FOR FILMMAKERS
You have the idea. Here's the road.
From a notion you can't stop thinking about, to a script, to a plan somebody can say yes to — with people who have actually shot a feature walking next to you.
Nobody funds a script. They fund a plan.
The gap between 'I wrote a movie' and 'I can make this movie' is not talent. It's paperwork. It's a breakdown that lists every prop, location and speaking part. A budget that survives someone else's accountant. A schedule that proves you can shoot it in the days you say you can. Investors don't read a script and imagine the logistics — they look for evidence that you already have. That work is not glamorous, and it is not optional. We do it for a living, at prices you can pay before anyone has given you money.
STAGE 01
I have an idea, but it isn't a script yet.
Development sessions: working hours with a produced writer-director. Structure, character, act breaks, the outline that won't cooperate. On the phone or in the room, one hour at a time — until the idea is pages.
STAGE 02
I have a script. I don't know what I have.
The Read: one-sheet coverage, delivered fast. A logline, a synopsis, the bones of the script, and the production red flags we'd raise before anyone spends money. The cheapest honest look you can get.
STAGE 03
I want to know what it costs.
Blueprint: a full scene-by-scene breakdown, a blank budget and an estimated budget at real rates. Your movie, priced. This is the spine everything else builds on.
STAGE 04
I'm actually going to make this.
Workbook and Production packages: character, location and prop bios, the director's working material, a treatment, and a shot list with coverage for every scene. Then a financing-ready budget and shooting schedule from our pre-production side — the documents you take into the room to raise the money. If you need a pitch deck to go with them, we build those too.
STAGE 05
The money landed. Now it's real.
We already know your film scene by scene. Bring us on to staff the gaps, run the production system, or take the whole show — and whatever you already paid in prep comes off the top.
Wherever you are, there's a next step.
Every step credits toward the next one, so you never pay twice for the same work. Credit is good for 60 days from delivery.
What we won't do.
We don't tell you whether your movie is good. No pass, no consider, no recommend — coverage built on a verdict is the taste business, and taste is the one thing you already have opinions about. We stay in the service lane: here is what is in your script, here is what it will cost, here is what will hurt on the day. What we will tell you is where it breaks — continuity that won't cut, a location that appears once and eats a company move, eleven speaking parts in a scene you budgeted for four. That's the part nobody else flags until you're already shooting.
What it costs.
Flat fees, published here, priced by page count — a short film shouldn't pay feature prices. Feature prices shown; the full grid for shorts is on the Development page.
Development sessions: $100/hour, block of three $270. Roundtable Coverage (three readers): $249. Director's Prep Book add-on: +$450. Financing-ready budgets and schedules are priced separately on the Pre-Production page.
The Read — $79.
One-sheet coverage and red flags.
Blueprint — $450.
Breakdown, blank budget, estimated budget.
Workbook — $900.
Everything above, plus the production bios and director's material.
Production — $1,650.
Everything above, plus treatment and shot list.