Recent content by Ryan

Welcome, Sohrab! With 12+ years in post-production, I’d be curious to hear if you’ve worked on any feature films or narrative projects that particularly stand out to you. What kind of projects have you enjoyed editing the most?

Mike, that raises an interesting question: when an existing track is licensed but then custom edits, mixes, or even orchestration changes are created specifically for the film, where do you see the line between licensing and a bespoke score? And from a producer’s perspective, how does that...

Michael’s point about production certainty makes me wonder about the insurance side too. If VP genuinely reduces risks like weather delays, location problems or lost shooting days, are insurers starting to recognize that when assessing a production, or is it still treated basically the same as a...

That raises an interesting question, Jim. Are there other notable film or theatre figures in the manuscript where Bramwell shares first-hand stories or observations that may not have been documented elsewhere? If so, that could become an important part of how the manuscript is positioned to...

Have you had a chance to test the project internationally yet for example, by speaking with sales agents or distributors about the potential demand for an African historical epic outside Africa? I’d be curious to know if you already have a sales or distribution strategy in mind.

Michael, I’d add one test to this: can you explain the film without opening the deck? Not the plot why this film, why this audience, and why now. If that takes ten slides to explain, the project may not be too early for a sales agent. It may simply not be clear enough yet.

@norwest I think there’s a danger here for writers and filmmakers. If churn becomes one of the metrics driving acquisition decisions, creators may increasingly feel pressure to design projects around subscriber behavior retention, repeat viewing, franchise potential rather than simply asking...

One thing I keep wondering about is what happens 10 or 20 years later when the film changes hands. A film might be sold to another distributor, relicensed into new territories or remastered by people who had nothing to do with the original production. Will they actually know which AI rights...

At 72% complete, I wonder if it might help to position this less as funding a film and more as financing a clearly defined completion plan. Since so much of the creative work already exists, you could potentially break the remaining work into specific milestones rigging, final animation...

I’d probably use both, but start at scene level. Before assigning broad production brackets, I’d separate the expensive elements into two categories: what is essential for the story and what is scalable spectacle. The lean version should still deliver the mythology, character arcs and key...

One thing I haven’t seen discussed yet is whether you have a target budget level in mind for the version of RAVANGA you’re developing. With VFX-heavy fantasy, the same concept could potentially be designed very differently at different budget levels. Would it make sense to develop a realistic...

That actually connects with a recent experience of my own, and I think it shows why the commission percentage isn't the only thing worth paying attention to in a sales agency agreement. I recently started discussions with a production about handling international sales for their project, and...

Lucas brought up a critical point that usually gets ignored: a perfect deck is useless if it sits in the wrong inbox. From what I’ve experienced, private equity and family offices rarely respond to cold pitch decks, even if they look like a studio-grade production. What actually works is...

Hannah, I wonder if part of reinventing the middle is proving the audience earlier, rather than simply finding a new source of financing. If a mid-budget project can demonstrate real audience demand before production, it may become a very different proposition for investors and distributors. Do...

Nice range, Subin. Hearing the different moods side by side gives a much better sense of your versatility as a composer. When you score a film, do you prefer getting involved early and developing the musical direction with the filmmaker, or working from a more finished cut?