Maura Anderson has worked in independent film production since 2006. After training as an actor at the School for Film and Television, she began work at New York based Gigantic Pictures (Goodbye Solo, Dare) handling everything from clearances to casting. She left Gigantic a year later to freelance, working as a production coordinator, location manager, production manager and line producer. She has since production managed Academy Award nominated Winter’s Bone, Berlin's best first feature winner On The Ice, Max Winkler's Ceremony starring Uma Thurman and Night Catches Us in competition at Sundance 2010. In 2011 she produced Would You Rather, which was acquired by IFC Midnight and premiered in North America in February 2013. In 2011 she also began work for Fox Digital as a line producer working on Wolfpack Of Reseda. In 2012 she line produced Bad Samaritans produced by Walt Becker and produced two seasons of the web series Suit Up for Fox Digital which played across the internet on Yahoo, Crackle, College humor and later on DirecTV's audience network. It was for this she won an award for producing from LA Webfest. In 2013 she began work as a producer for Wigs (www.watchwigs.com), a YouTube channel conceived by Jon Avnet (Black Swan, Fried Green Tomatoes) & Rodrigo Garcia (Albert Nobbs, HBO'S In Treatment) and partnered with Fox Broadcasting. She is the former EVP of Production for Indigenous Media, a next generation digital studio focused on producing original content for digital and emerging platforms worldwide, as well as developing and operating multi-platform content brands. She had her directorial debut with the 2015 feature film, Heartland (www.heartlandthefilm.com) and currently continues producing independent films. Full Bio »
Most people don’t know the scope of what a Line Producer actually does. How does one make a budget? What goes into it? How do you devise a realistic plan to shoot a movie and how do you seamlessly make it happen? Maybe you’ve managed to finish one movie, but how do you repeat that over and over? Do I really need a budget for my $100k film? (Hint: the answer is Yes!)
Every project, whether it's a movie, a TV show or web series, or even reality TV works off the same basic blueprint. You need a script, a schedule, a budget, and lastly someone with a plan to manage all the elements you need to shoot, from cast and crew to locations and equipment. This person is the Line Producer.
Maura Anderson is an award winning Line Producer who has worked on films and TV series such as Academy Award nominated Winter’s Bone, Would You Rather, and Suit Up. She's the former EVP of Production for Indigenous Media, a next generation digital studio focused on producing original content for digital and emerging platforms worldwide. Having filmed in many places and situations, from the Ozark Mountains to the Alaskan Tundra, and with budgets ranging from $30k to $10M, Maura discusses everything from the minuscule details to the broader strokes of making a film.
In this Stage 32 Next Level Webinar, Maura will take an in depth look at all the steps a line producer takes from script stage to years after the film is made. Using materials from actual films, she’ll discuss how a script is turned into a schedule and a budget. You’ll learn how to build out your team and how you can create long lasting relationships. You’ll also learn the basics of setting up a film’s infrastructure. Lastly she’ll look at enacting the brilliant plan that you came up with and what that looks like in terms of prep, shooting and wrap.
This webinar includes live examples of schedules, budgets, wrap binders, etc. from films she's worked on!
"Seriously one of the best webinars on the whole site. Absolutely fantastic, informative, and easy to follow. Maura gets 5, no 20 stars from me!"
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Budgets, Cash Flows and Cost Reports, oh my! Have you ever looked at one of these documents and just seen numbers? Have you ever tried to fill out tax incentive pre-qualification form and been overwhelmed? All of these things can be confusing for any filmmaker, whether you're a seasoned veteran or doing them for the first time. They are documents every project uses but most people don’t know how to read them, never mind make them. We're here to help make this easier for you as a filmmaker. Stage 32 is thrilled to bring you the previously-recorded 2 part class: Navigating a Film's Financials: Budget, Cash Flows & Cost Reports taught by award-winning line producer, Maura Anderson. Maura takes you in depth on the financial side of a film; learn how to create a budget and cash flow, navigate cost reports, accounting, tax incentives and more! Maura Anderson production managed Academy Award nominated Winter’s Bone, Sundance nominated On The Ice, Max Winkler's Ceremony starring Uma Thurman, Night Catches Us in competition at Sundance, produced The Innocent Man and Ada Twist, Scientist on Netflix and The Most Dangerous Animal of All on Netflix. "It's obvious that she is an experienced and working UPM/Producer. She is a great blend of knowledge and approachability! I really appreciated that she always presented with honesty and sincerity without ever once "bs-ing" Thanks Stage 32, you provided a real pro!” – Michael S. "Terrific! Very informative. Could never have learned this from reading a book. Thanks so much! Will recommend this to others.” – Sherrie S. "Clear and pointed information. A great validation for all the line producers out there. I loved your comment about being a working member of the team and setting the tone for being approachable and a solution oriented individual. Thank you so much. – Vicky B. "Thanks for a very interesting presentation. It was clearly quite comprehensive and pointed me to things I would likely have forgotten (to my peril). – Daz K.
A NEW EXCLUSIVE WEBINAR Learn from an entertainment and intellectual property lawyer who's worked with HBO, NBCUniversal and Lionsgate how to protect your film or television project's future. PLUS! Receive Handouts Including A Production Rights Cheat Sheet and Sample Location Agreement In today’s marketing world, your project’s title and content is its brand. You’ll use your film or television project’s title for social media handles and the website URL. It’s one of the most vital tools for getting the word out about your project. It can also be something that grows much bigger. For example, HARRY POTTER started as a book series, but the franchise includes movies, spin-offs, toys, clothing, theme parks, and so much more. When determining the title for your project, you need to think of the bigger picture and how best to protect you title, and brand, to ensure it doesn’t conflict with other brands so that you can capitalize on your project from all angles. In this exclusive Stage 32 webinar, you’ll learn everything you need to know about title clearances and how to protect your project’s title and brand. You’ll also cover script clearances to ensure that you’re safe to include the people, places, real events, and existing material and brands you want to use without fear of reshooting your project from legal issues. Without the necessary title and script clearances, your project could receive legal notices to halt marketing because of a conflict with another project. You might have to reshoot valuable footage if the script isn’t cleared. But you can avoid these stressful legal and financial setbacks by doing the work correctly now. Walking you through these legal processes step by step is Kennington Groff, an attorney who launched her own firm, Lilenfield PC, to focus on entertainment and intellectual property. Kennington has extensive experience with clearances and has worked with top entertainment executives at HBO, NBCUniversal, and Lionsgate. Kennington will show you how to protect your title and the differences with the process in the US versus internationally. You’ll cover error and omission insurance (E&O), the differences between copyright and trademark protection, finding out if your title isn’t available, and more. Save yourself the time and frustration later by joining Kennington for this invaluable webinar, and protect your project’s future.
A New Exclusive Writing Lab Sold Out! Payment plans are available - please contact Sam at firstname.lastname@example.org for more information Work one-on-one and workshop your horror feature script with a professional screenwriter who wrote and produced the upcoming film MARGAUX with Paramount Pictures. Are you ready to write your horror feature screenplay? Horror films have a track record of doing well with audiences across all demographics, as these films tap into our greatest fears, wants, needs, psychosis, and primal instincts while hitting us with a dose of adrenaline. Horror is viewed as a great bet by many producers and studios when greenlighting a project… and for good reason! NOPE, SCREAM, PARANORMAL ACTIVITY, and so many more have generated massive returns… With multiple subgenres under the horror umbrella, it is important to understand YOUR voice in the genre and how you can use your voice to subvert expectations and tropes to create something new and exciting. Throughout this exclusive Stage 32 eight-week intensive lab, you will write your own horror film, chosen from three pitches submitted to your host, Nick Waters, and you will learn how to market your finished screenplay. Nick is a director, writer, and producer with the horror feature he wrote and produced, MARGAUX, is being released this year from Paramount Pictures starring Madison Pettis and Vanessa Morgan. He also directed and produced the documentary WHEN WE DANCE. You’ll cover everything in this lab from crafting a horror feature script with outlines, structure, and dialogue to best positioning your script in the marketplace with loglines, pitch decks, one-pagers, and commercial viability. You’ll also have two one-on-one sessions with your instructor and weekly assignments to guarantee that you’re always progressing with your screenplay vetted by a professional screenwriter. You'll also workshop your progress and your fellow classmates' work in class as you build relationships with other passionate writers. A lifelong horror fanatic, Nick can’t wait to help you develop and write your horror script. You will walk away from the lab with a completed screenplay for a horror feature film and know how to best market your story to the producers and production companies clamoring for new material.
Learn the tools to finance your $1MM-$3MM film with one of the entertainment industry's top film financiers Plus, get access to exclusive handouts including sample budgets, packages and collection account management statements, sales sheets, sales agent contracts, and distribution agreements In recent years, the independent producing model has shown that films budgeted between $1-$3 Million have become a "sweet spot" for investors. 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 $1MM-$3MM can be your calling card toward making a life working in independent film. 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 $1-3MM 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 $1-3 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 WHAT TO EXPECT This class is designed for beginner, intermediate and advanced students looking to learn the ins and outs of film financing at the $1-3MM level. This is an in-depth, practical, and detailed class with significantly more content than a standard 90-minute webinar. To see the full class schedule, see below under "What You Will Learn".
Feature films, documentaries, biopics, book adaptations, and sequels/prequels are all very different from each other, but they share a fundamental legal necessity: the need to acquire certain intellectual property rights in order to make the film. Whether it’s a fictional character or a real-life person; a novel, play, comic book, movie, TV show, or web series if you don’t own or control the underlying rights your film may end up in litigation rather than the theaters. This webinar will introduce you to basic intellectual property concepts and walk-through the key agreements and licensing language you will need when you are making a film based upon somebody else’s property or persona. Too often filmmakers “shoot first and get permission later.” This might be fine for scenes which can be cut if you can’t get the rights but is disastrous when your entire movie depends upon a copyright or life story that you have not effectively licensed. Intellectual property can be complex, and confusing, and the failure to include the right licensing language may result in a film that can never be distributed. To make matters even more complicated, conscientious producers often pull forms from the web that are not designed for their particular projects. In this webinar you will learn from one of the top entertainment attorneys in the industry, Thomas A. Crowell, Esq. A former television producer and director of development for STN, Mr. Crowell counsels clients on a wide range of entertainment law and intellectual property rights issues. He has worked with clients who have had 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. He will teach you how to spot problems with licensing agreements, learn what agreements are needed in order to license copyright and “life rights,” and learn how to investigate and correct breaks in a film’s “chain of title.” You will walk away feeling confident that you have the correct copyrights in place for your project!
Includes a case study of a real lookbook Yen created for his film 1985! Before you can even take a seat in that director’s chair, you must be able to convince decision makers to give you the job or support our project in the first place. To do this effectively, it’s crucial you can share your vision through a director’s lookbook. A common hurdle directors face early in their careers is the realization that having what it takes to be a director and being able to convince others that you have what it takes to be a director are wholly separate skills. You could be able to create stunning works of cinema, but if you convince producers you have this capability, it’s not going to amount to much. A great lookbook can get decision makers excited about you and your ideas in a way a simple pitch can’t. But what does a great lookbook look like and how do directors go about making them? And how can you use this tool stand out and find the opportunities you are after? Yen Tan is an award-winning Malaysian-born writer and director who has helmed multiple projects that have premiered at Sundance Film Festival, South by Southwest, and others. His critically acclaimed feature PIT STOP premiered at Sundance and was nominated for a John Cassavetes Awards at the Film Independent Spirit Awards. Yen also co-directed UNTIL WE COULD, an Addy-winning PSA for Freedom to Marry narrated by Robin Wright and Ben Foster. His film 1985 premiered at South by Southwest and became a New York Times Critic’s Pick Feature. Yen has been a fellow of Austin Film Society’s Artist Intensive, IFP’s Film Week, and Film Independent’s Fast Track and was named one of Out Magazine's OUT100 of 2018. His celebrated work as both a director and graphic designer has given him deep knowledge and ability to create effective lookbooks for his own projects and others. Yen will walk you through how exactly to put together a director’s lookbook that will catch a decisionmaker’s eye and help you land opportunities or find support for your own projects. He’ll begin by going through the basics of a lookbook, outlining their purpose, when you should make one, who you’re making them for and in which scenarios they’re helpful. He’ll also explain different types of lookbooks you can create, including general lookbooks and character breakdowns, and will show examples of past look books he designed to help illustrate. Yen will next delve into what a lookbook should look like, focusing on appropriate length, visual vs. text balance, typography, and how to split up page-by-page. He will also discuss how to find add images. Next he will talk about different software options—both free and paid—that you can use to make your own lookbook. Yen will even offer a live demonstration, putting together a page of a hypothetical lookbook using free online software and resources. Finally, Yen will share the lookbook he created for his feature film 1985 and discuss why he made the decisions he did in putting it together.