Pre-production is the most important time for a director because it's where you go through a "process of discovery." It's also during this time that all departments discover a director's work style, vision and expectations as to how to do their jobs and make the production run smoothly and efficiently. In most cases, if a movie doesn't turn out as expected or runs over budget, it's a failure of execution during pre-production that can be pointed to as the cause. Many directors are simply too dependent on their producers and are way too anxious to get filming. This mentality is a huge mistake. So how can you assure that you handle the pre-production process effectively and in a manner where your cast and crew want to run into fire for you? How can you know which variables are most important and where you can delegate? We're here to help. Much is expected of the director during the pre-production process. You are in charge of making crucial decisions that can either make or break any production. It can all seem very overwhelming no matter how many times you've done it. But in reality, taken step by step, it could be a fun and rewarding part of the process of making a film. All this takes time - and the more time you have in prep, the more you will discover and sort out before you go to camera. It's the planning, the patience and the perseverance that wins the day and ultimately makes for a winning project for all involved. Peter D. Marshall has worked in the film industry for over 40 years as a film director, television producer, first assistant director, TV series creative consultant, and screenwriter. Peter has directed over 30 episodes of Television Drama such as John Woo's Once a Thief, Wiseguy, 21 Jumpstreet, Neon Rider, The Black Stallion, Scene of the Crime, Big Wolf on Campus and Largo Winch. As a First Assistant Director, Peter has worked on over 12 Features (including Dawn of the Dead, The Butterfly Effect, Happy Gilmore, The Fly II); 16 Television Movies; 8 Television Series; and over 20 Commercials. He has written, directed or produced over 50 hours of documentary and educational programs and his documentaries and dramas have won, or been nominated for, 14 International film awards. Peter has worked with directors such as John Woo, Phillip Noyce, Ed Zwick, John Badham, Roger Vadim, Dennis Dugan, Anne Wheeler and Zack Snyder. He has also worked with actors such as Peter O'Toole, Kevin Spacey, Morgan Freeman, John Travolta, Kathy Bates, Michelle Pfiefer, Marcia Gaye Harden, Madeleine Stowe, Mel Gibson, Ashton Kutcher, Goldie Hawn, Judy Davis and Adam Sandler. In this exclusive Stage 32 Next Level Webinar, Peter will guide you through pre-production, the most important phase for a director. He will help you navigate the business and politics with a step by step guide. He will teach you how to break down your script, how to effectively put together your shot lists, storyboards, and access the budget. He will explain how to set the tone you want to have on the set early and in a non-threatening manner. He will show you how you should conduct meetings with your producers, writer, 1st AD, and other department heads. He will explain how to work with your cast during pre-production so they are confident in their roles and in your vision so they're ready to go on the first day of shooting. He will take you through production meetings, wardrobe fittings, camera tests, script read throughs and rehearsals. He will provide you with a complete overview of a director's role in the pre-production process to assure that everything goes exactly as you wish and that your vision is served. "I have taken several directing courses and Peter's course by far, takes the gold star. This impressive, condensed seminar saturates years of experience and learning and presents it in an easy to use package. A definite recommendation." - Trevor M. "I really enjoyed the webinar. I liked the fact that the density of material was rich enough I was always busy taking notes. Thanks for covering the artistic and the logistic side of directing." - Brad L. "I'll be shooting my first film in the next 30 days. This course came as a surprise birthday present. It was a godsend. I would have been fracked if I hadn't taken the workshop. There were so many essential elements that I would have missed. Peter's course is helping me hit the ground running and as a result, I feel much more confident and sure. Thanks Peter." - Fredrick H.
It's no secret that raising funds for a film is a difficult proposition. Most people who repeatedly invest in the film industry have no shortage of projects from which to choose to place their money. They also have a particular set of standards and requirements that need to be met before they write a check. Even more casual investors in film who go in with lowered expectations still will want to see that you have the knowledge, discipline and understanding on how to handle and protect their money and put them in the best position for a return. The fact of the matter is that you could have the most attractive project with a highly marketable and commercial screenplay and fantastic talent interested in attaching, but if you can't deliver on the important details, know how to answer the toughest questions, and show that you have the savvy to withstand the scrutiny associated with putting together a film financing deal, your potential investment target will be on to the next pitch without a blink. There is no straight answer on how to pitch an investor. Some will tell you that without a pitch deck, you have no shot. Others will tell you that 99% of the time a pitch deck is just a pretty, overblown document designed to dazzle and amazing, but with very little substantiative information. Regardless of the approach, there is one fact that is undeniable: you need to know every angle on how a film can come together and be able to show clearly and concisely a path to how your investor is going to recoup their money and potentially make a profit. To do that, you need to be able to put together an investor kit, first for yourself, and then as something you can tailor to your investor. There's no need to be intimidated by this. Once you understand the various facets of film investing, the rest will fall into place quite naturally. And we're here to help you do just that. Kevin Christoffersen has been producing multi-media content internationally for over two decades across four continents while living in five countries. Currently, Kevin is working as a development executive, producer, writer and consulting with the technology platform Movie Rights Exchange which is changing the way films are being distributed. Kevin's current projects include his co-written feature, Falling Up with Stephanie Drapeau, Dallas Brennan’s Deception Road, a new Hal Hartley feature in development and Rear View Windows being casted by Kerry Barden. Kevin has guest lectured at NYU, teaches workshop classes with the IFP, Art of Brooklyn Film Festival, Filmshop and moderated a producers panel at the Hunter Mountain Film Festival. He then works with students on creating their packages throughout the A to Z Development process. Kevin will be teaching about the step by step process required throughout the development financing stage of your feature film project to create your "Investor Kit". This includes all of the elements from business plans to budgets, proof of concept videos, retaining production counsel and a casting director. Kevin will show you the all important skill of bringing packaging elements to your project, something so very important in this day and age. He will tell you how to handle the common issue of securing "First-in money" and how to navigate talent retainer fees. He will talk co-production agreements, also a valuable thing when putting together a film. He will teach you about distribution agreements, tax credit loans and pre-sales estimates. Kevin will even teach you how to source your investors and how to build a powerful team so you can wear limited hats and divide and conquer. Praise for Kevin "Took the intimidation and fear of approaching investors by presenting clear facts and strategies that make perfect sense." - Michael M. "I've read complex and dense books on this subject that have taken me months to get through and I learned more in 2 hours with Kevin. Brilliant material." - Cheryl Lee K. "This one was off the charts." - Sammie P. "This removed so many questions. So many. I feel as if the clouds have parted. This IS possible. Thank you, Kevin." - Marty K.
If you're a filmmaker, producer or any creative/professional looking to incorporate music into your film & television, advertising or digital project, you'll need to understand the basics steps of how to secure the rights for the music you desire to use. From well known hit songs from major recording artists, to indie bands, to public domain, to original compositions and cover songs of historical and iconic music hits, you need to be armed with all the knowledge of clearing the rights to that music for your project to protect yourself legally and in order for it to play at festivals, screen theatrically, stream on the internet or be released on DVD/VOD. The memorable song you heard on the internet. You can't get it out of your head. You would so love to use it in your opening credits. Is it available to be used and licensed if you want to screen your film theatrically? What type of rights will you need to obtain if you plan on distributing your project globally? What about that jukebox song your editor temped into the background during one of your bar scenes - is that okay to use? And for how much will the licensing fee be for the rights you need? (You may just be surprised to the upside!) These are just some of the need to know details and nuances you need to know to be sure you can secure the music that can make or break your film, but also protect yourself legally. Anna Grannucci, a Los Angeles-based film producer and Yale School of Drama graduate who has more than a decade of experience working as the Music Supervisor on films such as WHIPLASH (nominated for 5 Academy Awards, winning 3), written and directed by Damian Chazelle, STICKY NOTES starring Ray Liotta, GHOST HOUSE, DIRTY, UZLA, KISS ME and many more. She currently owns song copyrights, and has become a beckoning music publisher which includes controlling the music rights to WHIPLASH. She has also recently collaborated with the Academy Award Winning Italian Maestro Ennio Morricone and his son Andrea Morricone on musical material for film in Rome, Italy. With her vast experience in producing and music, she is the go-to source when it comes to music clearances. Anna will teach you a variety of valuable information starting with the types of other source music available for film, television, advertising, video games and every other digital media source, which also includes public domain music, royalty free, original composition, and score. You will learn how to gauge what songs are licensable or not for use in your film or project. Once you've chosen your music, you will learn music rights, the clearance process, the difference between festival, theatrical, DVD/VOD and advertising clearances and more! You will have a clear understanding of how to obtain and clear music to assure the key moments in your project have the feel and sound you desire and make your film's soundtrack a memorable success!
You have an idea for a screenplay. Something burning inside of you to get on the page. Or perhaps you have a screenplay (or 20) sitting in your desk draw in need of a home. Of course you know to make sure that material is primed, ready, and locked and loaded to give yourself the best chance of being read from FADE IN to FADE OUT. But you also need to make sure it's market ready. And further still, you'll want to identify where the best home is for this material and how to pitch them in a manner in which gives you the best shot to be optioned or sold. Most writers understand that taking your idea from a good concept to an excellent screenplay takes many rewrites and much polishing. In today's ultra-competitive landscape, it's more important than ever to fully flesh out your characters, locales, and plot. But thinking about the business side of things as it relates to your screenplay - understanding budget constraints, for example - is something that can give you power in a room. But first you need to get in that room. And to do that, you need to identify the proper (and realistic) homes for your material and understand what they are looking for. Further, you'll need to craft an effective pitch which may just change from one production company (or producer, financier or rep) to another. Rachel Crouch is the Director of Development for Cold Iron Pictures, Miranda Bailey's financing and production company. She's worked on films such as Sundance's Swiss Army Man starring Daniel Radcliffe and Paul Dano, the Independent Spirt Award-winning The Diary of a Teenage Girl, Don't Think Twice starring Keegan-Michael Key and Gillian Jacobs, Norma staring Richard Gere and Steve Buscemi and many more. Prior to Cold Iron Pictures she worked as a producer's assistant raising film financing and helping bring films into production. Rachel will take her experience on over a dozen films and give you a behind-the-scenes look at what production companies look for when considering material. Rachel will teach you how to develop your idea from a good concept to a strong story that will grab the attention of financiers and production companies. She'll help you break down your story to figure out your project's main audience and lead you through the tropes you'll want to exploit in order to leave that audience satisfied. You'll find out how to determine your story's budget range and see how letting go of those HBO dreams might help you find a better home for your project. She'll teach you how to hone your pitch including information you must include when pitching production companies. She'll even discuss rejection and finding the power within so that your next pitch is even better and more productive than the last. In short, Rachel will put you in a position to get the read, get in the room, and get the sale or job! "I appreciate Rachel's openness and willingness to share her knowledge and experience with us." - Susan S. "Very practical advice that I can apply right away." - Brian G. "I thought it was very professional and informative." - Chris R.
It's an undeniable fact, there is no hotter market right now than television. Over the last year, over 600 shows were broadcast on TV networks, basic cable, premium cable, and the streaming platforms. And this isn't even counting limited series, docu-series and other short form content. And with new platforms like Disney+, Apple, Facebook TV and others diving into original content, there is no peak in sight or end to this gold rush on the horizon. If anything, we may just be getting started. In fact, most streaming platforms like Netflix have made a pledge to have their entire libraries consist of over 50% original content in just a few years. Think about that! So how can you take advantage of this incredible buying and producing spree, get in a writers room, work your way up to an executive producing/showrunning position and run your own show? We're glad you asked. David Weddle has been at the television game for over 20 years. Over a prolific and well documented career, David has worked on some of the most highly acclaimed and longest running shows of all time including Battlestar Galactica, CSI, Star Trek: Deep Space Nine and Guillermo del Toro's award winning and ground-breaking series, The Strain. David has worked side-by-side with some of the top showrunners in the business including Cartlon Cuse (Lost, Bates Motel, Jack Ryan). Currently, David is a co-executive producer/showrunner and writer for the Apple TV hit For All Mankind. In this exclusive special event Stage 32 Masters of Craft Webinar, David will take you to what it takes to build a career from writer to showrunner. He will explain the entire landscape and give you a full understanding of who does what and why. He will explain how to get into a writer's room and what to do (and not to do) once you get in. He will show you how to play the political game, climb the ladder, and earn respect. He will teach you how to think and work like an EP until you become one. As if that wasn't enough, David will then take you through the world of showrunning. He will explain how writer's rooms are staffed. How seasons are laid out, how arcs are created and how episodes are broken down. He will explain budgets and scheduling, using real world examples from The Strain, Battlestar Galactica and CSI. He will talk hiring directors, getting your cast and making sure your show runs like a Swiss watch. And he will take you through the days and nights of being an EP and showrunner, so you know exactly what to expect and how to navigate the playing field. Joining David to moderate this exclusive Stage 32 Masters of Craft webinar is our very own CEO, Richard Botto, a writer and producer himself with a television pilot in active development. The world of breaking in and staying in television doesn't need to be complicated. David will show you the tricks, tips and, most importantly, the facts you need to shorten your path to success. Praise for David "This truly was a masterclass. I learned so much." - Rebecca C. "I was in a writer's room for 9 weeks and then our show got cancelled. I learned more today than I did being in that room for those 9 weeks." Anthony P. "David, you're a rock star." - Pam J. "Rewatching. Rewatching. Rewatching. Thank you, David and Stage 32." - Annette F.
There are thousands of shows and films to watch on Netflix, Amazon, Hulu and other streaming platforms. Now, more than ever, there is a constant stream of incredible stories being told by content creators from all over the world. It is safe to say that there is something for everyone when it comes to this new form of distribution. But that doesn't mean you can just call up a streaming service and request a meeting! So, how do you get your story on a streaming platform for all the world to see? You need to understand the hurdles that content creators face in getting their product on these important streaming platforms and how to overcome them. Understanding the business structure of these top three players is key for you to break in, get your film or series seen through this distribution option and make money by doing so. It's important that you understand the global structure of these streamers, how they choose their content and what potential revenue might be for you as a filmmaker. Chad Miller has been working in the entertainment industry for more than 15 years and the bulk of his experience has been specifically focused on the business of on-demand entertainment. He's worked with Gravitas Ventures distribution specializing in Amazon, Hulu and Netflix and prior to that was with AT&T working with all the major studios ensuring that both their big tentpole titles were available to customers and also helped evaluate new content from new content aggregators and distributors. Now, he's bringing his extensive and specialized knowledge exclusively to the Stage 32 community. Chad will be discussing the broad differences between Amazon, Hulu and Netflix and how each of these streaming platforms select their content. You will learn the business structures of each of these platforms, what your distribution reach is and what your revenue expectations are as a content creator on these payment structures. You'll even walk away knowing international distribution options and ways you can negotiate the best deal. If you are a screenwriter, filmmaker, producer, or content creator hoping will find a home on Netflix, Amazon or Hulu this is your ultimate guide to understanding how you can make that happen!