but they all perish. While in the void between Earth and Heaven he meets a sarcastic chain-smoking, alcoholic angel who's eager for the man to ascend so he can get his wings, but the man refuses to go until he's assured his dog has a good home. The angel refuses to allow this citing celestial rules. The man blackmails the angel into agreeing to help. The dog is captured by animal control when finally, after several people don't pan out, the dog gets a loving home, and the man reunites with his family in Heaven.

I love representing writers and actors. There are parts of the job that can be frustrating (delivering bad news) and parts that are amazing (celebrating the good), but I really love what I do. There is however one part of the job that I hate, and I wanted to bring it up just to manage expectations. We spend SO much time just chasing money.

Whether a client has sold a feature to a studio or has an indie company paying for an option, the money is very rarely paid in a timely manner. You’d think that once a deal is closed and you turn in each step, you should be getting paid. WELL I’D LIKE THAT TOO! These companies often take forever to get that money sent out, and it requires weeks or months of emails and phone calls from your reps. It’s a nightmare.

The reason I’m bringing this up is not just to complain about slow accounting (although I am doing that) it’s to make sure that you are not counting on a single payment to live off. I’ve had writers get a script written, and tell me that we need to get it out fast because they are broke, and that is never a good way to be. Most producers do not have development funds, so a lot of them are attaching to package and then bring to a studio or financier. They will mostly attach for free, and you won’t get paid until someone options your project. Even that is not the full freight, and more will come later as each step gets completed, and you eventually get that green light.

It sucks, I know. I just want you all to be ready to do the work, and then sit and wait…and wait…and wait for your money, and not to starve while you’re waiting.

Happy to answer any questions!

Hey Stage 32 family,

My name is Cedric Sanders, a multi-hyphenate creative based in Royal Palm Beach, Florida. I work across acting, screenwriting, comedy, music, and videography, with a strong passion for telling stories that connect with audiences across multiple genres—especially comedy, crime, drama, sci-fi, and horror.

As a screenwriter, I’m currently focused on shopping and selling my scripts while continuing to grow as a creator. I also have acting experience in independent short films and background work on feature productions, which has given me valuable on-set perspective from both sides of the camera.

I’m here to connect, collaborate, and learn from other creatives who are serious about building and creating. I’m especially interested in expanding my knowledge in writing, directing, producing, and the business side of the industry.

Looking forward to building with you all and being part of this community!