Recent content by Michael

I agree that elevated horror and contained thrillers look like relatively safe bets on paper, but there's another problem worth considering: market saturation. As more producers move toward the same commercially attractive genres, buyers are seeing increasingly similar pitches. A single...

Joyce, I think you make a really important point. Finding a producer isn't just about finding someone who likes the story. It's about finding someone who understands the project, knows how to position it in the market, and has the right connections to move it forward. With a six-episode series...

I watched the piece, but to be honest, in its current form I find it difficult even to review. We see a few still images accompanied by very basic sound effects, without actual animation, a developed story, or a clear narrative. The description says the central themes are courage and cowardice...

I find the inclusion of projects still in development particularly interesting. A completed film can be judged by what’s already on screen, but with a project in development, you also have to recognize what it could become. I’m curious to see how the FilmPlatforms Awards will approach that. :)

Interesting project. What would your ideal first partner look like at this stage: a financing partner to support the next phase of development, or an experienced animation producer/studio that could also help shape the project creatively and from a production perspective?

I like the distinction between structural notes and page notes. That’s a useful benchmark. I’d add that the source of the feedback matters just as much - ten opinions from the wrong audience can sometimes take a project further away from the market rather than closer to it.

On your fourth question, I’d avoid repeatedly posting the same pitch. Instead, give people different reasons to discover the project ask for feedback on the logline, discuss a production challenge, share a decision you’re wrestling with, or contribute to other people’s discussions. If people...

Your point about silence is important. One practical question I’d ask when planning a scene is: what do you want the audience to notice the moment the music stops? If there isn’t a clear answer, the silence may not be serving the scene.

The cruise ship setting is a strong hook. If I were pitching this, I’d bring Lori’s unusual reaction forward a little more that feels like the element that could really separate THE CRUISE from other outbreak stories. Interestingly, there’s another project here on the forum whose creator is...

Really strong and useful contributions here, especially Barry’s example with the $375K budget and how the conversation changes once an investor starts looking more seriously at the project. One thing I’d add is that when an investor shifts to the business side budget, recoupment, rights they’re...

A film can make all the right creative choices and still reach the finish line with nobody quite sure who is actually going to buy it. A distributor or sales agent has to answer some pretty basic questions: Who is the audience? Which markets make sense? What’s the hook? And why should someone...

A good script can still be a difficult project to finance or sell. Sometimes the writing is strong, but the budget, audience, timing, or international sales potential simply doesn’t line up with what the market is looking for. That’s why a rejection isn’t always a verdict on the writer or the...

That’s an interesting point about commitment, especially on unpaid projects. I think there’s also a responsibility on the production side to be realistic about what an unpaid collaborator can commit to over time. If a project gets delayed for months, for example, do you still feel the same...

That sounds like a very practical model for smaller productions. One thing I’d be curious about is what happens if the film later gets picked up for wider international distribution. Do you usually structure the music license from the beginning to cover that possibility, or does the filmmaker...

That raises another interesting question, David. If a producer responded strongly to The Black Sun but was interested in developing that project rather than representing you as a writer, would you see that as an equally valuable next step? Or is finding representation that can build your...