**Work one-on-one with a top producer with deep experience with international writers** Only 10 Spots Available Success of recent international shows like Netflix's LUPIN and MONEY HEIST demonstrate that US-based networks and studios are looking more and more to the international markets for creative inspiration. This is such an exciting time for international writers to find traction and opportunities in America. Yet even with this opportunity, you still need to adapt your script's sensibilities to make them successful stateside. This is something you can absolutely do as a writer, no matter your genre or format or story, provided you understand what exactly this adjustment should look like. Which subjects will or won’t work for the American screen? How do we understand the different cultural sensitivities of different marketplaces? What story structures and arcs are common internationally but don’t land over here? How does the entertainment business structure US (agents, managers, execs) differ from what you experience at home? And how does that environment change how your story is received? These are complicated questions to answer, especially if you're not currently living or selling content in the US. This is why it's critical to work with someone who understand the US market, someone who can serve as an asset for you and make sure you're presenting a film or series that can actually find a home in America. Someone like producer James Crawford. James is a Canadian/Australian, US-based producer and development executive who has worked with writers from Mexico, Finland, Spain, England, Scotland, South Africa, Brazil, Australia, and the Philippines. Over his career, James has worked with international writers in developing their television series and working on pitches for Amazon, FX, Hulu, Netflix, Cinemax, UCP, and other major networks. James is very familiar with working with foreign writers and over 8 weeks, he will work closely with you and a small group of other international writers to adjust your film or series script to make it work in the US market. He will also help you with your project's pitch, pitch documents and outline to better sell it to American companies. While walking you through the different aspects of a successful American script and pitch, James will also work one-on-one with you to make sure your specific project can translate successfully in America. If you have a project you want to sell in America, you're going to want to work with James before sending it out. WHAT TO EXPECT By the end of this 8-week writing lab, you will have a deeper understanding of the US TV and film market and an updated TV or film script and pitch that fits better into American sensibilities, 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 James. 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 producer 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 firstname.lastname@example.org for more information This lab is limited to 10 people This lab is designed for screenwriters of all levels looking to update their existing film or TV scripts to better fit the US market
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 drama pilot. Start to prepare for your pilot pitch. WEEK #1 – Introduction, Pitch Docs, Character 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 drama pilots and how they differ from network to network. 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. The assignment for this week will be to create a pitch document and write a detailed description (around half a page) on each of your series regular characters. WEEK #2 – Pilot Outline and Series Bible This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of drama pilot (procedural or serial) 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 pilot outline and start work on your bible. 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 before proceeding with next week’s class and to continue working on your series bible. WEEK #4– Scenes, Beats, Dialogue, This week we will address the qualities of effective (and ineffective) scenes, story beats, and dialogue. The assignment for the week will be to write three complete scenes from your outline: the teaser/opening scene, a scene with heavy dialogue, and a strong character scene. WEEK #5– Acts 1 and 2 We will discuss both the four-act and five-act structure. You will decide which works best for the pilot that you are developing. This week we will go over all the necessary story beats that exist in acts 1 and 2 of a drama pilot, including exposition, number of scenes per act, traditional page count, inciting incidents, acts 1 and 2 breaks, etc. The assignment this week will be to complete Acts 1 and 2 of your pilot. WEEK #6– Acts 3, 4 and 5 Similarly to last week, we will cover the necessary story beats that traditionally exist in acts 3 and 4 of a drama pilot. If your pilot structure has five or more, as some broadcast network shows do, there will be time allotted for further instruction on how to proceed. The assignment this week is to complete the first draft of the entire pilot and to turn in your series bible. WEEK #7–Consultation for Revision (No Online Class) This week will consist of one-on-one consultations. Please turn in your pilot at least 24 hours before your scheduled call, and each writer will have a 10-minute call to go over notes. Your assignment this week is to address any notes. WEEK #8– One-on-one Feedback and Polish (No Online Class) This week will consist of 10-minute one-on-one phone calls as well. Please submit your revised pilot at least 24 hours before your scheduled call. Final notes and next steps for your pilot will be given. Payment plans are available - please contact email@example.com for more information.
Jason Mirch interviews Alexia Melocchi, a producer and film executive with more than more than 25 films and series credits to her name! With more than twenty years in the industry, Alexia has worked in nearly every aspect of the entertainment industry. Working at Little Studio Films since 2000, Alexia serves as Partner and Producer, involved in all aspects of company operations, including distribution and co-production deals, managing production activities, and film and television marketing. Little Studio Films, created by Alexia and Alexandra Yacovlef, is a multilingual boutique consulting, distribution and production company with an extensive background in all areas of the Entertainment Business. It provides services to a variety of clients including producers, production companies, authors, screenwriters, directors, international distributors and Wall Street Companies.During the webcast, Alexia and Jason discuss her career, the state of the global markets, what types of scripts writers should be in the current market, how to find a producer and if the "dollar option" is really a good idea.
Learn from top financier Viviana Zarragoitia, VP of Three Point Capital - exclusively through Stage 32! Get access to exclusive handouts including sample budgets, packages and collection account management statement, sales sheets, sales agent contracts and distribution agreements Over recent years, the independent producing model has shown that films budgeted between $5-$10 Million can not only make a considerable return on investment, but also serve as a launch pad for its creators and win critical acclaim. Take some examples: BRUISED was made for $10MM and sold to Netflix after premiering at this year's Toronto International Film Festival PIECES OF A WOMAN was made in this range and sold to Netflix after premiering at this year's Toronto International Film Festival GET OUT was made for $5MM, grossed over $250MM worldwide, won the Oscar for best Screenplay and launched Jordan Peele into the elite entertainment stratosphere MOONLIGHT was made for $5MM, grossed over $65MM worldwide and won the Oscar for Best Picture. SPLIT was made for $9MM and grossed over $278MM worldwide and continued to propel James McAvoy and Anya Taylor-Joy into creative roles. At this budget you can typically attract and secure some star power, one important step toward increasing the odds that your investors will see a return on their investment. And, with key star power, you have the ability to garner awards attention. It's these reasons why this budget range is attractive to many investors. Of course, there are many more variables at play, but first, you must understand the ins and outs of what goes into financing a film with this budget level so you can ultimately find success. Knowing how to raise money intelligently for films and projects with budgets between $5MM-$10MM can be your calling card toward taking the next step in elevating your film career. Simply put, if you understand the strategies and methods to help your investors see a return, you get to keep those investors time and time again. And those investors can, and usually do, bring more investors with them if they're happy. While everyone says that raising financing is the hardest aspect of filmmaking, it's not impossible, and in fact can be well within your grasp, especially with the right guidance and education. Viviana Zarragoitia is the Vice President of Three Point Capital, one of the entertainment industry's top financiers that specializes in senior lending on film and television projects. Through Three Point, Viviana closes the financing on every film that the company is involved in. She has been involved in the financing of over 100 independent films, and worked with such producers as Cassian Elwes (DALLAS BUYERS CLUB), Rob Barnum (MARGIN CALL), Anthony Bregman (ETERNAL SUNSHINE OF THE SPOTLESS MIND), James Schamus (BROKEBACK MOUNTAIN), Aaron Gilbert (JOKER), Kimberly Steward (MANCHESTER BY THE SEA), Nicolas Chartier (THE HURT LOCKER) and Kevin Frakes (HEREDITARY), among others. Before Three Point Capital, Viviana worked in accounting at Millennium Films and Bold Films, as well as in the finance division of Lionsgate, where she oversaw the preparation of multi-million dollar film and television distribution deals. Viviana has seen it all when it comes to film financing and knows intimately well how films in the $5-10MM range can find success. In this advanced level and intensive 4-session class, Viviana will comprehensively teach you how you can finance your own film in the $5-10 million budget range. In Session 1 she will provide an overview of the different types of film financing available to you. In Session 2 she will focus on using tax credits, soft money, and grants to help fund your project. Session 3 will delve into equity, pre-sales, gap, and sales agents. Finally Session 4 will look at waterfalls, recoupment and navigating collection accounts. Along the way, Viviana will provide exclusive and valuable handouts that you can take with you for your own projects, including: Sample Budgets and Packages Sales Sheets Sales Agent Contracts Sample Collection Account Statement Example Distribution Agreements
It's an undeniable fact that we're in a gold rush of television content. Last year, over 500 television shows were produced and a thousand more were shot either as pilots or proof of concept. This means the need for accountants and those who can work with television budgets, incentives, payroll and other facets associated with the accounting of a television project is higher than ever. This also means that many backroom people who have worked for years on feature films are making the jump to the television side. But, between the two mediums, the work is varied and seemingly changing by the day. Being an accountant for television requires a knowhow of the entire landscape. Between networks, premium cable and the streaming platforms, every deal has its own parameters and variables that need to be fully absorbed and understood. Whether it's working with a variety of different unions and dealing with fringes or simply deciphering and interpreting the every growing and wide ranging array of incentives available globally, you must be on top of everything happening at the moment to assure that the back end of the project runs smoothly, efficiently, and with no fiscal catastrophes. Jonathan Siebel is the Director of Budgeting & Estimation for Paramount Network. Prior to joining Paramount Network and working on their slate of television projects, he also worked in budgeting and accounting on Berlin Station, produced by Anonymous Content on Epix, and on The Unknown starring Dominic Monaghan for Crackle. He began his career working in accounting on major studio films such as Bridesmaids, Django Unchained, Thor and more. In addition to working on the studio level, Jonathan also works in the independent space, having written, directed and crowdfunded his own independent film BREAK THE WILL. He's worked on all types of projects small and large and is bringing his extensive knowledge to the Stage 32 community. With his vast and varied experience, we're thrilled to have Jonathan teaching this extremely important subject exclusively for Stage 32. While inside Movie Magic Budgeting software Jonathan will detail all the differences between a P&A and an AIO budget and show you which would be best for your project. He will teach you everything you need to know about globals, including setting up the schedule, rates, and pay hours to be used on all globals. He will define and explain fringes including state, federal and union fringes including IATSE, WGA, SAG and DGA. He will simplify and take away the anxiety of dealing with the wide world of incentives to make sure your paperwork is in line and that you're getting the best bang for your buck. Jonathan will make the complex easy and get you on the path to working consistently in television accounting and budgeting setup.
Learn directly from Amanda Toye, a producer who developed over 100 drama, comedy, and reality projects to network and cable! Many filmmakers and writers struggle with the question of whether to relocate to Los Angeles or New York to build their careers. But for many, the realities of that are very difficult with money, family, other jobs, and roots already formed in another home. For international filmmakers, it can be an even more difficult transition. The good news is that because of the shifting landscape of the Hollywood system, it has never been more accessible from anywhere in the world. The expanding of a global marketplace, and the door opening opportunities of the digital revolution have made it possible for anyone to become noticed by Hollywood and share their work with an appreciative audience. In this lecture we’ll cover everything you need to know to get noticed, and begin building the kind of career you weren’t sure you could have without making the sacrifice of moving to Hollywood. Having worked with International Studios evaluating and discovering content creators from all over the world, and specializing in bridging the gap between innovative digital practices of development, distribution, fan development and Hollywood, Amanda Toye has worked with filmmaker, writers, and content creators from all over the world from her office in Los Angeles. She currently splits her time between San Jose, Costa Rica and Los Angeles.