Producing

Hey everyone!

I’ve been thinking about something that I believe many of us face when developing and packaging a film.

We can have a strong screenplay, a compelling story, a pitch deck we’re proud of, and a clear vision of what we want to create.

But does that mean the project is ready to approach producers, financiers, sales agents, or potential partners?

Sometimes I wonder if we spend too much time trying to make everything perfect before opening doors. Other times, I think approaching the market too early can cost us opportunities that might be difficult to recover.

And that’s where producing becomes a balancing act. We need to know when to keep developing and when to trust the material enough to start building momentum.

So I’m curious, what tells you a project is ready to go out?

Is it the strength of the screenplay? A realistic budget and financing strategy? Having a director or talent attached? Or simply knowing you’ve reached the point where the right partners can help take it further?

And have you ever approached the market too early, or waited too long and missed an opportunity?

I’d love to hear how you make that decision, because sometimes knowing when to move is just as important as knowing where you want to go.

Hello Stage 32 Producers and Development Executives,

I wanted to open a discussion around early-stage IP development and packaging workflows in today's market.

I work strictly as a Concept Creator, World-Builder, and IP Architect—meaning I don't write screenplays. Instead, my entire focus is engineering original high-concept worlds (specifically across Dystopian Sci-Fi, Temporal Thrillers, and Contained Indie-Friendly Psychological Horror) complete with comprehensive World Bibles, societal rules, visual Pitch Decks, and multi-season or feature story arcs.

In conversations with industry pros lately, an interesting point keeps coming up: many indie and packaging producers already have a roster of screenwriters and showrunners whose voices they trust, and sometimes starting from a fully built IP foundation (World Bible + Pitch Deck) gives the producer much more flexibility to attach the exact right writer for their budget and target platform, rather than spending months rewriting a spec script from scratch.

I’d love to hear from the producers in this lounge:

1. When building your slate, how do you view acquiring or optioning a fully realized World Bible/Pitch Deck where you have the freedom to attach your own writer?

2. For contained genre projects (like low-budget psychological horror) versus larger sci-fi worlds, what is the #1 element in a Pitch Deck that makes you say "this is producible"?

Looking forward to your insights and perspectives!

Best regards to all

Mahmoud

Producing is a long road. Producers are with a project longer than almost anyone else.

When the writer moves on to the next script, the producer is still championing the last one. When the director calls wrap, the composer delivers the score, the editor locks the final cut, and the actors finish their last day on set, the producer still has sales, deals, and possibly years of work ahead.

Along the way, there are market changes, industry shifts, tough rejections, and partners who pull out at the last minute. Staying focused through all of it takes more than passion.

So I want to hear from you:

- How do you keep yourself motivated and inspired when a project stretches on for years?

- What habits or boundaries help you stay productive without burning out?

- How do you bounce back after a rejection or a partner walking away?

Share what works for you in the comments below. Your answer might be exactly what another producer needs to hear today!

For a 1–3 minute episodic story, a polished teaser shows a visual direction but may not show whether the team can keep character, location and emotional continuity across a full season. Before approving a paid pilot, I would want to see a short episode beat map, a character/location reference sheet, rights-cleared source material and one scene test with a clear emotional turn.

Producers here: which single piece of evidence gives you the most confidence that a vertical series can sustain its pilot?

I just entered the Comedy Comp with my Spec Script 'Entering Orbit.' 'A sceptic funeral photographer teams up with an aging, psychic photobomber to document evidence of the afterlife, to enable him to turn off his wife’s life support and bring him peace.'

Years ago, I received the script as a download, after a visit from the spirit of a girl who had passed over from a school shooting. It was for her mother to know the truth of being. (I have been able to see spirit since the death of my brother and father.)

I was hoping that a Producer would pick it up and run with it and perhaps do a documentary with mediums/families on this subject and set up a charity to fundraise for a solution to this issue - I have been given ideas on this also.

I like the idea of movies changing the world for the better as so many have changed/inspired me over the years.

I have 'Revolution' another Family/Action work written for Australian indigenous kids to raise awareness and funding for mental health and 'Common Ground' a Broadway Theatrical Musical that I channeled Twenty years ago for World Peace.

I would love to know your opinion, if I should mention my greater plan to Producers/Production Companies. Do you think movies should be used to contribute to causes? Do you think actors would be willing to support socially conscious works? Your opinion is valuable to me - thanks for any feedback!

Hey everyone,

I’d love to hear how other producers approach this part of packaging a project.

Once you have a strong screenplay and you start thinking about the director, how do you make that first approach?

Do you usually go through their agent or manager? Through a mutual connection? A producer already in their network? Or have you had success approaching a director directly?

And before making contact, how much of the package do you like to have in place?

Script only? Pitch deck? Financing strategy? Cast conversations? Something else?

I’m especially curious about what has actually worked for you, and what you’ve learned about making that first approach feel professional without overloading the director with material.

Would love to hear your experiences.

This is something I’ve been thinking about a lot lately, especially as the industry continues to shift and evolve.

For me, success right now isn’t tied to a specific project, deal, or end result. It’s about impact.

When I hear from members here on Stage 32 that they’ve made meaningful connections in the Lounges, found collaborators, secured representation, learned something that changed their approach, or simply feel inspired and supported by this community… that’s success to me.

It means the work we’re doing behind the scenes is actually helping people move forward. It means the mission of creating access and opportunity is working in real, tangible ways.

But I know success can look completely different depending on where you are in your journey and on your ultimate goals and interests.

Maybe for you it’s:

Finishing a script.

Getting your first project into development.

Building a reliable team.

Hitting a deadline.

Staying consistent.

Or even just finding the energy to keep going.

So I want to know- How do you define success right now?

Are you focused on the big milestones, or are you taking time to recognize the smaller wins along the way?

What makes you feel like you’re actually moving forward?

This AMA feels especially appropriate for the producers on here, so I thought I'd give you all a reminder that Whitney Davis will be answering questions all day 10/14 (and into the morning of 10/15) about the process of developing scripted series & film.

And if you're too shy to ask, you should check it out anyway! There will be tons of great questions & insights. See you there!

Whitney is the co-executive producer of TRUE LIES for CBS and MIKE for Hulu. She's sold projects to Disney, FX, Hulu, and Onyx Collective, and she's currently developing a scripted series with Emmy-winning director Anthony Hemingway. She also says almost every project on her current development slate came from creators she met on Stage 32!

Looking at the news for "Digger" and then at "The Odyssey" and other movies, the styles and costumes for period pieces and imaginary worlds. I used to think that if 'the right talent' might be interested, that would make all the difference. But Tom Cruise couldn't bring the box office? Seriously? So what does work? What makes an audience want to go see an animated cow (Niu Lai) but not something else?

A.I. has taken root in our industry to varying degrees. Something I could go on and on about. And as a "humanist" most of it would be negative. However, I've noticed a trend in the last year where I didn't expect to see it -- using A.I. to polish / write EMAILS.

Has anyone else noticed this? Do you yourself use it? Sure, a lot of professionals in different industries are doing this, and maybe it's simply a sign of the times, but should PRODUCERS?

Regardless of where you stand on the great A.I. debate, how do you feel when it comes to this specific usage? In my opinion, I think it can help the person writing the email look more professional & well-spoken, but I've also seen how their A.I. assisted email can be to the detriment of the TEAM. Softening effective communication into "corporate speak". Causing confusion by omitting terminology or shorthand the Team is familiar with. Often I find these emails less direct and lacking clarity. Too often using fancy words when a simple one will do. Or the inverse -- summing up something in 1 sentence when it actually requires 4 because of the nature of that specific issue. The emails typically stand out, so I'm not sure they make the user look all that great. But maybe that's just my own perception.

Users who I've spoken to say they utilize A.I. assistance because it saves them time. A valid point in the hectic world of Production! But with the potential for confusion sparked by these comms -- how much time is wasted in subsequent emails & questions by themselves & others? Personally, I've found myself needing more time to read , re-read, and decipher these A.I. assisted emails.

My point is -- in the "trenches" of a production workflow for television or film, can we afford to rely on A.I. to say what we mean?

And for the Producers out there who are reading / buying/ negotiating / financing / developing -- What can be lost in your communication with A.I. assistance? Do you risk not conveying a note correctly for a rewrite? Losing some authentic & positive emotion in your feedback on something you really liked? What?

Maybe I'm in the minority, and just old school. Maybe it's the screenwriter in me who wants to hold onto my words. But I think that's the thing...there is such power in our words -- the exact words. Each one we choose (consciously or subconsciously) is very telling of our needs & desires. Big or small. By using A.I. to help choose our words, are we not asking to be misunderstood? No matter how polished & professional it may appear. No matter how much time it saves. Are we not deliberately scoffing at authenticity? What I believe to be an essential ingredient to creative endeavors & the human relationships we form along the journey. You tell me -- Whichever side of the fence you're on, I'd love to hear your thoughts!

Hi all, as I type this post from my first new phone in 5 years my thoughts turn to what can really be accomplished on the new iPhone 18 pro.

Year after year the tech on a smartphone camera seemed to be the only talking point so let’s discuss!

My last phone was a 13 pro and at the time (2021) it was considered a game changer, this new 18 pro is super fast and has great potential but is it wasted in my hands? Does the camera operator mean more to a project than the equipment?

Hope you all have a great weekend x