Get the feedback your script will get in the real world.
Simulated industry readers, crafted from decades of real industry experience. Each gives you their notes, and responds to the other readers too. Most “AI” is built to agree with you; our readers are built to challenge you.
Each reads in their own voice and decides whether your script goes on to the next. Any of them can stop the read, and you keep every note up to that point. A ‘no’ isn’t a bad sign. It just means you have work to do.
01The Producer
An indie or studio producer reads your project and tells you what they’d need to see before they’d fight for it.
If they wouldn’t take it out yet, they tell you straight: why, and the one change that would bring them back. The read stops with them. If they’re in, the talent reads next.
02The Attachments
A director and actors, deciding whether to give your film a chunk of their lives. Each tells you what they respond to, what gives them pause, and what they want to see next.
If the film isn’t worth a chunk of their lives yet, each tells you what’s holding them back, and what would make them say yes. If they do attach, the script goes to the Studio Executive next.
03The Studio Executive
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.
If they can’t make the case upward yet, they’ll hold it in development and tell you what they need to see: the budget, the package, the creative choices. If they think it’s ready, it goes to Studio Greenlight next.
04Studio Greenlight
The last readers, and the hardest to get past. They weigh cost, audience, and campaign against everything the earlier readers found, and the Studio Head makes the call.
If it’s a yes, your script is ready. If they send it back to development, they’ll say why: what it costs, who it’s for, and what would change the call.
The Houseguest is a real script, and the writer gave us permission to show you its reads. Only the title has been changed.
The Studio Executive
Bought for development. Held there.
“I am holding this in development. The blocker is not that the movie is unclear; it is that the package is not yet clean enough to survive the first question a studio head will ask: why this domestic intruder thriller, now, when the closest public-market neighbor is sitting this close?”
The Studio Executive
Advance to greenlight.
“My prior hold was simple: I could defend the project, but I could not defend it upward while the attachment package still had open questions… Those questions are answered on these pages.”
“The writer’s note says this was a real rewrite, and I see that on the page.”
Excerpts, word for word. The full first read ran about 4,000 words, the rewrite about 6,000. Craft score, out of 10: 7 on the first draft, 8 on the rewrite. Nothing about the process changed between the two reads. The draft did.
SEE A SAMPLE READFictional readers, not human staff.
No AI saves or trains on your script. Ever.
Our private simulation runs on an AI model from a major U.S. company. It reads your script only to produce your read. We don’t save the screenplay to your account, we don’t train on your work, and we never use your script to sell the product.
We never write a line for you. That’s your job, and it always should be.
TRB isn’t built to replace anyone. It’s built to get your project ready for the real people who will read it.
You retain all rights in material you submit. Your reads stay private. We don’t publish them or use them to market the product unless you explicitly give us permission.
How we handle your script
How far will your draft get? Find out before it goes out.
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