Producing

Fantastic. Honing one's pitch, having it ready at a moments notice is highly valuable. You never know when the opportunity to pitch will arise, and you should be ready.

Hey, Sandra Isabel Correia. You're right. Clarity and accessibility can make or break a project. And it's great that Stage 32 is listening to the real challenges we face!

Stage 32 is really easy to use. I'd love to see the search feature (the bar at the top of the platform) become even easier. Sometimes Lounge posts don't show up when I search for them by name.

Hi. Maurice Vaughan :)) Thank you for jumping in. I completely agree with you, when we’re writing, producing, clarity and quick access aren’t luxuries, they’re survival tools. The search bar is such a central part of how we navigate the platform, so your point is spot‑on.

I’ve had the same experience with Lounge posts not showing up by title. Being able to reliably find a post by name would make collaboration and follow‑up so much smoother, especially when we’re juggling multiple threads and conversations.

It’s great to see Stage 32 listening, and feedback like yours is exactly what keeps the platform evolving in the right direction. Let’s keep the ideas flowing.

You're welcome, Sandra Isabel Correia. Looking forward to what else Stage 32 changes and adds!

Likewise, Maurice Vaughan. Exciting moments :))

Thanks for sharing the article, Ashley Renee Smith. I remember watching America’s Next Top Model, and I've seen social media posts about the allegations.

I think when things start to get dangerous physically, emotionally, or mentally is when producers, directors, etc. need to intervene, especially when the participants are young.

The things you mentioned (intimacy coordinators, mental health professionals on set, clearer consent practices, and more robust DEI frameworks) help. Also family members being on set for young participants.

I cannot wait for this class to begin. Learning how to properly approach equity investors can completely change the trajectory of your project. You’ll learn how to reach out with confidence by email and lead Zoom conversations using clear, proven structures that investors understand and respect.

Thanks for sharing James :)

Thanks for sharing the article, Richard "RB" Botto. You're right. It's far from over. "It said the move comes to about $650 million in cash value each quarter." That's a lot each quarter!

So many cards yet to be played and hurdles to jump over., Maurice Vaughan

Thanks for sharing! Completely agree, each headline reads like a final chapter when we're still in the "previously on..." recap.

That said, I think it's important to be clear-eyed about where things actually stand. The WBD board just set a March 20 shareholder vote on the Netflix merger, and they continue to unanimously recommend it. Netflix has granted WBD a seven-day waiver (ending February 23) to hear Paramount's "best and final" offer, but the framing from WBD's side is telling: they're essentially saying "put up or shut up." And reportedly, over 93% of shareholders have so far rejected Paramount's tender offer.

Paramount is clearly not going quietly. They're offering to outright pay the $2.8 billion Netflix termination fee, Larry Ellison is personally guaranteeing $43.3 billion in financing, and they've signaled willingness to go to $31 a share or higher. That's not a company packing it in.

But wanting it badly and getting it done are two different things. WBD's board has called this the largest leveraged buyout in history, with serious questions around closing certainty and debt load. And the political and regulatory dimensions on both sides of the Atlantic add another layer of unpredictability for everyone involved.

So yeah, far from over. But the clock is ticking louder than the offers right now.

Fantastic summary of the recent news, Joshua Young. Appreciate your contribution to the thread.

And sure, this puts a clock on Paramount. But this line right here - And the political and regulatory dimensions on both sides of the Atlantic add another layer of unpredictability for everyone involved - is the only thing that matters. WBD may set their clock, but that doesn't mean it's THE clock.

Many twists and turns to come.

Hey, Ashley Renee Smith. I think Netflix absorbing WBD’s studio and streaming assets would reduce competition, but I also think the competition is other studios, other companies, other streaming services, YouTube, TikTok, gaming platforms, and other things.

This is a really important discussion and I think both sides are technically right but from different angles.

Yes, YouTube/TikTok/gaming are absolutely competitors in the attention economy, but they don’t replace what WBD represents: premium scripted IP, studio infrastructure, distribution relationships, talent pipelines, and awards-driven prestige content. That kind of ecosystem is still a different category of power.

If Netflix absorbed WBD’s studio + streaming assets, it would definitely reduce competition in premium long-form storytelling, even if “entertainment competition” overall is broader.

For producers, consolidation feels like a double-edged sword:

Easier because one major buyer can greenlight faster with bigger resources.

Harder because fewer buyers means less leverage, tougher terms, and potentially more gatekeeping.

The real concern is not just “who competes with who,” but who controls libraries, distribution, and pricing power long-term. That’s where antitrust becomes relevant.

Curious to see how regulators define the market streaming vs. overall attention economy is going to be the key argument. Ashley Renee Smith

Inevitable movement to monopoly, since the Paramount Decrees were set aside in 2020, when the MPA became a legal cartel. IMO, the effect on the audience is not much different than the current climate, since independent voices are legally locked out already. As has been posted before on this topic, the Independent Producers Guild did a study of the MPA cartel effect on indie film & market back in November: "Cartel Or Collapse" - read it here: https://independentproducersguild.org/paper-cartel-or-collapse

If he reads it, I hope he likes the idea and feels inspired to be part of it.

Because I don’t want the audience to love the character for his height or for comedic gags. I want them to love him because, despite being unconventional, he is intelligent, charismatic, and capable of solving problems that no one else can.

He plays basketball with prosecutors. He lives a full, happy, and successful life.

That’s the perspective I want to bring to the screen.

On IMDb Pro - he is with Principals Talent Management in Vancouver. Try emailing his rep at - Sean Burrows at sean@principalstalent.com

Linden replied to me on Instagram — he really loved the project.

I’m hopeful that together we can now find producers who will also be excited about it and help us bring this series to life.

And thank you all for your help and for the information. You are truly incredible.

Aleksandr... hope the help others extended connected you. If you need another expedition, let me know and I'll see what appears?

https://www.labiennale.org/en/cinema/2025/venice-production-bridge

It seems increasingly difficult to ignore multi-territory structuring if the goal is scale.

The tax incentive layer alone can materially reshape the finance plan, especially when combined with presales or regional spend requirements.

I imagine the real challenge is balancing creative control with financial efficiency — at what point does incentive optimization begin influencing story decisions or production logistics in ways that aren’t ideal artistically?

Curious how often that trade-off becomes a real tension in practice.

Thanks for that helpful information, Rob. Global interconnections are growing all the time and are so important.

Rob Kelly Absolutely a great incentive program. Ireland gets it. Consistency wins. Plus all of the exceptional talent. Acting, writing, directing, all punching above its weight. Third territory production deals are effective when warranted, and to Radoslav's point creatively viable. For a post only deal, not entirely sure it would be worth the effort and expense to do a co-production. UK for example has enabled post only and this would not be necessary to do a formal co-production to my understanding. Always consult an attorney.

Sebastian Tudores It depends what you mean by 'creative' decisions. I don't write "to market" so to speak. However, I do look at historical data and current trends when identifying a market and distribution plan. For example, here you cite data relating to Berlinale and follow up festivals. That means little to me without analysis. So I looked: historically Berlinale has selected an average of ~380 films across all categories each year, of which roughly 35% are shorts. As of 2025, Berlinale has scaled that back to a total of 199 selections, and intends to keep it that way. My sense is that this raw stat - 77% of selected films go on to one of more of those other festivals - implies more about the status of Berlinale and the interconnection between selection committees than it does about market or audience per se. Selection there is a top down process rather than an audience driven process, though it is the largest publicly attended festival in the world. But selects are necessarily limited to a miniscule number of films (considering the number entering the marketplace). Those things in turn imply that the usefulness of Berlinale is in active promotion and profile of serious and accomplished films (art films or not). It's not for productions that are not clearly superior - and industry rep bears this out. While "competition" films there are often considered uncommercial, it is a place where many commercial films which never even screen there get distribution deals. All of which boils down, for me, to: Don't bother submitting to Berlinale without knowing someone on the selection committee and securing some interest in advance, and then only for a film that they justifiably be happy to display, and only if I have a similar campaign in the works for follow up festivals. (This is how prominent festivals work behind-the-scenes, in order to keep their status as important festivals).

I never have even thought to do that, honestly.

Hey Shadow Dragu-Mihai - "Selection there is a top down process rather than an audience driven process" - that' defines everything else in the analysis, you're so correct to point that out. and I appreciate your insight on on how the 'A-list' festivals maintain their status.

Also I believe a bit to your point is that people are getting even more data-crazy (as if that was still possible) simply because it's more accessible and/or fun to graph lol BUT not sure data analysis and interpretation skill is keeping pace. Which leaves us with the old adage... "there's lies, damn lies, and...statistics!" :)

hope all's well with you. cheers

Interesting fact thanks for posting. Never for creative, certainly for finance, market placement and alignment, which should always be considered.

Thanks for sharing the review, Antony Voronov. My favorite streaming services lately are Netflix (for the movies and shows), Amazon Prime Video (movies, shows, and sports), and Peacock (movies and shows). I haven't had time to check out the podcasts on Netflix, but Netflix adding podcasts is a big move!

Definitely food for thought. Much appreciated

I tried to make two feature films way back, Radoslav Isakov. I started thinking about a sequel for the first movie (a big-budget Sci-Fi Action film -- what was I thinking!?) during pre-production. The story universe had a lot of potential for sequels, spin-offs, video games, merchandise, etc.

The Horror film was a contained, fully realized story. I could've expanded that universe, but it might've felt forced.