Sometimes your story just can't be wrapped up in a neat bow with a perfect Hollywood ending. As a writer, you may weave a unique narrative and the idea of tying up all your loose ends into a neat resolution just doesn't seem right. Or, if you're a producer or filmmaker you might want to set your project up for a sequel, so you may want to have your characters riding off into the sunset once you get to the end. If wrapping up your story in perfect fashion doesn't appeal to you, why don’t you consider an Ambiguous Ending? Ask yourself: Is there an artful exit from your story that defies predictions and is both thought-provoking and exasperating in equal measure? Can you work your way towards an ending that people will argue about in the bar immediately afterwards and for months (even years) online? The Ambiguous Ending is a great storytelling trick to pull off, but it’s not easy. If you mess it up, you’re left with a confusing final reel that audiences are likely to dislike— and they’ll carry their loathing out of the theater with them. This webinar explores the possibilities and guides you past the pitfalls. The Ambiguous Ending can present major challenges for you as a storyteller: How do you lay a trail of plot breadcrumbs for your audience that seem to lead them in two directions at once? How do you develop characters who are simultaneously engaging while possibly lying through their teeth about the reality of the situation they’re in? How do you set up the rules of your narrative world so that one reality can peel off from another? How much misdirection is OK? This type of ending requires you as the storyteller to deploy a sophisticated toolkit out of the gate. Luckily, we have a story expert who served as the in-house story consultant for IM Global for nearly a decade and worked on developing films for Julia Roberts, Nicole Kidman, Tom Hanks and Emma Watson. In this exclusive Stage 32 Next Level webinar Karina Wilson will look at some of the tricks and techniques you can use to create delicious doubt about the ending of your script in everyone but yourself. Praise from Karina's previous Stage 32 webinar: "Her presentation was well organized, her slides contained the right amount of information to digest and takes notes from. Her delivery was excellent." - Martha C. "I was so impressed!" - Loretta C.
Payment plans available - contact email@example.com for details Limited to 12 people - 4 Spots Remain Complete your outline and work one-on-one on Zoom with the former in-house story consultant for IM Global The global appetite for horror movies is growing so fast that it's almost scary. Audiences can't get enough horror, the big streamers are gobbling them up and smaller niche streamers are launching and have a huge need for fresh titles and ideas. You've seen recent horror movies like THE FOREVER PURGE produced for $18M that grossed over $70M worldwide, a movie like THE UNHOLY get made for $1.2M that grossed $30M internationally or the ultimate jackpot like GET OUT, which was made for $4.2M that went on to gross over $240M. What all of these have in common is a well thought out story, complex characters that take you on the ride and mind-bending scares that all land at the perfect time. Every screenwriter in this scenario began with a great outline. Your outline is imperative because it helps you structure your story and character arcs before you type Fade In. Do you know your hook? Do you know your beats? Are you acts properly synchronized for maximum effect? Having a top flight outline is often what separates a professional writer from an amateur. Now, Stage 32 will help you not only craft the perfect outline, but also take you through the process of writing a complete horror script. Over six weeks in an exclusive, interactive Stage 32 writing lab, you’ll work in a virtual class setting and one-on-one with Karina Wilson, one of the most sought-after horror story consultants in the industry, who worked for over a decade with IM Global. Karina has worked on titles such as SKYLINE, 13 SINS, VIRAL, VAMPIRE ACADEMY, HORNS, LORDS OF SALEM. You will leave this lab with a completed outline for your feature script and what's even better is that if you want to continue working with Karina she will move you up to a level 2 and level 3 lab where you will write your actual screenplay. You don't want to miss out on riding this global horror wave and there are only a limited number of spots available for Karina's lab and once they're gone they're gone for good. Stage 32 is offering this first class in a 3-class journey to help you get your horror feature written and ready to share with producers. Testimonials from Karina's previous Stage 32 Education: "She delivered on the topic and gave an informative lecture. I took many notes on how to immediately improve the horror script I'm writing now. That was my goal!" - Martha C. "I thought it was very informative and the speaker was well versed!" - Loretta C.
STAGE 32's HALLOWEEN HORROR SALE! The third act of your horror movie should be an electrifying climax, delivering visceral and emotional punches and paying off all your sneaky set ups. It should thrill your audience and represent their reward for sitting through—very possibly—a lot of pain, suffering, and gross stuff. Unfortunately, too many horror screenplays fail to deliver. It’s a problem across the genre: filmmakers work hard on the set-up of their narrative ye it all falls apart in the third act of the script. If you want your horror screenplay to stand out from the crowd, then it’s time to learn how to craft an original and compelling ending that leaves your reader breathless and wanting more. It’s easy to write a creepy first act for a horror movie. A mysterious and/or bloody teaser at the top, the entry of a vulnerable protagonist into a danger zone, a few genre tropes like unresolved past traumas, dying cell phones, a gathering storm, and grizzled locals warning the main characters to “stay away” — it practically writes itself. That’s why there are a lot of horror screenplays out there with intriguing first acts. However, by the time many screenwriters get to the third act they have —literally— lost the plot. In order to write a good ending you have to know the genre, acknowledge the tropes, and understand some of the psychological mechanisms that drive human fear. Also, you may have to rethink that suspiciously easy-to-write opening. Let's explore how to make this happen. Karina Wilson is an independent story and development consultant with a specific focus in horror who has worked on many films including SECRET IN THEIR EYES with Nicole Kidman and Julia Roberts, 13 SINS, and THE CIRCLE with Tom Hanks and Emma Watson. As a story consultant, Karina has helped to shape narratives in every genre, from independent documentaries to Netflix animated series. Previously the in-house story consultant at IM Global, she is currently developing a series of Thrillers for British TV. Karina is considered an expert in the horror genre and her analysis of horror trends through the decades has been featured in the Wall Street Journal, on NPR, in medical textbooks and in documentaries alongside luminaries such as Jason Blum, Joe Dante, and Andy Muschietti. Karina is also the lead screenplay judge for niche indie horror festival, Shriekfest, and has been picking winners for them since 2007. Along with Rob Zombie, John Carpenter, Sid Haig, Tom Savini and many others, Karina can currently be seen on screen discussing horror in the documentary THE HISTORY OF METAL AND HORROR, doing the rounds of film festivals this fall. Exclusively for Stage 32, Karina will teach you the elements of a successful horror film ending and what you can do to make sure your own horror project has an effective and memorable third act. She’ll begin by explaining how to see your screenplay through the lens of audience expectations before going over the main types of horror endings seen in feature films. She’ll delve into upping up your story stakes and show you how to find a resolution that makes sense. Karina will also discuss how you should be reworking your first and second act in order for the third act to work better. Karina will accompany her slew of tools and strategies with notable case studies and examples of notable horror films. If you’ve been struggling to find an ending to your horror film, if you’re looking for a way to tie everything up, or if you need a way to make your script better stand out and get attention with reps, producers and execs, you’re going to want to hear what Karina has to say.
Payment plans available - contact firstname.lastname@example.org for details Only 1 Spots Left Complete your outline and work one-on-one on Zoom with the former in-house story consultant for IM Global The global appetite for horror movies is growing so fast it's almost scary. The streamers are gobbling them up and niche streamers are launching across the globe to take advantage of this trend. There is a huge need for fresh titles and ideas in this highly profitable genre. Recent horror movies like THE FOREVER PURGE was produced for $18M and grossed over $70M worldwide. THE UNHOLY was made for $1.2M and grossed $30M internationally. And then there's GET OUT which was made for $4.2M and grossed a mind blowing $240M. What do all these films have in common? A well-thought-out story, complex characters that take you on a ride, and mind-bending scares that all land at the perfect time. And each of these scenarios began with a great outline. Your outline is imperative because it helps you structure your story and character arcs before you type Fade In. Do you know your hook? Do you know your beats? Are your acts properly synchronized for maximum effect? Having a top-flight outline is often what separates a professional writer from an amateur. Now, Stage 32 is helping you craft the perfect outline in this exclusive, eight part lab. Over eight weeks in an exclusive, interactive Stage 32 writing lab, you’ll work in a virtual class setting and get one-on-one time with Karina Wilson, one of the most sought-after horror story consultants in the industry. Karina has worked for over a decade with IM Global and on titles like SKYLINE, 13 SINS, VIRAL, VAMPIRE ACADEMY, HORNS, and LORDS OF SALEM. You won't just be hearing lectures from Karina. You'll be actively moving your script forward each session, and you'll meet with Karina one-on-one three times for individual mentoring. All this ensures that you walk away from this class with an outline that has been vetted by an industry professional. You don't want to miss out on riding this global horror wave. There are only a limited number of spots available for Karina's lab, and once they're gone, they're gone for good. Join Karina and take the first step in penning a horror feature that thrills producers and audiences alike. Testimonials from Karina's previous Stage 32 Education: "She delivered on the topic and gave an informative lecture. I took many notes on how to immediately improve the horror script I'm writing now. That was my goal!" - Martha C. "I thought it was very informative and the speaker was well versed!" - Loretta C.
Spain attracts filmmakers from all over the world and has, especially, for the last decade, because of its popularity as a country for film production. Movies like MISSION IMPOSSIBLE II and FAST AND FURIOUS, as well as the series GAME OF THRONES and THE WITCHER, are just a few examples of productions shot in and around Spain. Not only is it brimming with talented actors and crew members, but the countryside alone is a candy store for creatives looking for beautiful locations and backdrops. Thanks to equally attractive tax incentives, a strong distribution base, and the presence of HBO and Netflix in the country, Spain is now on the map as an international film production hub. If filming abroad has been on your mind, producing in Spain may be more cost effective than you initially thought. But if you’re not familiar with the production territory, tax incentives, or how to go about preparing for a production in a foreign country, you could be missing out on collaborative opportunities that can take your film further both financially and globally. Navigating requirements, rebates, and the foreign market can be intimidating. But international film production doesn’t have to be overwhelming when you have the right information at your fingertips. David Zannoni is an international business specialist and consultant for Fintage House in the US, Europe, Canada and Latin America territories, and knows what it takes to produce or co-produce in Spain. Fintage House is the world's most respected company for revenue and rights protection for industry professionals and companies. David makes deals and speaks 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 enlighten you on the many benefits of shooting and distributing your film in Spain. David will kick off the 90 minute webinar by sharing his knowledge on the industry there, then moving attendees into the many benefits of shooting and distributing your product in Spain. Smaller, Independent films upwards to larger productions can benefit from foreign production shares. There are regional requirements and national requirements, and David will break those down with ease. He’ll also explain what co-producing in Spain means, and how it just might be the secret ingredient your production needs to be seen by other producers and distributors. 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.
The ultimate goal for every filmmaker is to ensure that audiences see your film. You may want recognition, notoriety, or maybe as many “likes” as possible however, from a practical business perspective, you also want to make your investor's money back – or, even better, to make a profit. The path to reaching this sometimes-elusive-outcome is through the distribution process. And, in today's changing distribution landscape there are many different types of offers that can be presented to you as a filmmaker. Truthfully, understanding what you're signing up for with your film's distribution can be downright confusing. Getting a distribution deal for your film is exciting for you as a filmmaker. You've reached the holy grail and a distributor is interested in releasing your film so you can finally reach an audience. But, before you sign on the dotted line there are many factors you need to think of. Distribution contracts can show varying types of clauses that could potentially harm your film's chance at making a profit. And, let's face it, if you can show your investors a profit on their investment, they'll likely want to invest in more films with you at the healm. So, how do you know what clauses to look out for and what you can negotiate so you give yourself the best chance of not only gaining an audience, but also getting pad? For the last 15 years Bryce C. Campbell is one of the leading distribution and marketing executives in the industry who's overseen the distribution of several Oscar-winning films. Bryce got his start working at Miramax Films and Open Road Films and has worked on hundreds of independent films securing distribution and negotiating contracts. He especially excels in the digital distribution arena. Bryce is heavily involved in the post production aspect of filmmaking working collaboratively with the marketing team to provide data-driven insights on a wide range of marketing components such as one-sheets, trailers, and special events. One of his key interests is negotiating distribution deals with filmmakers and leveraging industry analytics to provide insight into box office potential for each project. And, he's bringing all these years of knowledge to Stage 32. Bryce will help you understand the different types of distribution options available to you in terms of theatrical, SVOD, Day and Date, Foreign and Digital. He'll help you manage realistic expectations when considering the potential for each of these with your film. You will learn how to design your budget and casting in harmony with distribution goals. Then will take you through the anatomy a distribution contract and analyze contract clauses for optimal benefit and to avoid pitfalls. You will learn how to apply this knowledge to negotiate the best possible distribution contract for your film. And, most importantly, Bryce will give you 2 real distribution deal contracts to review so you can understand what to look for and how to apply that to your own deal! "Mind blown. The examples are extremely helpful. I had no idea that recognizing some of the clever way things are written in the contract could potentially harm my chance to make money back on my film." - Mike S.