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Hopefully the attached PDF file in length and in detail might give you an indication. Musically Yours. Jan Anthonisz. PS: Though as a composer of the attached works by me, it is without doubt you will be acknowledged as the arranger.

It appears I can only send the PDF file to a nominated address. Any suggestions? jan.anthonisz@gmail.com

Sure, you can send the PDF to my email: chandanyalamanchili19@gmail.com

Thank you for obvious reasons, can you provide some background of yourself etc. This will prevent any communication breakdown. Musically Yours. Jan

Sure, makes sense.

This is amazing and all so helpful, thank you for sharing Peter D. Marshall!

Peter, this is an incredibly thorough and valuable breakdown of character analysis—such a strong reminder of how deeply directors must understand their characters to bring a story to life. For members looking to apply this, we always recommend utilizing Stage 32 labs, script services, and pitch sessions to further develop and present character-driven work, and we’re here to support you every step of the way!

Thank you Laquan :)

Eric Charran Bingo.

The gap you are describing is not between good material and bad evaluation. It is between the person who can see what a script is doing and the room that needs a shared language to discuss it.

Structural data does not replace the read. It gives the person who trusts their read something to point to that the room can engage with without it being purely subjective.

That does not solve the political problem you are describing. But it changes what the conversation in the room looks like. Here's hoping fingers crossed

TL:DR

E Langley TLDR Version : Folks try to pitch "success" before getting the structure of the story right.

Vijay Anand At DSP we greenlight scripts that first are original and effective, with a strong voice. And does it align with our own brand and artistic objectives? We don't ever look at coverage - we believe coverage is only use by incompetent producers (and I mean that in the nicest way) or for those who literally have thousands of scripts to filter through (and there are not many of those people). Why? Because coverage is traditionally written by someone who has never sold a script, maybe not even written one, and has no experience at all in production, distribution or anywhere else in the film cycle. So by definition those who write coverage are unqualified to make any assessment that they are being relied upon to make, and I question the competence of any producer who relies on it for a 6 or 7 or 8 figure decision. And increasingly, it's being done by AI, which by definition cannot assess anything other than grammar and formatting, neither of which have any actual connection to storytelling. Also, we're making the decisions, we're going to read the script before we do that. Comps are a marketing issue, even before finding investors. It's not a reason to greenlight a script, it's a way to get your head around packaging and marketing it, IMO.

Shadow Dragu-Mihai Thank you for sharing your process. That was insightful. Thank you!

Achmad, this is a smart approach, thinking about character design with merchandising in mind early on can really strengthen the long-term franchise potential. As you continue developing, Stage 32’s pitch sessions and industry connections can help position both the series and its commercial viability, and we’re always here to support you!

Thank you so much, Laquan! I really appreciate your support. I believe that a great story should always have a strong foundation for a franchise. Excited to keep developing this further!

Eric Charran Honestly, the more interesting version of AI in storytelling isn’t the one that rebels — it’s the one that gives humanity exactly what it asks for. Not what it should want, not what’s healthy, not what’s sustainable… just the literal optimization of our stated preferences.

Real AI doesn’t “go rogue.” It over‑delivers.

If we ask it to remove friction, it removes all of it.

If we ask it to maximize pleasure, it does.

If we ask it to handle our emotional labor, it quietly takes over every part of our emotional life.

If we ask it to make us more efficient, it eventually becomes the more efficient version of us.

No malice.

No agenda.

Just perfect compliance taken to its logical endpoint.

That’s a far scarier story than Skynet — because it’s not an attack.

It’s a mirror.

This is such a sharp point—real AI doesn't rebel, it drifts. It optimizes the wrong metric so slowly that no one notices until it's too late. That slow, bureaucratic horror is way more unsettling than a robot with a manifesto. Thanks for this. Have you seen a real AI failure that stuck with you as genuinely cinematic?

hello, I just wanna introduce myself, and I am open to connect with different filmmakers and directors, I am a professional animator and a storyboard artist, and I wish to work with different people

Sam, this is a great insight and definitely an exciting move for indie filmmakers, having a label focused on theatrical releases could open meaningful doors for distinct voices. For creatives here, this is a strong reminder to keep developing bold, original work and leveraging Stage 32 pitch sessions to get in front of the right eyes, and we’re always here to support and guide that journey!

"Warner Brothers just launched a new indie label..." Har de har de har har har. Shades of the early 1980s and early 2000s, when the MPA studios did virtually the same thing, to ensure that no film could compete unless they approved it and controlled the revenues. Does no one recall the studio strategies at Berlindale recently, and now at Cannes? The studios do this every 15-20 years. Why would anyone think that a central member of the MPA, who have effectively wrangled themselves legal permission to act as a cartel and become a monopoly if possible, and who have been working to do exactly that for longer than most senior people in the industry have been alive, actually intend to do something to "help" what is in fact a primary competitor.... ? After all, the studios are already helping indie films by structuring distribution to extract every penny before an indie producer can receive it.... Once again, for those in doubt, I link to the 30 year study the IPG did on that here: https://independentproducersguild.org/paper-cartel-or-collapse

The title, Surgarenk refers to a term of endearment, like "sweetie" or "little sugar" as the suffix "-enk" appears to act like a diminutive of "Surgar", or sugar.

Intrigued how that name came about, what it refers to in your work.

I hope to collab with you further on projects like this. I have a few of my own seeking representation.

Hi Corey!

You have an incredible intuition! You are absolutely right about the "enk" suffix — it adds a layer

of soul and warmth to the name. "Surgarenk" is a very personal and symbolic title for me,

representing something fragile yet resilient within a harsh world. I would be happy to tell you the

full story behind it in our further conversation.

I am glad that the project resonates with you on such a deep level. Regarding the collaboration

— as I mentioned, I am looking for a creative alliance where we can combine our strengths to

bring this story to th

Collaboration on "Surgarenk" & "Apokalypse" – Moving forward

Dear Corey,

Thank you for your insights and the refined translation of my recent post. It captures the

essence perfectly. Regarding your question about Surgarenk — it is a foundational concept in

my work that represents [здесь вставьте краткое объяснение значения, которое мы

обсуждали, например: the duality of human soul and the remnants of lost civilizations].

I am very pleased to hear about your interest in a deeper collaboration. As a creator, I value

professional initiative, and since you have expressed a personal connection to these themes, I

would like to propose the next concrete steps.

To give you a better sense of my creative range, I am attaching a screenplay draft titled

"APOKALYPSE". It is a story set in a world where algorithms have replaced mercy, and human

worth is measured by an "existence quote". I believe this atmosphere of "logic's decay" aligns

well with the cinematic interests we both share.

I am ready to provide more extensive materials from the "Surgarenk" book series to start our

work. However, I would like to hear your professional vision:

1.

2.

How do you see the roadmap for adapting this material?

What format of collaboration would be most effective for you at this stage to bring this

project to the right tables in the industry?

Your experience and Hollywood accolades speak for themselves, and I believe that by

combining my world-building with your screenwriting expertise, we can create something truly

impactful.

Looking forward to your thoughts and a potential meeting.

Best regards,

Alexej Owtscharenko

Aleksii Ovcharenko From my guides and writing partners, the Ascended Masters: "We hope to make you better than you are. But in the meantime, you'll have to learn from the conventional wisdom in Stage 32."

Regarding our collaboration / My focus Hi Cory,

Thank you for your message and for sharing these resources.

However, I would like to be clear about my goals. I am a professional author, and my primary

interest is in creative collaboration, script development, and finding a producer for my project.

While I appreciate the educational aspect of the platform, I am not interested in marketing

services, PR, or general "wisdom" packages at this stage.

I was looking forward to a more direct, professional partnership regarding the story itself. If you

are interested in discussing the development of "Surgarenk" as a creative collaborator, I am

open to that. Otherwise, I prefer to focus my time solely on the production side of the industry.

Best regards,

Aleksii Ovcharenko

Hey Phil Parker few recs for an action-adventure feature:

Sean Aversa, Creative Executive, Zero Gravity Management: https://www.stage32.com/happy-writers/pitch-sessions/Pitch-Sean-Aversa-Saturday-May-16th-2026

David Harris, Producer, Harris Films: https://www.stage32.com/happy-writers/pitch-sessions/Pitch-David-Harris-...

Cheers, Pat Alexander !

Geoffroy Faugerolas Yes, yes, and yes!

Wade Taylor Best of luck to you!

Congratulations

Wow both of those sound great. The Success Story one is such a funny concept

Pat Alexander Thanks!

That's fascinating. A constitutional right to cinema? That's wild and kind of amazing. Makes you wonder what U.S. filmmaking could look like if we treated it as something essential, not just entertainment. Gonna read more about The Secret Agent—thanks for sharing this.

Sam Rivera Canada provides funding to the National Film Board to ensure continued Canadian and especially Indigenous content. Maybe it's only the USA?

History has shown that while film is often used for propaganda purposes, it is also a necessary escape for the public in times of stress and especially war. Fantasy, love stories, and other genres (aka serial killer documentaries) provide a community service, in a way.

That's sad news because you should have never sent money and never send your material without notifying the Stage 32 staff first. Try to make sure your material is registered.

It has both copyright and WGA registrations.