Producing : This Is The Official Q&A & Conversation For The Get Ready For 2025 Global FIlm & TV Production Summit by Sam Sokolow

I cannot wait to learn from some of the brightest minds from the global entertainment industry!

Hi, Sam Sokolow. I'm excited and ready for the summit! Question for the panel: I've been hearing that screenwriters should write for both the domestic market and the international market. When it comes to writing for the international market, which countries should screenwriters be focused on right now?

Hi, Sam Sokolow. Preparing for today's 2025 Global Film & TV Production Summit: Current Landscape, I listed 30 scripts of my 93 scripts that are set abroad. Please see my loglines page for the loglines, synopses, and scripts.

Hi, Geoff Hall here from Bristol, UK.

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We will be going into production on two feature projects in 2025. How can Stage 32 help us?

Hey, good evening from Le Mans (France)

Hi, Sam Sokolow, panelists, and everyone! I'm Maurice from North Carolina. Thanks for taking the time to be on the panel and share your advice and insight! Thanks for moderating, Sam!

Hey all. It's great to be here to learn more about the industry.

Based here in Albuquerque, New Mexico, USA. Thrilled to be a part of the Film World Market.

Sorry about the chat issue, everyone! The chat is now fully activated on today's panel.

UPDATE: I think our guests and Sam's prompting have pretty much answered this in their comments - thanks :) - I've read & heard that rules and processes for European/US co-productions have been relaxed to encourage projects. Could you speak to the co-prod environment in your region at large. And thank you for taking the time to share!

Other than www.the-numbers.com where can we get a sense of how well films are doing in the box office internationally? The Numbers report the US Box Office mainly and then give the global numbers in one group.

If you write a culturally specific story, what door (personal representative) should be the first to pitch to? A company/person that has a natural connection to that culture or are producers/distributors open to all stories? Ie: Canada/Scotland story.

I am a Producer/Writer with an Intenational Studio Without Borders or Walls and will be shooting on every continent in the world. How can Stage 32 help us?

Hi everyone! actually I have a finished feature film based in real events about mental health and addictions. it's in Spanish (Spain) and I'm looking for distribution. appreciate any help or clue. thanks!

Hello to the panelist. I hear that the industry is looking for new and interesting ideas, yet it does feel like prequels, sequels, and reboots are the trend. I am a new writer coming into the industry with many original ideas, and I am a little discouraged by this trend. Do you see the industry, particularly in the US, taking a step back and embracing new content as foreign markets seem to be doing?

We would like to get one of our recent films in theaters around the world. Can Stage 32 help? https://firstfeatures.wixsite.com/leedtheway

The way films are distributed has changed tremendously over the years. Do you have a certification in Distribution, Sales and Marketing?

To add to my first question. I am hearing so much about the benefits of taking productions to foreign countries. Should we just look outside the US for production partners and locations?

Dr, AY Heath, everything our studio does is on the cutting edge. You might want to consider working with us.

Hi Eugene Mandelcorn are you looking for writers and producers?

Maybe we should talk!

I was talking to the Bristish Film Commission at Focus.London 2024. When I said I was there to look at potential for co-productions and international tax incentives. They were incredulous that I wanted to take a British production into other countries when the tax incentives in the UK were so generous. What would the panel say to that? Should I forget about international co-productions?

Dr. AY Heath yes, you should!

How can I connect with Tom Sherry???

Since there are several countries on the call. Is it possible to have a film from another country screened in theaters in your country? How would that deal be made? I know that big budget studio films get into your theaters, but what about Independent films?

Is there a place where we can see what stories resonate with each country? I know that humans are humans. I have a "blended family" comedy. It may hit in some countries, whereas it might not hit in others.

Another question. Is there the possibility for a new production company to invite trainees onto a production from someone in a cinema industry in development, from another country? Could that be done through the various film commissions?

To provide more clarity on my "blended family" example, my protagonist exhibits a clearly disrespectful attitude — a behavior that may be more culturally acceptable in the U.S. However, a Filipino acquaintance raised an insightful question: "Would they really act that way?" This made me reflect on the significant cultural differences, particularly in the Philippines, where respect for elders and the adult community remains a core value. To ensure the story resonates with audiences in the Philippines and other cultures that prioritize respect for parents and elders, I’m re-evaluating how this dynamic is portrayed. My goal is to create a narrative that feels authentic and culturally considerate, while still maintaining the integrity of the character's journey. So, how can I make a more international film?

My memoir is set in Canada, Croatia and a Caribbean island. Think of the movies Philomena meets Lion. The protagonist experiences unbelievable life challenges that would break many a spirit.

It has universal appeal in that the global message is to continue to have faith, hope and the courage to persevere despite the odds!

I do NOT have a screenplay. Do I need a screenplay to approach potential producers? Thank you.

Congratulations to the panel, so many matters addressed! Film involves so much with public relations and psychology at an international level. It brings to attention at some point of the field of “Anthropology” also at an international level.

Q; How therefore are the present incentives at any level to include “Anthropologists” and the relevant field to the world of film and of course entertainment generally?

This was incredible! Thanks again for taking the time to be on the panel and share your advice and insight, panelists! Thanks again for moderating, Sam Sokolow!

Thanks for the panel. Hope the questions that weren't addressed will be answered in a separate message

Hi Dr. AY Heath - thank you for joining us yesterday and for your questions and participation. In regard to the US approaching original ideas, a lot has to do with the entities in question. Disney, Universal and even Paramount have legacy libraries and a long history of sequels and reboots and many of the streamers build around IP that becomes ongoing "sequels" such as Amazon's Lord Of The Rings series. However, in just the past few weeks we've seen tent-pole IP-based films underperform, such as WICKED and KRAVEN THE HUNTER. Meanwhile, films like ANORA and THE BRUTALIST, wholly original films, are trending upward. Companies like A24 champion indie films. In terms of just looking outside the US, as Ton Sherry said in the summit, there has to be reasons to work with different contries more than just for money, whether it be a cultural connection, specific location, or other reasons that make sense for all sides. Ultimately, the work is what drives most conversations forward and if you are relatively new to the industry please know that we all - regardless of experience or track record - fight every day to navigate projects forward. Keep doing the work and keep creating. If you have projects that make sense in an international paradigm reach out to the film commissions in those regions and ask for references to local producers to share your material to see if something connects and is a fit. Most of all, don't get discouraged. It only takes one thing to pop for even more things to get that wind in your sails and there are independent and original films getting financed and made every day. Money knows the value of good content which is why investments are happening all over the world. I believe this will only continue.

Also, I recommend this Stage 32 webinar on how to attract initial development money to a project - there's actionable information here that may be helpful and Michelle is an amazing resource: https://www.stage32.com/education/products/first-money-in-how-to-raise-d...

Hi Eon C. Rambally - thank you so much for joining yesterday and for you kind words on the summit. Each incentive is written with different legislative rules and there may be some areas who include elements that could be considered "anthropological", or at least culturally relevant. Most film commissions or governement agencies that oversee incentive programs will have all of that in theiur websites.

Hi Nadean Stone - that's a great question. In my experience, having a screenplay is always best as the vision and "take" for the film is important for producers, directors and actors to see. However, there are compnaies who option the rights to books all the time and then take over development. Is you goal to ultimately write the film version of your book yourself?

Hi Eugene Mandelcorn - Stage 32 has courses on distribution that can extremely helpful. You can search the education landing page for distribution courses. I'll recommend one here taught by John Reiss, who is a fabulous resource: https://www.stage32.com/education/products/creating-a-distribution-and-m...

Thank you, Sam Sokolow for responding to my questions! I really enjoyed the panel and will watch the webinar you suggested. You have some great resources, and I appreciate the support you give us working to break in. Thanks again! ~ Angel

Sam Sokolow, thanks for the reply and answer! all part of subjects for good dialogue and discussions. Again a great summit and congratulations to all, best regards for the season and beyond!