Happy Sunday, Creative Army!

Let’s kick things off with a huge shoutout to everyone who has already jumped into this month’s Introduce Yourself Weekend. Thousands of creatives from around the world are connecting, sharing their stories, and building relationships that will lead to collaborations, opportunities, and lifelong friendships.

If you haven’t yet made your introduction, you’ve still got time! Head over to the Introduce Yourself Lounge and say hello before the weekend wraps. Be bold. Introduce yourself. The next great opportunity could be one connection away.

This week’s featured video is a deep dive into the NIGHTMARISH production of 28 Years Later from the team at Frame Voyager. After nearly two decades of false starts, delays, and creative stops and starts, 28 Years Later finally clawed its way out of development hell. Originally pitched as 28 Months Later, the project was sidelined for years, everything from underwhelming box office returns to complicated rights issues to creative disinterest from Danny Boyle and Alex Garland. Even with flickers of interest (like Cillian Murphy voicing support back in 2019), the spark didn’t fully catch until 2023. By 2024, they weren’t just back, they were rebooting the franchise with a brand-new trilogy. But here’s what really caught my eye…

Boyle and cinematographer Anthony Dod Mantle made a bold return to the franchise’s raw aesthetic. They shot a huge portion of the film on iPhone 15 Pros, using anamorphic lenses and custom rigs to recreate that gritty handheld feel that made the original so iconic. They went even further: 20 iPhones rigged for bullet time, infrared cameras, and lo-fi, indie-style experimentation, all within a major studio production. That’s the kind of creative risk that reminds us it’s not about the gear, it’s about the vision.

Speaking of sequels…

During my most recent Ask Me Anything event, a member asked me a great question: “If my script becomes a sequel and I don’t write it, can I still get paid on it?”

Here’s the deal: if you’re not writing the sequel, you’ll likely be in line for some kind of producing credit. Whether that ends up being Executive Producer or Associate Producer, it all comes down to what was negotiated when the original deal was made.

I’ll give you an example. The first script I ever sold, one I always thought of as a standalone, was bought by a production company that immediately said, “We love this because we see two or three sequels in it.” That caught me completely off guard. But I had a smart entertainment attorney by my side, and we made sure the contract included language to protect me when it came to sequels, spin-offs, and even other mediums like podcasts or stage plays.

Bottom line? A damn good attorney is worth their weight in gold. Sometimes, even more valuable than a manager or an agent. That’s the takeaway I want you to hold onto this week, whether you’re working on your next short film, negotiating your first option, or prepping for a pitch, it’s your job to protect your creative future. And knowing what to negotiate for from day one could make all the difference later.

Now I want to hear from you, have you ever thought about how your story might continue beyond the current script? Have you built in any protections for sequels, spin-offs, or other formats? Let’s talk about it in the comments.

As always, we love sharing inspiration, tools, and insights that help fuel your creative fire. Know someone who would love this content? Share it with them. And don’t forget to tag us (@Stage32) if you do. You can keep up with everything we’re doing on the Stage 32 YouTube and by following me on Instagram and X: @rbwalksintoabar.

Wishing you a happy, healthy, and creative Sunday.

Cheers,

RB

Frame Voyager | NIGHTMARISH Production of 28 Years Later

RBWalksIntoABar | If My Script Becomes a Sequel & I Don't Write It, Can I Get Paid On It?

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