It's not an understatement to say that the decisions made during the casting of your film, short film, TV pilot, or short form digital content can make or break or break your project. Being able to cast a wide enough net to assure that you see enough actors so you can choose those who fit the vision and tone of the material is paramount. But not all filmmakers and producers have that kind of reach. Further, they don't have the connections and experience to not only cast that wide net, but also bring in familiar and experienced talent that can accelerate this aspect of the pre-production process while saving valuable time, resources, and, most importantly, money. But for many, identifying and engaging casting directors of value is a challenging process. And for that reason alone, many filmmakers and producers handle the casting calls, the auditions and the decisions to hire their actors on their own. Often, that's a fatal mistake. Finding the right actors for your film does not have to be difficult. Neither does interviewing and, eventually hiring a casting director. The fact is, casting directors are plugged in to the most experienced and the best up and coming talent. Further, they know what to look for in the room during the audition process. What questions to ask. What signs to look for. And what red flags may be readily visible to them that you might overlook. While many filmmakers and producers believe they can't afford a casting director, they don't have the information and knowledge to truly know. Experienced filmmakers and producers know they have to include a casting director in their budget. And they also know that they can secure one without breaking the bank while bringing enormous value to their project. Over the course of her stellar and prestigious career, Casting Director Erica S. Bream (CSA) has had the opportunity to work on a myriad of projects across all platforms. A few of these titles include TV series such as ALTERED CARBON, COLONY, WORKAHOLICS, HOUSE OF LIES, CRIMINAL MINDS, and the upcoming TELL ME YOUR SECRETS, PANDORA as well as numerous TV pilots and miniseries, including Hulu’s 11.22.63, and FULL CIRCLE from DirecTV. She has worked on several feature films including STAR TREK: INTO DARKNESS and many indie films, such as the John Legend-produced BREAKING THROUGH. Erica has also worked extensively in the internet and short film worlds, most recently casting award-winning AFI short, RITA MAHTOUBIAN IS NOT A TERRORIST as well as PINKY for Refinery29. She has also ventured back to her first love, theatre, working closely with THE BLANK THEATRE COMPANY and IAMA THEATRE COMPANY in Los Angeles on many main-stage plays, as well as numerous years casting The Blank's prestigious YOUNG PLAYWRIGHTS FESTIVAL. Finally, Erica is an Artios Award winner (Casting Society of America) and seven-time nominee for her work in theatre, television and short films. Erica will teach you exactly what a casting director does and lay out in specific detail why you need to hire one and where to find one that can make a difference for your project. She will cover all your questions on budgeting for a casting director and what the expectations should be. She will discuss how to approach casting directors for features, short films, web series, digital shorts and more. She will show you how to secure name talent that can lead to a greenlight. Erica will also take you through the audition process, including live and taped auditions, and call back sessions. She will take you through common mistakes filmmakers and producers make when communicating with casting directors and how to not only avoid them, but what to do instead. This is a full, immersive deep dive into demystifying all the untruths and misinformation regarding hiring casting directors and how, instead, you can have a CD on your team that can help elevate your material and allow for you to see your vision on screen with actors who can carry that vision forward. Praise for Erica "I've been listening to the wrong voices. For the longest time I thought it would be impossible to get a casting director to cast my film and also thought it would be ridiculously expensive. My world has completely opened up." - Christina T. "Now I know exactly why my casting director was the wrong casting director. I won't make the same mistake twice." - Aimee C. "Drop the mic advice." - Slater M. "This felt like I was accepted into a secret club. So much information that I have never heard before. Insider kind of information. Thank you, Erica!" - Dina R.
Every filmmaker wants to tell a story that matters. But, how do you do that when you don’t have the full story? This is the root of every documentary filmmaker’s mission and it’s not a skill that comes easily. Learn how to find your story, adapt to its needs, and tell it in a way that touches viewers. Do you have a real-life world or story that you’re dying to tell? Do you know how to get the sources you need to tell that story? Do you have the skills to adapt when the truth changes before your eyes? Have you ever shaped a story without a script, knowing that a misstep could cost you your message and audience? Every documentary filmmaker faces these challenges while shaping a story with a script. In this Stage 32 exclusive webinar, you’ll learn from an expert documentary producer who made a career of bringing to light stories that few people know. Your host, Ilan Arboleda, is the Co-Founder and Co-President of CreativeChaos vmg, a full-service finance and production company where he serves as a producer on all company projects. Ilan and CreativeChaos are currently producing the four-part series surrounding the murder of “God’s Banker” Robert Calvi and its relationship to the Vatican, Italian culture and politics, and global money laundering. Their other credits include THE GREAT DIVIDE, THIS IS PLANET Z, KING OF COOL (TCM), THIS CHANGES EVERYTHING (Starz, Netflix), BLEED OUT (HBO), LOS TIGRES DEL BORTE AT FOLSOM PRISON (Netflix), THANK YOU FOR YOUR SERVICE (Hulu), and CASTING BY (HBO). Ilan’s films have nabbed two honorary Oscars, an honorary Emmy, an Emmy nomination, a Latin Grammy win, National Board of Review awards, two Critics Choice Awards, three LA Press Club awards, and two Gracie Awards. Most importantly, his films have inspired industry change, policy overhaul, and legislation at the state and national levels. In 2019, he co-wrote legislation with Congressman Seth Moulton that became part of the National Defense Authorization Act. Using his years of experience as your guide, Ilan shows you how to: Establish your story before you start filming Build your network Define your style and what you need to achieve it Identify the main players in your story Create a framework while you’re shooting Manage production Create a post-production workflow And more Ilan and his proven experience are just what you need if you’re looking to produce a story that makes a lasting impact on viewers.
All actors want representation. It’s often the first step actors take in their careers. After all, agents and managers are the ones that are connected to the industry. They know who is casting and where the auditions are, and they’re positioned to help you succeed—at least in theory. Many reps are incredible allies and partners for actors and transform careers for the better, but not all are created equal. Some reps unfortunately don’t carry their weight and fail to champion a client—sometimes they’re not as connected and in-the-know as they suggest, sometimes they might not be as invested in you as they should be. It can be common for actors in this position to blame themselves for lack of opportunities, even if the fault lies out of their control. But having a bad rep doesn’t mean you’re untalented and it doesn’t mean you can’t make it in the industry; it just means it’s time to recognize where the problem lies and to take back your own power. And, if you've decided to go without a rep, it's important to know that you have the power to move the needle on your career. Many actors will sign with an agent or manager immediately because they feel it is better to be represented than have no rep at all. However, it’s important to make sure you and your rep have the same goals for your career and that you both will do what needs to be done to get those goals accomplished. If that’s not in the cards, it’s time to make a change. Every actor should first and foremost consider themselves their own representative—managers and agents will inevitably come and go throughout your career, but you will always need to be your best advocate. It’s therefore critical to understand, as your own representative, when the people in your corner are really in your corner, and when perhaps there is more you can do as an actor to find more success. When making these difficult decisions, remember that an actor’s world doesn’t start and stop with their rep; there is so much you can do before signing, after, and in between. It’s time to understand how to take control of your own career and hold both yourself and your representative accountable (if you have one). Elizabeth Guest is an actor, writer, director and producer based in Los Angeles and has appeared on Netflix's REAL ROB, the Emmy-winning CALIFORNICATION, NBC'S A.P. BIO, CBS's THE MENTALIST and more. She attended USC's School of Cinematic Arts and has spent the past few years writing and performing her own material. She has put up numerous plays at the Upright Citizens Brigade theater, one of which, called NICE GIRLS, was eventually turned into a digital series by Funny or Die. She also wrote/directed/produced and starred in the digital series GUEST APPEARANCES which won the Best Scripted Digital Series Jury Award at Austin Film Festival and the Best Short Form Jury Award at the Nashville Film Festival. She was named by Moviemaker Magazine as one of the "25 Screenwriters to Watch." Season one and season two of GUEST APPEARANCES will soon be streaming on FICTO. She has two feature films that are currently in post production. Elizabeth is a big believer in creating her own opportunities and is ready to inspire actors in the Stage 32 community to do the same. Elizabeth will draw from her own experience to teach you how to find your own power as an actor and how to know when to leave a rep that isn’t doing their job. She’ll begin by going over the roles and expectations of both managers and agents, what the differences are between the two, what an ideal agent and manager look like, and what a beneficial relationship between a rep and an actor should feel like. She’ll also discuss the separation of responsibilities that are standard between reps and actors. She’ll then talk about what to how to know when your rep isn’t doing their job. She’ll give you 6 red flags to keep a lookout for with your rep to determine if they might not be holding their end of the bargain. She’ll also share five things you should be asking yourself as a self check-in to make sure you’re doing all you can before blaming your rep. Elizabeth will teach you strategies you should try with your rep to repair the relationship and will give you tips on when to know it’s finally time to leave. Next, she will discuss the proper way to end your relationship with a manager and how to understand the legal aspects to avoid complications. Elizabeth will give you the tools and wherewithal to move forward with your career after leaving your manager or agent, including creating your own opportunities and finding ways to get yourself discovered without outside help. Finally, Elizabeth will explain what it means to take back your own power, how to craft the career you want and focus on the work to achieve your goals independently. It’s so important for actors in this industry to feel empowered and know their worth, and Elizabeth will give you the tools to do just that. Praise for Elizabeth's Stage 32 Webinar "Liz was informative and inspirational! Great ideas about content creation!" -Bill H. "Elizabeth is terrific, and inspiring. Plus she is experienced and knowledgeable" -Dede R.
Learn directly from Daniel Stellan Kendrick, Manager and Development Executive at Chatrone LLC (The Book of Life). From our first exposures to Mickey Mouse to the off-color adult humor of South Park, animation spans the human experience. One of the most unlimited and flexible mediums of entertainment, it often remains an outlier in the film industry. Aspiring writers are constantly inundated with information and resources about writing the perfect feature screenplay, but rarely do they have the opportunity to glimpse inside the animation industry. This practical and informative webinar will illuminate the trade secrets and industry culture of cartoons. Over the years, Daniel Stellan Kendrick has heard countless pitches from aspiring animation writers. After a while, he realized that the tools required to succeed at writing this unique and unfamiliar specialty are not easy to find. In this Stage 32 Next Level Webinar, Daniel will walk you through the lay of the land of the animation industry. From concept creation, to the big players, to the final pitch, Daniel will help you master this boundlessly imaginative field we call “animation.” Daniel Stellan Kendrick is a manager and development executive at Chatrone LLC, a production / management company, which specializes in animation. His clients include writers, artists, and creators that have worked on projects such as Robot Chicken, Spongebob Squarepants, Teenage Mutant Ninja Turtles, and The Lego Movie. Chatrone’s first animated feature, The Book Of Life, was nominated for five Annie Awards and a Golden Globe.
Payment plans available - contact email@example.com for details ***Limited Class Size - Only 2 Spots Remain*** Do you ever feel like you've poured your heart into a pilot script and series idea but can't move it forward because you don't have the entire pitch package that buyers now require? Writing and pitching are two very different art forms and they all have to be executed at the highest level. In this exclusive Stage 32 lab, we’ll show you how to sell your show on the page and face-to-face with a professional pitch deck and world-class verbal pitch so that you’re ready to approach every buyer and are prepared for every scenario. Over six sessions, you’ll be mentored by Spencer Robinson, a manager at Art/Work Entertainment who, in addition to teaching many fantastic classes through Stage 32, has nearly a decade of industry experience. Art/Work clients include Eric Heisserer (ARRIVAL, LIGHTS OUT), Erin Cressida Wilson (THE GIRL ON THE TRAIN, SNOW WHITE), and Kelly Washington (JURASSIC WORD, PARKS & REC), among others. Spencer will take you through what makes a pitch deck great, giving you personal feedback in one-on-one sessions so that you have a powerful sales tool ready when you hit the market. Next, you’ll dive into your verbal pitch with the elements you need to include, the common mistakes many leave out, and how to use visuals to keep executives engaged. Spencer will also cover the kinds of questions producers ask so that you'll be prepared with the important answers in advance. Additionally, Spencer covers the different avenues available to you for selling a television series. You’ll get one-on-one virtual meetings with Spencer allowing you to practice your verbal pitch and receive notes and then address the notes make adjustments and really get your pitch market ready. Don’t miss out on this amazing chance to receive three one-on-one mentoring sessions with a successful literary manager and get your project ready to hit the market. Praise for Spencer's previous Stage 32 Writing Labs: "Spencer will get those who are ready on their way to a kickass first draft that you can send for coverage, which is what I did. 2 Considers and I'm in rewrites now to move that needle. This was my first ever TV pilot!" - Erika N. (now signed to Fineprint Literary Management after crafting her pilot with Spencer)
Payment plans are available - contact firstname.lastname@example.org for details 4 Spots Left! If you have to miss a class, don't worry. Each class is recorded and you can watch on-demand PRE-CLASS PREP - Read your syllabus and plan out your writing ideas. Begin to think about 1-2 ideas that might be a good idea for your comedy pilot. Start to prepare for your pilot pitch. Class #1 – Introduction, Character, World This week we will cover the syllabus, your instructor's background and experience, your goals for this eight-week lab and launch into a discussion on creating strong characters for your pilot. We will discuss the types of comedy pilots and how they differ from network to network. This will include a discussion about Single-Camera and Multi-Camera comedies. Then we will delve into character – what makes for strong characters and weak ones. Also knowing the world your show takes place in. You will have a writing assignment this week. Class #2 – Pilot Outline, Pitch Document This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of comedy pilot (single-camera or multi-camera) and the network (broadcast, cable, streaming, digital, etc.) We will identify what kind of network to target for your story idea and structure the pilot accordingly. We will also discuss the function of your pitch document. This will include incorporating your character descriptions as well as the pilot storyline, and arc of your show. You will have a writing assignment this week. One-On-One Consultations - Pilot Outline Review (No Online Class) This week will consist of one-on-one consultations regarding your pitch document. Each writer will send in their pitch document in advance and will have a 10-minute call to discuss what works and what doesn’t. The assignment for the week is to address any notes given on the pitch document before proceeding with next week’s class. Class #3– Structure, Scenes, Dialogue. Time to Write your Pilot! We will discuss both the Single-Camera and Multi-Camera structure. You will decide which works best for the pilot that you are developing. We will address the qualities of effective (and ineffective) scenes, dialogue, and jokes. We will also go over all the necessary story beats that exist in a comedy pilot, including traditional page count, act breaks, tags, etc. After this class, you will have 3-4 weeks to complete the first draft of your pilot. Spencer will be available during this time with any questions you have during the process. One-On-One Consultations - Pilot Notes (No Online Class) The assignment this week will be to incorporate any notes given on the pilot before proceeding with next week’s class. Class #4– After You Write Your Pilot Last online class. We will discuss what happens when you take meetings with managers, agents, and showrunners, and how to pitch a comedy pilot. We will also discuss other kinds of TV comedy writing (late-night talk shows, sketch, political comedy talk shows, etc.)