Filmmaking / Directing

Merry Christmas and Happy New Year Maurice! Looking forward to 2025!

Michelle Alexandria How do you define "Top Tier Talent," Michelle? Is it anything like "bankable talent" which is defined by "capable of guaranteeing a successful box office.." When you put "capable" in front of "guaranteeing" it takes the meaning of guaranteeing and turns it into nothing. All in all, it's a bunch of Hollywood double talk. You guys like to throw around a lot of phony phrases and titles that don't really add up to a hill of beans based on math that caries no true value to the data. Show me a mathematical formula and I'll tell you how and why it's utter nonsense.

Was it Top Tier Talent that helped Madam Web or Kraven become such hits? Was it Top Tier Talent that made Borderland such a big budget success? Why is it that a national poll suggest that over 60% of the general public do not care what political views celebrities have but they still feel the need to tell people how to think? Is Rachel Zegler doing such a bang up job to promote Snow White or will it turn into every bomb she's ever been in? Oh, that's right, according to her, she doesn't need our business.

I have the perfect cast for my $1.5M budget action film, but I doubt people like you would agree. What is your game anyway? More and more, you people "in the know" are starting to lose credibility because no matter what you tell us, you have the connections while we have to deal with the snakes in this business.

Do I sound bitter? You damn right I am. Do I sound angry? You're lucky this isn't audio and I have nothing against you, personally. I'm sure, in your heart, you're a wonderful person, but I'm not drinking any more snake oil. Everybody on this site has hopes and dreams. Now maybe they're good enough to bring them to life and maybe they're not, but without investors, how can they find talent? Without talent, how can they find distribution? Without distribution, how can we find investors? It's a Catch 22 and right now talent isn't the draw it once was. Award shows all are suffering from ratings drops because celebrities can't keep their mouths shut and SAG won't reimburse you if their union member tanks publicity for their film. They already got paid.

I'm all for classes and lessons if they're truthful. We're looking for investors. We don't have any resources to buy a bridge.

Philip David LeeThank you for every word and answer you give on behalf of me and the 32 community. Some people trade in dreams and trade in everything real and shiny, but something is fake. You and my dear friend Michelle Alexandria have been fair. Do not be angry with us. These are our opinions and we disagree sometimes as long as it is for the public good. We know that you would like to transfer something to us and try it with all love and affection for a new year.

Hi Michelle Alexandria I'm interested in taking this course because it's the exact hurdle I'm about to leap. Is there a link to sign up?

Here's the link to sign up, John Clive Carter: www.stage32.com/education/products/3-part-class-how-to-approach-a-list-t...

And here's a Lounge post about the class: www.stage32.com/lounge/anything_goes/3-Part-Class-How-to-Approach-A-List...

I've seen Strange Darling, Sam Sokolow. It's one of the best movies I've seen this year. It's a fresh Psychological Thriller. The other films are on my watch list.

Didi is a total 90s style indie an I adored it.

It certainly got PETA's attention. Lol

Tony Ray - totally but all the rats are safe and accounted for so good on them!

Happy holidays, Maurice and Richard

Happy Holidays, Billy Kwack!

Merry Christmas to everybody and thank you all for Stage32, it has truly been an important step in my professional career. Cheers!

Merry Christmas, Luca Mannea! Glad Stage 32 has been an important step in your professional career! It's been an important step in mine as well (learning more about the industry, networking, jobs, etc.).

Very cool share, Maurice Vaughan. I know so many actors who have become excellent writers.

I'd learn how to write scripts if I was an actor, Sam Sokolow. I could write roles for myself. I know actors who do that. I also know actors who write and direct their own films.

Wow :)) I am excited to see how he goes to “show us” this amazing poem origins from 24 books :)) And curious about how he goes to translate the 8th century message for today! Thanks for sharing Sam Sokolow

Lol You think Ridley Scott is punching air today that he didnt direct The Odyssey, instead of redoing Gladiator & Alien sequels?

Forget year 2025; save your money for year 2026 when Hollywood movies are really back.

Arthur Charpentier - The Odyssey is an epic tale - a poem divided into 24 "books" - written by a Greek author named Homer about 3,000 years ago. It follows a protagonist named Odysseus through his incredibly long and arduous journey home to his wife after the Trojan War. It's arguably the most classic "hero's journey" ever written. Somewhat interesting factoid is that the Coen Brothers loosely based their movie "O Brother, Where Art Thou?" on the Odyssey but I imagine Nolan will approach it more true to the original text.

Sam Sokolow

Thanks a lot for the information. It's a pity that Christopher Nollan stopped making science fiction films.

Interesting pick for Nolan. I think his movies are scriptwise not very strong, hopefully they'll find a suitable writer to help him out with the screenplay. I am also saying that Universal breaking this news already don't understand much of the movie making process and that once again Nolan's business doesn't look very good. Not my favourite filmmaker, but who else takes on an interesting project these days.

Happy Holidays, Vincent Weberink! The most memorable opening scene I've ever watched is in The Matrix. I was blown away by the scene the first time I watched it. The visuals and CGI, the characters and the way they're introduced, the action, suspense, mystery, the phone booth part. Incredible!

There are many terrible and wonderful openings, but I will choose a very short list of three films

Saving Private Ryan - Omaha Beach Scene

The Great Gatsby

Black Hawk Down

My favorite opening is in A TOUGH OF EVIL. A three and a half minute opening shot that begins with a bomb being set to explode and lasts as the timer ticks down until it blows up a car. Even the ominous music over the Universal Logo at the very beginning draws you in and the percussive track doesn't let you go. It's gripping and cinematic and groundbreaking. Then I would say the opening sequence in JAWS is up there. SKYFALL is pretty incredible for a Bond film. This is a fabulous and never ending conversation!

Other jobs can help, Dan MaxXx. The article says, "Given these challenges, how do independent filmmakers manage to keep going? Many diversify their income streams, taking on freelance work such as directing commercials, teaching film classes, or working as editors. Filmmaker Ava DuVernay, for instance, sustained herself early in her career by producing commercials and music videos."

Not necessarily Dan... If ure making one movie per, say 5-10 years :) Btw I'm on a 9-5 paycheck...but I've never been on a dayjob business trip in my office life... on the other hand, festivals? workshops? film markets? galore...

I have to agree with Dan 100%. I learned VERY early on from none other than Roger Corman that it's better not to sell than give your work away. Giving your product to a distributor who hasn't the money or wish to pay for it, just so it gets seen, is by definition unprofessional, by definition amateur, by definition guaranteed to keep you out of the commercial revenue-flow. The industry has been structured by what up to the last year or so has been a major studio cartel (now disintegrating before the MPA's very eyes) to encourage and capitalize on the unbusinesslike hopes and dreams of aspiring filmmakers - who are told they need validation, money and distribution from someone else.

Thank you for the thoughtful and varied responses to the article. The challenges faced by independent filmmakers, particularly those who do not achieve widespread recognition, are an important topic that deserves further exploration.

Dan raises a valid point about the gap between the success stories highlighted and the reality faced by many independent filmmakers whose works may struggle to recoup costs or find meaningful distribution. While the article touches on diversification of income streams—such as freelancing, teaching, or commercial work—there is more to be said about the economic realities for the majority in the field. A deeper analysis of these dynamics and practical strategies for sustainability could provide valuable insight.

Maurice’s observation about balancing independent filmmaking with other professional pursuits is well-taken, and Kiril’s comment about utilizing festivals, workshops, and markets underlines the importance of community engagement in this industry. These avenues, while often rewarding, also bring their own challenges in terms of accessibility and financial burden.

Shadow’s critique about the risks of undervaluing one’s work highlights an essential aspect of the discussion: the need for filmmakers to navigate the complex landscape of distribution and maintain professional standards. The systemic issues he raises are critical to understanding how the industry can better support independent creators without exploiting their passion or ambition.

In light of these perspectives, I am inspired to delve further into these matters in a subsequent piece. By addressing the financial, professional, and systemic challenges faced by independent filmmakers, I hope to provide a more comprehensive exploration of what it takes to sustain a career in this demanding yet rewarding field. I deeply appreciate the shared insights and welcome continued dialogue to enrich this vital discussion.

It is good to present this article for discussion, but the solution lies in freeing the hands of the filmmaker in independent films. Everyone wants to create, but is there a company that starts with them from the beginning in manufacturing work and marketing it for festivals and marketing for television stations and platforms? Everything is not just in the studio

Happy Christmas Eve, Sam Sokolow! I watched The Grinch, Red One, and The Merry Gentlemen this month, and I rewatched Krampus. Here's my watch list/rewatch list for the week: A Christmas Story, Die Hard, Christmas with the Kranks, Christmas Bloody Christmas, Jingle all the Way, Home Alone, Carry-On, and Candy Cane Lane.