Stephanie Weier: Stephanie Weier is the CEO/Founder of The Domain Group. Holding a passion for filmmaking, branding and legal compliance, Stephanie has worked on building The Domain Group to be a leader in the industry with 20 years of service working for studios, indie producers, game companies, web content and commercials. Founding the company in 2001, Stephanie has lead The Domain Group to having completed over 1000 films in 15 years. She holds a EJD in Contract and IP Law from Concord Law University. Lori Dalton: The Domain Group, Inc. is based in Los Angeles, CA. Day to day operations are performed by studio veterans who have a combined experience of over 80 years. They bring professionalism, passion and innovation to every project they work on. Their clients are primarily studios or indies who deliver to the studio system, and they are excited to be able to bring their expertise to you! Lori Dalton is the President of The Domain Group and is one of the most comprehensive and detailed clearance analysts in the industry. Her project management ability has helped position The Domain Group as both a clearance house and branding company. Full Bio »
Every year tens of thousands of filmmakers go out to market or submit to festivals with the hope of getting their films distributed, only to learn that by not taking the proper steps to deliver a cleared film, they're dead in the water. In a recent survey in a popular filmmaking magazine, over 40% of filmmakers had never heard of clearances and 75% didn't know how to go about clearing their film. Managing clearances ahead of time can save you huge headaches down the road. Not only will you allow yourself the best chance to secure a sales agent and/or distribution for your film or project, but you will protect yourself legally! The last thing anyone wants after all the time and effort it takes to make a film is to find out it's being held up by expensive legal issues.
The truth of the matter is, understanding and working through the issues associated with clearances is not as difficult as it sounds. It does however require knowledge, focus and discipline. It requires someone keeping an eye on the entire shoot and that begins with a script breakdown report and continues throughout production.
To teach this all important webinar, we're bringing you two times the knowledge! First, Stephanie Weier is the CEO/Founder of The Domain Group. Holding a passion for filmmaking, branding and legal compliance, Stephanie has worked on building The Domain Group to be a leader in the industry with 20 years of service working for studios, indie producers, game companies, web content and commercials. Founding the company in 2001, Stephanie has lead The Domain Group to having completed over 1000 films in 15 years. She holds a EJD in Contract and IP Law from Concord Law University.
Lori Dalton is the President of The Domain Group and is one of the most comprehensive and detailed clearance analysts in the industry. Her project management ability has helped position The Domain Group as both a clearance house and branding company.
Combined, Stephanie and Lori have over 40 years of experience. Their company has over 1,000 credits including Happy Death Day, Breaking Bad, Crazy, Stupid, Love (Emma Stone, Ryan Gosling, Steve Carell), Blue Valentine (Ryan gosling, Michelle Williams) Edge of Darkness (Mel Gibson) Gimmie Shelter (Vanessa hudgens) and Ray (Jamie Foxx, Kerry Washington) to name a few! Together, Stephanie and Lori will lead you through the land of clearances, so you can concentrate on making the film you want to make without worry!
Stephanie and Lori will teach you how to make sure your delivered project is a rockstar with distributors, and why a little more work in this area during pre-production and production can save you lots of time and money down the road. They'll start by showing you the details of a script breakdown report and explain why you need to have one. Then, they'll dive into the world of clearances, big and small so you know exactly how to handle each situation. On the fence about what to clear? They'll explain what you need to clear and what to leave alone. They'll explain what to do if your clearance request is denied. They'll also explain the all important difference between featured use and background use and why the distinction matters more than you think. They will break down title reports and copyright reports and discuss trademark law. And, most importantly, they will show you exactly what you need to do to protect yourself in case you are challenged legally in any way.
Don't overlook this all important aspect of the filmmaking and producing process! Lori and Stephanie will have you navigating the world of clearances like a pro and assuring you're protected from the start of pre-production.
Praise for Stephanie and Laurie
"These women rock!"
- Laurie T.
"A masterclass. So, so, good!"
- Monica H.
"This is one of those subjects that prevented me from moving from screenwriting to making my own films. I always worried that I would do something wrong and get sued. No longer. Fantastic information delivered in a fun way."
- Michael E.
"I had no idea. I should have, but I didn't. Now I do. This was a fantastic webinar on a subject every filmmaker and producer - and probably writer - should understand."
- Gary G.
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What is the most important element toward your film to landing a distributor? The script? The director? You may be surprised. For many distributors, the choice of one film over another often comes down to whether your film features an actor that audiences recognize. Actors’ performances breathe life into a film, and their fame gives a film its marketing power. Whether you're shooting a student or short film, ultra low budget, low budget or new media, it's important to sign talent that will help move the needle on your project. As important, you must know how to navigate the wide, varied landscape of actor agreements to assure that you are buttoned up legally so that distributors and sales agents are attracted to your project. Because performers realize the hold they have over a film project, negotiating talent services agreement can be a nail-biting experience. Virtually every recognizable performer has a team of agents, managers, and attorneys ready to protect the actor’s interests and negotiate the best deal they can for their client. For producers, knowing how to negotiate an actor’s contract is critical for the success of their films. Making sure that you have your film set up properly from the legal perspective at the get-go will help put you in the best position to negotiate. And, making sure you know the clauses to look out for during negotiation and how to handle them is crucial. Thomas A. Crowell, Esq. is an entertainment and intellectual property attorney and partner with the New York law firm of LaneCrowell, LLP. Mr. Crowell counsels clients on a wide range of entertainment law and intellectual property rights issues, including deals with TLC, Elsevier Publishing, Starz, Discovery Communications, Focal Press, the Smithsonian Network, WE: The Women's Entertainment Network, The Science Technology Network, IDW Publishing, and Sony Entertainment. His clients' work is seen in the pages of Marvel and DC comics and on movie, TV, computer, and mobile screens across the world. Throughout his career he's helped hundreds of producers and actors protect themselves when signing the Talent Services Agreement. Thomas will walk you through labor and employment issues to consider when hiring key cast for your production, as well as give you payroll company resources you can use. You'll learn how to sign you production up as a signatory with SAG-AFTRA and how to be compliant. He will help you determine which union agreement your film will fall under and discuss the differences to consider between a student/short film, ultra low budget, low budget or new media project. Once you understand how to set up your film correctly, he will teach you how you can negotiate with agents, managers and other actor's representatives. Finally, Thomas will go over the key elements of a legal actor/talent services agreement. This is an all encompassing look at the broad landscape of actor's agreements taught with an easy to understand and comprehensive delivery. Whether you are making student films, short films, feature films, or new media projects with ultra low, low, medium or big budgets, you will learn EXACTLY what you need to get your actor's agreements buttoned up and protected. "One of the best yet! All are informative and I have learned from each, but this one topped the charts. Definitely want Thomas back. Thanks!" Jessica R. "This was incredibly detailed. I appreciated that Thomas took a lot of time showing real life examples and included easy to understand descriptions of all the clauses that would make my spin. Well worth the time." Paul P.
You've put in months, maybe years of effort planning, raising funds and shooting your film. You're incredibly proud of your efforts. Now all that remains is getting the film seen and returning some profits to your investors. But what's the best path? Should you enter festivals? Hire a sales agent? Go for theatrical distribution? Attempt to navigate the streaming and VOD platforms? In short, how do you know what's the best route for your film in 2017? Deciding on how to monetize your project can be very complex. With so many options out there it’s sometimes hard to know what is important and what you can skip. This Stage 32 Next Level Webinar will be your one-stop crash course on how to navigate the marketplace! Your host Bradley Gallo, Chief Creative Officer at Amasia Entertainment (known for The Call, Fear, Inc., Mr. Right, Careful What You Wish For, and the award-winning indie The Road Within) will discuss what options are available for your project once it's complete and help you decide if VOD, theatrical, a festival circuit run or hybrid strategy is best for your film. After giving you the lowdown on options, Bradley will quickly discuss the benefits of each and provide you with a gameplan depending on the path you decide to pursue. Whether you’re selling the film yourself, looking for independent representatives to bring on board, or trying to get into a festival, it’s important to know the steps involved in selling a film, no matter your role in the filmmaking process. Indie films are getting produced and distributed every day! It’s time to learn how to take your film to the marketplace and show it to the world! Your host, Bradley has produced a wide variety of films independently, guided some through the festival markets and sold directly to distributors. He will share his knowledge and real-life experiences exclusively with the Stage 32 community! You will walk away with a sense of the marketplace of today including an overview of how to approach the festival circuit, who should/should not rep your film, how to deal with distributors, VOD vs theatrical and so much more!
In Stage 32's commitment to bringing you free educational virtual events we are excited to bring you a special global edition of the Stage 32 Writers' Room Pitch Tank. We brought in the President of Production at Zero Gravity Management, and 3 industry leading literary managers from Circle of Confusion, The Cartel, and Art/Work Entertainment to hear pitches directly from writers across the globe! In this exciting 90 minute webcast four different screenwriters from the US, UK and Scotland step into the Stage 32 Pitch Tank to pitch their script to a panel of some of Hollywood's power players. The hopeful end result? That their script is requested! And...as an exciting surprise, we have brought in a special industry pro to come in and pitch to the panelists! Pete Goldfinger, who is the scribe behind the SAW franchise's JIGSAW, Piranha 3D and Sorority Row steps into the tank to pitch his new screenplay idea. You'll be able to see up close and personal on what different types of pitches and learn how the decision makers on the other side of the table feel about the process. And...best of all there were several requests in the tank. Want to find out which ones they were and why? You have to watch to find out!
We've brought in Zeke Thomas, a VR producer who recently did the 360 experience for HAPPY DEATH DAY for Universal & Blumhouse and who's clients include: Paramount Pictures, Legendary Pictures, Nerdist Industries, VidCon, Youtube, Outside TV and more. Zeke will be breaking down the business of VR/360 in this exclusive Stage 32 Next Level Webinar. Billions of dollars have been poured into Virtual Reality & 360 spherical capture, but is there really a business for this form of storytelling? If you're already filming in VR/360 or are interested in pursuing this medium, it's important to understand not just the craft, but the business of it.
**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 email@example.com 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
Serialized dramas produced in the streaming and premium cable spaces may be garnering more awards recognition and chatter on social media, but their often-ignored cousins – the procedural dramas that present closed-ended stories within each episode – should not be underestimated. Procedurals continue to not only draw huge crowds, but can stay on the air for many more seasons than their streaming counterparts (can you believe GREY’S ANATOMY has had 17 seasons??). Current ratings for shows like CBS’s EQUALIZER, FOX’s 9-1-1 and NBC’s CHICAGO P.D., CHICAGO FIRE and CHICAGO MED demonstrate just how wildly successful procedural dramas continue to be. The fact is writing and producing the successful procedural remains a highly marketable skill that can offer longevity to a writer's career, though it requires both technical knowledge and an understanding of the current marketplace for these enduring shows. For something that seemingly sticks closely to a formula, the professional TV procedural script can be deceptively hard to write, and there is little if any published literature addressing this subject. Over the years, many “rules” for writing the procedural or mystery have developed in rooms across Hollywood, and expectations for what such a script must include have grown. But how can up-and-coming writers or writers of other genres learn these rules? What actually constitutes an effective procedural pilot script and how can writers demonstrate this skill in order to find their way into a writers’ room? Barry Schkolnick is a long-time writer and producer in Hollywood who has written on over 20 procedural TV dramas including LAW & ORDER, UNFORGETTABLE, THE GUARDIAN, THE DIVISION, STAR TREK: THE NEXT GENERATION, and IN JUSTICE. Barry also served as co-executive producer on USA Network’s IN PLAIN SIGHT and consulting producer for CBS’s Emmy-nominated and critically acclaimed THE GOOD WIFE. Barry’s work on LAW & ORDER was honored with a nomination for a Writer’s Guild of America award for Best Episode, Dramatic Series and a Silver Gavel Award from the American Bar Association. In addition, he was a member of the writing staff of LAW & ORDER’s Emmy and Peabody Award winning season. Barry has an incredibly deep experience in the world of procedural drama television and will be sharing what he knows exclusively with the Stage 32 community. Barry will walk you through procedural drama television, how it fits in to today’s market and to best write in this genre in order to break into the space and create compelling television. After breaking down the actual difference between serialized and procedural dramas, Barry will give an honest appraisal of the market today and the pros and cons of writing procedural television within it. He’ll walk you through the main types of procedural series currently on air and will then lay out some of the main elements any procedural pilot needs. He’ll provide tips and strategies to best write in this space, including choosing the right lead character, how to best outline, and what the Golden Rule of procedurals is. Barry will conclude the webinar with a case study of the pilot script of THE GOOD WIFE, which he served as a consulting producer on. Using the lessons he taught, he’ll explain why this pilot was so successful and how you can use the script as inspiration for your own procedural project. Praise for Barry's Stage 32 Webinar "Barry presented information that I needed to know whether I was aware of that or not before the webinar. I like that Barry used a script that was available to us ahead of time and knew where he was going to in that script to show us what he wanted us to learn. It was one of the best webinars I have taken." - Bev I. "Barry gave great examples to distinguish the different types of procedural drama from serialized drama. They were easy to understand especially since Barry focused in on the key elements of the procedural drama. I did like the fact that Barry broke the pilot into "chunks" and talked about each one separately." - Susan S. "Barry spoke very personally and also gave good examples and applied his experience to today. Also he was very focused on what to do to succeed but he also was honest that you have to love writing. He came across as smart and no nonsense but also very warm and kind, which seems like a great combination for a writer. Maybe that's why he has been so successful!" - Deborah B. "Barry was very likable, down to earth, forthright. I felt that he really cared about helping writers." - Elise M.