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Doug recently served as Line Producer and Production Manager overseeing extensive re-shoots on IM Global's "Fifty Shades of Black". Curtis also served as Executive Producer and Unit Production Manager on Relativity Media's "Shark Night". He was also Executive Producer on a number of New Line Cinema Feature films including: "Shoot 'Em Up", "Cellular", "Freddy vs. Jason", "Friday After Next", "All About the Benjamins" and "Next Friday". Douglas Curtis' extensive career in the entertainment industry covers a wide variety of genres ranging from science fiction to horror to comedy to action films. Curtis was co-producer and Unit Production Manager on Zide-Perry Entertainment's "Repli-Kate", MTV/Paramount Pictures,' "The Wood" and HBO's "Shadow of Doubt". He also worked as a co-producer/Line Producer on Paramount Picture's "Save the Last Dance". As a producer, his credits include MGM/Rysher Entertainment's "The Eighteenth Angel", "Gunfighters Moon" and "Judicial Consent". For Trimark Entertainment Curtis produced "The Philadelphia Experiment II". For New World Pictures he produced "The Philadelphia Experiment", "Black Moon Rising" and "Nice Girls Don't Explode". He both produced and directed "The Sleeping Car" and "The Hazing". He has also served as 2nd unit director on a number of his films including "Black Moon Rising" and "Judicial Consent". Among Curtis' other credits are "Madame Claude 2", "The Night the Lights Went Out in Georgia" and "Take This Job and Shove It on which he served as a production supervisor for Avco Embassy Pictures. Curtis currently serves as CEO-Founder of Quarter Town Films (QTF) a Los Angeles based development and production company where he is developing a number of feature film projects including "The Money Cave", a family film, in the vein of Goonies and Stand by Me, which was written by and will be directed by Thomas Koveleskie, his partner at QTF. Born in Dodge City, Kansas, Curtis graduated from the University of Kansas with a degree in Theater and Film. He began his career in TV commercials where he produced and directed nearly 200 national and regional commercials and a number of award winning documentaries and corporate image films. In 1992 Curtis formed Prelude Pictures, a joint venture with Neufeld-Rheme Production in association with Paramount Pictures, where he developed a wide slate of feature films including New Line Cinema's "Lost In Space". Curtis also has a consulting website; dougcurtisfilmconsultant.com, through which he consults on a wide variety of feature film related issues including; budgeting, scheduling, film incentives, locations, unions and guilds (SAG, DGA, WGA and IATSE) and many more. Full Bio »
This Halloween, take a peak behind the scenes of one of the most successful horror films of all time Freddy vs. Jason, which was made for $30MM and has grossed over $114M worldwide.
We’re bringing in the Executive Producer of Freddy vs. Jason, Douglas Curtis, to teach you about how FvJ came together, what made it so successful and how you can apply it to your own horror film. If you love horror films, you don’t want to miss this webinar!
Doug will go over the making of Freddy vs. Jason and in each section will tell you how you can apply the same principles to your own horror film!
Budget
Schedule
Pre-pre-production
Hiring key crew
Pre-Production
Production
Director
Practical vs Digital effects
Stunts
Production Design
Special Effects Makeup
Slash of the Titans
Q&A with Doug
Doug Curtis
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Doug Curtis can boast that the films he's been involved with have earned nearly a half billion dollars at the global box office. Over the past 20 years, Doug has had a hand as a director, producer or line producer in over two dozen features (including Save the Last Dance, Freddy vs. Jason, Next Friday, Cellular, Shoot em Up and Sorority Row) and over 200 commercials. Think about that. He's been on the set of over 250 projects! Needless to say he's learned a thing or two. And now he's thrilled, as are we, to pass his extensive knowledge on to you in this exclusive Stage 32 Webinar. Doug is a firm believer that the success or failure of any film is mostly tied to actions taken during pre-production. From properly budgeting, pulling together a reasonable, yet tight production schedule, hiring the best crew and other tips, tricks and golden rules he's amassed through the last 2 decades, Doug will teach you everything you need to know to assure your production runs smoothly from start to wrap. Doug has worked on the studio level (Paramount, Fox), with the independents (New World, New Line) and even with the premium networks (HBO), so no matter what kind of material you are working with, no matter what budget, no matter what targets you're positioning yourself to hit, Doug will have you ready and armed to head into battle.
Filmmaking isn’t just an artform, it’s a business. As a creative, you might not be aware of how you can ensure you receive your fair share of the revenue or properly negotiate for it. With the right agreement in place, you can focus on producing a great story that audiences will love without worrying about how the money will come later. What you need is a CAM Agreement. The CAM Agreement, short for Collection Account Management, is a multiparty agreement that handles the receipt, allocation, and disbursement of revenues generated by the distribution of a project. In short, a CAM Agreement is how you get paid when the project sells. It protects everyone’s interests and eliminates misunderstandings between partners by ensuring everyone enters the project on the same page and puts everyone on a Recoupment Schedule so that you know when and how you’re getting paid. With so many platforms and distribution markets to consider, revenue is never as simple as selling the project one time. It covers payment of revenues, commissions, expenses, recoupment investments, deferments, bonuses, and profits. David Zannoni is a consultant for Fintage House, where he's seen first-hand the benefit of these agreements through his work negotiating for films and television series internationally, regularly attending the major film festivals like Cannes, Berlin, Toronto, and more. David will walk you and the other attendees of this Stage 32 webinar exclusively through the key elements of the CAM Agreement, what’s covered, standard clauses, the different kinds of CAM Agreements you’ll need for the different guilds, and how the agreement will evolve and be used in the future. By knowing the benefits of these agreements from someone who regularly uses them, you’ll have the ability to negotiate better for yourself and your project, empowering you to stress less about how you’ll make your money back and focus instead on telling a great story.
In this world of DIY filmmaking, it has become easier than ever to just pick up a camera and start making your project. You don’t always need much money, a big crew, corporate backing, or other resources; you can just get up and go. But this certainly doesn’t mean your project is automatically going to look good. Even on a budget, even as a guerrilla filmmaker, it’s critical to have the tools you need to make something look professional and of high quality. You don’t necessarily need the top-of-the-line camera and all of the expensive specialty equipment found on a massive set, but there are things you’re always going to need with you, a kit that will have you covered in any situation. The challenge is determining what exactly this kit should look like. If you’re a DP, director, or a one-person-band doing all of the jobs at once, preparation is key. But if you go to any camera or equipment store or website you’ll notice just how many options there are. Tools for every occasion. Every type of lens. Every type of stand. Every type of light. Every type of microphone. It can be overwhelming to even look at. How can you distill all of these options into exactly what you need, a collection of tools that you can get on a budget and pack into one bag? Is that even possible? Your instructor Barry Andersson knows that it is. There are just some important things you need to know first. Barry Andersson is an award-winning director and cinematographer. He has directed 5 feature films, many of which were released in theaters—his most recent film is being distributed by Lionsgate. Barry’s career as a cinematographer includes several television pilots, acclaimed short films, numerous commercials, and countless commercials and corporate videos. Barry is also the author of the DSLR Filmmakers Handbook. Through his extensive experience, Barry has figured out the best and most cost effective equipment you need to make great content. Barry will share with you his time-tested soup-to-nuts equipment list and will show you, piece by piece on camera, what he uses and why. He’ll begin by walking you through the strategy of putting together your own kit and aspects you need to keep in mind when assembling the perfect collection of equipment. He’ll discuss the types of lenses to carry with you and what to get even if you don’t know anything about lenses. He’ll also delve into choosing the right case and strategies to efficiently pack everything you need. For filmmakers on the go, Barry will share how he packs everything he needs for travel without spending extra on baggage fees. Barry will share exactly what gear is essential for every type of project, including standard filming, talking heads, and B-roll. He will next discuss audio and the types of microphones, stands, poles, and extras you need to effectively capture audio on the go. Barry will walk you through the life-saving essentials he takes with him wherever he goes—seemingly miscellaneous items that no one ever says you should have. He’ll also tell you what things you don’t really need, even if people say you do. Barry will give you a resource list of 11 must-have items for your equipment kit and where you can find the best deal to purchase them. Praise for Barry’s Webinar: “Great insight. Very practical and actionable advice.” -Martin R. “This was so straightforward and practical. No theory, no filler, just exactly what I needed to know. Thank you” -Harold B. “Barry’s advice was so helpful. I feel a lot less overwhelmed about buying new equipment now” -Sandy C. “I NEVER find webinars that are this straightforward and useful. This was such a gem.” -Roger F.
Only 12 Spots Available Punch Up Your Animation Pilot Script with a Animation Professional and Veteran with 25+ Years of Experience Work and Support Fellow Writers As You All Work Together To Hone Your Scripts Animated television is currently experiencing a boom like we’ve never seen before. Since it’s possible for the bulk of the work to be completed from home or while socially distanced, animation has been flourishing as more players are turning to this format. New shows like SOLAR OPPOSITES on Hulu, CLOSE ENOUGH on HBO Max, FINAL SPACE on TBS and BLOOD OF ZEUS on Netflix are hugely popular, and this is just the beginning. Scores of upcoming animated shows are in the pipeline and just around the corner. Considering this appetite, it doesn’t look like this trend is fading any time soon. And more interest in animation means there are more opportunities for your own project to get noticed and get picked up. The opportunities may be extra plentiful right now, but you still need to have a dynamite pilot script to present if you want to be noticed, and that means more than a workable first draft. The old adage that writing is rewriting is especially true for animation and comedy scripts that need to be tight, punchy, and effective in every sense. And since television writing is almost always a collaborative process, a necessary step to making your project successful is to bring in different perspectives, different senses of humor, and some expertise to get the script fine-tuned and to the point where it’s truly special. We have just the person to help with this. Mike Disa is an accomplished director, producer, writer, and artist who produced and directed on shows like THE SIMPSONS and the hit Netflix series PARADISE PD and has been in the animation industry for over twenty-five years. Mike found success working with studios such as Dreamworks, Disney, Warner Bros., Paramount, and many others. Over a fascinating career, Mike has worked with some of the greatest and most infamous people in Hollywood including Steven Spielberg, Eric Goldberg, Ralph Bakshi, Glenn Close, Steve Oedekerk, David Tennant, Amy Poehler, Adam Sandler, Jeffery Katzenberg and Roy Disney. A favorite and fixture among the Stage 32 community, Mike is deeply entrenched in the world of animated TV and knows better than most what it takes to get an animated show off the ground. Mike will lead an intimate and valuable writers’ workshop with a small group of students to help rewrite and fine tune each writer’s animation pilot script, line by line. Each session, Mike will focus on 1-2 scripts and work with the group to punch up and improve each. Not only will you receive extended and personalized attention from an expert in the field to improve your own work, but you will also have the opportunity to support other writers with their own projects and learn valuable lessons from the process that you can take back to your own work. Expect to leave this unique program with a much-improved pilot script, a set of tools you can take with you to better improve and rewrite other projects, and a supportive group of like-minded writers from around the world. Note: Because this is a rewrite class, you must already have at least a fully written first draft of a 30-minute animated pilot script in order to participate in this workshop WHAT TO EXPECT By the end of this 6-session writing lab, you will have a fully re-written and fine tuned animation pilot script Sessions will consist of 2-hour group classes through Zoom Meetings. You will be held accountable to take the lessons from each week and move your work forward. Plus, to keep you connected, 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 12 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with an animation veteran 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 h.glaser@stage32.com for more information This lab is limited to 12 people This lab is designed for beginner, intermediate and advanced screenwriters looking to rewrite and improve their already existing 30 minute animated pilot script Because this is a rewrite class, you must already have at least a fully written first draft of a 30-minute animated pilot script in order to participate in this workshop.
An Information-Packed 4-part class with a Writer-Producer-Director With Hits On Lifetime, Apple TV, Amazon + handouts to help you with your projects! Made-For-TV Movies are feature films that are released on streamers and TV networks without a theatrical release. These films are incredibly hot content for both PayTV/Cable networks and streamers alike right now and a great way to build your writing and filmmaking career. Traditionally thought of as the romance, holiday, and thriller movies seen on networks like Lifetime and Hallmark, Made-For-TV Movies have seen a boom in viewership in recent years, which has resulted in the major streamers - Netflix, Amazon, Paramount+, Hulu, just to name a few - green-lighting numerous Made-For-TV Movies each year. The tried and true structure, tone, and pacing of Made-For-TV Movies are clearly striking a chord with audiences right now, as more and more people are tuning in for these types of movies. Everyone is getting into the Made-For-TV Movie business…and business is booming! In this 4-session on-demand Stage 32 class, you will learn the step-by-step process of developing, writing and producing your own high quality Made-For-TV Movie for a cable network or streamer. You will be taught by Made-For-TV Movie guru Michelle Mower, whose debut film THE PREACHER’S DAUGHTER, starring Andrea Bowen (“Desperate Housewives”), garnered the highest ratings for Lifetime in 2021. With Made-For-TV Movies featured on Amazon and Apple TV, Michelle is a true expert in all aspects of making a Made-For-TV Movie - from development through production and distribution. Michelle will equip you with the necessary tools to conceive, sell, and produce your own successful Made-For-TV Movies. While many writers, producers, and directors are clamoring to make Made-For-TV Movies with networks and streamers during this gold rush, many professionals aren’t well equipped to jump into the niche and deceivingly complex world of Made-For-TV Movies. For example, holiday films, thrillers and romance are some of the most in-demand genres for Made-For-TV Movies, but what types of stories/themes are programmers really wanting to buy? What type of cast do these movies feature? And how do you know if your idea will make a great Made-For-TV Movie? Many independent filmmakers approach the development of Made-For-TV Movies the same way they develop independent features, but there are distinct differences that must be considered if you want to make a successful Made-For-TV Movie. Plus! Michelle will provide you with exclusive handouts to help develop and execute your current and future MOW projects! Downloads include: Michelle's Screenplay for THE PREACHER"S SIN A Made For TV Movie Shooting Schedule A Made For TV Movie Copyright/Licensing Deliverables List Copies of Michelle's Industry Blog Post An Example One-Sheet From A Made For TV Movie You will walk away from this 4-part Stage 32 on-demand class with a comprehensive understanding of how you can successfully develop and sell your Made-For-TV Movie to a major network or streamer and how you can effectively produce the film to ensure it is a financial success and a hit with audiences. Testimonials on Michelle's Work and Teaching: "Michelle was incredibly helpful in getting my film in good shape to pitch to Netflix and Lifetime!" - Sammy C. "Michelle is a wealth of knowledge on everything from screenwriting to the business side of selling your project. I'm lucky to have had the chance to work with her before taking my project forward!" - Alison L. "I thoroughly enjoyed Michelle Mower's How to Develop, Sell & Produce Your Made-for-Television Movie. The creator of Lifetime's The Preacher movies gave us importantinsight and the essential tools needed to write compelling Made-for-TV movies viewers will watch over and over again. But, that's not all--she also opened up the world of developing and directing this jewel, covering every facet with tips to avoid production mishaps. It was an eye-opener. She's funny, down-to-earth and cares about paying-it-forward. You won't regret taking it." -Gayle R.
It is an honor and a privilege to bring you the worldwide premiere of the 5th Annual Stage 32 Short Film Program on Stage 32! Our seven winning filmmakers hail from all over the world, and we could not be more excited to share their undeniable talents with you. We were proud to screen these films in the 2020 Oscar-qualifying Hollyshorts Film Festival and the Raindance Film Festival in London. And, we're even more proud to showcase the international premiere to all of the development executives, agents, managers and agents that work with us. Since 2016, the Stage 32 Short Film Contest has served as an unparalleled incubator for finding talented filmmakers and helping them forge connections that make their careers blossom. Our past finalists have gone on to be signed by Paradigm, APA, Gersh, Verve, Echo Lake, Circle of Confusion and more! Congratulations to all the 5th Annual Short Film Contest winners, we cannot wait to see where your talents take you.