Film Treatment Generator
AI-powered tool to create film treatments.
Frequently asked questions
The Film Treatment Generator is an AI-powered tool designed to help you create film treatments easily and efficiently. With a single click, it can generate all the content needed to complete a film treatment.
The tool requires three main inputs: the Film Genre, the Main Character, and a Basic Plot Overview. The AI will use these inputs to generate a comprehensive film treatment.
Creating compelling film treatments is often a time-consuming task, which can be daunting for many. Our tool aims to simplify this process, making it quick and almost effortless. This can free up more of your creative time for other parts of the film production process.
This tool is perfect for film directors, screenwriters, and other individuals involved in the film industry who are responsible for coming up with and fleshing out film ideas. It could also be helpful for students in film studies programs or anyone interested in film creation.
A film treatment is a written document that provides an overview of a film concept that is being pitched or considered for production. A good treatment can be instrumental in securing funding and procuring production support for a film.
No, it is quite user-friendly. All you need to do is provide the required inputs; the tool will take care of the rest, generating a complete film treatment for you.
About Film Treatment Generator
With one click of a button, you can have all the content you need to fill out your treatment. So why not give it a whirl? You really have nothing to lose, after all.
In this guide, we’ll walk you through everything you need to know about creating film treatments in the quickest and easiest way possible. Grab some popcorn and let’s dive in.
### What is a film treatment?
Think of a film treatment as a blueprint of what a film could be. The treatment is a written document that includes an overview of the story of a movie that’s being pitched or considered for production.
It’s similar to a synopsis, but whereas a synopsis often comes out once a movie has been made, a treatment is what you write at the beginning of the movie-making process to get others interested in supporting or distributing your movie.
Anna Lewis, a Repeller contributor who has created several treatments, explains that when you write a treatment, you should be framing it as an argument rather than a request.
We Asked a Screenwriter: How do I write a film treatment?
After explaining your movie idea in your treatment, you should include backstory on when you first conceived the concept. Then use your treatment’s middle portion to lay out all the plot points, major actions and twists in the narrative. And of course, your treatment should include the conclusion of the story and the resolution to the protagonist’s problem.
:lollipop:Pro tip: Treatments can vary wildly. Some directors make “visual storyboards,” writing only a few lines or story notes for each scene while others write out the entire running dialogue for key scenes.
### Why do you need a film treatment?
Creating a compelling film treatment is an essential part of securing funding and gathering production support. An expertly curated treatment helps bring your vision to life for anyone who might be interested in supporting your film.
You may also need a treatment to:
### So what’s a coverage report?
If you want someone to write a film treatment, there’s a good chance that you can get your hands on a coverage report — which is essentially a summary of the treatment. Here’s how to bring one to life.
Find a reader
The first step in the coverage report process is to find a reader. A “reader” is any person who reviews your treatment and offers feedback. A reader is typically someone who is involved in film or literature.
While you can always pay a professional reader or development consultant to read your film, you may not need one. That’s especially true if you’ve gotten super busy with some of the tips and tricks we’ve included so far.
At a bare minimum, have a friend that you trust read your script and offer feedback. Given enough time, you could be that reader!
According to Amelia Elizade in a Scratch post, several Short of the Week staff members give a screenwriting fellowship treatment a once over and provide feedback to the applicant.
You’ll only need to share your script and a treatment with the reader. We’ll refer to the reader as a film festival programmer or a script reader. Contact organizations like Sundance Institute, Women in Film or Film Independent and ask them if they have any submissions — or more importantly, readers.
You could also check the Sundance Institute, Women in Film or Film Independent websites and see if they have any information about reader and or scriptship opportunities.
Don’t be afraid to reach out to folks you know because if you don’t ask, the answer is always no.
Get ready to revise
Once you’ve found a reader, brace yourself for necessarily some cuts and revisions. It’s all part of the process and it comes from all of the good reasons mentioned earlier.
The “first pass” of notes is where the reader will go through your script and make suggestions on how to improve it. This pass will likely go through what’s called “development hell,” a stage where scripts spend a significant amount of time in, all of which is part of drafting, rewriting and reworking. At this point, ones through-thoroughly familiar with the canonical Star Wars trilogy scripts) could use this analysis/second pass and check on their script’s progress. The points for analysis are broken down into categories that are conveniently spaced over multiple pages, so you could check it out as you continue to revise your script.
For screenwriters, a usually brief analysis may deal exclusively with how front-loaded your script is with expository dialogue, how well your form and specific story are being conveyed by the characters’ linguistic patterns and interaction, how good of a match the dialogue and story are, and so on. For example, take a row of anonymous looks, images and accessories as outlined in the book and how it enhance and drives the story.
It may also warn the writer if the script is boring. In my case, even if I
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