Learn directly from Ross Putman, an award-winning producer and founder of PSH Collective! Transformers. Godzilla. Captain America. Groot...? Who knew that this summer's biggest success story would be Marvel's band of unlikely heroes, known as The Guardians of the Galaxy? With their biggest star (Bradley Cooper) playing a talking raccoon, a director whose previous film grossed just $300,000 at the box office, and with a cast of characters so unknown that an entire teaser trailer was devoted just to introducing them, the odds seemed long for Guardians to make any impact at all. And yet it's the only film to gross over $300 million at the US box office--something not even Michael Bay's fourth Transformers movie could accomplish (and that had Marky Mark Wahlberg)! It's a little known fact that Guardians was based on source material that Marvel all but buried. So why did it work? Regardless of whether a good story is based on source material or original material, Guardians would not have been a success if the script, filmmaking, casting and marketing weren't all thought out and executed perfectly. In this webinar, we'll deconstruct how Marvel "flipped the script" on... well, its own scripts. A focus on quirkiness, the establishment of a unique tone, and bringing their first female writer in the fold added up to a great finished product. Whether it's the very specific character traits (like Drax's inability to understand metaphor) to the very clear stakes (even when things go deep into sci-fi), Guardians has all the right moves to please movie-goers tired of the same-old-same-old. Yet it becomes truly revolutionary by sticking to the basics; it's a script that puts one foot in front of the other and never stumbles.
Learn directly from Jared Iacino, VP Film and Television Development at Panay Films, a leading film & television production company with a production deal at Relativity Media – Panay Films credits include: Earth To Echo, Wedding Crashers, Serendipity, Hot Tub Time Machine 2, She’s All That and Van Wilder. In this exclusive Stage 32 Next Level Webinar, host Jared Iacino will demystify the pitching process by showing you how to form and outline your pitch in practical, repeatable and memorable terms. As a film and television executive who has heard literally thousands of pitches himself, Jared will identify, from the studio/network/producers perspective, the common missteps and mistakes writers, filmmakers, producers and other film creatives make when pitching their projects and reveal the secret formula he's used when selling projects to independent film companies, studios and networks at the highest level. Whether you're pitching for television or film, Jared will give you all the tools and confidence to make your pitches sing! You Will Leave This Webinar Knowing: The most common (and most fatal) mistakes people make when pitching. How to properly structure a pitch. What to include, and most importantly, what NOT to include in your pitch. How to cater your pitch to the audience you’re pitching to. The 3 most important elements EVERY pitch should have. How to identify projects worthy of pitching. The secret ingredient in every great pitch. Whether you are brand new to pitching, have pitched a few times but have yet to get a request, or have gotten a few requests but can't seem to seal the deal, this webinar will help you hone in on your pitching technique and learn from an executive what an executive is looking for in a winning pitch.
Ever wondered what daily life is like for a TV Writer? Looking for ways to manage and maximize your schedule to output great, useful material without losing your mind? Wondering how the hell you’re supposed to write when you’ve got a full-time job? Tune in for this exclusive 2-Part Stage 32 Next Level Webinar taught by TV Writer/Producer Charlie Charbonneau (CW shows: The Secret Circle, The Vampire Diaries, and its spin-off The Originals) to hear about life and work of TV writers, on AND off the clock. You'll gain insight that will help you succeed in finding your next assignment and how to excel in the position! In Part 1, attendees will learn what life is like when TV writers are between jobs or trying to get that first job. Join Charlie as he discusses ways to manage your own writing schedule, find out how to decide which projects to focus on, and get some tips to stay relevant and visible to the big players and decision makers when you’re not employed. He’ll even lay out some strategy to position yourself for the highly coveted freelance script, whether you’re an assistant or a working writer between gigs. In Part 2, Charlie will unpack all the ups, downs, problems, and pleasures that come in the daily life of a working TV writer. Hear insider advice and information about writers room etiquette, climbing the title ladder, taking notes, rolling with the punches when your material doesn’t impress the powers that be, and making sure you get paid. He’ll even discuss the best way to interact with those hot-shot actors in your show. As usual, get ready for some horror stories from the trenches!
“So, what do you do?” – the inevitable question that always comes when networking. You know how they say you never have a second chance to make a first impression? It is absolutely true in the creative industry. Networking and meeting new people always begins with how you introduce yourself. Any connection you make comes from your ability to sell "you" in an intriguing and inviting manner to make another person want to connect with you. Sometimes you have only 10 seconds, sometimes you have 1-2 minutes, and each pitch approach is different. We've brought in Jessica Sitomer who is a long-time expert in the entertainment industry having worked in all areas, from writing and acting to directing and development. She's produced a sitcom pilot as well as two television series, one for MTV and one that is now in post-production. Jessica will be teaching Selling "You": Crafting Your 10, 60 & 120 Second Elevator Pitch. When Jessica was first taught the concept of an elevator pitch in the 90’s, it was all about clearly stating what you do and how you help people in the amount of time it would take to go 10 - 30 seconds in an elevator with someone. NOT ANY MORE!!! The elevator pitch for the new millennium is about standing out by being interesting and memorable! With so many distractions - cell phones, social media, videos, etc. - you must GRAB someone when you're introducing yourself. Jessica is going to teach you how PLUS provide live examples from fellow creatives on how to craft the perfect pitch. . You will walk away with a clear indication on how you can creatively answer “So what do you do?” next time you are asked.
Learn directly from Jason Mirch, a 10+ year film and TV producer and former Head of Feature and Television Development and Production at Image Nation Abu Dhabi (The Help, The Best Exotic Marigold Hotel, Contagion and Flight)! When writing a screenplay, the area most writers struggle with is the dreaded Second Act. The Second Act is the heart of the narrative and where most screenplays crash and burn, leaving the screenwriters wondering where it all went wrong. When constructing your screenplay, it is essential to craft a tight Second Act that will power the narrative through to the climactic Third Act. What many writers don’t realize, is that the Second Act should actually be divided into 2 parts. In this Stage 32 Next Level Webinar, you will get an in depth look into how to successfully navigate the structure of the Second Act. You will learn techniques for crafting dialogue that moves the narrative forward, while exposing their characters’ flaws. You will learn how to carefully order their scenes in such a way that it creates a series of authentic and escalating obstacles for their characters to overcome. The webinar will identify and explain key plot points that typically exist in a well-written Second Act, and explain how you can use these as guidelines for their own projects. Jason will be citing specific examples from films in several different genres as well as providing you tools to apply to your own writing.
**Payment plans are available - contact email@example.com for details*** **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. WEEK #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. We will go over how to create effective loglines and pitch documents. Then we will delve into character – what makes for strong characters and weak ones. Also knowing the world your show takes place in. We will also discuss other kinds of TV comedy writing (late-night talk shows, sketch, political comedy talk shows, etc.) The assignment for this week will be to create a document with a detailed description (around half a page) on each of your series regular characters, and an explanation of the world. WEEK #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 series bible and what it needs to include to support your pilot. The assignment for the week is to complete a pitch document with characters, pilot outline, and future episode ideas. WEEK #3 – Pilot Outline (One on One Consultations – No Online Class) This week will consist of one-on-one consultations regarding pilot structure. Each writer will send in their pilot outline 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 outline and pitch document before proceeding with next week’s class. WEEK #4– Structure, Scenes, Dialogue, 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. The assignment for the week will be to write three complete scenes from your outline: the cold open, a scene introducing your main character(s), and a scene with strong jokes. WEEK #5– Pilot Structure This week we will go over all the necessary story beats that exist in a comedy pilot, including traditional page count, act breaks, tags, etc. The assignment this week will be to complete a first draft of your pilot WEEK #6– 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. The assignment for the week is come up with a pitch for your pilot WEEK #7–Consultation for Revision (No Online Class) This week will consist of one-on-one consultations. Each writer will have a 10-minute call to pitch your pilot. WEEK #8– One-on-one Feedback and Polish (No Online Class) This week will consist of one-on-one consultations. Each writer will have a 10-minute call to go over notes on the pitch and script. Final notes and next steps for your pilot will be given.