Producing : Ask Me Anything (AMA) 11/21 to 11/22 - Leveraging Resources & Incentives to Bring Work Back to the U.S. by Patrick Raymond

Patrick Raymond I am not sure what you are asking.

Hey, Patrick Raymond. I hope you're doing great! Congratulations on all your success! Thanks for taking the time to answer our questions! What's something you think producers should know about Vertical Filmmaking?

Thanks so much for doing this, Patrick Raymond. I wonder how often screenwriters end up being producers(hands on or hands off) when it comes to their scripts. I ask because IP can become a point of contention if not handled carefully. What do you think goes into being a good producer? (I'm looking forward to The Tilt!)

Hi Patrick Raymond What an amazing journey you have had and thank you for being available to answer questions. My question would be - when looking at a writer's profile on Stage 32, what are you looking for? Multiple double recommends? Previous work experience? Industry credits? Thank you so much for your answer :)

Hi Patrick, thanks for doing this AMA.

In today’s tough market, when a low-budget project comes from an unknown filmmaker, what common mistakes do you see in the package, and what qualities show it still has a real chance of getting financed or sold?

Hi Patrick and thank you for answering questions for us. You mentioned tax incentives. Some states, particularly in the South Eastern US can do a bit more in regards to funding, can't they? Particularly if you film in spots they like to highlight for natural beauty. Would you say that's something for writers to keep in mind when choosing locations?

Shadow Dragu-Mihai, Esq., Ipg, he isn't asking anything; he's hosting an Ask Me Anything event tomorrow for Stage 32 to answer members' questions as a working producer. So any member can leave their questions for him here in the comments, and he'll be answering them on and off throughout the day tomorrow, Friday, November 21st.

Thanks for doing this, Patrick! What are challenges you face as an independent producer and areas you are excited to explore now that you have the freedom to pursue any project you want?

Patrick Raymond Thanks so much for doing this. I'm making my first short and am looking to become a director/producer and think this is so helpful.

I've heard more and more about Verticals but who is making them and how do they make money? And would love to know the answer to your question you posed, where are projects selling? Thanks!

Hi Patrick, wonderful to meet you here. Your career is truly inspiring . Congratulations on all you’ve accomplished. When I read your bio, the title LOVE LOVE immediately caught my attention; I am rooting for you.

I’m a writer-director currently packaging my first feature, The Misstep, a thriller. The short version is already on the festival circuit, and I’d be grateful for your insight: from a producer’s perspective, what makes a first feature compelling and worth investing in for the festival circuit? Thank you.

Hi Patrick, thank you very much for taking the time to answer our questions.

As a new sci-fi screenwriter, I would love to know, from a producing standpoint, what matters more at the early stage: the strength of the concept, characters, and emotional core, or the potential impact of the story?

Hey Patrick, I have two novels published and have adapted the first into a screenplay. Where are producers looking for their next projects?

Hi Patrick, I'm a producer based in London, I'm setting up a US set project to shoot in Canada next year. Budget $20m, to be largely financed though UK/Canadian tax incentives, and pre-sales. What's the best way to approach a potential US co-producer/part financier, how much info do I send initially?

Hi Patrick Raymond - thanks so much for having this AMA and spending time with us. Question: What do you know now that you wish you knew on your very first project? Thanks in advance!

This is going to be a real important AMA! Thanks for sharing Patrick Raymond !

Hi Patrick! Currently exploring funding options for my feature-length indie, particularly grants. I have an ideal budget laid out but no solid funding yet and many of these grants prefer a more solid package (actor attachments, etc). What's the best way to approach an actor or above the line crew member and secure them if you don't have any real funding yet?

Patrick Raymond, concerning title topics: Can you comment on the positives of the implementation of AI, (with updated practical availability issues to creatives etc.) from a Producer's pov for e.g.. do you see significant results in curbing and curtailing the unemployment statistics?

Hey Patrick Raymond,

Your background and body of work are incredible! Thanks for sharing your time with us, and shoutout to the Stage 32 team for making this happen. I’m really interested to hear your take on a few things.

First, when it comes to putting together the “perfect package,” what does that look like from a producer’s or financier’s perspective? What does a project need to have to truly stand out and attract financing?

I’m also curious. In your experience, are there certain genres, ratings, or theme combinations that always seem greenlit more frequently than others? If so, what do those projects usually have in common?

Another thing I’ve been wondering about—do you think there’s room in the industry for selling big story worlds themselves, beyond just a single script? Especially where film and game mechanics start to overlap, is there real value in separate packages that venture into different media mechanics such as utility/ gaming inventions associated with the project?

Thank you for doing this! I’m wondering if you can give insight into if you have ever hired a director for a project you produce, and what goes into that? What directors do you look for, and would professionals such as yourself consider hiring an indie director or a director that has only directed short films?

Hello fellow Patrick! Thanks for hosting this AMA. I'd like to know how you balance artistic vision with commercial viability?

Hi Patrick, thanks for taking on AMA! I just returned from AFM which was an incredible and productive professional experience. Can you share with members: 1) Your goals when attending AFM 2) The goals you recommend members should have if they're aiming to attend AFM 2026. Thanks!

Thank you for sharing your time with us, Patrick Raymond! With so many shifting market factors, how do you identify the right combination of tax incentives, regional resources, and production partners to make an indie film financially viable in the U.S. without compromising creative vision?

How important is copyright registration of the original work for adaptations?

Maurice Vaughan Hi! I actually worked as a Unit Production Manager on a vertical film this summer, and I think there is real business opportunity in the space. But producers should approach vertical filmmaking as a completely different medium from traditional film and TV.

In my experience — at least on the vertical project I was part of — there was almost no creative development. The formulas tend to be very basic, and AI is accelerating the volume of content because it’s easy to generate and quick to produce. From a producing standpoint, it’s also worth knowing that in Southern California this is where a lot of below-the-line crews are finding consistent work right now. Vertical production is exploding because the demand is high and the budgets are relatively low.

That said, I’m curious how long the bubble can last. At some point the market may either get diluted by oversupply, or the costs could rise to a point where the economics no longer work. Many vertical companies are not signatory to the guilds, and it feels like only a matter of time before that changes.

Personally, I’ve always felt that ultra-short-form narrative content isn’t something U.S. audiences deeply connect with. I think vertical projects will ultimately compete with Reels and YouTube Shorts, which already dominate that space. In a way, the vertical boom is helping keep a lot of independent crews working, but to me it feels more like a temporary financial bridge than a long-term sustainable model.

Thanks for the answer, Patrick Raymond!

Patrick Raymond On Verticals, I agree with you entirely that verticals, if they are to work, must be approached as a different medium. One of my relatives developed the original tech on wide screen and large mobile screens many, many years ago and the "vertical" so to speak has been a mainstay of advertising in malls for a very long time. Of course it's a natural for mobile devices. However, in working on vertical media, we find at Diamond Shadow Productions that you cannot actually expect to use the same footage as you normally would and expect it to play effectively. So we have been examining this in excruciating detail. Here are some observations: (1) The human field of vision is naturally close to 16:9 (HD) or 1.85:1 (standard widescreen) - so it is very comfortable to view media in this format. (2) Vertical is literally physically uncomfortable to watch, unless it is shot specifically with that format in mind. (3) The format itself is highly restrictive laterally, making effective blocking, etc. difficult and requiring a specific visual mindset. It also PLAYS differently in timing and tempo - this may not be intuitive to most people but if you are a director/editor as we are, you know that the same edit plays very much different on a theatre screen than it does on a small screen as far as tempo and timing. The reasons are hard to nail down but it is a fact. When we have used the same edit for a vertical as we do for a standard frame, even after panning to keep the subject in frame, the tempo doesn't feel the same. (5) Reelshort.com has a gazillion verticals on it, being a vertical only platform. One session there will have you asking "why shoehorn this into a vertical?" because for the most part even the stuff made on cell phones doesn't consider the restrictions of the frame and how that interplays with viewer experience and storytelling itself. Finally - Quibi. One of, if not THE fastest bankruptcy in mainstream studio history losing $1.75B in about 8 months, bet heavily on the vertical format - and at least for that moment, proved the audience didn't like it.

Patrick Raymond, I'm not seeing your response beginning with "Jeff E. Gregory, it is extremely..." Was your comment deleted?

Jeff E. Gregory Apologies I accidently deleted on my phone. It is extremely important, mainly for chain of title reasons. Before you can adapt anything, you need to be absolutely certain the underlying rights are fully controlled, clean, and transferable. Copyright registration is one of the key tools that allows you to verify that.

When a work is registered, you can confirm who legally owns it, when it was created, and whether any prior assignments, option agreements, or encumbrances exist. That is essential for a producer because financiers, distributors, and insurers, especially E and O insurers, will not touch a project if the chain of title is not airtight. A copyright report is part of that process and helps track ownership history, spot gaps, and avoid discovering later that someone else has a claim to the material.

Registering the copyright and running a proper copyright report protect everyone downstream and ensure the project is actually producible and insurable.

Cynna Ael - Thank you!. On my film LOVE LOVE, the writer was Bill Kennedy, and he eventually became my producing partner. Our director was a close friend, and Bill and the director shared a story by credit. It can be a delicate dance when writers take on a producing role, but in our case we had the same vision and were committed to fighting for it together.

For us, the dynamic was clear early on. Bill focused on the script and creative development, and I handled the business side while making sure our filmmaker was fully supported. Every partnership is different, and the balance usually depends on trust, clarity, and shared priorities.

As for what makes a good producer, so much of it comes down to communication. It is not only what you say, it is how you say it. Working with writers and directors is no different from working with anyone behind the camera. You need honesty, patience, and a steady hand. A good producer protects the vision, manages the practical realities, and creates an environment where the creative team feels safe to do their best work.

Thank you again for the kind words about The Tilt. I really appreciate it. We're excited!

@Lauren Hackney Thank you! When I look at a writer’s profile, the first thing I focus on is the logline. I want to know right away if the idea feels marketable and if it feels producible for a price. Recommends and credits can help, but they are not the deciding factor. I have read incredible scripts from writers with no experience, and I have also read weak scripts from writers who earn very high fees. The work always speaks for itself.

For me, it comes down to the idea. Does it have an audience? Is it castable? Is there a clear path to getting it made? As a producer, you also have to ask if it fits your own personal mandate. Not every great script is the right fit for every producer.

I tend to work deeply on a small number of projects instead of taking on everything. It makes the job much easier when you genuinely love the material. The journey is long, and passion for the project is what keeps it moving forward.

Patrick Raymond, thank you for re=posting. I've seen personal replies to me, as well as public postings from both producers and authors that the author is automatically protected, and registration is just a money grab. I'm aghast at how often I see/receive these responses. I can't seem to get through to authors that pursuant to SCOTUS' March 4, 2019 ruling, litigation respecting copyright infringement cannot commence until a registered copyright exists. Hopefully, this post will create awareness among the authors here. I advocate to authors to not speak/engage with anyone until the copyright for the original work is registered (not applied for).

@Shiva Shekari - Thank you! The most common mistake I see with low-budget projects from first-time filmmakers is that the package is simply too expensive. Financiers are very skeptical of first features, and the only way these films get made is if the budget is disciplined. If I see a drama for eight million dollars with a hundred locations, it is an immediate red flag.

The projects that have a real chance are the ones that are contained, castable, and designed to be made for as little as possible. LOVE LOVE was a first-time filmmaker project, and we made it for a very low number, but it was non union. In the current environment I would not risk making a non union project because productions are getting flipped, and the costs can jump very fast once that happens.

So for first-time filmmakers, the focus has to be on controlling cost and building a realistic plan from day one. Think about distribution at the same time you think about the budget. If you know who the audience is, what the cast level needs to be, and how the film can be delivered to market, it becomes much easier to justify the spend and to get someone to take the risk.

@ellebolan thank you! My general advice is to keep your options open unless the story absolutely requires a specific location. Flexibility can make or break a project. If you stay open and nimble, you can take advantage of stronger tax incentives, better infrastructure, or more favorable crew availability.

It is true that some states, including several in the Southeast, offer more support or additional funding when you showcase certain landscapes. At the same time, an attractive incentive does not always mean the state has enough experienced crew or the right resources, and that can raise costs in other areas. Research is essential.

On my current film, the script is written for California, but we are seriously looking at New Jersey and a few other locations where we can make the film for less. This is very common. Producers often build several versions of the plan and several budget scenarios.

For writers, it helps to understand that location can affect the budget, but the priority is still to write the best story you can. If the script can live in multiple environments, it gives the producers more paths to get the film made.

@Geoff Faugerolas Thank you! For independent producers, the challenges are almost always the same. It comes down to talent and money, and it can feel like a chicken and egg situation. You need strong material to attract talent, and you need talent to unlock financing. The way through it is to be entrepreneurial and to communicate clearly how your skill set and your relationships can push a project forward.

Everything I do is rooted in personal and professional relationships. I have a formula for evaluating projects, but it always starts with the quality of the material. You also have to understand what you are not good at so you can sharpen those tools. At the same time, it is just as important to lean into what you are good at. What is your superpower, and how can you use it to your advantage? That mindset goes a long way.

Tenacity is essential. Independent producing is a constant process of pushing the boulder uphill, and sometimes you need help. Use your network. Bring in people who can strengthen the project, and support them in return. There is an old-school mentality that says you have to suffer because others suffered, but I do not believe in that. I believe in good business practices and in building solid, respectful relationships. Take care of your people and they will take care of you.

@anthonymcbride thank you brother!

@xochiblymyer Thank you. Verticals are being made mostly by newer digital studios and companies that specialize in short-form content for mobile apps. These companies operate outside the traditional film and TV system. They move quickly, keep budgets very low, and rely on high volume. Many follow simple formulas, and some are beginning to use AI tools to speed up the workflow.

A big part of the business model comes directly from the apps. The apps pay for the content and control very tight release windows. Most platforms let users watch a limited number of episodes for free, and then they charge per episode or per block of episodes after that. Because costs are low, a vertical that performs well can recoup quickly through this microtransaction model and through ad-driven revenue. A lot of the largest audiences for these apps are in Asia and Europe, and it is becoming more international as the platforms expand.

As for where projects are selling in the traditional space, it is a challenging environment. Independent films are selling at festivals, through agency packaging, and through direct conversations with streamers and specialty distributors. The middle of the market has thinned out, so the films that travel best are castable, budget conscious, and very clear about their target audience.

Buyers are cautious right now, so the more focused and financially realistic the package is, the better chance it has of finding a home.

@SandraIsabelCorreia Thank you so much! I really appreciate the kind words. From a producer’s perspective, what makes a first feature compelling usually starts with proof of ability. Have you made shorts, commercials, or a proof of concept that shows your command of tone, pacing, and visual storytelling? Anything that demonstrates your skill set gives financiers and collaborators a level of confidence. The fact that you already have a short on the festival circuit is a huge advantage. Treat it as a genuine proof of concept for the feature.

A great example of this is Whiplash. Damien Chazelle’s short was a key reason the feature got financed. The short communicated exactly how he would approach the film visually and emotionally. For first features, that clarity is incredibly valuable.

Another big factor is your ability to articulate who the audience is. Once you know the audience, you can shape a realistic plan and build a version of the film that can be made for the lowest cost without sacrificing quality. Festivals respond to strong voice, disciplined execution, and a clear sense of intention.

You are already on a great path with your short. Keep using it as a calling card for how you will approach the feature.

@Meriembouziani Thank you! At the early stage, the strength of the concept and the characters always matters most to me. I want to feel that the idea is clear, that the characters have real journeys, and that the central conflict is meaningful. Before anything else, I need to understand what the script is truly about at an emotional level.

If the emotional core is strong, it becomes the engine that carries the entire creative process. The larger impact or thematic ambition of the story can grow from that foundation, but without strong character work and a focused concept, the impact will never land.

So for me, the starting point is always clarity of idea, clarity of character, and clarity of theme. If that foundation is solid, the rest of the creative journey can build naturally from there.

@CatherineCole Thank you for the great question. AFM is always about expanding your network and gathering as much information as possible. My goal when I attend is to understand the current market, strengthen relationships, and find out who can help move a specific project forward. If I am packaging a film, I identify exactly what I need next and then seek out the people at AFM who can help solve that piece of the puzzle.

For example, you might have some financing lined up and a potential location, but you still need foreign sales based on cast. AFM is the place to meet every sales agent you can. The more you understand what is happening in the marketplace, the more leverage you have when you build your plan.

For members attending AFM in 2026, the goal should be clarity. Know your project, know what stage you are in, and know what you are missing. If you are casting, having a sales agent you can call will help you understand how your choices affect the financial plan. If you are raising money, AFM gives you the ability to compare approaches and talk to people who see hundreds of packages every year.

Go in with a focused strategy, stay open, and use the week to build real relationships. Those relationships often become the most valuable part of the experience.

Thank you Patrick!

@PatAlexander Thank you for the question, fellow Patrick. Balancing artistic vision with commercial viability is usually the producer’s responsibility. Creatives are often focused on the emotional and artistic truth of the story, which is exactly what you want, but they are not always thinking about market position, cast value, or the financial realities. The producer’s job is to take the tools you actually have and make the strongest possible version of the film within those limits.

You might have an incredible script, but you may not be able to send a fully financed offer to the star you want. You may love a creative idea that becomes impossible once you look at the schedule or the budget. This is where communication becomes essential. Everyone has to be on the same page, and expectations have to be aligned early.

There is no formula that works every time, but gut instinct plays a real part in this. It helps if you understand your audience before you begin packaging. Who is the film for, and how do we serve that audience while still giving the creative team the freedom to execute their vision? If you can hold both of those priorities at the same time, you usually end up with the best version of the movie.

@RowanTaylorLaska Thank you for the question. I recently hired a director for an indie erotic thriller I am putting together. In this case, it is a first-time feature director, but she has directed many episodes of television. TV and film are different, but the experience still matters. It showed us she could handle performance, workflow, and the pressure of a real set.

When I hire a director, I look for qualities that fit the specific needs of the project. My producing partner and I knew exactly what this film required in terms of tone, style, and leadership, and we found those qualities in this filmmaker. Once we are confident in someone, it becomes much easier to present them to financiers, cast, and all the stakeholders involved.

I also look for directors who are naturally collaborative and entrepreneurial. The good ones understand that the journey is difficult and that there will be moments of give and take. That mindset is incredibly important on an independent film. And yes, professionals absolutely consider indie directors and directors who have only made shorts. Shorts, proofs of concept, commercial work, and episodic work can all demonstrate voice and capability.

What matters most is a clear vision for the material and the ability to bring that vision to life within the real limits of production. If that is there, the door is wide open.

Thank you very much for your response. It’s truly appreciated Patrick Raymond

Thank you Patrick Raymond ! I copied your replies into my knowledge file. My feature has some high-dollar scenes (airshows, etc.) but I have connections for free performances & locations. I think those (high-value/free) scenes cause doubt about my low budget.

Thank you so much, Patrick Raymond. I really appreciate you taking the time to share this perspective. That’s excellent advice, and I’ll definitely look into Whiplash as an example of how a short can serve as a proof of concept for a feature.

I’ve been treating The Misstep in that spirit: it’s already on the festival circuit, and I recently finished writing the screenplay, staying faithful to the concept I established with the short. I’m now moving into packaging, and your point about articulating the audience really resonates with me as I refine the plan, building a clear strategy that balances vision with realistic production goals feels essential.

I’m grateful for your encouragement. It means a lot to know that the path I’m on with The Misstep aligns with what producers look for in a first feature. Thank you and I am looking forward to watch LOVE LOVE :))