Filmmaking / Directing

I use mood, feelings, characters, situations, objects, places, and themes in my scripts to make emotional connections with my audience, Geoff Hall.

I agree that what a film - or any piece of art - means to an audience or any person in an audience is none of the creator's business. Art occurs when there is a complete communication. If a tree falls in the forest and there's on one to hear, does it make a sound? No, it doesn't. Sound happens when something projective interacts with something receiptive - and art is the same way. As for mood and feeling being part of it - of course it's unavoidable that there is a mood projected in your film. I don't think that can be adequately conveyed in a script, outside of dialog and action like anything else. It's the director's province, no? So a writer-director, or a director working on an outside script will naturally do that.

This is literally some of the steps we took in our no budget feature that we just shot. A screenshot of a shot that was shot last Sunday. Two actors who are playing some kind of US cops at an airport. We shot in a shopping center garage, used my partners US car and stuck some police lights in it and we gave them badges that were 3D printed, painted in gold and stuck onto an old wallet of mine with a simple black rope to hold the badges around their necks. The lighting and location sold the shot.

That’s a great point, Maurice — combining locations is such a clever way to stretch a budget. It’s amazing how a few simple changes in set dressing or camera angle can completely transform a space. Thanks for sharing that tip!

Absolutely, Martin — I love that mindset: limitations as design prompts. It’s such a creative way to look at it. As for lighting tricks, I often rely on bounce light from practical sources — a lamp, or even a white wall — to create natural-looking depth without extra gear. How about you?

Couldn’t agree more, Jack — the right location can do half the storytelling for you. I love how unique architecture or outdoor textures instantly elevate a film’s visual tone. Smart scouting really is an art form

You're welcome, Vincent Weberink.

Hi, Phuc Quang Vu Dao. I'm not a writer-director, but I do this with my scripts, especially my micro-budget scripts and contained scripts.

The text of your post shows up in the Stage 32 phone app but not the web browser. I'm guessing you wrote the post in the app, so you might need to edit the post in a web browser so it'll show up for members who get on Stage 32 with a browser. You can edit your post by clicking the downward arrow to the right of your name, selecting "Edit Post," and reposting the text.

Thanks so much for the heads-up and the helpful tip! I did indeed draft the post in the Stage 32 app, so that explains the browser glitch. I’ll hop onto the web version right away, edit the post, and repost the full text so everyone can see it properly.Really appreciate you taking the time to let me know—definitely makes the community experience smoother for all of us.

You're welcome, Phuc Quang Vu Dao. The text shows up in the web browser now.

Phuc Quang Vu Dao funding is problematic for independent filmmaking the world round, but I believe in the UK we are looking to change that.

The background to this: the UK film industry is akin to a cottage industry, where we continually beg favours to get our films completed. The industry is greatly reliant on inward investment, too much so for my liking.

And yes, it maybe true that we have to craft our stories with a particular budget in mind, BUT—we should also know who our audience is and develop a business plan, that includes reaching out to the potential audiences for the film. This will help attract audiences to the story and investors to the production. Marketing and publicity play a huge part in the development of the film.

So, I wish you well with your projects and also welcome you to the Stage 32 community, which is like nothing else in the industry.

Hi @Geoff,

Thank you so much for this insightful comment and for the warm welcome to the Stage 32 community.

It's both fascinating and validating to hear you describe the UK industry as a "cottage industry." That sentiment resonates deeply with us here in Vietnam. We absolutely understand the feeling of "begging favours" to get our stories told.

I especially appreciate your "BUT—". You've highlighted a crucial point that we, as emerging independent filmmakers in Vietnam, are still learning to master.

We are often hyper-focused on crafting the story within its budget constraints (the "art of the feasible," as I called it). But you are absolutely right: this must go hand-in-hand with developing a solid business plan and identifying our audience from day one.

Your emphasis that "Marketing and publicity play a huge part in the development" is a vital reminder. Often here, those elements are treated as "after-production" problems. Integrating them into the development phase, as you suggest, is a strategic shift I am personally keen to embrace. It’s not just about making the film; it's about building the bridge to the audience who needs that film.

Thank you again for sharing your experience so generously. This is exactly why I joined this community—to connect with and learn from seasoned professionals like yourself.

I look forward to following your work.

Best regards,

Dao Phuc Quang Vu

Hi, Behnam Hojati. Some of your post didn't show up. You can edit your post by clicking the downward arrow to the right of your name, selecting "Edit Post," and reposting the text.

Thank you for your help

You're welcome, Behnam Hojati.

Behnam Hojati Rhythm and timing is vital of course. I hope you are sensitive to performance within that mix. Because audience connects ONLY with people and performance. So pacing and timing must support performance. Too often, the technical editor gets caught up with a visual pacing that undermines performance. When that happens, the edit succeeds in spite of the pacing, not because of it. For example, I have worked with many truly great actors, whose performances are remarkable. One observation I made, that is all too common, happened when shooting Shark. I watched in awe as James Woods delivered a speech to the jury 7 takes in a row, each take with an entirely different delivery, each take astoundingly powerful. The takes were to give different approaches, not for any error in delivery or problem with camera or sound. Watching his performance, which was immaculate, I knew that of all his great performances I had seen in the past, many had been rendered less effective by obsessive cutting - pointless reaction shots, or other cuts made on the assumption that people can't bear to watch something for more than a few seconds at a time (Which is nonsense). This is something that as a director I had known already, and was sensitive to in the edit process, but it drove it home hard.

Shadow Dragu-Mihai, Esq., Ipg

Thank you, Shadow I completely agree.

Sometimes editing has to serve the story and the performance rather than the rhythm itself. When a scene carries genuine emotional weight, cutting too early can fracture the narrative and disconnect the audience from its pulse.

A strong performance deserves space to breathe — that’s when rhythm becomes storytelling, not just timing.

— Behnam | 7stcut

Happy Halloween, Xochi Blymyer! I think that's one of the best things about being filmmakers, screenwriters, etc. We create worlds and create entertainment. Are you walking an invisible dog?

Maurice Vaughan - yes! I am walking my invisible dog!!! thanks for “seeing” him!

How fun!! Great pic.

Haha You're welcome, Xochi Blymyer. Someone should make an invisible dog movie.

love the energy and poses. Happy Halloween!

You know! as a believer, a calming before the storm, yet "THE STORM" that has encompassed all there is to identify; I UNDERSTAND THIS!!! I am an empath!! a holistic soul, spiritual, yet understanding, and all that takes on "UNDERSTANDING " at a level it no longer is understandable!!! I AM A CREATIVE yet I somehow, somewhat understand!!!! I AM A CREATIVE!!!! I have never admitted this allowed ESPECIALLY in such a "OPEN" forum that will most likely ridicule me, and mock me, BUT I GET DOWN SOULFULLY on a level most won't or can't comprehend!!! AND THAT IS WHERE TRUE STORY TELLING COMES TO LIGHT!!! I am HERE!!! for ANYONE, especially on an "empathic" level can come to feel safe!!! I don't always feel "safe" but I am sure in what I know; I'm still learning, HOWEVER WE CREATIVES are worthy, and so much more than what we think!!! I NEED TO TALK!! FIGURE OUT MY ABILITIES and connect with ALL like minded creatives!! ARTISTS!! All are welcome!!!

Thank you, Amber — your words resonate deeply.

True creativity often begins where reason fades and feeling takes over — in that quiet, uncertain space between light and shadow.

Your openness is powerful; it reminds us that empathy itself is a form of art.

I love that, Maurice — sometimes the real story hides in the background. A single face out of focus can spark a whole new world.

You're right, Franco Decker. And it doesn’t have to be a movie. You can look at people in the background of shows, commercials, video games, sports games, photos, and videos, and the news, and get ideas for stories.

Exactly, Maurice! Sometimes it’s that random person in a commercial or a quick news shot that suddenly turns into a character in your mind. The smallest moments can start a whole story.

Hey Yanina, The way you tease pre-loss grief? Let’s trade secrets on turning history into gut-punch romance.

Thank you! I appreciate your perspective.

Right now I’m focused on developing my own project,

but I wish you success with your work as well.

Thanks, Yanina Koroleva. I'm looking forward to seeing Virginia — Love Has No Barriers! I hope you have success with it!

And it's Stage 32's November Write Club. It's a chance to connect with writers, directors, producers, etc., and it could help you reach a goal(s). There's going to be prizes too. If you're interested in joining, check out this blog to get ready for Write Club (www.stage32.com/blog/the-11th-annual-november-write-club-is-almost-here-...). The blog for Week 1 of NWC will be out Monday.

Maurice, thank you — I keep noticing your thoughtful comments everywhere. It’s rare to see someone who consistently supports writers with such genuine care. I truly appreciate you taking the time.

And thank you for letting me know about the November Write Club. I’ll definitely take a look. It sounds like a great way to connect more deeply and keep momentum going.

I hope Virginia — Love Has No Barriers continues to grow in the right hands — and I look forward to seeing more of your work as well.

You're welcome, Yanina Koroleva. Thanks. Looking forward to collaborating with you one day!

Find your local film and theater Facebook groups and post there.

If you are a beginner then go to canva and search for casting call design, customize it with your requirement like required actor details including height, colour, age. provide your contact number, email. Ask for a audition clip to send via mail.

Post in different social media platforms, shared it with friends so that they can also share it with their groups. eventually you will able to get calls and mails. Meet them personally according to satisfaction. Then you can finalize

Backstage and local Facebook groups are great starting points! Also check out Actors Access. Wishing you all the best with your short film!

Gale Grande The Casting Network, Breakdown Services "Actors Access" - I personally wouldn't use Backstage because they try to will charge you (as well as the actors) and they are very low results now, compared to what they were back in the day.

hi Gale, I’m happy to send you a cast list. what’s your email?

How did no one say The Mist yet? That ending is BRUTAL!!!

Love and Other Drugs, A Beautiful Mind, Memoires Of A Geisha, As Good As It Gets

Inception was a little unnerving in that I wanted a solid answer Vincent Weberink. Having said that, I admired Nolan's courage for wanting the audience to figure it out. The Iron Giant always brings a tear to me eye. "You stay...I go."

All of these are such great examples! Thelma and Louise, A Beautiful Mind, The Sixth Sense!

Wall-E --> excellent "show don't tell" example.

I can't wait to learn more, Amanda Toney!

Sebastian Tudores It takes real skill to make something look and sound effortless on camera. And yes, I agree about AI, it’s a powerful creative tool when used thoughtfully, especially for brainstorming or refining structure. Still, the human discernment behind it is what makes the final product shine.

Thanks, Ashley Renee Smith. I got some ideas while trying to turn my short script into an adult animated series. I can use them for a feature script version.

I’ve have been focusing on how to pitch! Also working so not a ton of time but got to practice a bit w some others and getting my ducks in a row - or projects in a row to have options!

Get a manager or an agent. I've been very focused on that lately.