Stage 32 8-Part Lab: Create All The Tools You Need To Sell Your Holiday Romantic Comedy
Other education that may be of interest to you:
How You Can Write And Produce A Successful Holiday Romantic Comedy
Learn from an executive and producer with over 25 years of experience behind holiday and rom-com films such as A LOUD HOUSE CHRISTMAS, LOVE AT FIRST BARK, LOVE UNDER THE STARS, and more. Holiday-themed romantic comedies have become a year-round staple for television viewers. It goes beyond Christmas. There’s a holiday event every month and a “rom-com” on countless networks and platforms to celebrate it. So are you ready to write or produce your feel-good holiday-themed rom-com for audiences worldwide? In this exclusive Stage 32 on-demand webinar, you’ll learn how to write, develop, and produce a holiday rom-com. These films aren’t the same as straight Christmas movies or other romantic comedies. The holiday rom-com is its own genre, and you’ll find out the rules and norms that audiences require and how to break those rules effectively. You won’t just learn how to write these stories but also who the buyers are how and how to produce them. You will cover the budget ranges, how to generate the budget, how to monetize your film, and what you need to sell your film. It’s no longer just Hallmark telling these audience-favorite stories. Now, they’re being shown on networks and streaming platforms across the spectrum, giving you more opportunities than ever to get your project made. Your teacher is Matt Bierman, a studio executive and producer with over 25 years of experience. Matt has previously worked as an executive at Walt Disney Pictures, Paramount, Warner Bros., Village Roadshow, and more. He has also developed and produced movies for Hallmark and Nickelodeon. Matt has vast experience making low-budget holiday films and romantic comedies, including A LOUD HOUSE CHRISTMAS, CHRISTMAS WITH THE DARLINGS, LOVE AT FIRST BARK, LOVE UNDER THE STARS, and more. You’ll learn all about this hugely popular genre as Matt shares his vast knowledge and experience with you so you can discover how to jump into this in-demand genre by writing and producing your own movie today. Praise for Matt's Talent & Knowledge: “Matt Bierman is one of the best movie execs and producers that I have worked with” – Brian Levant, director of Jingle All The Way, A Christmas Story 2 "This lab was one of the best educational experiences I have ever experienced. I feel so confident in my work after getting guidance from Matt. Thank you, Stage 32!" -- Rebecca M. "Matt Bierman knows his stuff! I highly recommend taking any course he is teaching." -- Marcus E.
How You Can Write and Produce a Romantic Comedy Movie That Sells
Learn the most effective strategies on how to write and produce a romantic comedy feature from Matt Bierman, a producer and executive who has worked at Walt Disney Pictures, Paramount, Warner Bros., Village Roadshow, and more! In this exclusive Stage 32 on-demand webinar, you'll learn the fundamentals of creating a successful romantic comedy. This is your chance to learn how to craft a winning story, identify target buyers, and explore budgeting and monetization strategies to make your film a success. Whether you're a seasoned pro or just starting out, this webinar is a must-attend for anyone looking to make their mark in the world of romantic comedies. Your Stage 32 Educator is Matt Bierman, a studio executive and producer who has previously worked as an executive at Walt Disney Pictures, Paramount, Warner Bros., Village Roadshow, and more. Matt is an expert in the field of romantic comedies having produced Christmas With the Darlings, Love at First Bark, Love Under the Stars, Memories of Christmas, and more. Under Matt's guidance, you will learn how to map out your unique idea using his proven tactics and techniques. Matt will cover how to develop, write and produce a successful rom-com you'll gain a comprehensive understanding of the key elements that make for a successful film. You will cover the complete gambit of what makes a successful romantic comedy: understanding your audience, exploring the various sub-genres of this feature type and discussing rom-com script structure. You will also get key tips on current market trends and needs, valuable insight into who the buyers of such features are and what they are looking for and Matt will also walk you through the economics of romantic comedies including physical production considerations. Don't miss out on your chance to learn how to create and produce your romantic comedy feature! Praise for Matt's Talent & Knowledge: “Matt Bierman is one of the best movie execs and producers that I have worked with” – Brian Levant, Director of Jingle All The Way, A Christmas Story 2 "This lab was one of the best educational experiences I have ever experienced. I feel so confident in my work after getting guidance from Matt. Thank you, Stage 32!" -- Rebecca M. "Matt Bierman knows his stuff! I highly recommend taking any course he is teaching." -- Marcus E.
How You Can Attach A-List Talent To Your Project
Do you have a project that needs a top-tier piece of talent attached to get the proper attention of buyers and financiers? Actors bring your characters and story to life, but before your film is ever seen on screen, signing the right top talent can bring financing and get your project sold. So how do you as a writer, producer or filmmaker approach A-list talent to be a part of your film? In this exclusive Stage 32 webinar, top casting director Dori Zuckerman, who has worked with director Garry Marshall and talent including George Clooney, Elijah Wood, Halle Berry, Sarah Jessica Parker, and more, will give you an insider’s view on the types of projects that attract top talent, as well as strategies to position your project, break through the gatekeepers and actually sign top talent to get your project made. You'll leave this webinar with essential information and important tools to approach difference-making talent for your own projects that can help propel your work and career. Dori has cast over 100 TV series and feature films. Dori is a member of the Casting Society of America and has twice been the recipient of their award for excellence in casting.
How to Develop and Pitch a Film or TV Screenplay That Production Companies Want
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! PRAISE FOR RACHEL'S TEACHINGS: "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.
The Importance of Recoupment Schedules for Your Film or TV Project and How to Put One Together
Producers and filmmakers of independent films and TV series deal with a multitude of parties regarding the production, financing and distribution of their films and projects. Many of these parties have a financial interest in the project and are entitled to a share of the revenues generated by domestic and international distribution of the film or series. In order to make the allocation and distribution of revenues manageable, it is important to design a recoupment schedule for your project. The recoupment schedule, also called “the waterfall”, combines all the single deal terms negotiated between the production and investors, financiers, talent, sales agents, co-producers, and service producers. Each project is unique, with its very own financing structure for example, and therefore there is no universal format for a recoupment schedule. However, there are certain guidelines to consider when putting together a recoupment schedule for your project. Understanding these guidelines will not only assure that there is no financial shadiness going on behind the scenes and no surprise lawsuits hanging out in the horizon. It also means that everyone who needs to get paid does get paid...and on time. And that can only raise your stature as someone who can deliver the goods and as a person people want to work with again and again. David Zannoni is consultant for Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies, and is the company's representative for the Americas. David negotiates agreements for films and television series, and he is involved in business development and relationship management specifically in the US, Latin America and Spain. David also runs a consultancy business through Xaman Ha Consulting and Zannoni Media Advisors, and has been focusing particularly on international service providers in the film and TV industries, and film and TV productions in Latin America, amongst others. As a film business specialist 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, Spain, and all over Latin America. David will explain in easy to understand detail the world of recoupment schedules and why they are so important to your film or project. In an in depth, interactive presentation, David will discuss sources and allocation of film and TV revenues, the purpose of a recoupment schedule, the entitlements and obligations that are payable out of revenues, and the order and priority of payment for film and TV entitlements. He will discuss various territories around the world including distribution rights and assignments. He will show you which kind of projects use a recoupment schedule and the importance of a recoupment schedule as it relates to securing financing and attaching production partners. David will take away all the guess work that goes into the world of waterfalls/recoupment schedules and simplify the entire process to assure everyone on your team is taken care of and given the sense of security they (and you) deserve! PRAISE FOR DAIVD'S TEACHINGS: "I went into this one expecting it to be dry as a bone in the sun. I was so wrong. 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.
How to Break an Episode of Prime Time Animation
Adult animated TV is hotter than ever right now as shows like BOJACK HORSEMAN, SOLAR OPPOSITES, RICK & MORTY and BIG MOUTH are taking the genre to a new level. It's absolutely true that TV animation is an exciting world to dive into right now. Yet animated TV is written a bit differently than other types of series. In order to write successfully in this space, it’s important for you to understand the differences and challenges there are to writing animation and how the best animated series break story for an episode. This way, you’ll be able to fit seamlessly into any writers' room and begin an exciting career in prime time animation! Sivert Glarum is a veteran sitcom writer and story breaking whiz with 25 years of experience, who has written on both live action and animation series, including KING OF THE HILL, BEAVIS & BUTTHEAD, JUST SHOOT ME, RULES OF ENGAGEMENT, and more. He has also served as showrunner for Marc Maron’s comedy MARON on IFC, animated series GLENN MARTIN DDS on Nick at Nite, and YouTube Red’s RHETT AND LINK’S BUDDY SYSTEM. When Sivert isn’t writing or running shows, he helps young writers develop their craft and trains new showrunners on breaking story and character. Sivert will teach you everything you need to know about breaking an episode of prime time animation, including how long an episode should be, breaking story, structuring your episode, and the difference between plot and story. He’ll take you through a case study of GLENN MARTIN DDS to show you how to find your A-Story beat by beat, then apply the same beats to your B and C story. He’ll also breakdown the three different types of sitcoms and how the breaking process for each works. Sivert will give you all his tips for properly executing an episode of primetime animation, highlighting the differences between animation and live-action, and prepare you to write and run an animation series. "I’ve spent several years writing on animated comedies. I’ve seen many scripts turn out great. I’ve witnessed many others suffer unspeakably grueling fates at network table reads. After a while, I realized the key was to make sure the script had a solid structure. Understanding the basic rules can make all the difference. I’m glad to share what I know and break down what really makes an episode of prime time animation work." -Sivert Glarum
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