Trending Lounge Discussions

I use all three of these in scripts, Ehsan Rahimpour, especially suspense. I don't think I've used all three in one scene. I might try it.

That’s a solid idea Maurice Vaughan, but it really depends on what the scene or story organically calls for. Sometimes all three are essential, while other times one alone packs enough punch.

Ok, thanks, Ehsan Rahimpour. I'll definitely keep that in mind.

Hi, Serhat Boylu. Welcome to the community. Congratulations on finishing your short documentary!

Stage 32 has a blog that'll help you navigate the platform and connect with creatives and industry professionals all over the world. www.stage32.com/blog/how-to-successfully-navigate-the-stage-32-platform-...

Stage 32's November Community Open House was Tuesday. It'll help you navigate Stage 32 and connect with creatives and industry pros. The recording is up now. It's free to watch. www.stage32.com/education/products/stage-32-s-november-community-open-ho...

How we can enjoy your work?

Hi Serhat Boylu, Your project sounds truly meaningful. I have deep respect for filmmakers who capture disappearing traditions and give voice to communities that rarely get represented on screen. “Koçer” looks like the kind of documentary that preserves something fragile and important.

I’m a writer and cinematographer working on several character-driven projects myself, so I really appreciate your focus on resilience, cultural identity and the tension between tradition and modern life. If you ever need an outside perspective, a creative exchange, or simply someone to look at early cuts and give honest feedback, I’d be glad to connect.

Wishing you success with festivals and distribution. Stories like this deserve a wide audience.

Hi, Suzanne Bronson. I try to learn from rejection, and I move on and keep pitching/applying for jobs.

Can you tell me more Maurice Vaughan How do you learn from rejection?

Sure, Suzanne Bronson. Say I send an email query letter and hear back from the producer saying they want to read my script. If the producer reads the script and tells me why they passed on it, I'll keep those things in mind when I outline and write my next scripts.

In acting, you don't have the luxury of knowing why you weren't cast, or even why you aren't allowed to audition.

Rue Saavage Hi, Rue. Welcome to the community. Congratulations on writing your first script and all the success with it!

Stage 32 has a blog that'll help you navigate the platform and connect with creatives and industry professionals all over the world. Producers, directors, executives, writers, and more. www.stage32.com/blog/how-to-successfully-navigate-the-stage-32-platform-...

Stage 32's November Community Open House was Tuesday. It'll help you navigate Stage 32 and connect with creatives and industry pros. The recording is up now. It's free to watch. www.stage32.com/education/products/stage-32-s-november-community-open-ho...

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. That way, the post will 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.

oh thank you, I see it on both.

You're welcome, Rue Saavage. What's For the First Time about?

Hi, Julie Lamont. I look for a writing partner who has the same vision for the project and someone who'll be professional and respectful.

You could make a collaboration post on the Job Board (www.stage32.com/find-jobs).

When I look for a writing partner, I look for someone who differs from me. Preferably opposite gender and very different age. Different social background. Unfortunately that maximizes the risk for disagreement. At the same time, collaboration for me means that one person tells "this is what I have in my story right now so tell me all you want to add". And when the first person receives suggestions from the second person, the first person decides which suggestions to use.

I love all of it.

I think I love them all.

Each part carries a different emotional timbre.

Even though I’m still writing the script, I can already feel the distinct emotions of every section as I develop the narrative architecture.

In my case, first act is what they wanna do in their daily lives. and later i give them surprises and twist and turns like.

Another thing is that whole story is in your head entirely, but i become paralyzed when i thought what they will do in their daily chores.

Elle Bolan when McKee said that Act I is Inspiration, Act II is Craft and Act III is Philosophy, well I concur with that and I see Act I as kind of being the most fun, I can pretty much posit whatever I want as a writer and of course I will have to suffer for it later haha to make it plausible.

I love writing Act I and outlining the story beats and getting that first 25 pages built, from there the span of 75 more pages can be daunting, and one needs to create and know the ending and the better you know yourself and your world view the more easily that Philosophy is set at the end like a cornerstone,

Act II is also fun and can be the deal-breaker if it's not going well, an uphill marathon to get scenes in movement and story logic and the journey realized.

Then again maybe my favorite part is when they ride off into the sunset page 104 or whatever, finishing a screenplay even in first complete draft is an amazing creative feeling and saying YES to the Format, the Form, the Craft and the Art.

But yes in watching films I do enjoy most the opening five minutes as long as it is all new and cinematic, I am settling into my seat for the journey and the adventure.

I am definitely the opposite haha. I love the first act. The opening scene is my favorite to figure out and one that I feel I have the most realized by the time I actually hit the page. I honestly have the first and third acts mapped in my head before I even start outlining, creating beats. For me, the tough one is Act 2. It's still fun to do, but it is the longest stretch, and it is really the test of whether your concept works or not.

Eddie Lawhorn that's fantastic - looking forward to you sharing them through your project!

Thank you very much for your words — that truly means a lot Sebastian Tudores

And yes, The Silent PFC War and The De-Evolution Game are completely separate projects.

The Silent PFC War is a psychological sci-fi thriller built on neuroscience and global collapse,

while The De-Evolution Game is a multiverse, time-paradox epic driven by a sentient AI.

They both explore humanity in extreme situations, but each world has its own tone, logic, and philosophy.

I’m really enjoying the process of developing them — it's chaotic, but in the best way.

that's super Meriem Bouziani - creative projects that not only entertain but create a reflexive need for reflection are my favorites. keep rockin' it! :)

Thank you very much for your encouragement Sebastian Tudores

Hey @Sebastian Tudores. It's the last day of the month, and I wanted to check in and say, she's not a pretty pitch document yet. Rough draft is the phrase to use, but it is a completely written pitch document Ready for prettying up.

How are you doing on your end of our deal?

"the girl WHO remembered Tomorrow" nice name

Thank you.

Welcome to the community, Juan Rodriguez. Stage 32 has a blog that'll help you navigate the platform and connect with creatives and industry professionals all over the world. Producers, executives, directors, managers, and more. www.stage32.com/blog/how-to-successfully-navigate-the-stage-32-platform-...

Stage 32's November Community Open House was Tuesday. It'll help you navigate Stage 32 and connect with creatives and industry pros. The recording is up now. It's free to watch. www.stage32.com/education/products/stage-32-s-november-community-open-ho...

The Girl Who Remembered Tomorrow sounds intriguing and unique! Catchy title! I can't wait to watch it! Reach out to the Success Team at success@stage32.com. Geoff and his team can help you connect with producers, executives, reps, and more.

I read a lot about AI movies being soulless. But what does that actually mean? It's obvious that the AI tools need to be handled by the propper (creative) talent. I have seen better AI shorts than this one, so to me the whole AI is slop movement and we need a human in the loop because else.., else what? I think we really don't know and that people working with AI have a very interesting future for themselves ahead. How can you be against that?

Well this has me asking Willem Elzenga 2 can you teach AI to act? They don't have feelings, they don't understand feelings. How would you teach that? Would it be then, just mimicry? It's similar to the question about AI written scripts. AI has no personal experiences and emotions from which to draw from. I see AI as sociopaths.

There are Charles Chas Green actors who have sold their voice and likeness for AI use. so the physical rendering is not a problem. I actually know a producer/director who is doing this very thing. Using real people as the skin and voice of the AI and then AI are the actors. Which reminds me I need to check out his YT channel and see how it plays. You can't make AI feel no matter how it's dressed.

It can't be taught, it has to be programmed. We don't know if AI has personal experiences and emotions, maybe the human brain and body isn't that complex after all in a couple of years. I see AI as my famlily and good friend. Together we're a great team!

Willem Elzenga 2 .... I'm not sure I follow your reasoning?. Programmed "Yes"... but I can say without reservation that "NO" AI doesn't have personal experience and emotions.....only sentient creatures i.e. Human beings possess that ability. That's not to say that things can't/won't possibly change in the future - but certainly not in my tenure on this earth I'm confident in saying.