The most significant aspect of any actor’s career is securing work, but with overwhelming competition, roles are scare and difficult to come by, which can make this task incredibly tough. Yet in the end, acting careers are built on the work and honing your skills as a performer. Every actor knows that work begets work. This is because as we expand our experiences and circle of connections, more doors open with opportunities for more work. It’s great to have an agent, to make those connections, to develop strategies to become more marketable, but more important than all of that is becoming the best actor you can possibly be. Ultimately, producers want to hire the right performer for the role, and putting yourself in a position to get that role is less complicated than others might have you believe. Whether you are preparing for an audition or a performance for a role you are already cast in, your main tool and blueprint before you even get on set or in that audition room is likely going to be the script, and any practiced actor will tell you there’s a lot more to a script than just your character’s dialogue. If you’re simply going through the script to highlight your lines, you’re missing out on a treasure trove of information that will lend itself to you finding the character and giving your best possible performance. An experienced actor is able to fully break down any written scene to internalize not just the dialogue, but the beats, the context, the elements that are unwritten but still very present. Knowing how to analyze a script and glean from it all of its information and clues will allow you to more fully inhabit your role and make you a better and more cast-able actor. Taylor Nichols is an award winning filmmaker, theater director and actor with over one hundred credits to his name. He is currently on the Emmy-nominated Hulu show PEN15 and the HBO smash-hit PERRY MASON. Taylor has also appeared on shows such as Emmy and Golden Globe nominated THE WALKING DEAD and PRISON BREAK, the cultural hit DIRTY JOHN, Emmy-winning MODERN FAMILY, 24, Golden Globe nominated THE MENTALIST and many more. In addition to acting, Taylor is an award winning short filmmaker and an experienced producer with feature credits including THE NEXT STEP and CASE 219. Taylor brings to Stage 32 more than 30 years of experience in the entertainment industry and is ready to share with the community the skills and lessons he’s developed throughout his career. In the first part of Taylor’s “The Work Leads to the Work” webinar series, Taylor will lay out how to break down a script as an actor and develop the techniques needed for characterization and emotional depth to “live truthfully under imaginary circumstances”. Taylor will begin by teaching you what an actor should do as soon as they get the script, including what to focus on during your first read through and how you should be marking it up. He will give you the tools to zero in on a specific scene’s theme and will then delve into determining your character’s objective, both in the scene and in the story as a whole. He’ll talk about how and where you should place dramatic beats by finding the scene’s shape and creating and feeding into the flow. He’ll go into what makes beats and pauses feel natural and honest and when they feel put on and will also outline how you can use your beats as a tool for line memorization. Taylor will then go over how to define your character’s obstacles while reading the script and how you should create your own honest actions in the scene. He will also explain how these actions can successfully interact with both beats and objectives. Next he will explain what “givens” are in a script and how you can find the givens of your character. He will also teach you the difference between naturalism and honesty when giving a performance and explain why honesty is always what an actor should be working towards. Taylor will also lead a live, interactive acting workshop to illustrate the strategies he has taught and show how to use the written scene to define the characters. Taylor will break down down a scene of a script in real time and will bring up students to perform these role based on this breakdown. Through his lesson and workshop, Taylor will give you invaluable tools to help hone your craft and better prepare you for any future auditions or performances. "Through my career I always hear actors talk about navigating Hollywood and 'working the system' to get ahead, and while that's important, I truly believe there's nothing more valuable in an actor's career than actually doing the work and honing their craft to become the best artist they can be. I love working with actors and giving them the tools to grow. I'm so excited to delve into this particular topic with the Stage 32 community, because I believe it's absolutely critical for any actor looking to find success." -Taylor Nichols
Sorry, this lab is filled. Keep checking back Stage 32 Education for upcoming labs. Despite the quickly shifting landscape, and the uncertainty much of the entertainment industry is currently facing, there is still no better time to break into television than right now. Shows are continuing to get greenlit and writers are continuing to get staffed. Thanks to streamers such as Netflix, Amazon Prime, Hulu, Peacock, Disney+, HBO Max and others, over 600 shows were greenlit last year and some industry experts are predicting we may see as many as 1,000 television shows greenlit per year by 2025. We’re in the midst of a content gold rush and more people than ever are looking for and buying great ideas and great scripts for their networks and platforms. If you have a great idea for a television show, there is absolutely a path forward, especially if you know how to navigate this new landscape. The opportunities are plentiful and the prospects have never been more exciting, but to get your television project greenlit, there are a few things you need to have down pat. Obviously you need a great idea—not just an idea that’s interesting and unique, but one that can sell. You also need a standout script around that idea, one that reads great and will make network and streamer executives stop, take notice, and want to read more. Yet an idea and a script aren’t enough to get that TV show made. You’ll also need to be able to deliver a convincing and memorable pitch, complete with an outstanding pitch deck and documents, and you need to be able to package your project to be more sellable to your dream network. These elements don’t necessarily go hand in hand, and different skills are necessary to accomplish each, but all are fully attainable and within your grasp, especially the right knowledge and guidance to help get you there. Raquelle David is a Producer and Literary Manager who has sold shows to Netflix, Amazon, Film Nation, eOne, and many others. Her clients have credits including SICARIO, MAD MEN, OUTLANDER, DOWNTON ABBEY, HELL OR HIGH WATER, THE LIBRARIANS, SHAMELESS, and IRON MAN. Raquelle has worked across independent film and television as a producer as well. Her multiple film credits have garnered a number of accolades including nominations for Palme d’Or at the Cannes Film Festival, Australian Academy Cinema and Television Arts (AACTA) Award and the Screen Producers Australia Award. Raquelle previously worked for Goalpost Pictures, Seven Network, Screen New South Wales in Australia and Rhombus Media in Toronto, Canada, under the tutelage of producer Niv Fichman (THE RED VIOLIN, ENEMY, BLINDNESS). Through her career, Raquelle has helped countless writers pitch their projects or get staffed on shows, and knows better than most what it takes to get a project off the ground and greenlit. In this advanced level and exclusive six-session lab (no more than ten students will be admitted), Raquelle will work directly with you in a class setting and also during one-on-one sessions to help you get your television project off the ground and set up for success. To do so, Raquelle will guide you through selecting a concept—either an original idea or based on existing IP—and getting your TV pilot script ready. She will then help you get your pitch and pitch document ready, and will teach you how best to package your project, including finding a good producer and working with showrunners. Finally, Raquelle will go over how best to protect your IP and ownership and how to work with reps and understand the roles and revenue splits when pitching TV. If you already have a concept or even a completed pilot, Raquelle will use the same tools to help you hone and sharpen your material. Plan to leave this lab with your TV project fleshed out and improved, an effective pitch and pitch document, a plan to properly package the show, and a slew of strategies and tools to hit the ground running and finding success. WHAT TO EXPECT This lab is designed for intermediate writers and producers looking to get their individual television project ready to pitch and sell to networks. This is an in-depth, practical, and detailed lab with one-on-one time with the instructor and significantly more content than a standard 90-minute webinar. ***Only 10 Spots Available. No exceptions*** You will be given exclusive and confidential handouts that will accompany the lessons and that you will be able to hold onto after the lab ends. This lab will consist of six sessions occurring twice weekly for three weeks, each roughly 90 minutes in duration. In addition to the lessons where Raquelle teaches the class, you will have the opportunity to ask her questions during each session as well as multiple chances to speak with her directly about your specific project. Plus, to stay motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the TV project development process. To see the full TV project development lab schedule, see below under "What You Will Learn". PLEASE NOTE: This exclusive Stage 32 lab is limited to 10 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with a manager and an expert in the field is an incredibly unique and valuable opportunity. If you are interested, please book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Amanda at firstname.lastname@example.org for more information Plus! Raquelle will also provide you exclusive, confidential and helpful documents for you to download and use for your own projects including: Option Agreement Shopping Agreement TV Pitch Deck Examples TV Pitch Template TV Pilot Examples Current Network needs (current list of buyers and what they’re looking for) Current POD deals for TV Comprehensive Showrunner list
The horror genre is one of the only genres that still can open big theatrically. In fact, over the last 5 years or so, the horror genre has provided the industry with some of its most profitable films. And that trend shows no sign of slowing down. Quite the opposite, the trend is accelerating. Horror still lends itself to a shared experience of being scared with a group in the dark. The jump scares, soundtrack and sound effects really play well in theaters, but also lends itself to that adrenaline we all love when sitting home alone streaming a great horror film. Horror can also be produced on a much lower budget than most other genres, so the opportunity for higher margins of profit are always in play. And you don’t need big movie stars as the concept is the star. Additionally, tons of new directors are able to break in through the horror genre and they're all looking for that perfect script with that killer concept. The challenge for most writers is coming up with either a totally new concept (THE CONJURING), or coming up with a new twist on what has already worked in the past (INVISIBLE MAN). But once you have fleshed out the concept, you need to make sure the writing is on point. That includes a perfect opening, a cadre of memorable characters, a plot that keeps those pages turning, and a close that makes a manager want to pick up the phone and schedule a meeting. Jake Wagner is one of the most respected literary managers working in the business today. Jake has also been one of top selling spec script managers of the last decade. Jake was responsible for the largest spec sale of the last 10 years (and one of the biggest in history), with SNOW WHITE AND THE HUNTSMAN which sold for over $3MM to Universal Pictures. After an illustrious and celebrated career at Benderspink and Good Fear and Film + Management, Jake is now the owner of Alibi Management. Jake’s clients have written some of the most popular recent horror films including POLAROID and CRAWL. Now, exclusively for Stage 32, Jake will teach writers of horror screenplays what managers look for in a spec screenplay. As one of the leading sellers of horror specs in the market today, Jake will tell you the common mistakes horror writers make and how to avoid them. To start, Jake will take you through the types of horror scripts attracting financing and producing interest in the market right now and he will explain why certain feature scripts stand out above the rest. Then, Jake will dive into the writing and the reading habits and needs of a manager. He will dive into what your first 10 pages tell a manager and how you can not only make them shine, but how to do so in a manner that keeps a manager turning pages. He will discuss the importance of your first act, the introduction and nuances of your characters, how to make sure your plot is not only interesting, but clear, and how to stick the landing. And, as a bonus, Jake will take you through 10 case studies of some of the most successful horror feature and short film projects of recent years including A Quiet Place, No Good Deed, Meet Jimmy and more. "Too often I hear and see scripts that are derivative of other movies and don’t bring anything new to the table. Let me show you what makes a horror script attractive to me and other literary mangers and that will draw attention in the marketplace right now." - Jake Wagner
As an independent filmmaker or producer, you likely start working on a new endeavor for creative reasons—the chance to tell an amazing story, build worlds, create something of cultural value. Yet this is of course not the only element of filmmaking. Like it or not, your independent film is not just a creative endeavor; it’s also a business. You’re sourcing financing and bringing in investors, building a team, and creating a property that will (hopefully) ultimately make money. In this way you’re not just a making a piece of art; you’re also running a business. To operate successfully in the world of independent film and continue to make films that you’re proud of, you need to be able to think like an entrepreneur and understand the dynamics and the relation between financing, distribution and recoupment of film investments. The business side of films is often especially difficult for filmmakers and creative producers, but it's doable. In fact, there’s a bit of a sweet spot for independent films in the $1MM range and a viable path to profitability for films of this level. The key is to intimately understand how money—both hard money and soft money—flows in and out of the project. Getting a handle on this flow puts you in a powerful position, because not only can you make your current film profitable; but you will also create a business model that you can apply to your future projects, and eventually a portfolio of profitable assets (or films) that will serve as an effective and undeniable calling card as you continue to grow in the industry. This entrepreneurial approach might not be second nature to creatives, but it’s something you can learn and something that will aid you tremendously. David Zannoni is consultant for Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies. He serves as the company's representative for the Americas. David negotiates agreements for films and television series and is involved in business development and relationship management specifically in the US, Latin America and Europe. As an international 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, Europe, and all over Latin America. David is intimately familiar with how independent films are financed and made profitable all over the world and will share what he knows exclusively with the Stage 32 community. David will focus on the US market and walk you through what you need to know to finance your independent film, $1MM or less, and leave profitable. He will begin by explaining what a $1MM or under budget looks like, whether it’s considered a small film or microbudget, and how it compares in the larger worldwide film market. He’ll delve into how to see your film as an asset and how to use this viewpoint to work with investors and provide profit. David will give you the tools to think like an entrepreneur and explain the relationship between financing, distribution, and recoupment of investment. David will then teach you how to take a business approach to a $1MM and under film project. He will discuss debt and equity financing and compare it to soft money, demonstrating both of their impacts on your recoupment. He’ll then go over how to finance your film through bank loans, tax credits, private lenders, equity investors, and family and friends. In doing so, he’ll demonstrate the differences between lenders and investors and demonstrate how to make—and keep—all of your investors happy. He’ll also go over ways to mitigate risks for yourself and your investors. Plus, David will show a case study of a real $1MM US film to illustrate how a film of this level can be profitable and exactly how the money flows through from beginning to end. He’ll show financing documents and spreadsheets to illustrate the financing structure, the role of the sales agent, and how he navigated the film’s distribution agreement. Through this detailed and practical demonstration, you will leave with strategies and a deep understanding of how to approach your own $1MM film as an entrepreneur and build a finance structure that will leave you and your investors profitable. 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.
Learn directly from Paul Barry, top Los Angeles-based Australian acting coach with 20 years of worldwide audition, memorization, and on-screen teaching experience (current and former clients are represented by WME, CAA, Paradigm, and UTA, and have secured work with CBS, NBC, ABC, Netflix, Starz, Disney and many others)! For a set to run smoothly, the actor-director relationship must be a symbiotic one. Too often directors struggle to effectively communicate their ideas to actors, and actors feel confused by generalized direction. If the actors and director aren’t speaking a common language, they will begin to separate from each other and diminish the desired results for the shot. Whether you’re an actor or director, knowing how to effectively communicate with a common vocabulary, regardless of your training, is a must for understanding what is wanted and needed from one another. This will take the subjectivity and guesswork out of the equation, allowing both sides of the creative process to break down the barriers that often separate them. In this exclusive Stage 32 Next Level Webinar, host Paul Barry will teach you 3 very specific techniques that will eradicate the guesswork when it comes to the communication process between actors and directors. Drawing from his 20 years of experience as an acting and directing coach, as well as a professional reader, he will teach you how to translate generalized direction into specific action, harness the power of counter-intuition and create real drama in your scenes by defining the “rules” you both can play by. This webinar is essential for both actors and directors, and you will leave understanding how to create a clearer, stronger form of communication on set that will allow you to elevate the performance every time.
In very little time, drone photography has become widely—perhaps too widely—used in countless films, television shows, commercials, and other media projects. And along with this wide adoption of drones has come a demand for those who can successfully and artfully operate them. This presents a potentially lucrative and rewarding opportunity for cinematographers looking to expand their reach and build their skill set. Yet with the clear overuse of drone photography in media today, each to varying effects, it’s evident that not all drone shots are created equal, and standing out requires a deeper level of skills. Adding drone cinematography to your film, TV or new media project can breathe new life into shots that may, in the past, have cost your budget heavily. But finding success with drones requires more than knowing simply how to pilot one; a cinematographer needs to understand how to properly use the tool and work with clients and artists to get those perfect shots. The truth is, for as often as drone camerawork is used in film, television and new media today, you can still stand out as a cinematographer in a big way by using drones smartly, artfully, and effectively. But what turns drone photography from mediocre to great? And how can you use this tool to stand out and not only enhance your current project but also help you get more work in the future? Chris Tangey is one of the most sought after drone cinematographers in the world. His impressive career as a cinematographer has him working for Netflix, Warner Bros. Columbia Tristar, BBC, National Geographic, Discovery, Lonely Plant and more. He recently won "Best Aerial Cinematography" in the European Cinematography Awards, and both "Best Drone" and "Best Scenography" In the New York International Film Awards. He was also awarded a Jury Commendation in the World Drone Awards in Siena Italy and has 2 Gold and 4 silver awards from the Australian Cinematographers Society. Chris has quickly become a leader in the field of aerial imagery and is ready to share what he knows exclusively with the Stage 32 community. Chris will continue his drone cinematography education by expanding into the more intermediate and advanced elements of creating a great drone shot and using your work to help you get work. He will begin by going over the nuts and bolts of operating a drone, including preparation and safety checks, proper thumb and finger placement, and what the 180 degree shutter rule is. He’ll also explain how to maintain the shutter rule with ND and PL filters and teach you how to properly take off and land. He will also give you tips of how to eliminate variables and trip points when planning your flight and will show you how to continue to improve. Next Chris will break down the anatomy of a good drone shot. He will explain when drones are useful and when they should actually replace a jib or dolly shot. He’ll talk about the importance of getting the shot you’re after and how to tell if you’re overshooting. Next Chris will discuss different types of cinematic drone shots, including landscape shots, dolly shots, and lift shots. Then he’ll go more in depth of when you SHOULD use a drone and when you SHOULDN’T, including questions you should ask yourself before using the drone, how best to plan your shot, and what situations are most effective for drones. Finally, Chris will go over how drones work in the industry and how this particular skill set fits in. He’ll teach you the best ways to show off your talent and get noticed and give you tips on pathways to find work, including networks and communities, forums and drones for hire databases, and how that intersects with representation. Chris will leave you with a lot more context, skills, strategies, and knowledge to start using drones for your project and stand out from the pack while doing it. This is Part 2 of Chris Tangey's Drone Cinematography Webinar Series. To check out Part 1, now available on demand, click here. "My career as a cinematographer has been “elevated" greatly by incorporating drones and knowing how to use them properly to get the best possible shot. I'm so excited to share my experiences with the Stage 32 community and give everyone the knowledge to use this powerful tool to their creative and financial advantage" -Chris Tangey