Before the Credits Barry Miller on Turning Personal Experience into STEVEN

[admin]

Barry Miller on Turning Personal Experience into STEVEN​

Before the Credits - introduces emerging filmmakers and creators before the industry knows their names exploring the projects they are building, the experiences behind them, and what they need to take the next step.

This edition features Barry Miller, a New Jersey-based, WGAE-registered screenwriter and former actor whose horror screenplay STEVEN grew from an early fascination with Halloween into an original story shaped in part by experiences from his own life.

Barry began writing in seventh grade, inspired by Sylvester Stallone. Years later, what initially started as an idea connected to the world of Michael Myers evolved into something much more personal and entirely his own.

---

​

​

1. What was the first idea or moment that led to this project?​

STEVEN originally started as a prequel to the 1978 Halloween. I wrote it with Michael Myers in mind, but once I finished the screenplay, I realized I couldn't realistically sell it because I didn't own the rights.

So I decided to take what I had and turn it into my own original story. I began pulling elements from my own life into several scenes and moved completely away from Michael Myers. Once I did that, everything clicked. The story became its own thing, and the writing came naturally.

---

2. What is the main idea or emotion you hope audiences will take away from the story?​

I want audiences to feel the fear of being lied to, but also the guilt that comes from knowing something is wrong and choosing not to act.

Sometimes the consequences of that decision don't end with you. What you ignore today can affect another person's life in ways you never expected. That burden and the consequences that follow are at the heart of STEVEN.

---

3. What part of the project do you feel really sets it apart from other similar stories?​

The fact that parts of it could actually happen.

Certain scenes in STEVEN are rooted in things that happened to me personally. I built fictional elements around those experiences, but the emotional core of those scenes is real.

And no, I wasn't the fire kid. That part didn't happen. Laughs.

---

4. Was there a point during development when your original idea changed significantly? If so, what caused that change?​

Absolutely. The biggest change came when I had to decide whether there was any realistic future for the screenplay while it was still connected to Michael Myers.

I even wrote to John Carpenter hoping to get his approval, but I never received a response. Eventually I told myself to forget it. I didn't want to build a project around rights I didn't control or spend my time dealing with potential legal issues.

That decision pushed me to create my own characters and my own story. Looking back, it was probably the best thing that could have happened to STEVEN because that's when it really became mine.

---

5. If you received the support you needed tomorrow to move the project one major step forward, what would that next step be?​

Finding the right producer.

I'm looking for someone who understands contained horror, practical effects, and what can realistically be achieved on an 18-day SAG Ultra Low Budget shoot.

The screenplay is locked at 100 pages, the production is designed around practical effects rather than VFX, and I've thought seriously about how the film could actually be made rather than simply writing something and hoping someone figures it out later.

I'm ready to move forward when the right producer comes aboard.

---

6. What does your production timeline look like? When would you realistically want to begin shooting?​

The story needs the right seasonal look, so ideally we would shoot during fall or winter, but without snow.

Fall 2027 is a realistic target, although if the right opportunity, producer, and financing came together earlier, I'd be ready to move sooner.

---

7. What makes you confident that this project could reach or resonate with its intended audience today?​

Bullying and the consequences of ignoring what young people are going through are still very real issues.

STEVEN takes those ideas into horror, but underneath the genre elements there is something I think many families can recognize: what can happen when warning signs are missed, when someone keeps being pushed, and when the people around them don't realize the damage being done until it's too late.

It's a horror story, but there's a message underneath it. If the film makes someone think more carefully about what a child might be experiencing behind closed doors, then the story has done something beyond simply frightening an audience.

---

8. If someone discovers you and your project for the first time through this interview, what is the one thing you would like them to remember?​

I'm a self-taught screenwriter, so creating something with real meaning feels like a feat beyond words.

If you discover me and STEVEN for the first time here, I want you to remember this: STEVEN is proof that one small spark can have infinite consequences — in the story and in real life.

FilmPlatforms gave my dream a spark.

This project is what happened next.

---

About Barry Miller​

Barry Fredrick Miller is a New Jersey-based, WGAE-registered screenwriter (Registration No. 1347110) who began writing in seventh grade after being inspired by Sylvester Stallone.

Before focusing on screenwriting, Miller worked as an actor and appeared as a prison guard in Wild Out, as an extra in War of the Worlds, Creed II, and In the Weeds, as well as in Sega Dreamcast NFL 2K1 and Eagle commercials.

His current screenplay, STEVEN, is an original contained horror project combining fictional genre storytelling with elements inspired by personal experiences.

Project: STEVEN
Genre: Horror
Screenplay: 100 pages — locked
Production approach: Contained production / practical effects / no VFX
Target shoot: 18-day SAG Ultra Low Budget production
Target period: Fall 2027, or earlier if production and financing are secured
Currently seeking: Producer / production partners

Contact Barry Miller:
outlawtorn35@gmail.com

 

[norwest]

Barry Miller on Turning Personal Experience into STEVEN​

View attachment 269

Before the Credits - introduces emerging filmmakers and creators before the industry knows their names exploring the projects they are building, the experiences behind them, and what they need to take the next step.

This edition features Barry Miller, a New Jersey-based, WGAE-registered screenwriter and former actor whose horror screenplay STEVEN grew from an early fascination with Halloween into an original story shaped in part by experiences from his own life.

Barry began writing in seventh grade, inspired by Sylvester Stallone. Years later, what initially started as an idea connected to the world of Michael Myers evolved into something much more personal and entirely his own.

---

​

View attachment 270​

1. What was the first idea or moment that led to this project?​

STEVEN originally started as a prequel to the 1978 Halloween. I wrote it with Michael Myers in mind, but once I finished the screenplay, I realized I couldn't realistically sell it because I didn't own the rights.

So I decided to take what I had and turn it into my own original story. I began pulling elements from my own life into several scenes and moved completely away from Michael Myers. Once I did that, everything clicked. The story became its own thing, and the writing came naturally.

---

2. What is the main idea or emotion you hope audiences will take away from the story?​

I want audiences to feel the fear of being lied to, but also the guilt that comes from knowing something is wrong and choosing not to act.

Sometimes the consequences of that decision don't end with you. What you ignore today can affect another person's life in ways you never expected. That burden and the consequences that follow are at the heart of STEVEN.

---

3. What part of the project do you feel really sets it apart from other similar stories?​

The fact that parts of it could actually happen.

Certain scenes in STEVEN are rooted in things that happened to me personally. I built fictional elements around those experiences, but the emotional core of those scenes is real.

And no, I wasn't the fire kid. That part didn't happen. Laughs.

---

4. Was there a point during development when your original idea changed significantly? If so, what caused that change?​

Absolutely. The biggest change came when I had to decide whether there was any realistic future for the screenplay while it was still connected to Michael Myers.

I even wrote to John Carpenter hoping to get his approval, but I never received a response. Eventually I told myself to forget it. I didn't want to build a project around rights I didn't control or spend my time dealing with potential legal issues.

That decision pushed me to create my own characters and my own story. Looking back, it was probably the best thing that could have happened to STEVEN because that's when it really became mine.

---

5. If you received the support you needed tomorrow to move the project one major step forward, what would that next step be?​

Finding the right producer.

I'm looking for someone who understands contained horror, practical effects, and what can realistically be achieved on an 18-day SAG Ultra Low Budget shoot.

The screenplay is locked at 100 pages, the production is designed around practical effects rather than VFX, and I've thought seriously about how the film could actually be made rather than simply writing something and hoping someone figures it out later.

I'm ready to move forward when the right producer comes aboard.

---

6. What does your production timeline look like? When would you realistically want to begin shooting?​

The story needs the right seasonal look, so ideally we would shoot during fall or winter, but without snow.

Fall 2027 is a realistic target, although if the right opportunity, producer, and financing came together earlier, I'd be ready to move sooner.

---

7. What makes you confident that this project could reach or resonate with its intended audience today?​

Bullying and the consequences of ignoring what young people are going through are still very real issues.

STEVEN takes those ideas into horror, but underneath the genre elements there is something I think many families can recognize: what can happen when warning signs are missed, when someone keeps being pushed, and when the people around them don't realize the damage being done until it's too late.

It's a horror story, but there's a message underneath it. If the film makes someone think more carefully about what a child might be experiencing behind closed doors, then the story has done something beyond simply frightening an audience.

---

8. If someone discovers you and your project for the first time through this interview, what is the one thing you would like them to remember?​

I'm a self-taught screenwriter, so creating something with real meaning feels like a feat beyond words.

If you discover me and STEVEN for the first time here, I want you to remember this: STEVEN is proof that one small spark can have infinite consequences — in the story and in real life.

FilmPlatforms gave my dream a spark.

This project is what happened next.

---

About Barry Miller​

Barry Fredrick Miller is a New Jersey-based, WGAE-registered screenwriter (Registration No. 1347110) who began writing in seventh grade after being inspired by Sylvester Stallone.

Before focusing on screenwriting, Miller worked as an actor and appeared as a prison guard in Wild Out, as an extra in War of the Worlds, Creed II, and In the Weeds, as well as in Sega Dreamcast NFL 2K1 and Eagle commercials.

His current screenplay, STEVEN, is an original contained horror project combining fictional genre storytelling with elements inspired by personal experiences.

Project: STEVEN
Genre: Horror
Screenplay: 100 pages — locked
Production approach: Contained production / practical effects / no VFX
Target shoot: 18-day SAG Ultra Low Budget production
Target period: Fall 2027, or earlier if production and financing are secured
Currently seeking: Producer / production partners

Contact Barry Miller:
outlawtorn35@gmail.com

Interesting journey behind STEVEN. Turning something that originally depended on an existing franchise into a completely original story and then bringing personal experience into it probably gave the project a much stronger identity.

Good luck finding the right producer and taking it to the next stage, Barry.

 

[BarryM]

Interesting journey behind STEVEN. Turning something that originally depended on an existing franchise into a completely original story and then bringing personal experience into it probably gave the project a much stronger identity.

Good luck finding the right producer and taking it to the next stage, Barry.

Thank you

 

[Max]

Thank you

Barry, since finding the right producer is the next step, have you already put together a producer-facing package for STEVEN — for example, a pitch deck, synopsis, and preliminary budget range?

With the screenplay locked and the production approach already clearly defined, that could make it easier for interested producers to take a closer look at the project.

 

[BarryM]

Barry, since finding the right producer is the next step, have you already put together a producer-facing package for STEVEN — for example, a pitch deck, synopsis, and preliminary budget range?

With the screenplay locked and the production approach already clearly defined, that could make it easier for interested producers to take a closer look at the project.

I do have a pitch deck, synopsis and budget range. I appreciate the advice. This is helpful. Thank you.

 

[Max]

I do have a pitch deck, synopsis and budget range. I appreciate the advice. This is helpful. Thank you.

That’s great it sounds like you already have the key materials in place.

A couple of smaller genre-focused companies might be worth looking into as well. Renfield Productions works specifically with contained horror and thrillers, although they only consider screenplays through referral. MasiMedia is another independent company focused heavily on horror and open to hearing from filmmakers looking for project partners.

They may or may not be the right fit for STEVEN, but they could be worth researching.

 

[BarryM]

Interesting journey behind STEVEN. Turning something that originally depended on an existing franchise into a completely original story and then bringing personal experience into it probably gave the project a much stronger identity.

Good luck finding the right producer and taking it to the next stage, Barry.

That’s great it sounds like you already have the key materials in place.

A couple of smaller genre-focused companies might be worth looking into as well. Renfield Productions works specifically with contained horror and thrillers, although they only consider screenplays through referral. MasiMedia is another independent company focused heavily on horror and open to hearing from filmmakers looking for project partners.

They may or may not be the right fit for STEVEN, but they could be worth researching.

Max — thank you, this is really helpful. I do have the deck, synopsis, and prelim budget/range locked along with the screenplay (v13.6 FINAL — 100p, WGAE # I347110). Appreciate the leads on Renfield Productions and MasiMedia — I'll research both. If you have a contact path for Renfield given the referral note, I'd be grateful, but no pressure at all. Thanks again for the guidance on STEVEN.

 

[JAL]

Barry Miller on Turning Personal Experience into STEVEN​

View attachment 269

Before the Credits - introduces emerging filmmakers and creators before the industry knows their names exploring the projects they are building, the experiences behind them, and what they need to take the next step.

This edition features Barry Miller, a New Jersey-based, WGAE-registered screenwriter and former actor whose horror screenplay STEVEN grew from an early fascination with Halloween into an original story shaped in part by experiences from his own life.

Barry began writing in seventh grade, inspired by Sylvester Stallone. Years later, what initially started as an idea connected to the world of Michael Myers evolved into something much more personal and entirely his own.

---

​

View attachment 270​

1. What was the first idea or moment that led to this project?​

STEVEN originally started as a prequel to the 1978 Halloween. I wrote it with Michael Myers in mind, but once I finished the screenplay, I realized I couldn't realistically sell it because I didn't own the rights.

So I decided to take what I had and turn it into my own original story. I began pulling elements from my own life into several scenes and moved completely away from Michael Myers. Once I did that, everything clicked. The story became its own thing, and the writing came naturally.

---

2. What is the main idea or emotion you hope audiences will take away from the story?​

I want audiences to feel the fear of being lied to, but also the guilt that comes from knowing something is wrong and choosing not to act.

Sometimes the consequences of that decision don't end with you. What you ignore today can affect another person's life in ways you never expected. That burden and the consequences that follow are at the heart of STEVEN.

---

3. What part of the project do you feel really sets it apart from other similar stories?​

The fact that parts of it could actually happen.

Certain scenes in STEVEN are rooted in things that happened to me personally. I built fictional elements around those experiences, but the emotional core of those scenes is real.

And no, I wasn't the fire kid. That part didn't happen. Laughs.

---

4. Was there a point during development when your original idea changed significantly? If so, what caused that change?​

Absolutely. The biggest change came when I had to decide whether there was any realistic future for the screenplay while it was still connected to Michael Myers.

I even wrote to John Carpenter hoping to get his approval, but I never received a response. Eventually I told myself to forget it. I didn't want to build a project around rights I didn't control or spend my time dealing with potential legal issues.

That decision pushed me to create my own characters and my own story. Looking back, it was probably the best thing that could have happened to STEVEN because that's when it really became mine.

---

5. If you received the support you needed tomorrow to move the project one major step forward, what would that next step be?​

Finding the right producer.

I'm looking for someone who understands contained horror, practical effects, and what can realistically be achieved on an 18-day SAG Ultra Low Budget shoot.

The screenplay is locked at 100 pages, the production is designed around practical effects rather than VFX, and I've thought seriously about how the film could actually be made rather than simply writing something and hoping someone figures it out later.

I'm ready to move forward when the right producer comes aboard.

---

6. What does your production timeline look like? When would you realistically want to begin shooting?​

The story needs the right seasonal look, so ideally we would shoot during fall or winter, but without snow.

Fall 2027 is a realistic target, although if the right opportunity, producer, and financing came together earlier, I'd be ready to move sooner.

---

7. What makes you confident that this project could reach or resonate with its intended audience today?​

Bullying and the consequences of ignoring what young people are going through are still very real issues.

STEVEN takes those ideas into horror, but underneath the genre elements there is something I think many families can recognize: what can happen when warning signs are missed, when someone keeps being pushed, and when the people around them don't realize the damage being done until it's too late.

It's a horror story, but there's a message underneath it. If the film makes someone think more carefully about what a child might be experiencing behind closed doors, then the story has done something beyond simply frightening an audience.

---

8. If someone discovers you and your project for the first time through this interview, what is the one thing you would like them to remember?​

I'm a self-taught screenwriter, so creating something with real meaning feels like a feat beyond words.

If you discover me and STEVEN for the first time here, I want you to remember this: STEVEN is proof that one small spark can have infinite consequences — in the story and in real life.

FilmPlatforms gave my dream a spark.

This project is what happened next.

---

About Barry Miller​

Barry Fredrick Miller is a New Jersey-based, WGAE-registered screenwriter (Registration No. 1347110) who began writing in seventh grade after being inspired by Sylvester Stallone.

Before focusing on screenwriting, Miller worked as an actor and appeared as a prison guard in Wild Out, as an extra in War of the Worlds, Creed II, and In the Weeds, as well as in Sega Dreamcast NFL 2K1 and Eagle commercials.

His current screenplay, STEVEN, is an original contained horror project combining fictional genre storytelling with elements inspired by personal experiences.

Project: STEVEN
Genre: Horror
Screenplay: 100 pages — locked
Production approach: Contained production / practical effects / no VFX
Target shoot: 18-day SAG Ultra Low Budget production
Target period: Fall 2027, or earlier if production and financing are secured
Currently seeking: Producer / production partners

Contact Barry Miller:
outlawtorn35@gmail.com

Hi Barry!
What a interesting read. It was great to hear, what got you here, all your hard work, and the message you want people to take away from your film. Most profound to me, was your quote about the fear you want people to feel, when being lied to, its profound and terrifying, perfect for a horror film! Can't wait to have the wits scared out of me!

 

[BarryM]

Hi JAL — thanks so much for reading that. Really appreciate you picking up on that line — that fear of being lied to by people who are supposed to protect you is the whole core of STEVEN for me. It came from a very personal place, so it means a lot that it landed that way.

Hope I can scare the wits out of you too when it hits the screen!

Thanks again for the kind words,

Barry

 

[John]

Hi JAL, thanks so much for reading that. Really appreciate you picking up on that line that fear of being lied to by people who are supposed to protect you is the whole core of STEVEN for me. It came from a very personal place, so it means a lot that it landed that way.

Hope I can scare the wits out of you too when it hits the screen!

Thanks again for the kind words,

Barry

Barry, it looks like you already have the core materials for the project well in place. One useful next step might be to build a very focused list of 10–15 producers who have actually taken contained horror projects of a similar scale through production.

I wouldn’t just look at who works in horror, but who has produced films at a comparable budget level in the last few years and what happened to those projects afterward: did they reach production, festivals, or distribution?

A smaller, well-researched list can often be far more valuable than a hundred general approaches. Best of luck with the next step!

 

[BarryM]

Barry, it looks like you already have the core materials for the project well in place. One useful next step might be to build a very focused list of 10–15 producers who have actually taken contained horror projects of a similar scale through production.

I wouldn’t just look at who works in horror, but who has produced films at a comparable budget level in the last few years and what happened to those projects afterward: did they reach production, festivals, or distribution?

A smaller, well-researched list can often be far more valuable than a hundred general approaches. Best of luck with the next step!

Hi John — thanks for this, really appreciate you taking the time.

That makes a lot of sense — 10-15 focused vs. 100 general. And good call on filtering by budget level and what actually made it to production / festivals / distribution, not just "horror" credits. That's a sharper way to build it.

I've got my core materials in place, so that's a great next step. Thanks again for the solid advice.

Barry

 

[John]

Hi John — thanks for this, really appreciate you taking the time.

That makes a lot of sense — 10-15 focused vs. 100 general. And good call on filtering by budget level and what actually made it to production / festivals / distribution, not just "horror" credits. That's a sharper way to build it.

I've got my core materials in place, so that's a great next step. Thanks again for the solid advice.

Barry

Glad it was useful, Barry. Sounds like you’ve got a solid foundation in place now it’s really about finding the right people rather than simply more people. Keep us posted on how it develops.

 

[BarryM]

Glad it was useful, Barry. Sounds like you’ve got a solid foundation in place now it’s really about finding the right people rather than simply more people. Keep us posted on how it develops.

Thanks John — appreciate that. Right people, not more people — that's exactly the shift I'm making. Will keep you posted on how it develops.


Barry