Filmmaking / Directing

We need many more women recognized for their work. This is good to see.

we need more women recognise on World stage.

Well said, Bryan. That distinction between what the writer needs to know and what the audience needs to hear is where the real discipline lives. Do you find that balance shifts depending on genre? A thriller can withhold more than a family drama, for instance.

How much backstory should be revealed? I give the dreaded answer, "It depends." One school of thought is that if it's not going to be shown onstage, keep it off the page. However, the actor/actress might benefit from that backstory as they formulate their character. Using that rationale, the writer would then reveal only that which the performer and audience needs to know. It would also be helpful for the writer (and especially if they have a writers' room) to have bits of the character's backstory in the series bible so the writers have something to draw on when writing subsequent episodes. It's a nuanced situation, with no easy answer except "It depends", as each screenplay and/or writer might need something different to create the drama onscreen. In my own personal writing, I've crafted deep backstories for some characters, some bullet points as needed for others, and am kind of flying by the seat of my pants for others.

Doug, this is exactly the kind of nuanced answer this topic deserves. 'It depends' is the only honest response, and I appreciate how you've broken down the variables—performers' needs, writers' room utility, the difference between deep backstory and bullet points.

Your last line resonates: flying by the seat of your pants for some characters. I've found those are often the ones who surprise me on the page. Do you find the 'pants' characters end up more alive because you're discovering them in real time, or do they sometimes need more retrofitting in revision?

As much as it makes me sound like a broken record (showing my age, now), Solid Goddess... It depends. Sometimes they're more alive that way, as the characters dictate what works for them and what doesn't. I remember crafting this really cool scene for a couple of characters on a super-villain comedy series I was writing, whereby their relationship took a dramatic turn, which would give the performers a chance to do some really fun dramatic work...but it turned out that it just didn't feel right for the characters. The scene is therefore abandoned, because they pretty much dictated what they would do in a situation like that -- and the reality is, they never would have allowed the situation to happen in the first place.

I suppose that when the characters tell you what is right for them and what isn't that's utilizing backstories (either stated explicitly or kept within the recesses of the writer's mind).

As a screenwriter, backstory is key to the visual medium in giving the sudience a sense of the character's behavior to pull them in emotionally.

I've noticed that too with modern movies. There are actually few new movies that I like to watch and I'm a fan of the classics from the '40s through the '90s, some very early 2000s. I think part of it might be related to technology. Characters in older movies being on their phones less in the past than they are today and of course in way older movies, characters weren't carrying phones around at all except sometimes a car phone, so it's a more organic connection in the screenplays. I also think part of it might be that I don't see much risk taking in modern movies as far as the character's behavior and predictable happy endings. Perhaps I'm also looking at the older movies with a sense of nostalgia as well, due to being middle aged, but there are very few modern movies that give me that sense of suspense, surprise and awe after watching them that older movies have always had.

No you're correct in my opinion. Films are way too safe, and that's why they suck. Art should make you open your mind, and sometimes the way to do that is to do or say something uncomfortable. Older movies had no problem with that, and that's probably why there is a stronger connection to them. Modern films are too afraid to step on anyone's toes, and it's a shame.

Technology shouldn't matter because it just makes the movie look better.

I have soooo much I want to say about this but ill keep it short, the sensation that older films feel more alive to me is driven by todays Hollywood’s extreme risk aversion and data centered fn filmmaking! and the clinical perfection of digital technology (not). I mean, contemporary blockbusters cost hundreds of millions of dollars, studios rely heavily on predictable, pre-tested formulas and established intellectual property to guarantee a global profit, stripping away the narrative dangers and complex characters common in earlier eras. Also when you think about it, older cinema relied on physical film, real locations, and practical effects that possessed tangible weight and human flaws, whereas modern digital crispness, green screens, and limitless CGI can feel sterile, overly polished, and emotionally detached thats just my opinion because I wish I was a filmmaker in that golden era so to speak. Dont get me wrong, survivorship bias plays a role causing us to remember only the masterpieces of the past while forgetting its garbage, and im sure they had a lot of it lol .I just feel like modern industry actively trades artistic spontaneity for safe, corporate consistency

I think it’s less about technology and more about constraints and intent. Older films often had tighter limitations, which forced more specific choices in storytelling, performance, and visual language. That can create a sense of “aliveness” because every decision feels intentional.

Modern films sometimes aren’t worse in craft, but they can feel more standardized because risk is higher financially, so structure and tone get optimized for broad audience safety. Curious where you think that shift is most noticeable writing, directing, or studio development?

This is a question that haunts every serious writer, Muzafar. I think the answer lies somewhere in between: technology hasn't killed risk-taking, but the business model has. When studios prioritized the 'four-quadrant' formula over character complexity, the emotional stakes flattened. The older films that endure weren't afraid to let audiences sit in discomfort. As a writer, I feel that pressure daily—the notes that ask me to 'make the protagonist more likable' or 'clarify the motivation earlier.' Sometimes the aliveness comes precisely from what we don't explain. Great question—hope it sparks a rich discussion here.

'Well done... and I'm sure 'well-deserved'. Congrats... keep moving.

Brian Couch

Sandra Correia, great news about the nomination - congrats - but do manage your expectations. It's a small, regional festival seating around 150 people - other contestants. And take a look at their website: there are already hundreds of listed 'Nominations' - and the contest is still open and runs until February. I wish you luck with your project, all the same.

Congratulations! Just keep going and never give up!

Hello folks. This film seems AI-ish

Congratulations on the nomination, Sandra. 'Soul Mated' has a beautiful premise, and your poster reflects the emotional depth of the story. As a writer, I know how rare it is when a project finds its momentum so organically. Wishing you a rewarding experience at the Liverpool Indie Awards and a smooth path to directing this yourself.

This is a strong concept and you clearly have a lot of material built out already. I think you’ll get the most value by starting with a focused review of a small section first (pilot or early arc) to tighten structure and character drive before looking at the full 85 episodes.

Happy to connect and hear more about how you’ve structured the series so far.

Eighty-five episodes is an extraordinary commitment, Marc. The serialized family dramedy format you're building—especially with the social and political threads woven through—requires serious stamina. As a fellow writer, I admire the scope of what you're undertaking. Best of luck finding the right collaborators to help you refine and elevate the work.

There’s something really special about that transition from page to image when an idea stops being imagined privately and starts becoming a tangible world through collaboration and visual language.

Your stills reflect a strong, cohesive visual sensibility. The transition from script to screen is where craft becomes art, and it's clear you approach that process with both intention and passion. As a writer, there's nothing more rewarding than seeing a director honor the text while expanding it visually. Well done.

Thanks for the info and tips, Amit Timalsina, Abhijeet Aade, and Debbie Croysdale.

Hey, Pat Savage. How's it going? I'm not on Stage 32 that much anymore. I’ve had a rare, chronic type of arthritis called Ankylosing Spondylitis since I was 21. I'm also dealing with some other health issues. It's gotten too hard to be a Lounge Moderator and write scripts. Today's my first day back on Stage 32 in while. I'm catching up on messages and posts.

Maurice Vaughan

I'm at the Cannes Film Festival now and for some days to come. Get well we miss you here brother.

Maurice Vaughan Glad you are back.

Maurice Vaughan—it is very good to see you.

Honestly, I’d love to see Tim Burton return fully to his darker gothic roots, the kind of atmosphere and originality that made films like,, and so unforgettable.

That said, the success of proves audiences are still hungry for Burton’s unique visual style when the material really connects. And with doing so well, it feels like he’s creatively re-energized again.

The fact that he’s personally going to Cannes to pitch this mystery project makes it even more intriguing. Burton usually lets the work speak for itself, so if he’s actively taking meetings, this could be something very personal or ambitious.

My guess? Either:

• a completely original gothic fantasy,

• a psychological horror with Burton’s surreal style,

• or maybe even a stop-motion return, which fans have been wanting for years.

What I’m hoping not to see is another overly studio-controlled remake. Burton is at his best when the project feels strange, emotional, and deeply personal.

What about you would you rather see classic Burton nostalgia, or something totally unexpected from him at this stage of his career?

I just read the website. Looks cool.

The one hitch I see is, in addition to having a treatment to submit, you should have a completed screenplay ready to go (two weeks after the contest deadline) in case you win.

I say hitch because I don’t exactly have an optimistic utopian sci-fi script just lying around. It sounds like they’re looking for a story in a world without conflict — a challenge for the writers on Star Trek as well.

Mike, Thanks for the input. The screenplay issue is something I am preparing for, there is a few groups in Boise that I am contacting for help in that area. I have a good handle on the storyline and some key dialog but will need help filling in details. The storyline is real-life age-old battle between excessive government bureaucracy and collusion with corporatist, highly centralized economic structure of factory farming. I am realizing that this is actually going to be a pilot for a series leaving a lot of issues up in the air. I want real actors and real-life sets to the degree possible but understand the value of AI assisted development.

You sound like you could be a good member of the team. Happy to discuss details with you if you are interested.

Thanks for the offer, but I think I’ll go my own way. I wouldn’t mind brainstorming a bit though.

I’m still wrapping my head around a possible story idea. In most sci-fi, the conflict comes from science-gone-wrong, or a cautionary tale about the abuse of a new technology. Frankenstein is one of the first of these stories, and the basis for many that came after.

I’d most likely produce an animated short, as that is my strength. I suspect they’re going to get a lot of AI submissions, so I want to stay away from that. Your plan of using live action with a smattering of AI sounds good.