PRODUCER
“Would I put my name on this and take it out?”
Your first champion. Reads for the premise and the commercial hook, tells you what’s already working, and, when it applies, names what’s keeping them from taking your script to talent.
This is the rehearsal.
Before you send it to the people who matter, run your project through the town’s own process:
A Producer. Talent. A Studio Exec. A Greenlight Committee.
The kind of notes you’d get from them: honest enough to tell you “no.” Made for your rewrite… and every draft after.
The read before
With so many people using AI irresponsibly, trying to have it write screenplays, we asked ourselves: how can writers use it ethically? Could we make something that never touches your words, and instead just gives you the notes that make the next draft better?
This was the answer.
It never writes a line for you. That’s your job, and it always should be. Your script is processed temporarily through the API of a major U.S. large language model provider to produce the read. We don’t save the uploaded file or extracted screenplay text to your account or project; we don’t train on your work; and we never use your script to sell the product.
TRB isn’t built to replace anyone. It’s built to get your project ready for the people who will read it, so it simulates the rooms they’d read it in. Each room tells you honestly where you stand, what’s holding you back, and what they want to see in the next pass.
One draft. Four rooms waiting to read it.
Every pass you do on your script can P.A.S.S through these rooms:
ATTACHMENTS
“Should I do this project next?”
The talent deciding whether to commit a chunk of their lives to your film: a director, a lead, a supporting actor. Each tells you what they respond to, what gives them pause, and what they want to see next.
STUDIO EXECUTIVE
“Can I defend this upward?”
Weighs what it costs, the commercial upside, and the talent attached, then decides what has to be on the page before they’d take it toward a greenlight.
STUDIO GREENLIGHT COMMITTEE
“Do we spend real money to make it?”
The last room, and the hardest to get past. They weigh production cost, audience, and campaign against everything the earlier rooms found. Then the Studio Head makes the call the whole read has been building to: do we make this movie, or send it back to development?
How it plays
The rooms run in order. If one says “no,” the read stops there and tells you exactly why.
And a “no” isn’t a bad sign. It just means you have work to do; you’ll get a full report with every note to hit, ranked by impact, for your rewrite. Then the rooms are waiting to read the new draft.
Most scripts won’t reach the last room.
That’s the point.
Most AI is built to agree with you. The Read Before is built to challenge you. The rooms hold you to their own notes: every rewrite is read against what they thought last time.
…the way it works in the town.
Create a project and run it. How far will your first draft get? How far will the rewrite get? Find out before sending it to the people who matter.
No subscription · Three reads for one project
START A READBuilt by a real Hollywood executive, with input from other industry players.