Your Stage

A brief, draft collection of scenes from some of the movies I've produced over 30 years.

Imagine you’re a director arriving in Asgard for the first time.

There’s a cart holding up the road. One wheel has settled into a rut, and the man behind it has put his shoulder against the timber. Someone calls from an open doorway. Beyond the fence, a hammer keeps striking. Whoever is working there has no reason to stop because you’ve arrived.

You notice the narrow passage beside the house. The distance to the gate. The way somebody standing at that window could see a visitor long before the visitor saw them.

And you begin finding your scene.

An actor beside you walks the same road and finds something else. A place to hesitate. A doorway they would avoid. Somewhere their character might stand when there was something they couldn’t bring themselves to say.

Now imagine a reader arriving later. They recognise that house. They remember what happened there. They stop walking.

You haven’t told them to stop.

That’s the possibility I’m building toward with Echoes of Asgard. And that’s the conversation I want to have with the writers, actors, producers and directors here.

Because I thought I was tired of waiting. Then I looked at what I was actually doing.

The King’s Road is published. I’m developing the audiobook. I’m building Asgard in Unreal Engine, testing ideas, finding limitations and working through them. Alongside that, HEARTH is an early experiment in how people might gather and share experiences within virtual spaces.

The work is moving. Why would I stop it while waiting for a single version of the project to receive permission to exist?

I want the writing to inform the environment. I want an actor’s understanding of that environment to bring something back into the performance. I want to explore what happens when a reader becomes a visitor, and the place they imagined begins answering them in ways a page never could.

And I still want the film. I still want the extraordinary things a director can do with a frame, an actor’s face and a moment held just long enough.

Imagine what we could bring to that set if we had already spent time exploring the world together.

There is engineering between that ambition and a working experience. Shared performance, access, rehearsal and eventually VR all need to be built and tested properly. I’m doing that work in stages. I’m also giving the story a life now, through the parts I can already put into people’s hands.

That’s where my approach begins.

I keep thinking about the people around a fire, listening to somebody tell them what happened beyond the hills. The storyteller watches their faces. Somebody interrupts. Somebody asks a question. The telling changes because there are people there to hear it.

What could we do with that relationship now?

For a writer, what becomes possible when the world can hold stories beyond the one you’re currently telling? For an actor, what might you discover by entering a place before the first day on set? For a producer, what could an audience’s relationship with that world teach us while the screen project is still developing?

Those are questions I want to work on with people who have ideas of their own. Specific contributions, clear credit and honest terms. There’s room for a serious conversation about how we make this happen.

I believe there’s something worth building here. Enough that I’m putting the hours into it, rather than waiting for somebody else to build it first.

So, to the storytellers watching: look beyond the format you first encountered this in.

The book is a beginning. I’m working on what you might find when you follow the road beyond it.

If you could help shape that journey while it’s being built, what would you bring?

Hi Stage 32 family!

I'm developing a 1-hour TV Drama pilot and would love your honest feedback.

LOGLINE:

When a retired American serviceman is unexpectedly placed on the throne of a divided foreign kingdom, he must unite its people while confronting powerful elites determined to maintain control.

FORMAT: 1-Hour TV Drama Series

Does this hook you? Is the conflict clear? What shows does it remind you of?

Happy to return feedback on your projects too!

Thanks!

Inspired by an incredible true story, The Black Boy's Gift: Dusts of Gibraltar follows George Weah’s relentless rise from the war-torn slums of Monrovia to the absolute pinnacle of global football. Stranded in poverty but blessed with a raw, undeniable athletic grace, George survives intense trauma at home only to face a cold, hyper-tactical, and often hostile European system. The movie's real anchor is his relationship with a young, visionary French manager, Arsène Wenger, who takes a massive career risk on the unknown African striker. Wenger doesn't just coach him; he shields him from systemic racism and acts as a surrogate father, building a bond that culminates in the historic 1995 Ballon d'Or ceremony where Weah shatters the glass ceiling for African athletes forever.

NON-CANON • JUST FOR FUN

MARVEL: “We have the Multiverse.”

SAMSARAVERSE: “We have three worlds. Human, Digital World World, Echo World

MARVEL: “We have superheroes.”

SAMSARAVERSE: “We have a Karma Broker.”

MARVEL: “What's his superpower?”

SAMSARAVERSE: “Making corrupt people explain themselves.”

MARVEL: “We have Thanos. He wanted half the universe.”

SAMSARAVERSE: “We have President Greedwis. He wanted half the national budget.”

MARVEL: “Did anyone stop him?”

SAMSARAVERSE: “Death.”

MARVEL: “Problem solved!”

SAMSARAVERSE: “He arrived in the afterlife demanding dancers and a presidential suite.”

MARVEL: “BUT HE'S DEAD!”

SAMSARAVERSE: “His term ended. His entitlement didn't.”

MARVEL: “We have the Infinity Stones.”

SAMSARAVERSE: “We have the Karmic Ledger.”

MARVEL: “Can it destroy planets?”

SAMSARAVERSE: “No. It finds missing receipts.”

MARVEL: “...”

SAMSARAVERSE: “By the way, who paid for all those buildings you destroyed saving the world?”

MARVEL: “Can we fight Thanos again?”

SAMSARAVERSE: “Please complete the reimbursement form first.”

MARVEL: “I'M NEVER COMING BACK!”

SAMSARAVERSE: “That's what everyone says before meeting the MASKED MINISTER”

An unofficial parody. Not affiliated with Marvel. Just a little weekend intermezzo. Nothing serious just a bit of fun!

P.S. Curious about President Greedwis? Meet him in my earlier satirical sitcom here: https://www.stage32.com/lounge/transmedia/WHAT-IF-THE-KARMA-BROKER-MET-A...

This short film by Argentine filmmaker Martín Aletta plunges us into the inner journey of three characters in Tokyo, where their fates and obsessions connect with the mystery of suicide and city life alienation.

[Script Available] The Haunting of Mirror Cabin (8-Page Horror Short)

• Logline: A man released from prison for a crime he swears he didn’t commit rents an isolated winter cabin with his friend, only for their getaway to turn fatal when they are hunted by physical, undead-looking creatures that weaponize the cabin's mirrors.

• Pages: 8 pages

• Cast: 2 characters

• Locations: Isolated cabin (Interior), 1 daytime snowy forest driving scene, and 2 very brief setup spots.

• VFX: The creatures look like dead people. Perfect for an indie filmmaker looking to use practical horror makeup rather than expensive CGI to keep the budget well under $10,000.

I am an author looking for an independent director or filmmaker to adapt my completed short story/script. I'm completely flexible and open to changing or rewriting elements to fit your location or budget constraints.

If you are interested in making this, please comment below or DM me with a link to your portfolio/reel, and I’ll send the script over!

Looking for Film & TV Professionals to Help Shape the Future of Production

Hi everyone!

I'm the founder of Scenatik. We're building a platform to transform how film and television productions are planned and managed, with the long-term goal of replacing tools like Movie Magic Scheduling and Budgeting with a more connected, automated workflow.

We're looking for industry professionals interested in two things:

- Advising us: Share your experience and help us understand the industry's real needs.

- Testing new technology: Try Scenatik, give us honest feedback, and help shape the future of production tools.

Our goal is simple: spend less time on administrative work and more time creating great content.

Send me a message if that is something that interest you