Female driven ‘fugitive stag’? But of course, when Medusa is its Patroness!

AUGUST 2020There is a massive need for female-driven projects across all genres! NBCUniversal is going all in for Joe Exotic (working title), UCP’s limited series starring and executive produced by Kate McKinnon! Netflix just dropped the first trailer for pic Enola Holmes about Sherlock’s teen sister, starring Millie Bobby Brown!  And Literary Manager and Producer Scott Schulman has just attached an emerging female director to a feature Thriller! 

What does this mean for you? It is time to take your female-driven script to production companies, studios, and distributors who are looking for great material. 

THE FUGITIVE STAG IS A Screenplay PLUS – ready to go to the next stage.

Artemis & Actaeon by Richard L Minns


“But not just Hollywood, surely?”

It’s not uncommon to view Hollywood as a young person’s game. It can feel like there’s an expiration date for when you’re “allowed” to break into the entertainment industry, and at some point, the doors simply close. This doesn’t need to be the case, though, and there are many examples of people finding success later in life or after transitioning from a different industry altogether. In fact, there are big advantages to taking this step at this point in your life and upper hands that Hollywood lifers will never experience. Nonetheless, transitioning to a creative career later in life is not easy and presents unique challenges. But with a strong lay of the land and the proper tools under your belt, it’s a journey that is absolutely achievable - STAGE32.
The Ageless Ariadne and Bacchus (Dionysius) Key mythical guardians behind the epic tale of ‘The Fugitive Stag’

Wholeness and Integrity

Tarkovsky’s search for wholeness, for the integrity of the world, might be read in reductive psychological terms: the separation of his parents in 1935 deeply marked him, and such films as The Mirror and Solaris reveal his yearning for a reassembled family. (His concern with memory, both private and ancestral, is largely reconstitutive.) More importantly, it reflects his preoccupation with spiritual and psychic renewal, dependent in his view on a series of vital connections: with nature, with the past, with originating cultures, including that of pre-revolutionary Russia.

With its holy madmen, saints and seers, and its Dostoevskian themes of atonement, apocalypse and imprisonment, loss of spirituality and hope, Tarkovsky’s cinema has its origins in 19th-century Russian culture (as frequently did Bresson’s).
From - Andrei Tarkovsky: The Poet of Apocalypse
James Quandt 1 October 2018 
The “impossible” final shot of Nostalghia: the dacha inside the cathedral