DEVELOPMENT & IP
When the project is bigger than one film
Some projects aren't a script to sell. They're a world with more story in it than a feature can hold, characters that work outside the format they were born in, or a short that was always a proof of concept for something larger.
Those need a different conversation than "who buys this." They need to be built into something a producer, a financier or a platform can evaluate as a business — a series architecture, a bible, a pitch deck, a franchise case. That's what this is.
WE DON'T DO THIS FOR EVERY PROJECT
Most scripts should be sold as scripts. Most shorts should be placed as shorts. Development is the right answer for a narrow set of projects, and pushing a project into it that doesn't belong there wastes a year and a lot of money.
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It's worth the conversation if:
— The world holds more story than one film. Not "there could be a sequel" — genuinely more, with somewhere for it to go.
— The characters work outside their original format, in another medium or another length.
— The commercial ceiling isn't theatrical. Merchandising, format licensing, co-production, brand extension.
— You have a finished short that was always a test for the feature.
If none of those is true, we'll tell you — and a Market Read answers the question before you commit to anything larger.
WHAT WE BUILD
Short film → Feature
You have a finished short. We develop the feature-length architecture and build a pitch package that uses the short as visual evidence — the proof that the tone works and the world holds. The short stops being a calling card and becomes the argument.
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Script or concept → Series
We map the season arc, define the episode engine, and build the Series Bible: what the show is, why it runs, where it goes after season one. A showrunner or a network needs to see the multi-season shape before they can commission anything.
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Characters or episodes → Franchise
We develop the IP strategy beyond the screen: merchandising logic, format licensing, co-production packaging, territory strategy. For animation and character-led work this is often where the actual revenue is, and it has to be designed in, not discovered afterwards.
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Investor and co-production packaging
Across all three: the pitch deck, the visual strategy, the business case, and the materials needed to walk into a co-production market as a project rather than an idea.
WHAT WE ARE WORKING ON NOW
We won't put other people's franchises on this page and imply they're ours. Here's what's actually in front of us.
An animated series IP, currently in discussion with its creators — franchise architecture, merchandising strategy, and co-production packaging for international markets.
An original narrative IP in development with its author toward series format, spin-offs and branded extensions.
Several screenplay clients where the honest answer wasn't "sell this script." It was: this is bigger than one film, and it needs to be packaged that way before anyone can say yes to it.
That last line is where this service came from. It isn't a business we set out to build — it's a conversation that kept happening.
HOW AN ENGAGEMENT RUNS
Development is scoped per project.
There's no fixed price, because there's no fixed shape — a series bible for a six-episode animation and a feature architecture built off a short are different amounts of work. We quote after step one, and you see the number before you commit to anything.
HOW WE WORK
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You own everything. All IP, copyright and title stay 100% yours. What we build is work product delivered to you.
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Non-exclusive. We don't take rights, and we don't take exclusivity on the project.
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Scoped and quoted upfront. No open-ended engagements, no hourly surprises.
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Fees for the work, plus success terms where relevant. Agreed and written down before we start.
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No guarantees. We don't promise financing, greenlights, or a franchise. We build the case; the market decides.
ALREADY HAVE A FINISHED FILM?
Then you don't need development — you need a sales strategy.
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