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Hi there dear community,

A major investor for our film "Seeing Rachel" has just dropped out (due to a downturn in their business) and so I'm looking at various sources of finance for the film.

One which has come to my attention, is debt financing and I wondered if any of you had any experience of working with DF on your productions? Also, what guidance could you give me, as to the pros and cons?

Thanks in anticipation of your help.

Geoff

Do you know someone who has been abused? My sister was in an abusive relationship, luckily, she ended it and is now in a better one, and I want to raise awareness to help prevent this kind of thing. But I need help. I have some ideas about that, and some of them can be with Disney, I want to help the No Excuse for Abuse Campaign and I want Disney to help with it to. I know it can be done. So please, help me, this is something I need to do.

(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.)

Ch5 Pg 7

(Ch5 Pg6 Panel 1 - Close-Up Panel)

Garerit, who explains with a calm, confident smile, clearly anticipating the giant's confusion Garerit is still standing with a relaxed posture, arms crossed as he speaks. His demeanor is assured, and his eyes convey a sense of understanding that knows what he's doing. The small branches behind him are gently swaying in the breeze, symbolizing the task he will handle.

SB (Garerit - Speaking, Dialogue Bubble): "The branches, though, are light enough to be carried. It's the perfect balance."

(Ch5 Pg7 Panel 2 - Full-Width Panel)

Garerit climbs onto the tree. He's quickly scaling it with ease. This moment emphasizes Garerit's agility and resourcefulness, as he's able to adapt to situations quickly. The background shows the dense forest around them, providing context for the scene and the enormity of the task they're facing. Garerit's quick thinking is evident as he prepares to ride the tree instead of carrying it.

SB (Garerit - Thought Bubble): "I'll climb up! It'll be easier if I ride the tree."

(Ch5 Pg7 Panel 2 - Medium Panel)

Garerit is sitting on the evergreen hidden in the tree's branches, his feet dangling down. He appears comfortable and confident, almost as if he's been in this position before. The tree's branches spread out around him, creating the illusion that he's helping to support the branches. From this angle, it seems like Garerit is doing the work, even though Garna is still carrying the tree. The tree trunk continues to rest on Garna's shoulder, with Garerit's weight distributed, which is easily balanced by the giant.

SB (Garerit - Thought Bubble): "Let's see if I can make it look like I'm carrying all the weight."

SB (Garerit - Speaking, Dialogue Bubble): "I got hold of all the branches, let's move forward and get to the castle."

(Ch5 Pg7 Panel 3 - Full-Width Panel)

We see the task in motion. Garna is lifting the massive tree trunk, which he carries with ease, though his face shows a slight strain due to its weight. Meanwhile, Garerit has found a spot in the tree to sit and hide among the branches. Garna, who is still adjusting his grip on the trunk, contrasted with Garna's strength and slow, steady pace.

SB (Garna - Thought Bubble): "He's keeping pace with me. He doesn't seem to struggle at all!"

(Ch5 Pg7 Panel 4 - Full-Width Panel)

Garerit is riding on the tree with a look of satisfaction. Garna continues to carry the tree trunk, but now there's a certain lightness to his steps- he's carrying both the trunk and the tailor without much effort. The forest around them continues to stretch wide, showing the distance they've already covered and the impressive teamwork between the two. Garerit's cleverness is on full display here, as he manages to manipulate the situation to his advantage without losing any of his charm.

SB (Garna - Thought Bubble): "He's small, but the branches are no burden to him! He's Clever!"

Ch5 Pg 8

(Ch5 Pg8 Panel 1 - Full-Width Panel)

Garerit is perched on the tree, now almost invisible behind the branches, making it appear as though he's holding them up with all his might. Garna continues to carry the tree trunk, his massive body hunched slightly under the weight, supporting the entire tree. The image emphasizes the illusion, with Garerit giving a subtle smirk as he realizes how easily he's tricking Garna into thinking he's helping. The giant is unaware of how the tailor has turned the situation to his advantage.

SB (Garna - Speaking, Dialogue Bubble): "You're good at this!"

SB (Garerit - Speaking, Dialogue Bubble): "Been doing this type of thing for most of my life."

(Ch5 Pg8 Panel 2 - Full-Width Panel)

Garna walks as he continues carrying the tree trunk, now with a more relaxed and confident stance, while Garerit leans back and enjoys the sway of the branches. The background should depict the wide open forest, with mountains looming in the distance, showing that their journey is far from over. The image conveys a sense of manipulation and trickery, with each using their strengths in the way that best suits them.

SB (Garna - Speaking, Dialogue Bubble): "You have!"

SB (Garerit - Speaking, Dialogue Bubble): "The road ahead is long, Garna. We'll need to quicken the pace if we want to make it before nightfall!"

SB (Garna - Speaking, Dialogue Bubble): "Right."

(Ch5 Pg8 Panel 3 - Close-Up Panel)

Garerit's face shows his satisfied grin as he glances over at Garna from the far end of the tree. His eyes twinkle with amusement as he realizes how successful his plan is. The playful aspect of his personality comes through here, as he's enjoying the wit-based victory. He's using his small wit to manipulate the situation, and the panel highlights that Garerit knows he's in control, even if Garna doesn't fully realize it yet.

SB (Garerit - Thought Bubble): "He has no idea. This is going perfectly." "We're doing so well at this pace we just might make it before sundown."

(Ch5 Pg8 Panel 4 - Close-Up Panel)

Garerit's satisfied grin as he rides the tree, looking ahead. His face is pleased with his success, and there's a twinkle in his eye, signifying his awareness of the illusion he's created. This small moment emphasizes how Garerit can outsmart the giant while maintaining a sense of humor and confidence in the situation. There's a playful element to Garerit's character here, and this panel highlights the ongoing theme of wits over brute strength.

SB (Garerit - Thought Bubble): "Let's see how long it takes him to realize he's carrying me."

SB (Garna - Speaking, Dialogue Bubble): "You're doing great, better than expected."

(Ch5 Pg8 Panel 5 - Wide Panel)

In this wide panel, Garerit and Garna continue along the road with the tree. The illusion of Garerit holding up the branches remains intact, and the two of them make their way through the forest. The size contrast is evident again, with Garerit small on the tree, while Garna carries the trunk. This panel shows them moving toward the next stage of their journey, and it visually reinforces the teamwork and misunderstanding between the two characters.

SB (Garna - Speaking, Dialogue Bubble): "Let's keep going. We're almost there."

SB (Garerit - Speaking, Dialogue Bubble): "Right, I'm bearly tired at all."

Hey, guys.

It's a thought I had - I've become more budget-conscious lately, and remembering how old BBC TV shows like "Blake's 7" and "Red Dwarf" (and even the original series of "Doctor Who") were usually shot in studios or on sets, I've been thinking: would having mostly indoor-set scenes reduce the budget of a movie or TV show? It'd be one hell of a revelation if it were the case.

S. P.

Hi everyone — I’m taking a crack at screen writing and come up with the first few pages of a script I’ve adapted from my own short story.

I would greatly appreciate any feedback or brutal notes…

LOGLINE

In a world where AI companions offer their humans unconditional love, two women—one buying, and the other sold—discover the price of perfection.

COMPS

Her

Don’t Worry Darling

Ex Machina

Eternal Sunshine…

GUNPOWDER

By James Luo

ACT I

ON BLACK

TITLE CARD: 2075

FADE IN

EXT. A WILD-LOOKING DINER - DAY

Dashing Don’s Diner is quiet. The breeze curls in through its doorless entrance. PHOEBE (105) sits on the sun-warmed bench. 

Across the square, a small group of children play, calling to each other in chirps and whistles. 

The veranda overlooks the collapsed quarter, low arcologies nestled between what remains of the old city’s bones. 

Phoebe looks at the cup in her hands. It had been broken once. Someone had put it back together with gold.

FADE OUT

ON BLACK

TITLE CARD: 1995

FADE IN

INT. AN INNER-CITY APARTMENT - DAY

Hottest summer on record and the elevator’s broken again. KARIM (27) and Phoebe (25) lug their groceries up five flights. Before he’s finished dead-bolting the door, she’s peeling off her sodden clothes.

KARIM

(mock-pleading)

Babe... it’s too hot to fuck.

Phoebe flips him two birds and rushes to the shower. 

PHOEBE (O.S.)

Jeeezus - the pipes are boiling.

Karim is still banging cans into the pantry when Phoebe comes out of the bathroom - naked and dripping, but not cooler. She pulls on her baggiest t-shirt (Madonna - Strike a Pose), goes to turn on the computer. 

The dial-up modem whistles shrilly over and over.

KARIM

(sighing)

Line’s dead, remember?

PHOEBE

(slamming her hands on the wobbly table)

Does one thing work here?

KARIM

(turning on the TV – it blares: -Irish coast, an unprecedented mortality rate of marine organisms from red tide-)

TV works.

(TV CONT’S: -recent years by pollution and temperature-)

Phoebe stabs the Off button, grabs a Coke from the fridge, and - nearly yanking the rickety window off its tracks - climbs out onto the fire escape. 

The city’s haze presses down. Karim stands at the window holding a packet of frozen chapati to his forehead.

PHOEBE

Are you really going to DC next month?

KARIM

It is called the Million Man March, babe - I gotta do my part to make the numbers.

PHOEBE

You trust it won’t get ugly? 

I have a bad feeling about this... about the world right now.

KARIM

I gotta do my part...

(beat)

If we... ever... have kids, is this the world you wanna leave’m?

PHOEBE

Hmm.

What’s the name of Mohan’s wife... you three went to school together, right?

KARIM

Stacy. 

PHOEBE

Stacy. She pregnant?

KARIM

Yeah. Maybe. Or trying to be. I haven’t. 

PHOEBE

Another couple gambling that there will be a future.

The ensuing silence is broken by a car alarm down the block - it’s ragged, exhausted like everything else.

CUT TO:

INT. THE KITCHEN IN THEIR APARTMENT - EVENING

They’re finishing dinner. An empty wine bottle stands between them. Phoebe is still in her baggy t-shirt, sweat rings under the arms. Karim’s down to boxers. A small fan turns valiantly.

KARIM

Feebs - this fork still has rice between the tines.

PHOEBE

Between the tines - who the fuck talks like that.

KARIM

Just pointing out your dishwashing prowess, why you gotta over-react every time...

Karim picks up a new bottle of wine from the shelf.

PHOEBE

Hey - put that down, I don’t want more wine.

KARIM

I do, and maybe you should... make you less mean.

PHOEBE

I’m mean? What, just because I laughed at you using anatomically correct description for our cutlery? C’mon, it’s funny how you talk - like a fucking robot!

KARIM

Like a-?

(shakes his head)

Nemmind... thanks for proving my point!

PHOEBE

Wow. I shoulda done years of Debate Club, then maybe-

(laying on a plummy accent)

-I too can conclude my arguments with: I rest my case.

KARIM

Tt...

(struggling with the foil top)

Goddammit!

(cuts his thumb on the sharp foil edge)

Debate Club...

(muttering as he sucks at the blood)

Karim pours himself a glass, and keeps pouring.

PHOEBE

Okayy, so this is how tough guys prove their point - with a triple serve of Shiraz. Knock yourself out - just don’t bleed all over my mum’s tableclo-

Too late - Karim puts the bottle down over the cork. It rolls, and tips over. The wine glugs out. Phoebe leaps to her feet, chair skittering backwards. The glass front of their cabinet shatters.

SFX: KRISHHHH!

CUT TO BLACK

ACT II

ON BLACK

TITLE CARD: 2025

INT. A SLEEK APARTMENT - DAWN

FADE IN

CAMERA TIGHT ON PHOEBE’S SLEEPING FACE

Phoebe awakens to the whistling of kettle. She rolls onto her side to bury her face in Jun’s pillow, taking in deeply his scent - jasmine. She swings her legs off the bed, stepping onto the heated pad which Jun had left on her side. 

JUN (indeterminate middle-age) is in the kitchen, steaming cup in one hand. The other rests lightly on the kettle, as if coaxing it to silence. Upon seeing Phoebe, his mouth crinkles in a half-smile.

Jun stretches out his hand with the cup, slowing a little before passing it to her. He mouths inaudibly, “Hot.”

Phoebe holds the cup in both hands, enjoying the warmth, marvelling at the leaves unfurling. 

PHOEBE

Is this the Gunpowder tea we bought?

JUN

(nods)

Hand-rolled in Zhejiang.

PHOEBE

(taking a sip)

Ooh, nutty, toasty... smoky all at once - I love this.

JUN

It’s your new favourite tea.

PHOEBE

Brewed by my new favourite man.

JUN

65 degrees, steeped two minutes.

(switches to a chirpy tone)

Would you like to hear more about its provenance?

She eyes him sharply. 

He bursts out laughing.

Hi everyone, I’m Christophe Lenoir, a French writer-director working in psychological thrillers and elevated genre storytelling.

I’m incredibly happy to share that my screenplay THE BLOND GUN has just been selected as a Finalist in the Stage 32 + Zero Gravity Action/Thriller Screenwriting Competition!

This means a lot to me because the project actually began with my short film REVERSE, which was itself a Finalist in the Stage 32 8th Annual Short Film Contest in 2023. That film ended up inspiring the script for The Blond Gun, so coming full circle like this is a wonderful feeling.

Huge thanks to the judges and to @Stage32 for the recognition and the ongoing support of emerging creators. I’m excited to connect with this amazing community and to meet fellow writers, directors, producers, and collaborators.

Looking forward to talking with many of you!

— Christophe

Netflix will release the Stranger Things series finale simultaneously on streaming and in 500+ theaters this New Year’s Eve. At over two hours, the finale plays like a feature film, and fans pushed hard for a big-screen sendoff.

Key twist: theaters keep concession revenue, while Netflix doesn’t take box office returns. This marks the first time a streamer has given a TV finale a theatrical event release at this scale.

This is a historic shift: while Netflix has occasionally given theatrical windows to feature films, releasing a television series finale simultaneously in theaters and on streaming is unprecedented at this scale. You can read here: https://nofilmschool.com/stranger-things-finale-theaters?utm_source=Beeh...

As producers, what do you think?

Is this the start of a new hybrid distribution model?

Could it create leverage for other projects, or is it a one-off tied to Stranger Things’ cultural weight?

Does the communal, big-screen experience add lasting value to IP?

Would love to hear your take on whether this could reshape how we think about audience engagement and distribution strategy in the streaming era.

So I have nearly finished my second horror tv script called IDOL - to put it brief it's about a woman who moves to a town and the towns people begin to become obsessed. I wrote this scene and would appreciate any feedback! for context it's a scene way into the script.

INT. GRACE'S APARTMENT - NIGHT

GRACE (28, exhausted, increasingly paranoid) sits at her kitchen table, laptop open. Empty coffee cups scattered around—all from "Park Family Coffee," the local shop near the activity center. She's researching something obsessively.

Her phone BUZZES. She glances at it—another text notification.

Mrs. Patterson: "Hope you're resting well, sweetheart! Sweet dreams!"

Grace sets the phone face-down, tries to focus on her screen. It BUZZES again.

Mr. Davies: "Thought about you today. You're such a blessing to us all."

BUZZ.

Ms. Rodriguez: "Can't wait to see your beautiful face tomorrow! Sleep tight!"

BUZZ. BUZZ. BUZZ.

GRACE

(to herself, frustrated)

Stop. Just... stop.

She picks up the phone, scrolls through dozens of messages from different residents. All sent within the last hour. All overly affectionate.

A KNOCK at her door makes her jump.

GRACE

(CONT'D)

(calling out)

Who is it?

MRS. PATTERSON

(O.S.)

(cheerful, sing-song)

It's Mrs. Patterson, dear! I brought you some soup!

Grace doesn't move. Checks her watch...10:47 PM.

GRACE

(calling back)

Mrs. Patterson, it's really late. Maybe tomorrow...

MRS. PATTERSON

(O.S.) (insistent)

Oh, it'll just take a moment! I made your favorite!

Grace hasn't told her what her favorite is.

GRACE

(standing, moving toward door)

I really appreciate it, but I'm actually about to go to bed—

MRS. PATTERSON

(O.S.) (voice suddenly flat, emotionless)

I know you're standing right there, Grace. Just open the door.

Silence. Grace takes a breath. Decides to confront this directly. She opens the door, the chain still on.

MRS. PATTERSON (40, blonde, well-dressed, holding Tupperware) stands in the hallway. Her smile is too wide. Too fixed.

GRACE

(firmly)

Mrs. Patterson, I appreciate the gesture, but with all due respect, it's very late. You need to go home.

MRS. PATTERSON

(smile not changing, not blinking) But I made it special. Just for you.

GRACE

(more firmly)

I'm asking you to leave. Now. This isn't appropriate.

MRS. PATTERSON

(tilting head, still smiling)

You seem upset, dear. Are you upset with us?

GRACE

(uncomfortable with the "us")

No, I just... I need you to respect my boundaries. Please go home.

MRS. PATTERSON

(not moving, voice taking on a strange quality)

We've been so good to you. So nice. Haven't we been nice?

GRACE

(closing door slightly)

Mrs. Patterson, I'm closing the door now—

MRS. PATTERSON

(suddenly stepping forward, pressing against door)

You're not being very grateful, Grace.

Grace sees movement behind Mrs. Patterson. MR. DAVIES is in the patio now. Just standing there. Watching.

GRACE

(alarm rising)

You both need to leave. Right now. Or I'm calling the police.

MRS. PATTERSON

(voice flat, wrong)

No, you won't.

More movement. MS. RODRIGUEZ emerges from shadows. Then ARIANA HENSON, her work colleague. They're gathering in the patio.

GRACE

(backing away, trying to close door)

Get away from my door!

MRS. PATTERSON

(pressing harder against the chain)

We just want to give you a hug, honey. We just want to be friends.

Her voice cracks on the word "friends" something desperate, hungry in it.

GRACE

(slamming door shut, locking it)

NO!

Through the door, she hears them. Multiple voices now, overlapping

Grace backs away from the door, grabbing her phone. She calls 911.

911 OPERATOR

(V.O.) (female voice, professional but with an edge)

911, what's your emergency?

GRACE

(urgent)

There are people at my door. Multiple people. They won't leave. I'm at 412 Maple Street.

911 OPERATOR

(V.O.) (pause, then)

…how many people?

Grace freezes.

GRACE

(looking through peephole)

There are... at least....I don't know! A couple? They're on my front patio. From the activity center where I work. They won't leave.

911 OPERATOR

(V.O.)

The activity center? Greenwood Senior Center?

GRACE

(uneasily)

Yes. How did you—

911 OPERATOR

(V.O.) (interrupting, voice taking on that same desperate quality)

And what are they doing? Are they trying to hurt you?

GRACE

They're... they keep saying they want to hug me. That they want to be friends.

911 OPERATOR

(V.O.) (a small laugh, but it's unhinged)

Oh, Grace. They DO want to be friends! They want to be friends SO badly. Don't you understand?

The realisation hit her. Grace never gave her name.

GRACE

(voice shaking)

What...

911 OPERATOR

(V.O.) (between laughs, voice breaking)

They're lonely, Grace. SO lonely. The residents, they need someone. They need a coordinator to love. To hold. To keep.

GRACE

(horrified)

Who are you?!

Beat.

911 OPERATOR

(V.O.) (CONT'D) (whispering, voice cracking)

They just wanted a hug, Grace. Just wanted someone to care about them. Is that so wrong?

Hi all!

This post is specifically geared towards writers out there who have experience with optioning their work.

What should a writer keep in mind when considering an option?

What are the common pitfalls or red flags?

And what makes a "good" option actually worth taking vs. holding out?

Open to any general advice, experiences, or things you wish you knew beforehand. Appreciate any guidance!