Is It Producible?

Let’s face it—you’re a writer, and chances are you’ve been stockpiling scripts like Infinity Stones: one (or maybe several) finished scripts, meticulously polished and proofread, seem to be collecting dust on your computer. Some may have placed in contests. Others were read by executives who "loved your voice" but are now focusing on IP-driven projects.

The good news is you can still get your script made.

You just need to start thinking like a producer.

You’ve probably heard the following term thrown around a lot by those aforementioned execs.

“Is it producible?”

You’re thinking, “Of course! Just give me the money, and we’ll go make it.”

Unfortunately, it’s not that simple.

Let’s take a long, hard, objective look at that word. Producible.

That’s where I come in to help.

The term “producible” entails a number of factors within a short, simple phrase. Is the concept “sticky” or “sexy”? Is the script itself strong enough to attract a filmmaker? Are the roles juicy enough to attract cast? Can it be made for a price?

Look, as a producer, I always love a bold and ambitious script. But let’s be real here—if you wrote something that contains massive battles, insane action set pieces, a talking CGI dragon … you wrote a big-budget, blockbuster, not an indie film.

And that’s not to say that it isn’t producible, but in the current marketplace, without a piece of strong IP behind it or some sort of proven element, a studio or buyer is going to be much more averse to opening up their checkbook to that amount than say something more in the range of the sub $5-10M category.

Think of it as a game of 4-D chess. Yes, your original piece of epic, world-building IP might just be the next Star Wars or "Stranger Things" … but why not establish some street cred and a track record with something that can be produced?

It’s not about limiting your imagination; it’s about understanding what is actually possible to make as a first film. When producers read your script, it’s not just the “is it good” question. We’re asking ourselves, “Can we realistically shoot this in 20 or so days without needing NASA-level funding?”

If your answer is a resounding YES, then you’re already ahead of the game.

Writers often tend to shoot straight for the moon, thinking, “Who should I send my script to? Universal? A24? Margot Robbie’s agent? Chris Evans?”

Let’s pump the brakes there.

Your first crucial ally is not necessarily an actor. It’s a producer.

Let’s define what a producer entails:

A great producer is someone who not only appreciates your writing and understands your vision but also brings a number of essential abilities to the table. These include (but are not limited to) a network of industry relationships, practical budgeting expertise, a savvy for identifying the right partners to package a project, and strategies for securing financing. The best producers can analyze scripts for feasibility, anticipate and resolve logistical hurdles, and drive projects forward by blending creative insight with practical know-how.

Every writer has received notes. The quality of those notes may vary. When a producer comes on board, they’ll likely have notes. Take these notes as a means of collaboration. Aligning yourself with a producer who gives notes that both evolve the script and make it attractive to those tricky, risk-averse investors is a relationship worth its weight in gold.

Honestly, 9 times out of 10, a producer isn’t trying to ruin your script. They’re trying to get it made. Sometimes that means cutting a scene, combining characters, reducing the number of locations, or changing something for budget or clarity’s sake.

It’s not personal.

It’s problem-solving.

Having the humility and flexibility to take these notes is indeed a superpower. Yes, you may not agree to some or resist them.

But think objectively here and decide which hill you’d like to die on.

Do you really need that big shootout, or is there a more clever way to reach your finale? Do we have to see a whole backstory involving a montage of 30+ locations showing a character’s origin story, or is it better suited as a monologue or even a dialogue sequence cleverly setting up the character? (Think of how De Niro’s character in Mean Streets is introduced compared to say the sprawling storytelling setting up his character in Casino.)

Which brings us to concept.

Your concept matters more than your page count (though that, too, is a significant factor). As a producer, I can fix pacing. I can fix structure. I can rearrange a character’s arc so someone who was once a hero now comes across as a villain.

What I can’t fix is a boring idea.

Remember this: investors, actors, directors, reps, distributors—they all hear hundreds of pitches a week. Your script’s first job is to make them lean forward, turn the page, and desire to hear more.

Not with complexity or expensive spectacle, but with intrigue.

You’ve gotta sell both the steak and the sizzle. Boil it down to an essential element, and help elevate that idea beyond mere genre tropes.

Which leads us to budget.

We don’t expect you to look at a script and know exactly how much it will cost. Budgets can be general or complicated. They’re fluid, and it’s not easy to define how we reach a certain number. It just isn’t.

Some of the (MANY) things that influence and drive up the budget are:

• Locations
• Amount of cast (including extras)
• Elaborate stunts and action sequences—punches tend to be cheap, guns and cars are expensive
• Special Effects / CGI
• Animals
• Kids (anyone under 18)
• Anything that takes place in a different period than the present

Understand the scope of your script. Know what it will take to capture it. Be prepared with answers for how it will look on screen, even if it reads differently on the page.

The 2023 film The Last Stop in Yuma County is an excellent example that encompasses a lot of what we’ve been discussing so far. Written and directed by Francis Galluppi, it was made for around $1 million, and he does a lot with a little. The movie is a twisty crime thriller centered around a traveling salesman who finds himself in the middle of a hostage situation when two robbers on the run arrive. It’s an instantly hooky concept with a decent-sized ensemble. He found a location with a gas station, diner, and hotel—and even managed to cram in an explosion! Using many of the principles we’ve discussed, Francis pulled off a well-executed, low-budget film that was satisfyingly entertaining. Now he’s directing one of the next Evil Dead movies!

If you’re lucky enough to have all these pieces fall into place—producer, talent (filmmakers and cast), budget—then the real fun begins.

Production. This is a whole other beast and could fill a series of articles. The day you’re standing on set, seeing your words filmed, will be pretty satisfying. Then comes post-production, leading to distribution and (hopefully) your writing finally seeing the cold light of day to a paying audience.

Your first film is your calling card, not your masterpiece.

It’s your beginning.

Write boldly. Collaborate generously. Think practically. Build smartly.

Keep going, even when the going gets tough or the path gets weird. Sometimes that final push gets you over the hump.

Because one day, if you stick with it, you’ll be sitting in a dark theater watching your words unspool before you on a large screen, surrounded by a bunch of strangers enraptured by the story you’re telling.

And trust me … there is no feeling in the world that can match it.

*Feature image by By fran_kie (Adobe)