Sorry, this lab is fully sold out. Keep checking back for upcoming labs and other education! Do you have a great idea for a show? No more stalling and no more excuses. It’s time to write it. If you have a show in your head that is perfect for a streaming network like Netflix, Amazon, HBO Max or Hulu, you’ve picked a fantastic time to get that show out there. Streamers are picking up content and considering new work more than they ever have before. They are ready to see your show, but you need to write it first. Creating a fantastic hour-long series is fully within your reach. Yet many writers stop before they even start because they get overwhelmed, procrastinate, or feel the dreaded imposter syndrome setting in. We know what that’s like, which is why we’ve created a program that will give you the structure, the accountability, and the guidance you need to actually get that pilot out of your head on paper. Over 8 intensive weeks, you will be able to work closely with top literary manager Charlie Osowik in order to fully prepare, outline and write the pilot script for your own TV series. Charlie is no stranger to this process and has helped his clients develop their own shows for networks like Comedy Central and Dust and use their pilot samples to get staffed on popular streaming shows like HBO Max’s DOOM PATROL. Charlie knows how to help bring the best work out of writers and will use this process to help you develop your own show. Get the support and structure you need to finally write that pilot script before the summer ends. Throughout the course of this exclusive online lab, you will have direct access to Charlie as a mentor by email and via video conferencing as you write your pilot. WHAT TO EXPECT By the end of this 8-week writing lab, you will have a completed hour-long television pilot script ready to be shown to reps, development execs and other executives and professionals. Sessions will vary between 2-hour group settings and personal one-on-one Zoom meetings with Charlie. You will be held accountable to take the lessons from each week and move your work forward. Plus, to keep you motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the writing process. To see the full writing 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 do book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Harrison at email@example.com for more information This lab is limited to 10 people This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea or polish an existing pilot.
There's a fine line between introducing a writer to a new world or ruleset and spouting exposition. We’ll break down how writers created the fantasy world of “Game of Thrones”, the frigid winter of WIND RIVER, the digital dystopia of THE MATRIX, and the 1919 England of "Peaky Blinders".
Since filmmaking was invented, it has been used to capture real life and the stories within it. From the first documentary films like NANOOK OF THE NORTH through classics like GREY GARDENS and THE THIN BLUE LINE to recent hits like MY OCTOPUS TEACHER, THREE IDENTICAL STRANGERS, and CRIP CAMP, documentaries have held an important role in the film landscape. They've uncovered otherwise unheard stories and uncelebrated heroes, defined cultures and generations, and affected global change, all while entertaining audiences and giving careers to filmmakers and truth-tellers. Yet the craft behind putting projects like this together is rarely examined. For those hoping to create documentary films of their own, there are important steps, techniques and an overall understanding necessary in order to properly plan, execute and release your non-fiction project. While studying successful documentaries, you will find there is a lot more that goes into putting one together than simply finding an interesting subject and pointing a camera at it. Documentary filmmaking requires a strong sense of story, pacing, and voice. But beyond that it also requires you to understand how to gain access in the first place, how to put together the right team and equipment, how to legally protect yourself, how to actually get your film out there once it's complete and a lot more. So how do successful documentarians create their films from start to finish? What are traps along the way you can avoid? And how do you ultimately get your film watched? Lisa Vangellow is an independent producer and director currently in post-production on her untitled documentary feature on the multi-faceted actor James Franco. She has a slate of projects she is independently producing that focuses on TV series, doc-series, based on a true story series and features, and comedy series and features. Lisa recently left Arsenal film after 5 years as Vice President of Development and Production, where she worked on projects including Push, Che: Part 2, and Let Me In. Arsenal is a feature film production company that has worked on projects including Be Natural: The Untold Story of Alice Guy-Blache, Reasonable Doubt, and The Way Back. Lisa was invited to be one of five filmmakers to participate in the Tribeca Film Institute Documentary StoryLab for the Franco Doc where she workshopped her project along with the Sundance Grand Jury Prize winner The Wolfpack and the Sundance Grand Jury Prize winner Weiner. Over the course of three sessions, Lisa will offer her experience from the trenches to help filmmakers master the nuts and bolts of documentary film production and share step by step instruction on how you can produce a commercially viable film from idea to post-production. First, she’ll focus on the selection of subject matter and how to gauge its commercial viability. Lisa will take you through pre-production for a documentary film hitting on areas such as how to create a budget, hire your crew, get financing and explaining why you may want a lawyer to handle the nitty gritty. From there you’ll get an overview of different documentary styles and insight on how to create your story through the use of specific examples. Finally, Lisa will explain how to survive the post-production of your film to bring the entire project together and discuss your options for distribution. You will leave with an overall understanding of the documentary filmmaking process, an idea of what makes a good documentary, and how to execute these lessons in the real world. Even if you have little to no experience or if you have narrative film experience and are looking to try documentaries, Lisa will guide you towards the goal of completing a documentary film. PLUS! YOU WILL RECEIVE THESE DOWNLOADS: Budget Template Notice of Filming Template Documentarian Ethical Truths Guide Film Funds Resource "Lisa is honest, raw with truth and very real with her knowledge. I appreciated how candid she was with the entire documentary filmmaking process. She was so incredibly detailed in each and every section. This was by far a master class on documentary filmmaking. Thank you Stage 32 and Lisa." - Tiffany F.
Art/Work Manager Spencer Robinson will discuss the differences between managers and agents, how to grab a manager's attention, working with a manager and what he currently is seeing in the industry.
Your host, Wes Ambrecht, has helped sell projects to FX, HBO and Amazon and previously worked with Gersh! So you’ve finished your pilot, congratulations! The first step is out of the way. Now, it’s time to get things into shape. Very rarely does a first draft come out like a golden egg. In fact, by the time you actually see something on TV, it’s probably been through upwards of twenty drafts. From initial notes and revisions to producer notes, studio notes, network notes and maybe even a note or two from an actor who thinks there’s a better way to word that one line. In this webinar, Wes Ambrecht will walk you through the process of getting your pilot to a place where it’s ready to be looked at by representation and producers. A writer, producer and former development exec, Wes has been on both sides of the table. This class will offer an unabashed look at the development process and help students see their pilot not just for its story but also its component parts.
Research is a component of almost any writing project-- often, a major component. It gives you the ability to write with authenticity, to better understand your characters, and to find story ideas you might not have otherwise considered. Yet research isn’t just useful for solo writers working on their feature or pilot. Research can make or break your pitch to an executive or allow you to stand out in a special way when trying to bring stakeholders on board. More so, research can help you stand out as a member of a TV writers’ room, building story arcs with your colleagues as part of a writing staff. In almost every situation, research can be a writer’s best friend, but only if you know what you’re doing when starting the research process. Not all research is made equal, and some forms of research will serve writers better than others. The internet makes a practically infinite range of material available to television and feature writers, on almost any subject imaginable. 'Doing research online' in a general way isn't enough. Every writer you're competing with for an open assignment, a staff job, or a slot on a development slate is also 'doing research online.' You need to figure out the most effective way to wield what you learn, which varies from situation to situation and project to project. So what's the best way to approach researching your project? Perhaps even more importantly, what are the most effective strategies for deploying the tool of research to further your writing career? Michael Sonnenschein is a long-time and practiced TV writer who has been staffed on shows like The CW’s 90210, NBC’s political conspiracy thriller CRISIS the original, and the groundbreaking syndicated comedy reality series BLIND DATE. Michael began his career as part of the Disney/ABC Television Fellowship after working as a freelance journalist and reporter for publications like the Village Voice, GQ, LA Weekly and elsewhere. He has also developed and sold several series and pilot pitches; current projects include an unannounced series at a streaming service adapting a novel set in the little-known violent aftermath of the American Revolution, a revisionist history of the Roman Empire, and a legal thriller set in Washington, DC. Michael has been able to sell his projects through his careful use of research and knows the steps to take to get research on your side. Using real Hollywood examples and projects from his own past, Michael will teach you the most effective research strategies for any project you’re working on. He will focus on the specific research processes for writing your own project, pitching to studios and execs, and serving on a TV writers room staff. He’ll also discuss how to make sure your research doesn't backfire and weigh down your pitch, bog down your story, or annoy your showrunner-- all of which happen more often than people realize. He will reveal unusual and little-known research sources that will yield material Google won't show you. He’ll also dive into how to gain research from the real world-- unconventional ways to find out about things, researching through experience, and how to get interview subjects to open up and give you the real stuff you need to tell the story you want to tell. "Every project I've sold, and every writing sample that's gotten me a job, has involved research, and I think that's the norm. But when writers treat research as a blunt instrument, it's often ineffective or even counter-productive. I'll share some specific tools and tactics I use in this underdiscussed part of being a working writer in Hollywood." -Michael Sonnenschein