Producing a film or series comes with a long to-do list and every producer has their own approach. Some of us start with building a pitch deck and locking in IP. Others immediately think about budget, casting, or location logistics.
So let’s open up the floor…
When you first commit to a new project, what’s your priority?
Do you start with development materials? Begin assembling your team? Look for financing? Or something else entirely?
Let’s compare notes and share strategies. Whether you’re producing a short, a feature, or a series, your process might be the spark that helps another creative take their next step.
Drop your thoughts below!
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I tried to make two feature films way back, Ashley Renee Smith. I started with the scripts both times (I wrote them). If I end up producing again, I'll start with the script again because it affects so much. I didn't know a lot about producing back then. I know a lot more about producing now because of the resources on Stage 32, like the AMAs and blogs.
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I start with a script because the "take", tone, POV and character's journeys are more important than the idea itself. It's rare that talent attaches to an idea - it's usually to a script that speaks to them. That's been my philosophy with TV series (a pilot script) and features (screenplay). A pitch deck is also super valuable to share more specifics on the vision, tone and POV of the project. But the script is the propulsion for the whole machine to move forward in my experience so even if I love an idea I'll develop a script before putting external time, energy and muscle into a project.
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I don't take anything on that i don't have a hand in developing. If the writer isn't open to a rewrite it's a hard pass.
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I produce projects that I write, so it definitely starts with the script. I do have the occasional writer with a project that they'll ask if I'd like to come on as a producer. I only consider outside projects if they have, not only a great script - or at least a great idea, but also something or someone involved or attached the project that makes it easier to sell. Once you have a great script, the next step would be to find an actor or a director who loves the project enough to attach their name to it.
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Sam is spot on. Read the script! Read it once for the pleasure of reading it. It's the only time you'll experience that. After that it's time to look at turning pages into images that will end with releasing it.
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I am working on producing scripts that I write as well. If I were hired to produce a screenplay that is not mine, I would read it first and talk to the original writer to changes I think would helped the project. If the writer does not want to make changes, I would walk away from the project if I feel it won't have legs. Otherwise, I work out my shooting schedule so I can create answers to questions posed by investors.
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Thanks for this post Ashley Renee Smith
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Ensure the script is Amazing or can get there (or don't get involved.) Then budget, cast (to support the script and budget), finance (based upon script, budget and cast), distribution, production.
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Find out how much money you have to work with - then rework the scrip to fit said budget.
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I like the comment "Or something else entirely?" Ashley Renee Smith! I had some chuckles with that!
However it works sometimes, as you have to be adaptable. Being a Multi-Hyphenate sets a good example. If a department slows or whatever the case, experience and relevant talent steps in and is what is currently needed in the field.
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Jack Binder What makes a script "Amazing?" What criteria are you using to judge amazing? One man's amazing is another man's garbage. Nothing against you, Jack, but my idea of amazing could greatly differ from anyone's opinion on this planet, taking in account someone's track record or not. If you didn't like my latest project, I would have to hear your reasons. If they come from a technical standpoint as far as pacing, plot holes, character inconsistencies, or unoriginal content, I can see your point. However if my work doesn't agree with someone's agenda, political leanings, DEI standards, or anything else that affects the personal feelings of the individual deeming a script amazing or not, can one really take anyone's judgement at face value.
This weekend's box office was a dismal performance. Was it because someone somewhere deemed a screenplay amazing that actually wasn't? Was it poor marketing? What parameters do you look for in a screenplay that makes it amazing enough to invest a significant amount of monies and resources to get it into a wide release.
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I love all of the insights being shared here!
Stephen Folker, your advice is especially important for indie filmmakers and producers!