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Why I Passed On That Screenplay

For almost 10 years, I worked as a development executive for Unified Pictures and Exodus Film Group. One of my chief sources of income over the last year has been writing script coverage, writing development notes, and in general parsing screenplays for writers and producers. My friends, I have read a LOT of screenplays. If you’re an undiscovered screenwriter with more than three our four scripts out there on the market, there’s a fair chance I’ve covered you at some po…

Celebrating our Regular Contributors [Posts that Are Upleveling Careers]

The fireworks are over and it's a brand new day, but we still have lots to celebrate here at Stage 32, not the least of which are our regular blog post guest contributors. We are, in fact, grateful for every single post that has ever come our way, regular contributor or not. All of our contributors selflessly offer their time and expertise to all of you, so that our community can grow with inspiration and education. Without these posts, so many of us would still be browsing other sites…

What is Spectacle in Filmmaking? [And How Can Indie Filmmakers Use it?]

In my inaugural Stage 32 blog, entitled Reality Checks from an Inspirational Cripple, I discuss the extent and the price of my insight into film development. For the sake of brevity (hah!), let me say here that I was a Development Executive for nearly a decade, that I’m now working as a screenwriter on some high-profile projects, and that I’m building a film company with the support of many of independent Hollywood’s best and brightest. Just as the title of that first S…

How We Screwed the Showbiz Culture Up [And How We Can Fix It]

Before I delve into the chronic misdeeds of our industrial showbusiness community, forgive me a paragraph or two to establish my credentials as your professor in this matter. Much of my life in showbusiness until now has been defined by the work nobody in Hollywood actually wants to do, but that everyone would gladly take credit and experience for having done, if they could. For ten years, I learned the risks and rewards of producing by financing other people's indie films with cold-call…

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