Happy Sunday, Creative Army!

Have you had a creative weekend so far? Whether you’ve been writing, filming, editing, or simply dreaming up your next big idea, I’ve got some inspiring content to fuel your passion and keep you moving forward. So grab your coffee, and let’s dive in.

Let’s start with this brilliant video essay from Panavision: Oona Menges, BSC on cinematography, collaborating, and Ruby Speaking.

Oona Menges has had a decades-long career as a cinematographer, and throughout it she’s held onto one central question: what makes this story tick? For Ruby Speaking, that meant creating a visual language that didn’t just look good on screen, but captured the emotional truth of the character.

Instead of chasing stylized frames or flashy camera tricks, Menges leaned into a subtler, more grounded approach. She focused on naturalistic lighting and composition that emphasized intimacy over spectacle, framing Ruby in her everyday environments in ways that highlighted her quiet resilience rather than cinematic grandeur. Her choices in lenses, blocking, and camera movement were all designed to make the audience feel like they were in Ruby’s world, seeing her not as a “hero,” but as a person whose small, uncelebrated acts of kindness form the heart of the story.

That’s the real lesson here. Ruby Speaking is a reminder that cinematography isn’t just about aesthetics, it’s about using light, framing, and movement to serve the story and amplify character. When you approach your own projects with that mindset, you stop chasing “pretty” images and start creating visuals that resonate emotionally. At the end of the day, the best cinematography doesn’t just look good; it makes the audience feel.

During a recent Stage 32 Ask Me Anything, a member asked a question I know weighs on a lot of writers: “If I sell my script, can I keep the rights to my characters?”

The short answer? Probably not. Unless you’re George Lucas in the 1970s negotiating for Star Wars, it’s extremely rare for a writer to retain character rights after a sale. But here’s the good news: you’re not powerless. What you can do is negotiate for other terms that protect and reward you, like profit participation, backend points, or even involvement as a consultant on future iterations. The key is to go into every deal with a clear understanding of both your creative priorities and your business goals.

That means taking the time to learn as much about the business side of writing as you do about the craft itself. It also means surrounding yourself with trusted attorneys, reps, and mentors who can guide you when the stakes are high. And above all, it means walking into any negotiation knowing what matters most to you and where you’re willing to compromise. You may not walk away owning your characters, but you can walk away with a deal that respects your voice, rewards your creativity, and positions you for even greater opportunities. That’s how you turn one script into a career.

Now I want to hear from you: what’s one question you’ve had about the business side of the industry that keeps you up at night? Drop it in the comments and let’s start a conversation that could help not just you, but others in this community.

As always, we love sharing inspiration, tools, and insights that help fuel your creative fire. Know someone who would love this content? Share it with them. And don’t forget to tag us (@Stage32) if you do. You can keep up with everything we’re doing on the Stage 32 YouTube and by following me on Instagram and X: @rbwalksintoabar.

Wishing you a happy, healthy, and creative Sunday.

Cheers,

RB

Panavision | Oona Menges, BSC on cinematography, collaborating, and Ruby Speaking

RBWalksIntoABar | If I Sell My Script, Can I Keep the Rights to My Characters?

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