As the the titles says I like to do different things. I have been fortunate to work on films - big budget, low budget, no budget even. I have 'trod the boards' in theatre as we say in the UK. I had my time in Television but TV no longer hires it seems. I have worked on corporate projects - The computer gaming world which was really interesting as well as Internet/Web/on-line projects. I love Acting, irrespective of whatever media or a live theatre audience. I will admit to wanting to do more work in Green Screen, Film and actually getting a chance to work in the Digital and Stop Motion Capture mediums. I love what is happening in projects be they films or series being released directly onto Netflix and other platforms. Again platforms I would like to work in should anyone be casting. I will work anywhere in the world as long as I am working as an Actor.

I recently ventured into the so-called "Christmas film fair" to see how the market's doing, especially since I’ve written two scripts with a festive theme. Let me tell you—big mistake. I was not prepared for the wave of disappointment that awaited me. Watching the Christmas movies from the last two or three years, especially this year, left me thoroughly shocked.

The issue isn’t that they’re too sweet (a little sugar is fine) or that they rely heavily on the usual clichés—Christmas trees, Jingle Bells, and those unavoidable holiday sweaters. Honestly, that stuff’s mandatory. The real problem? These films are a perfect storm of primitive and soulless. Think of dialogue so vapid it makes elevator music sound profound, and action so monotonous you wonder if anyone remembered Christmas is supposed to be magical.

It’s non-stop chatter, too, as if the scriptwriters are terrified that a single pause will dissolve the Christmas spirit entirely. Oh, and let’s talk about the dialogues. They’re an odd mix of copy-pasted Wikipedia tidbits about traditions and meaningless small talk. Riveting, right?

Another head-scratcher is the casting. The leads often look so mismatched you can almost hear the audience thinking, Really? These two? And then there’s the obligatory "diversity checklist." Don’t get me wrong, I’m all for inclusion. But when every movie forcefully squeezes in a representative of every race and ethnicity, it stops feeling authentic and starts looking like someone’s checking boxes on a spreadsheet. It’s unnatural, overdone, and—let’s be honest—distracting.

Meanwhile, my delightful, modern scripts—A Road for the Christmas Tree and The Christmas Pizza—sit here, brimming with life, warmth, and actual storytelling. So, here’s my question to producers and companies: What on earth are the criteria for buying these bland, lifeless scripts? Because someone shelled out serious cash for them, wasted our time, and actively chipped away at our collective taste.

Project: Upcoming short film Titled "KIN"

Location: Palm Beach/ Broward county

Shoot Date: TBA (september)

Positions:

Erica - African American Female age 21-29

Kim - African American Female age 21-26

Male - African American age 25-40

Must have prior acting experience as the roles require an Emotional and dramatic performance

THIS IS AN UNPAID POSITION

Wardrobe / Makeup will be provided as well as IMDB credit and copy of digital release.

To submit send self tape of a short monologue to DreamTeamProductionsNY@gmail.com

Hello everyone. Linda Butcher here from Tampa, Florida. I'm an Actor who has been involved in many aspects of the film industry from acting, casting, script supervising and some scouting. All here in Florida. I acted in plays in Barrytown, and Rhinebeck, N.Y. before moving to Florida in 2012. My favorite thing is being in front of the camera. I really love playing different characters. I also write songs, poetry and am now working on writing a Fantasy. I strongly feel my concept is very unique. My character development and story structure feel very good. I'll be typing away if you do not hear from me for awhile.

My husband Patrick is a screenwriter, he is in his office and I'm in mine. Wish us both luck. We are hoping

to have a submission ready for the Austin Film Festival. We had an awesome time at the Writers conference October 24-31. We are planning on attending the next film festival October 23-30, 2025.

Please check out my IMDB page on my profile page. Wishing everyone a very happy holiday. Sending many blessings to all. Thank you Stage 32.

Linda Butcher.

{Van Vliet}

Possibly the most controversial screenplay in Hollywood looking for Name Talent and $15m production financing. R-rated prestige drama. Several reputable screenwriting competition accolades. Overall Top 3% on Coverfly. Black List reader recently gave it a coveted 8 evaluation score, described it as "an awards season contender". Slamdance coverage wrote "the tone of the script is similar to a Thomas Pynchon noir" with "an expertly timed crescendo" and the lead male character "has the potential to go down in cinematic history". Logline on Stage 32 and IMDBpro. Need to attach major Name Actor & Actress for lead roles in order to close production financing with indie company that likes the script. Geoffrey Rush/Robert De Niro fantasy casting. Scorcese and David O. Russell fantasy directors. Janelle Monae fantasy female lead. Brian Kowalchuk IMDBpro (II). Thanks.

Most films end up doing away with substantial portions of their script’s dialogue. The director eventually finds that lots of the story’s meaning is communicated or implied visually. The dialogue has become extraneous, unnecessary.

Consider:

From TALES FROM THE SCRIPT, Edited by Peter Hanson and Paul Robert Herman, HarperCollins, 2010, p. 170, screenwriter Andrew W. Marlowe described an example of how the script differs from the movie:

"There was this experience on AIR FORCE ONE, where I’d written this little speech. Harrison came up to me and he said,

"'It’s a great speech.'

"'I said, 'Oh, thank you.'

"He said, 'I’m not gonna do it. All this, I can do with a look.'

"And he could."

And there’s this from Alex Garland in SCREENWRITERS’ MASTERCLASS, Edited by Kevin Conroy Scott, Faber & Faber Ltd. 2005, p. 164:

"One of the things I definitely learned (from drawing cartoons) was how redundant dialogue can be at times. What you can do is rely on the image; (successful) comic books and films do this the whole time."

And later, on p. 165:

"There’s a terrific urge to overstate because you’re afraid that people will miss something, and when I look at 28 DAYS LATER, for example, which is the only screenplay I have ever written that went straight through to being made into a film, one of the things I think is tonally wrong about it is that it spells stuff out at times when it really doesn’t need to."

The problem is, screenplays, in their pre-film state, can’t rely on Harrison Ford’s “look.” They can’t always get things across that the eventual film, with ease, will do from within its visual, directorial, and performance arsenals. Worse, “spec” scripts from unproven screenwriters must get their stories across to an agency or studio reader already biased by the writer’s lack of experience. Yet those specs are held to the same standard.

Screenplays must communicate their meaning fully and clearly or risk losing their reader and the sale because of the potential casting of somebody like George Spelvin (non-actor extraordinaire), rather than Harrison Ford, not to mention other deficiencies like insufficient information, critical logic lapses, or merely a lack of emphasis. It may look like a duck, it may walk like a duck, but on the page, until it talks like a duck, it ain't a duck!

It recalls that old story about the blind men and the elephant: each man identified a different object as he touched some part of the beast. None “saw” the elephant. At least in the movie version of the fable, until they get Harrison Ford or Steven Spielberg, they’ll have to rely on the script. And, to all the spec writers out there, if that doesn't work, may the Ford be with you!

Hello everyone!! My name is Brian E. Neal. I am a(n) SAG-AFTRA actor and model from Chicago. I am looking to network more with other film actors, directors, producers, casting agents and screenwriters. I am planning on leaving the Midwest market very soon to either Los Angeles or Atlanta. I'm leaning more towards Atlanta, as I have been traveling there quite frequently for work. I have links on my page to my website and IMDB if you would like to see some of the work I have done. I also have just started a YouTube channel of me telling various stories that "I Couldn't Just Make Up". I look forward to talking with everyone soon!! Have a great day!! Best wishes, Brian E. Neal

My name is Yulia Khamitova.

I am an actress, producer, and the founder of Casting Bridge — a community of Eastern European talents, bringing together over 70 actors, screenwriters, directors, and cinematographers.

Our mission is to build strong bridges between Eastern European artists and the global film industry.

I’m thrilled to join Stage 32 and look forward to collaborating with talented professionals from all over the world.

✨ I will be attending the Cannes Film Festival throughout all dates this May and would be happy to consider attending your screenings, panels, and events.

✨ As a producer, I am currently developing a feature film screenplay and open to co-production opportunities.

I'm always open to creative conversations and new collaborations — feel free to connect with me!

I’m truly happy to become a part of such a vibrant global community.

A special thank you to Richard "RB" Botto for creating this platform and to Amanda Toney for helping it grow.

Thank you so much for the opportunity to create and be creative together.