PRODUCER
“Would I put my name on this and take it out?”
Your first champion. Reads for the premise and the commercial hook, tells you what’s already working, and, when it applies, names what’s keeping them from taking your script to talent.
How we read
A tool designed for your next draft.
One project. A first read, then two revision reads.
The first read sends your draft through the rooms in order and shows you where the project stands. You rewrite that same script, return to the project, and use the first revision read when the new draft is ready. Rewrite again, and the second revision read tests the next draft. Those two reads stay with this project.
One draft. Four rooms waiting to read it.
Every pass you do on your script can P.A.S.S. through these rooms:
ATTACHMENTS
“Should I do this project next?”
The talent deciding whether to commit a chunk of their lives to your film: a director, a lead, a supporting actor. Each tells you what they respond to, what gives them pause, and what they want to see next.
STUDIO EXECUTIVE
“Can I defend this upward?”
Weighs what it costs, the commercial upside, and the talent attached, then decides what has to be on the page before they’d take it toward a greenlight.
STUDIO GREENLIGHT
“Do we spend real money to make it?”
The last room, and the hardest to get past. They weigh production cost, audience, and campaign against everything the earlier rooms found. Then the Studio Head makes the call the whole read has been building to: do we make this movie, or send it back to development?
What you can submit.
A treatment, an outline, a pitch, a partial or full screenplay, or coherent narrative prose submitted as film or television material. A project isn’t rejected for being unfinished. Intake judges the pages themselves, not the format selected in the form. A refused submission gets a specific explanation and doesn’t use a read credit.
The rooms read the movie you actually wrote, not the one in your logline.
Before the first read, you provide a logline, comps, genre, target budget, and whether the project is original or based on existing IP.
That context tells the readers what you’re going for. The pages show what you’ve actually got. The project context carries into revisions and can be edited; you don’t enter it again for every draft.
How the next draft is read.
A revision carries writer-safe memory (the notes, never a copy of your pages) from the rooms the project reached: the prior verdict, what’s still open, and the parts of the script worth protecting.
Each returning room checks the current pages against what it raised before. It can credit a real improvement, say when a note is still there, or name something the rewrite weakened.
The scale and distribution your film could carry.
You may call it a $5M thriller. The pages tell the readers whether it really is, or a $20M one wearing a smaller budget.
The company names below are reference points for scale and audience, not a connection to any company or a path to a buyer.
Tier (scale the film can carry)
Specialty: Contained or voice-driven films aimed at a focused theatrical release. Searchlight, Focus, Neon.
Genre: Commercial genre with a real hook, built for a wider theatrical push. New Line, Screen Gems, Blumhouse.
Main studio: Large-scale material that can carry production, talent, and a campaign. The five majors: Universal, Paramount, Warner Bros, Sony, Disney.
Distribution lane (how it goes out)
Theatrical: a cinema release, at any of the three tiers.
Streaming: straight to a home audience; a film at any tier can land here. Netflix, Amazon, Apple.