Reading a Screenplay Like a Producer
Written by: Luc Saber - October 20, 2026

In this article, I’ll talk about why it’s important to read a screenplay twice for two distinct reasons prior to locking it.

Is the story creatively and emotionally sound?

Can we make this film with the resources we have, and are there elements contained within that must be addressed before we go to preproduction?

One of my favorite things to do after writing a screenplay for production, or reviewing a screenplay for a client, was to go to my favorite coffee shop on Ventura Boulevard in Encino, CA, grab an espresso, and settle on the terrace as the morning sun wiped away the dew from the blooming rose bushes. I’d go there early in the morning, before the nine-to-fivers would stop in to grab their cup of coffee on their morning commute.

Life was good, I thought. You know what they say: you’re not a true indie filmmaker until you make the local coffee shop your office. Do they really say that? Maybe, maybe not, but it’s true. I had an office at the old Warner Brothers lot, on Formosa Ave, in Hollywood for the better part of a decade, but that coffee shop was by far more special to me. 

Before I’d lock the script for production, there was one more thing I had to do, and that was to read the screenplay through the eyes of a producer. I had to take off the writer and director hat and throw on the producer hat. No, I didn’t actually have a baseball cap or a cowboy hat that said producer on it, just in case you were wondering.

Reading the screenplay through the eyes of a producer is one of the most important things a filmmaker can do. Once you complete writing the script, set it aside for a few days if time permits.

THE FIRST READ

Then, find a relaxing spot and read the script strictly for pleasure. At that point in time, you’re not a filmmaker; you’re a fan of the cinema reading a screenplay. See how the story makes you feel right from the start. Consider the emotions it brings out in you. 

When you finish reading, jot down how you feel about the hero, the antagonist, the setting, and the plot. Do all of those elements make you feel good, sad, angry, excited to read more, or do they fall flat? Whatever the emotion, good or bad, write it down. Then, put the script away and come back the next day.

When you’re back for the second read, make sure you have a pen and highlighter handy. 

By the way, I know that technology made it so that we would read everything onscreen, but trust me when I say that if you take the time to print out the script and read on actual paper, and you physically highlight and make notes right on the draft, it feels much more organic. Maybe I’m giving away my age again, but I truly believe you’ll have a much more productive session. 

THE SECOND READ

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The second read should focus on the structure, character development, story devices, production elements, casting considerations, legal and insurance considerations.

STRUCTURE EVALUATION

Act 1, 2, and 3 should have the appropriate elements, such as the inciting incident and the end-of-act-one beat that propels the story into Act 2. 

Rising action in Act 2, then a middle-of-act story reversal or a story twist that the audience wouldn’t expect. Falling action leads to the hero at the point of no return. 

At the top of Act 3, the hero rises out of the ashes and the chase begins, which leads to the big scene at the end where the final fight occurs or the lover wins the love interest over and they get back together, the monster is defeated, and so on.

Keep in mind that not all genres would categorize the aforementioned “chase” as a chase in the literal way, but a figurative chase—meaning that the story is coming to an end through a series of events, scenes, or plot points. 

PRODUCTION ELEMENTS TO CONSIDER

Other elements you should look for during your second read are potential production issues or elements that will provide opportunities to elevate the production. 

See if there are scenes that require stunts, extra equipment or specialized equipment, special effects, special makeup, longer time in makeup or costume fitting before a scene? 

It’s important to know how many pages to schedule for that production day. Things like pyrotechnics, for example. Is the fire marshal required on set? Are police officers needed to control traffic? Does a particular scene lend itself to the possibility of aerial photography? That would certainly elevate your production value.

If aerial shots, for example, would indeed elevate your production value, then before deciding to keep the scene or give the note to the writer (if it’s not you) to rewrite it, a responsible producer would estimate the cost for the aerial shot, evaluate the benefits versus the expense, and decide if an alternative, more inexpensive option would be available. 

I’ll give you a real-life example from one of the movies I wrote, produced, and directed. The executive with whom I consulted on the story said that foreign audiences enjoy seeing grand scenes of American cities. It was a note that was mentioned in passing, but I took it to heart and wrote my opening scene to include aerial photography. The problem was that aerial photography was expensive for the film that I was making, and I wouldn’t have enough funds to get all the footage I needed for the four-minute opening scene. So, in addition to limited aerial footage, I decided to rent a thirty-foot crane and add an additional camera for the three days the UPM scheduled to shoot that scene. We grabbed great bird’s-eye views of the block combined with multiple-angle shots of the chase and gunfire, and the footage cut very nicely in postproduction. Since we rented a second camera, we were able to grab that additional footage without resetting, and by doing so, we shot the scene in two days. 

Speaking of action scenes that involve multiple cars, police officers to stop traffic, gunshots with half-loads, and a thirty-foot crane, you have to consider the following: Do you need armorers? Do you need stunt coordinators? Look for set safety issues? Are there any beach scenes where sand can get into the equipment? Will there be boat or water scenes? Will the production insurance cost more if that happens? 

Keep in mind that film insurance companies will take a look at the script and may charge more if there are riskier scenes. 

If you produce family movies, other considerations may be: Are there performers under 18 years old? Is the production scheduled during the school year? Will there be a need for a set teacher? Are there local and federal requirements and paperwork to be filed for underage performers? 

As you go through the screenplay, you must highlight and make notes of scenes and scene elements that may trigger special considerations during production. 

The first read was to see how the story made you feel; now, along the same lines, you should take a closer look at how the dialogue sounds. Is it believable? Do the words roll off the tongue? Is the plot working? 

You should have a pretty good idea about the plot and dialogue from your first read, but this time around, look at it again and see what, if anything, can be done to improve the scene. 

Take careful notes because if you’re not the writer, you’ll have to share your “producer notes” with the writer. If you are the writer, then discuss your notes with your distribution executive and see if their script readers gave similar notes. 

Lastly, think of your crew and cast.

Your crew considerations should be about the production day. Do the scenes require extra effort or special crew considerations? Do you have scenes where you might need additional crew members or specialized professionals such as stunt coordinators or artists to design certain set pieces? I won’t go into an exhaustive list here since you get the point.

Cast considerations can include taking a close look at scenes which may be exciting for a notable actor to perform, such as a compelling monologue, for example. Or, is there an emotionally complex scene that may be an opportunity to attract an actor who wants that kind of role?

Does the screenplay require certain things of actors that notable actors may not be willing to do? It could very well be a physically demanding performance and other professional boundaries that should be discussed in advance directly and respectfully. 

If you have a list of actors to approach during development, then you should research the actor’s personal preferences and their past projects and genre of film they performed in, and take all these things into account. Consult with an experienced casting executive regarding elements of the script that an actor may find favorable or objectionable. 

You may ask why a producer should waste their time going through the screenplay with a fine-tooth comb since the UPM and the 1st AD will take care of the technical elements discussed and the director will address the creative part and will deal with the cast members? There are two main reasons why. 

You, the filmmaker, should be aware of every aspect of your production, starting with the script. The screenplay is your blueprint, and you are the architect. Be an informed producer. Secondly, that early in the pre-development phase, you may not have a UPM and 1st AD on board yet, and you will definitely have to pitch your project to the UPM and be prepared to answer questions that will most likely address the elements discussed. 

Reading a screenplay through the eyes of a producer doesn't mean looking for reasons not to make the film. It means understanding what it will take to bring the story to life.

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By identifying potential production challenges, evaluating the story, considering casting opportunities, and recognizing the resources the project may require, you give yourself the opportunity to address issues before they become problems on set.

Remember, the screenplay is your blueprint for the film.

The more thoroughly you understand it before moving into pre-production, the better prepared you'll be to turn the words on the page into a finished motion picture.

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About the Author

Luc Saber is a filmmaker, screenwriter, producer, director, author, and story and production consultant with more than 30 years of experience in the film business. Through Aspiring Hollywood, he shares practical insights, advice, and stories about screenwriting, filmmaking, and the entertainment industry. For more information click here.