Screenwriting

Huge congratulations to the team at Stage 32.

https://deadline.com/2025/07/global-screenwriting-contest-hub-launched-s...

They're probably why we all got into this business in the first place: those quiet character studies that stay with you for weeks, the intimate dramas that feel like looking through someone's window into their most vulnerable moments. But they've become incredibly hard to sell without heavyweight players attached, and even then, what's the guarantee that audiences will show up?

The math is brutal. Indie dramas have become notoriously difficult to sell, with shrinking exhibition windows, streaming platforms favoring binge-worthy series over standalone films, and theatrical releases competing against superhero spectacles for screen time. We're all buying into the idea that we should give buyers and financiers what's more likely to move: the horror films, the action thrillers, the high-concept comedies with built-in marketing hooks.

But here's the paradox: wouldn't this contribute to market saturation? When everyone's chasing the same "safe" genres, couldn't a fresh, original drama that cuts through the noise actually stand out? After all, they can be made cheaper than their commercial counterparts. No massive set pieces, no CGI budgets, no car chases...just compelling characters navigating real human stakes.

And good word of mouth is golden these days. In an era where audiences are overwhelmed by choices, a small film that genuinely moves people can spread like wildfire through social media and streaming algorithms. Sometimes the quiet movie that makes you ugly cry becomes the one everyone's talking about. The question isn't whether audiences want these stories...it's whether we're brave enough to keep telling them while the industry seems to be moving in the opposite direction.

(Please note that this is done as it would be a script for a comic, I have a background in comics, so I use comic terms for the script. I do hope to get this made as a movie or short TV show. I'm looking for feedback on the pages, if you can take the time to read and leave a review in the comments. replace panels with shot.)

Chapter 4 Page 9 - Four Panels (Battle of Wits and Final Blow)

(Ch4 Pg9 Panel-One - Rebeck and Garerit Face Off, Tension in the Air)

The cave is dark and foreboding, but the atmosphere is electric with tension as Garerit and Rebeck face each other. Garerit is standing with his staff, looking calm and strategic, while Rebeck stands towering over him, a wicked grin on his face. The giant's glowing eyes seem to pierce through the shadows. Both are ready for a mental battle.

SB (Garerit - Speaking with Confidence): "I have a question for you, Rebeck. A riddle, if you will."

SB (Rebeck - Mocking, But Intrigued): "A riddle? You think you can outwit me, little man?"

(Ch4 Pg9 Panel-Two - Garerit Poses the Unanswerable Question)

Garerit leans forward slightly, his eyes sharp, as he raises his staff in a gesture of challenge. Rebeck leans in closer, intrigued by the puzzle.

SB (Garerit - Calm, Thoughtful): "What is the answer to a question that has no answer?"

SB (Narration Caption): "Rebeck's face contorts in confusion as the question circles in his mind. The answer is that the question is rhetorical, and that's the point."

(Ch4 Pg9 Panel-Three - Rebeck's Struggle, Growing Frustration)

Rebeck stands frozen, his brow furrowed in deep thought. His massive hands clutch his head, grasping at the air, as he tries to come up with a solution. His frustration is palpable, his mouth slightly open, showing his sharp teeth. Garerit walks casually around the cave, unbothered by the giant's mental turmoil. In the background, a large axe can be seen, half-hidden behind some rocks.

SB (Rebeck - Angry, Muttering to Himself): "What's the answer? There must be one!"

SB (Narration Caption): "As Rebeck searches desperately for an answer, Garerit's mind remains clear. He knows exactly what he's doing."

(Ch4 Pg9 Panel-Four - Garerit Strikes, Quick and Decisive)

In a swift motion, Garerit grabs the axe from the shadows, his face determined but calm. With a single, well-placed swing, he lops off Rebeck's nose, causing the giant to stagger backward in shock and pain. As Rebeck roars in agony, Garerit uses the momentum to plunge the axe into the giant's back, driving it deep with expert precision. The impact echoes in the cave, and Rebeck's immense form collapses to the ground, lifeless.

SB (Gerarit - Calm, Almost Casual): "Some questions are better left unanswered."

SB (Narration Caption): "And with that, the giant fell-not through strength, but through the cleverness and bravery of a simple tailor."

According to this recent Deadline article, One Flew Over the Cuckoo’s Nest is getting a TV spinoff series, more than 50 years after the original film left its indelible mark on cinematic history:

https://deadline.com/2025/07/one-flew-over-the-cuckoos-nest-spinoff-tv-s...

Adaptations and legacy IP are everywhere, but taking on a revered property like Cuckoo’s Nest comes with high stakes. What elements do you preserve from the original? What do you update to meet modern audiences? And what makes a spinoff work, especially when the original story feels so complete?

Writers, let’s open it up—

What classic film or novel would you love to see reimagined for TV?

Or better yet, what’s one that should never be touched again?

Is there a place on this site where we post our actual screenplay? Do we do peer reviews, reading and giving feedback on each other's work? How does this work?

I had the most illuminating lunch yesterday with a literary manager who represents some of the biggest names in Hollywood. Between bites of overpriced salad, they dropped some serious knowledge bombs that completely shifted how I think about the current film landscape. I couldn't wait to share these insights with you.

The New Budget Reality: Go Big or Go Home

Here's the wake-up call I wasn't expecting: the middle ground has disappeared. According to my lunch companion, scripts are either selling in the $2 million range or jumping straight to $15 million and above. Those comfortable $5 million budgets that used to be the sweet spot for indie films? They're becoming extinct.

Even companies that built their reputation on mid-budget filmmaking are now hunting for theater-worthy spectacles. The rep dropped this bombshell: "Even Blumhouse doesn't chase the $3 million movies anymore. They're looking for $15-20 million horror films with real spectacle."

This shift is reshaping the entire industry. Studios want projects that can command premium ticket prices and generate significant cultural buzz. The era of "good enough for streaming" is over. Everything needs to feel event-worthy.

The Rise of Poppy Horror

Speaking of horror, there's a fascinating new subgenre emerging that the manager called "poppy" or "splashy" horror. Think less grimy psychological terror, more visually stunning, Instagram-worthy scares. These films blend horror elements with high production values, vibrant cinematography, and scenarios that practically beg to be shared on social media.

The A-Lister Strategy: Write for Categories, Not Names

Here's where the conversation got really interesting. The manager suggested something that would have been considered taboo just a few years ago: write your scripts with A-list talent in mind.

"More and more films getting greenlit are completely cast-dependent," they explained. "But don't write for specific names: write for specific categories of actors."

Instead of thinking "This role is perfect for Ryan Gosling," think "This needs a charismatic leading man in his 30s-40s who can handle both drama and action." This approach gives you the star power appeal without limiting your options or dating your script.

The shift makes perfect sense when you consider how risk-averse the industry has become. Attaching the right caliber of talent isn't just helpful, it's often essential for getting financing.

Know Your Numbers

The final piece of advice was perhaps the most practical: understand your project's budget range and pitch accordingly. Too many writers, the manager noted, waste time pitching intimate character studies to producers who only finance tent-pole blockbusters, or vice versa.

"If you don't know whether your script is a $2 million indie or a $20 million studio film, you're going to waste everyone's time, including your own."

This means doing your homework. Research comparable films, understand production costs, and most importantly, target the right producers and financiers for your budget range.

The Bottom Line

The film industry is experiencing a dramatic polarization. Projects are either scrappy, ultra-low-budget affairs or major studio investments designed for maximum cultural impact.

But here's the silver lining: this clarity creates opportunity. Instead of trying to be everything to everyone, writers can focus on crafting projects that fit squarely into one of these categories and pursue them with laser focus.

Questions for Fellow Writers

As I left that lunch, my mind was racing with possibilities and questions:

Do you know where your current project fits budget-wise? Is it a scrappy $2 million indie or a spectacular $15+ million studio film?

Have you considered what category of A-list talent would be perfect for your lead roles?

Are you targeting the right producers and financiers for your project's scale?

The landscape is changing rapidly, but for writers who adapt to these new realities, the opportunities have never been more exciting. Sometimes the best career advice comes disguised as casual conversation over lunch.

What's your take on these industry shifts? Have you noticed similar trends in your own pitching experiences? Let me know in the comments below.

(Please note that this is done as it would be a script for a comic, I have a background in comics, so I use comic terms for the script. I do hope to get this made as a movie or short TV show. I'm looking for feedback on the pages, if you can take the time to read and leave a review in the comments. replace panels with shot.)

Chapter 4 Page 8 - (Rebeck's Riddle) Five Panels

(Ch4 Pg8 Panel One)

INT. THE GIANT'S CAVE

The fire crackles inside the cavern, casting long, shifting shadows against the stone. Garerit stands before the hulking form of Blonder Bore, a giant whose beard coils like roots and whose eyes glint with a mix of wisdom and menace.

Rebeck (voice like grinding boulders): "You are small, boy. Small and soft. Yet you step into my cave as if your bones were carved from iron. Tell me this..."

(Ch4 Pg8 Panel Two)

He leans in, his massive face filling the firelight.

Rebeck (CONT'D): "What is heavier: the mountain that breaks men's backs... or the promise that breaks a man's heart?"

(Ch4 Pg8 Panel Three)

Silence. Garerit hesitates, glancing at the ground, then meets the giant's eyes.

GARERIT: "The mountain breaks the body, that's true. But the promise it breaks the part of you that holds the body together.

The promise is heavier. Because you carry it even when it's already broken."

(Ch4 Pg8 Panel Four)

Rebeck's gaze lingers on him, unreadable. Then he lets out a low rumble that might be a laugh, or the start of an avalanche.

Rebeck (spoken like a riddle solved): "Hmph. You carry more than your weight, little one."

(Ch4 Pg8 Panel Five)

He moves aside, revealing a dark tunnel behind him, one that leads deeper into the heart of the mountain.

NPR had an interview with James Gunn talking about "the superhero movie business" and the need to elevate of the writer to make a good movie. A good 6-minute listen.

https://www.npr.org/2025/07/15/nx-s1-5462867/dcs-james-gunn-discusses-th...