The Art of Commercial Storytelling [Podcast]
In this week’s Kinolime podcast, John and Danny crack open one of the most urgent questions facing screenwriters today: what do streamers actually want?
With new data showing that movies,not TV shows, are driving the biggest share of streaming revenue, the duo digs into what that means for writers trying to break in. From Netflix’s five-minute algorithm to the resurgence of high-concept filmmaking, they unpack how viewing habits are reshaping the craft.
Expect sharp insights, honest debate, and six essential screenwriting tips drawn from inside the new Hollywood economy, where story, pacing, and imagination have never mattered more.
Full Transcript: Kinolime Podcast Episode 24: The Art of Commercial Storytelling
Participants
John Schramm - Head of Development, Kinolime
Danny Murray - Creative Executive, Kinolime
John: Is it really worth it to spend $25 million on one guy in your movie?
Danny: I know, right? I love prestige films, and there’s definitely a place for them, but it makes you wonder.
John: Totally. I sent this in our Kinolime global group chat a few weeks ago, an article from The Hollywood Reporter called “How Movies Are Increasingly Driving Streaming Revenue.” It blew my mind. I always thought TV was the main source of revenue for streaming platforms, but it turns out films are. People rewatch their favorite movies again and again, while they might watch a big TV series once and move on.
Danny: That’s fascinating. It kind of connects to something I’ve been thinking about since “peak TV,” like when Game of Thrones was spending $25 million per episode. You could make ten solid films for that kind of money.
John: Exactly. Sure, you’ll go back and rewatch The Sopranos, The Wire, or Breaking Bad, but those shows only come around once every few years. And they’re huge time commitments. Meanwhile, a good movie like Home Alone earns big money every Christmas.
Danny: So, if the streamers are putting more focus on movies again, that’s good news for writers.
John: Exactly. So today, we’re diving into six screenwriting tips based on these shifts. Half realism, half optimism, because I still believe you should write what you love. But it helps to know how the market is changing.
Tip 1 – Open Fast or Get Skipped
John: According to Bloomberg, Netflix sees major drop-offs after the five-minute mark. If a film doesn’t grab someone in that window, they’re gone.
Danny: Yeah, I’ve actually seen this note firsthand. On a show I worked on, we were told if a viewer isn’t engaged by the first page, sometimes even the first line, streamers won’t move forward.
John: I hate that, personally. I love slow-burn openings, like a fine wine that opens up over time. But if you’re breaking in and trying to sell a spec, you’ve got to know how the game works. Hook them by page two.
Danny: Pacing isn’t just craft anymore, it’s a business metric. You have to think like the algorithm for that first scene, even if you’re writing for art later.
Tip 2 – High Concept Beats High Cast
John: Based on research, streamers see that high-concept films with no-name casts often outperform star-driven prestige movies.
Danny: Which makes sense. A “first-dollar gross” deal from a huge actor can double your budget. Look at DiCaprio on One Battle After Another, he reportedly got first-dollar gross. That’s a lot.
John: Yeah, and while I love prestige movies, the current landscape rewards ideas that can sell in a sentence. A big, fresh concept is worth more than a cast list right now. Rom-coms, thrillers, and horror films are still killing it on streaming. You don’t need the A-list name anymore, you need the hook.
Tip 3 – Keep It Tight (90–105 Pages)
John: This has always been a big debate. I love 120-page screenplays when they’re great, but a lot of people don’t have the discipline to make all 120 count.
Danny: Exactly. When I get a 120-page spec, I can usually see 15 pages of fat to cut right away.
John: Streamers are seeing up to 40% higher completion rates for films under 105 minutes. So, for emerging writers, think 90 to 105.
Danny: Right. And it’s not just about audience retention, it’s about cost. Every extra minute costs money. I once worked on a documentary where buyers said anything over 80 minutes was dead on arrival unless it had serious awards potential.
John: It’s ironic though, because people say they don’t have time for long movies, then binge four episodes of something back-to-back.
Danny: Exactly! But the data is what it is. A tighter film is easier to make, easier to sell, and easier to watch.
Tip 4 – End with a Bang
John: Streamers value rewatchability and shareability more than awards prestige. They want the moments that make people say, “Oh my God, you have to see this.”
Danny: Totally. Spielberg said your first ten minutes and your last ten minutes are everything. That’s what sticks with people.
John: Exactly. It doesn’t have to be a twist ending, it can be catharsis, relief, a big emotional payoff. But don’t fade out quietly. Give the audience something that lingers.
Danny: Yeah, some of the festival films I’ve been seeing lately go for big needle-drop endings, something memorable to walk out on. That’s what people talk about after.
Tip 5 – Think Visually
John: Hitchcock said it best, tell your story through images. And apparently, Netflix execs now pass on pitches that “don’t look good as a thumbnail.”
Danny: It’s crazy, but it’s true. Having a great story isn’t enough, you need a visual hook. I heard about this small horror movie, Good Boy. It was supposed to get a limited release, but its poster went viral. Suddenly Neon picked it up and gave it a wide release.
John: That’s such a perfect example. When you’re writing, think about the visual moments every 10–15 pages. Is there an image that could be a poster? Something iconic or emotionally charged?
Danny: Exactly. You’re not just writing for readers anymore, you’re writing for thumbnails, trailers, and posters. I hate that reality, but that’s how movies get greenlit.
Tip 6 – Think Globally
John: Streamers want films that can play worldwide. That means stories that translate beyond language, emotionally and visually.
Danny: Totally. It doesn’t mean you have to flatten your story or make it generic. It’s just about universality. Love, grief, revenge, survival, those themes play anywhere.
John: Exactly. And if you’re still in the concept phase, it’s smart to check what buyers in other territories are picking up. That data’s out there if you dig for it.
Danny: Right. And the goal isn’t to please everyone, it’s to find the heart of your story that resonates across borders.
John: It’s just smart business. If Netflix can market your film in 100 countries, your odds of getting made go way up.
Closing Thoughts
John: Look, none of this means you have to chase trends or write soullessly for the market. It’s just about knowing the rules so you can break them.
Danny: Exactly. Most great films are built on simple, universal truths. If you write something honest and strong, the rest tends to fall into place.
John: Perfectly said. So, that’s our six screenwriting tips for the streaming era. Thanks for listening, and as always, keep writing.
Danny: And keep watching.
Both: See you next time on Kinolime!
