Interactive class with the Top Story Editor of Covenant on AMC's ALLBLK Payment plans available - contact email@example.com for details In this interactive, four-part class exclusively through Stage 32, you’ll learn proven techniques designed for emerging writers to write your first draft with help from a professional screenwriter, teacher, and script consultant. You’ll learn how to create your logline to test the strength of your idea while brainstorming, conduct character analysis to form the emotional journey at the core of your story, break your story into sequences, run crucial reports to analyze your script’s strengths, and more. You’ll also receive weekly assignments to ensure that you understand the lessons covered. With a small number of spots available, you’ll be able to develop real connections with other passionate writers. Your expert instructor, AZ Yeaman, has sold nearly every script she’s ever written. She uses the techniques in this course for her own stories and teaching emerging writers, helping them rise above the pack, selling projects to networks, and placing in many screenwriting competitions. AZ continues to hone her own skills as a writer, consultant, and founder of Bridge 17 Scriptwriters’ Studio. She has become the go-to for revisions, doctoring, whipping stories into shape, and pitch packages for Netflix, TVOne, Aspire TV, UMC Streaming, Bounce TV, and independent production companies. She most recently served as a Story Editor on Covenant on AMC's ALLBLK. AZ doesn’t just teach you how to craft a story. She teaches you how to bring your voice to the forefront, tailoring your script to your authentic voice so that it stands out. By the end of the four lessons, you’ll have functional skills to develop your craft with pacing, authentic storytelling, build your writing muscles, and understand screenwriting essentials. Any script that successfully applies these lessons using their own unique voice will have the skills to write a memorable script that keeps executives turning those pages.
Learn directly from Melissa Daykin Cassill, Vice President of State Street Pictures (Faster, Beauty Shop, Barbershop, Notorious, Nothing Like The Holidays) The Hangover, Bridesmaids, Little Miss Sunshine. What is it, exactly, that makes these comedies stand out from the crowd? With so many different types of comedies in the marketplace, it is becoming the toughest genre to break into. More executives are turning to A list comedians to write than actual screenwriters, so how do you get an executive's attention? How do you get past executives that have different senses of humor, jokes that don't translate internationally, and storylines that can easily get deemed outdated a year later? Stage 32 Happy Writers is excited to bring you our 4 week online intensive class How To Write A Fresh, Stand Out Comedy taught by the Vice President of State Street Pictures, Melissa Dayin Cassill. In this hands on 4 week course, you will learn the importance of the emotional crescendo of a comedy script, how to balance the comedy with the humanity of the characters, and how to pitch your comedy script once you're ready, all while molding your pages under Melissa's supervision. With interactive lectures and weekly homework assignments directly geared towards strengthening your pages, this class will help you craft your writing into a fresh stand out comedy script that will grab executives' attention! Purchasing gives you access to the previously-recorded live class. Although Melissa is no longer reviewing the assignments, we still encourage all listeners to participate.
Learn directly from Development & Production Executive Jake Detharidge, a feature film executive that has recently made a splash into the mini-series space with projects set up at History Channel, Spike, and MGM! "Jake's feedback is so valuable. I enjoy every webinar and class Jake does. He's always informative and always presents information in a very smart and succinct way. Great webinars/classes..." - R. Canty "Seldom have I met execs in LA who know what they're talking about but don't throw around their ego. Jake loves the process, nice perspective with a positive spin." N. Kellis "This was one of the more beneficial seminars with current relative information in the industry. Really enjoyed it." - M. McLinn In this Stage 32 Webinar, host Jake Detharidge will first take you through a brief history of the ‘Mini Series’ in the US, along with analyzing the current television marketplace (Event Series vs. Limited Series vs. Mini Series), and why this platform is experiencing resurgence. After, Jake will break down the creative and development process for several different, current projects, to help you understand and identify the right stories, IP and general concepts that are viable right now. This will make up the bulk of the webinar, breaking down the creative/development/packaging process, in hopes that any and all who attend will leave with a formidable understanding of how they might create their very own compelling Mini-Series project. Don’t get confined to one narrative structure, feature or TV series, look for bold new ways to tell stories – the possibilities are endless! You Will Leave The Webinar Knowing: What exactly is a Mini-Series, versus a Limited Series and Event Series and why each is unique? Why did the ‘Mini-Series’ disappear for the most part from US television and why is it now making a strong comeback? What is the current landscape for this platform – the nuts and bolts. The major companies and players around town currently looking for these types of projects and what moves the needle for them. Narrative Basics – what and why certain stories, ideas and concepts are better suited for a mini-series versus the traditional feature film or scripted television series. What types of IP you should be looking for and how you can obtain the rights to potentially develop it. Developing – what goes into this step and exactly how much…or how little…do you need before trying to sell, and where to sell. Packaging – what the process is for a mini-series, and what elements you can attach to add value that are obtainable. Outside the box ideas!' Your host Jake Detharidge will take you through the realities and pitfalls of navigating the exciting resurgence of a classic narrative platform. Jakes comes primarily from a feature film background, but he recognized – along with the rest of the industry – the creative domination currently taking place in television and forged a way to put his skill sets to work. He has developed, packaged and set up half a dozen mini-series projects with more on the way. Through his unique viewpoint on narrative structure and current audience viewing trends, Jake believes the Mini-Series resurgence is only just beginning.
This is an interactive virtual 2-part class with Jeff and a small group of sketch comedy writers 10 spots available - 6 spots remain! Short form comedy sketch content has helped propel the careers of some of the top creatives we see in film and TV today like Amy Poehler, Ben Stiller, Kristen Wiig, Will Ferrel and many more. A quick laugh is one of the best ways for you to endear yourself to a fellow creative or a decision maker looking to produce or buy your work. Having a quick-wit shows that you have the comedic chops to entertain an audience in long form, which is why you see so many people trying their hand at sketch comedy on You Tube, Instagram, Tik Tok, in comedy troops and more. The opportunities are plentiful! But, how do you know if a sketch you write is funny? How do you know if the joke you envision will hit the right mark? It takes a lot of practice - and within that practice there will be some good and some bad sketches. Not every joke is going to hit, but the more you get the hang of how to write sketches the funnier they will become. And, as you know, sometimes writing can be insular so it's important that you get feedback from fellow comedy lovers to help you improve your work and get it to hit. We are here to help you with that support. We are giving you the opportunity to work directly with one of the top sketch comedy artists in the game right now, Jeff Galante. Jeff is an actor/comedian/writer is based out of the Groundlings Theater where he is a senior performer and teacher. He has sold pilots to NBC, A&E and has worked with SATURDAY NIGHT LIVE, WARNER BROS., WANDA SYKES', NATIONAL LAMPOON, 2 BROKE GIRLS and many more. In an exclusive 2-part interactive class Jeff will teach you all the fundamentals about writing sketch comedy. After your first class you will be assigned to write your own sketch based off of what you've learned. Then, in the next class, Jeff and your group will table read each other's sketches and you will get invaluable insight on how you can continually improve your sketch! You will not find access like this anywhere else except through Stage 32! This class is limited so make sure to sign up today! Some Praise About Jeff's Previous Class "Great host, great info, long time interest in the topic with no practical knowledge so this was so much fun!"- Jeremy S. "I loved everything about it. I wish it was longer." - Gayle R. "Excellent information, excellent presenter - authentic and hard-working" -Scott T. "I liked the specificity and the real world, scenarios and brutally honest information about the business." - Roger C.
If a film production is going to use talent that belongs to a guild, you will need to adhere to labor related matters when it comes to residuals. Residuals are how you pay your guild talent and a key component of any production. These payments have a strict way in which they need to be handled in order to make sure that your talent is being compensated properly - whether it's payment upfront or payment on the backend. Conversely, if you are in a guild you need to ensure that your contract lays out the correct components with residuals to make sure that you are paid properly. Whether you are the person paying or the person receiving, we're talking about money here and you don't want to get it wrong. Understanding residual payments in some of the world's key film markets (US, UK and Canada) is vital to your production. As you are putting together your budget and ensuring that your production comes in at or under your budget you have to know how residuals work. Working with guilds can be tricky, but as long as you are clear upfront on how to pay their members and how that flows into your budget you can ensure success. And, if you're talent that belongs to a guild you want to ensure that you are getting every payment that is owed to you for your service on a project. David Zannoni is an international business specialist for Fintage House in the US, Europe, Canada and Latin America territories. Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies. David negotiates agreements for films and television series and is involved in business development and relationship management globally on hundreds of productions. David is continuously present to make deals and speak at international film markets, festivals and conferences, including: the Cannes Film Festival, the European Film Market (EFM) in Berlin, the American Film Market (AFM), Ventana Sur, the Bogota Audiovisual Market (BAM), and the Toronto International Film Festival (TIFF), and travels regularly to the United States, the Netherlands, Europe, and all over Latin America. David will teach you what exactly residuals are and go over a comparison of them in the USA, Canada and the United Kingdom. He will go into a deep dive example on a US example where he will discuss options for payments of residuals and how the calculation works. You will understand how the payment for residuals is secured in security interest, the collection account or the payroll house. He will even go over the agreements you should know that are related to residual payments. He will even dive into residual and media allocation and the recoupment schedule. You will leave with a clear understanding of how residuals work and how to best protect yourself on both sides when dealing with them. With this webinar you will receive free template downloads: DGA Basic Agreement SAG AFTRA Security Agreement SAG AFTRA Standard Agreement SAG AFTRA Television Distributors Assumption Agreement SAG AFTRA Television Buyers Assumption Agreement WGA Theatrical and Television Basic Agreement Standard CAM Agreement International Multi-picture Rights Distribution License Agreement Sample Webinar Resource Sheet Praise for David's Previous Stage 32 Webinars "David is incredible and lovely and clearly knows his stuff." - Cynthia P. "Eye-opening information. A no-brainer approach that wouldn't be so obvious to the uninitiated." - Gary O. "By far, the best class I've seen on the subject." Kirk K. "David is a fantastic teacher. And what a voice! I could listen to him all day. More importantly, I learned so very much!" - Isabella T.
Getting ahead is hard in Hollywood, and taking the next step in your career can be difficult when it feels like the expectation is for you to stay in your own lane. Being a cinematographer is such an exciting, rewarding, and important role on any project, but that doesn’t mean it’s where your journey has to stop. If you have aspirations to move into directing and make your own film, that path is more possible than you might think. In fact, your background as a cinematographer might even catapult you to this position, since, in an effort to save film funds, it’s becoming more common for producers to hire cinematographers who can also direct. Many people believe that the roles of the director and cinematographer are separate, but actually they are partners in the storytelling process. This means that making the leap from cinematographer to director is not as hard as you might think. However, whether you want to exclusively direct or be a DP / director combo, you have to adhere to a certain mode of operation, master the art of collaboration, and hone your ability to speak clearly to your cast and crew in order to maximize your time on set. So how do you get that first directing job? Can you effectively direct and shoot at the same time, and if so, how do you divide your precious time between your cast and crew? With careful planning and a solid understanding of how to manage your responsibilities on set you can become the perfect “double threat” that producers love, while putting extra cash in your pocket and achieving more of your creative goals. Ryan Little is a director, producer, and cinematographer with over 20 years of experience in the industry. His first feature SAINTS AND SOLDIERS, for which he took on the dual roles of DP and director, won 16 “Best Picture” awards and two nominations at the Independent Spirit Awards including Best First Feature and Best Cinematography. Since then, Ryan has served as cinematographer and director on a slew of projects and has directed actors like Danny Glover, Vinnie Jones, Sean Astin, Neal McDonagh, Gary Cole, Dolph Lundgren, and Mickey Rourke. Most recently Ryan has worked with Producer Dean Devlin on the TNT pilot BLANK SLATE and has directed TV episodes of shows like GRANITE FLATS and EXTINCT. Ryan has built a storied background and deep well of knowledge in both cinematography and directing, and is ready to share what he knows with the Stage 32 community. Using his own experience as well as his deep understanding of the industry today, Ryan will teach you how you can make the transition from cinematographer to director and use your photography background to your advantage. He will begin by broadly discussing the prospect of switching from cinematographer to director and explaining why it’s possible. He will go over how he made the transition himself as well how other notable directors made a similar shift. He will demonstrate why your background as a DP will actually make you a better director yourself. Ryan will then delve more deeply into how best to land your first job as a director, including “planting seeds” for future opportunities, playing to your strengths as a practiced cinematographer, using the connections you’ve already built, and how to create sample work to help show your value. He will also discuss the possibility of serving as a Director/DP combo on set as a way to break in, what that looks like, and how to do both roles effectively at the same time. Next, Ryan will give you the rundown of how to best tackle your first directing gig. He’ll go over the aspects of directing you can expect to come naturally and the aspects that might be more of a challenge because of your background, as well as how to let the DP role go when directing. Ryan will teach you how to best prep for your first directing gig before going on set. He’ll talk about how to create your “style guide” for the project, finding your story moments ahead of time, making a useful shot list, and how best to use storyboards. He will then talk about how to spend your time on set as a director, including how to manage your time and break up your day and how to tell the story in your coverage. He will reveal three mistakes commonly made by directors during rehearsal and will discuss when the right and wrong times to operate the camera yourself are. He will also go over finding the balance between assertive and collaborative on set and how to set the right tone. Finally Ryan will focus on working with actors from the mindset of a cinematographer, including how to speak the actor’s language, how to hold the essential one-on-one actor preproduction meeting, and what you can do to become an “Actor’s Director”. Through all of this, Ryan will give you the tools and confidence to make the switch you might have been contemplating for a while and take the next important steps on your journey to become a bona fide film director. "I attribute a lot of my success to my background as a cinematographer. It's given me so many great opportunities and the skills to advance in my career in exciting ways. I want other cinematographers to better understand their value and potential as filmmakers, and am so excited to share what I know to empower the current DPs and future directors that are part of the Stage 32 community." -Ryan Little