Marin Hope is a Los Angeles native and LA-based casting director. Marin works alongside Heidi Levitt, casting film, television, commercial, theatre and New Media projects. Some casting credits include HBO's BESSIE starring Queen Latifah, Mo’Nique, Michael K. Williams and Mike Epps, AMERICAN MADE, starring Tom Cruise and Domhnall Gleeson,COMPLETE UNKNOWN, starring Michael Shannon and Rachel Weisz, HOMELAND, starring Claire Danes, THE LAST WORD, starring Shirley MacLaine and Amanda Seyfried, KINGS, starring Halle Berry and Daniel Craig, Bad Samaritan starring David Tennant and Robert Sheehan, WHO WILL WRITE OUR HISTORY, starring Joan Allen and Adrien Brody, and most recently MOLLY, Javier Bardem, Elle Fanning, Chris Rock, Laura Linney and Salma Hayek, which is currently in post-production. Marin is a member of the Casting Society of America (CSA). She was nominated for an Artios Award for casting in 2018 for her casting of a short film entitled, Plea and was the recipient of an Artios Award for casting in 2020 for her casting of the Center Theater Group’s 2018 production of Sweat. For a complete list of her film and television credits click here. Prior to her current role, Marin joined Define American as their Entertainment Media Manager. Define American is a nonprofit media and culture organization founded by Pulitzer Prize-winning journalist, Jose Antonio Vargas, who’s mission is to use the power of storytelling to transcend politics and shift the conversation around immigrants, identity, and citizenship in a changing America. She moved to New York City to attend the American Academy of Dramatic Arts and landed a position at ABC Primetime Casting under casting executive, Marci Philips. She would go on to work for casting directors, Judy Henderson, Suzanne Smith-Crowley, Jessica Kelly, Billy Hopkins and Ann Goulder on projects such as Showtime's HOMELAND, THE PERKS OF BEING A WALLFLOWER, ABC’S PAN AM, THE WOLVERINE, LABOR DAY, ABC's ZERO HOUR, NOAH, THE MAZE RUNNER, and NBC'S THE BLACKLIST, before returning to Los Angeles. Full Bio »
Today, more than ever, self tape auditions are an integral part of the casting process. This is even more true in the age of social distancing. Additionally, due to the convenience self tapes provide and tight deadlines casting directors often operate under, more roles are cast via self tape auditions than ever before. Understanding how to set up, craft, and shoot a self tape can be the difference between landing more roles or having your talents fall by the wayside.
When a casting director requests and accepts self tapes to assist in their casting process, they inevitably wind up with tapes of varying quality and content. Whether it's picture quality or sound quality fails, a bad self tape immediately gets bypassed. Actors often think that their talent will always win the day. In a room, that might be true. But on a self tape, quality matters. Fortunately, there are some very simple, but comprehensive steps you can take that will make a massive difference in what you present to a casting director. The goal is to keep the attention off cosmetic or sound flaws and on your acting, where it belongs!
Marin Hope, CSA is a Los Angeles native and LA-based casting director, who won the 2020 Artios Award for Casting. Marin works alongside Heidi Levitt, casting film, television, commercial, theatre and New Media projects. Some casting credits include HBO's BESSIE starring Queen Latifah, Mo’Nique, Michael K. Williams and Mike Epps, AMERICAN MADE, starring Tom Cruise and Domhnall Gleeson, COMPLETE UNKNOWN, starring Michael Shannon and Rachel Weisz, HOMELAND, starring Claire Danes, THE LAST WORD, starring Shirley MacLaine and Amanda Seyfried, KINGS, starring Halle Berry and Daniel Craig, Bad Samaritan starring David Tennant and Robert Sheehan, WHO WILL WRITE OUR HISTORY, starring Joan Allen and Adrien Brody, and most recently MOLLY, Javier Bardem, Elle Fanning, Chris Rock, Laura Linney and Salma Hayek, which is currently in post-production. Over her storied career she has seen thousands of auditions and hundreds of casting self-tapes and she's back here exclusively on Stage 32 to impart her wisdom on what can help you get a leg up on the competition when it comes to your self tape.
Marin will talk about the need for self-tapes and why they are an essential part of today's casting process. You'll get insight as to why some jobs rely on it vs. others who require in-person auditions. She will go over your question on whether or not you should use a self-tape facility or film from home. When it comes to shooting at home, you will learn background, lighting, angles, wardrobe choices and equipment you will need, as well as whether or not you should film horizontal or portrait. Finally, Karen will teach you the do's and don'ts of a self-tape and share with you examples of good and bad auditions. You will learn all of this from an esteemed casting director's perspective which will give you the unique insight into how your own self-tape is viewed.
PLUS! Marin will share with you:
"Over my career I have see in all in film, television, theater and new media. As a casting director you know instantly when you see "it." I know what it takes to have your self tape stand out."
- Marin H.
Q: What is the format of a webinar?
A: Stage 32 Next Level Webinars are typically 90-minute broadcasts that take place online using a designated software program from Stage 32.
Q: Do I have to be located in a specific location?
A: No, you can participate from the comfort of your own home using your personal computer! If you attend a live online webinar, you will be able to communicate directly with your instructor during the webinar.
Q: What are the system requirements?
A: You will need to meet the following system requirements in order to run the webinar software: Windows 7 or later Mac OS X 10.9 (Mavericks) or later.
If you have Windows XP, Windows Vista and Mac OS X 10.8 (Mountain Lion): The webinar software does not support these operating systems. If you are running one of those operating systems, please upgrade now in order to be able to view a live webinar. Upgrade your Windows computer / Upgrade your Mac computer
Q: What if I cannot attend the live webinar?
A: If you attend a live online webinar, you will be able to communicate directly with your instructor during the webinar. If you cannot attend a live webinar and purchase an On-Demand webinar, you will have access to the entire recorded broadcast, including the Q&A.
Q: Will I have access to the webinar afterward to rewatch?
A: Yes! After the purchase of a live or On-Demand webinar, you will have on-demand access to the audio recording, which you can view as many times as you'd like for a whole year!
Learn directly from Jon Sperry, one of the most experienced dialect coaches in America who has coached such actors as Phillip Seymour Hoffman, Rodrigo Santoro, Sofia Vergara, Zoe Saldana, Russell Crowe, Matt Dillon and Harvey Keitel! In this Stage 32 Next Level Webinar, you will take your acting to the next level by learning how to accurately speak with American and British accents. You will also learn the common regional variations, so you can have a well-rounded comprehension of the accent and play any role that requires an accent from either country. Utilizing exceptional instruction from a world renowned Acting and Voice coach, this webinar will help you begin to learn to speak like a native British or American citizen, no matter your natural accent or dialect! You will leave the webinar knowing: How to reduce or eliminate your natural accent or dialect. How to hear the difference between characteristic American and British sounds. What regional accent differences exist and how to mimic them. How to decipher a person’s origin by their accent and how to apply that to your acting. An introduction to speaking like a native of both countries. You will also have recorded exercises to help you practice on your own time! Your host Jon Sperry is one of the top dialect and voice coaches in America. Jon has trained and/or coached many hundreds of actors of all levels, including such actors as Phillip Seymour Hoffman, Rodrigo Santoro, Sofia Vergara, Zoe Saldana, Gael Garcia Bernal, Julie Delpy, Liam Neeson, Juliette Lewis, Famke Janssen, Matt Dillon, Minnie Driver, Russell Crowe, Sophia Loren, Debbie Reynolds, Giancarlo Giannini, John Turturro, Geena Davis, Melanie Griffith, Thomas Kretschmann, and Arnold Schwarzenegger. He has enjoyed a long collaboration with Harvey Keitel on 15 films, including The Piano, Bugsy, Reservoir Dogs, The Bad Lieutenant, and Thelma and Louise. He has coached films made by Francis Ford Coppola, Jane Campion, Ridley Scott, Theo Angelopoulos, Barry Levinson, Andy Davis, Robert Rodriguez, Roland Joffé and Quentin Tarantino, to name a few. Jon is an expert in his field and he is here exclusively for Stage 32 to help you with your accent training!
Stage 32 believes in evolving and transforming to continuously put our writers ahead of the competition. Now, no matter where you live in the world, we are giving you the opportunity to work directly with a TV development executive on a one-on-one basis to help shape your writing through a Stage 32 TV Writing Lab. All classes are taught online and at the end of this 8-week intensive, you will have a completed 60 minute original TV drama pilot. With the TV market exploding right now, 60-minute TV drama and dramedy pilots are in demand. Many, if not all, managers and agents are looking for writers that can write in this space, and with more and more production companies heading into TV, knowing how to write a strong TV pilot will give you a competitive advantage and help you find success as a TV writer! To teach this Virtual Writer's Lab we brought back veteran TV executive Anna Henry. Anna has set up projects at Sony, 20th Television, EOne, Starz, Amazon, Netflix, Corus, ITV America and more. Anna began her career as a development executive at Nickelodeon, then crossed over to prime-time television working at CBS and ABC in drama development and programming before working in management and establishing herself as an Independent Producer. She was Head of Development at Andrea Simon Entertainment, a boutique literary management and production company representing writers and directors. She has more than 15 years experience working with writers on developing their passion projects and building their careers with client credits including Netflix's "Seven Seconds"; Starz'"Vida"; BET’s “In Contemt”; HBO's "The Deuce", "Big Love", and "Vinyl"; Showtime's "The Chi"; NBC's "This Is Us"; The CW's "Jane the Virgin"; Direct TV's "Kingdom"; AMC’s “Fear the Walking Dead”; PBS' "Mercy Street"; and more. Why Anna? We'll let her last lab students tell you why... "Anna exceeded my expectations, both in terms of quality (and quantity) of information and overall value. Anna was personable, knowledgeable, and organized. Anna and Stage 32 delivered the goods." - John R. "What a thoughtful, thorough and inspiring class. Not only was the content there, but the structure was also superb. Thank you Anna for your genius and your generosity." - Crispin L. "Anna was so generous with her time, so knowledgeable, so encouraging...very grateful. It feels like there's a stronger wind at my back after that. Thank you!" - Michael L. WHAT TO EXPECT By the end of this 8-week lab you will have a completed first draft of your TV drama or dramedy pilot that will grab the industry's attention. Under the one-on-one guidance of Anna, this hands-on intensive lab will guide you through picking a concept, creating engaging characters, structure, outlining and writing your pilot. The main objective of this lab will be to have a solid completed script that is market-ready. You will meet online with Anna for 2 hours a week in a class setting, plus have phone or Skype meetings during some of the weeks when you don't have an online class. This will be accompanied by weekly homework assignments to guide you on your way to creating a marketable, unique pilot that will grab the industry's attention. Plus! To keep you motivated and accountable you'll have a private dedicated virtual writer's group inside the Stage 32 lounge where you can meet, stay in touch and work with your fellow classmates as you're going through the writing process. Payment plans are available - please contact Amanda at firstname.lastname@example.org for more information This lab is limited to 10 people This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea
State of the industry Why the majority of TV/Film comes from pre-existing IP "The Executive Bias" Pre-existing Fan Base/Fleshed Out World Adapting Books/Articles Where to Go! How To Choose Material Who To Contact For Film/TV Rights How To Close The Deal Case Study: Game of Thrones, Sex and The City Case Study: The Wedding Sting in the Atlantic, now going to be a film at Paramount Adapting Comic Books / Video Games Where to Go! How To Choose Material Who To Contact For Film/TV Rights How To Close The Deal Case Study (Comics): Guardians of the Galaxy (Marvel/Disney, lesser known/less successful comic became a blockbuster) Case Study: Jessica Jones (Marvel / Netflix) Case Study (Video Games): Assassin's Creed (FOX, to be released this December) Making it your own Most say DO NOT adapt your own material (leads to being too protective of your work/not as open to change) Fun thing about IP, when you build a world, it can keep being adapted into other mediums (Example: Orphan Black the comic book was one of the best-selling comics last year, adapted from TV show. Goes in both directions) The heart of this, however, is making sure the new versions are different enough from the old, AND have your voice in them. LIVE Q&A with Maggie!
For many independent film producers and filmmakers, approaching financiers and securing financing for your project presents one of the biggest challenges in the entire filmmaking process. How do you build your team, bring in development funds, attach name talent and work with rebates, sales estimates & distribution to attract financing all while compiling a plan to mitigate your financial risk? It can be overwhelming for a producer, especially given the ever changing landscape and the increasingly competitive nature of independent film. Your goal as a filmmaker or producer is to make your project more financially attractive to investors over everyone else presenting projects to them. What many filmmakers and producers don't know is that there's a "sweet spot" in a film budget range that will help you raise funds successfully and get the ROI your investors are looking for. Setting the budget for your feature film at between $250,000 and $2 million it opens up a variety of options for you to be able to attach the talent you're looking for, the distribution you need and make your investors money. But first, you have to understand the financial blueprint to get you there. Franco Sama has produced 25+ successful independent feature films between $250,000 - $2MM. He has worked with Oscar winner Christine Lahti, Dane Cook, Christian Slater, Gary Oldman, David Arquette, Brittany Snow, Vivica Fox, Michael Madsen and many more. He's worked with first time directors and experienced directors and has seen all scenarios when it comes to putting together financing for films. Franco knows first hand every step of the financial model needed to make a movie profitable and he's bringing this knowledge exclusively to the Stage 32 community. You will learn how to approach your film from the investor’s point of view so you can not only get the money you need for your project but, most importantly, how your investors can get that money back with profits. You will learn how to build a team around your project that will not only make investing more attractive, but also assure you don't make mistakes when you go after funding. You'll learn the type of funding that is available to you and how to approach the investors attracted to and interested in each type of financing. You'll dissect how to get agents on your side to attach talent to your project and how to work with attorneys. You'll also learn the most effective distribution options for this type of film budget. Drawing from his nearly two decades of experience, Franco will teach you how he gets his dozens of projects financed, distributed and turning a profit, and why he stays in the “sweet spot” range between $250K-$2M. Give yourself the competitive advantage to understand the types of investors you need to approach, how to approach them, how to get talent attached, and, ultimately, how to get your film made, distributed, and profitable so your investors return again and again!
Learn directly from Heather Hale, Independent Film and TV Producer and Director who is vetted to pitch projects to NBC Universal and whose 50 hours of television have won Emmys, Tellys and Ace Awards as well as "Best New Series Pilot"! Our industry has changed dramatically - and it continues to evolve. This webinar will help you strategize how to find the best points of entry for your projects in the overlapping but distinct media marketplaces. Learn time-proven techniques and new resources to proactively brainstorm the right attachments and elements for your project. Learn how to identify, research and prioritize a finely honed hit list of marquis-value actors appropriate for not only the roles – but your budget and genre; bankable, "gettable" directors that will do justice to your project's sensibilities; legitimate financiers and distributors proficient in your niche and the brands that are eager to hit your target demographics. Figure out how to track them all down, strategize the best approaches to get on their radars and develop the kind of materials and pitches they will most likely respond to. Heather uses in-the-trenches humor, candor and real world examples to illuminate the many paths to getting a project up onto the big (or little) screen.
It's no secret that television is a red hot medium right now. Over the last few years, the average number of shows broadcast has been well over 500. With the advent of even more streaming options (HBO Now, Disney+, and more), some experts expect that number to double or even possibly triple over the next 2-4 years. That doesn't even account for the number of television projects that get sold or brought to pilot that never get picked up! In short, the amount of television pitches being greenlit in the room and the amount of television scripts being optioned and sold has never been higher. But, as is the case with just about anything, the bigger the gold rush, the more people seeking the gold. The content is one thing, how you pitch the content to networks, development execs, financiers, producers, managers, agents and other decision makers is quite another. Experienced professionals can spot an amateur pitcher within the first 30 seconds, if not sooner. You have to be able to stand out. And we're here to help you do just that. So, you have a great idea for a show, now what? How do you get it to the right people? What to do/how to present it to them? What most people don’t understand, is that once they’re in the door they need to think about the other side of the table. Who they’re pitching to, how many pitches that person reads/hears and how best to position themselves to stand out. Busy producers and executives get pitched all the time - honestly...All. Day. Long. Whether oral, written or Skype, you basically have 30 seconds or the first paragraph to keep them interested. And for both, the format matters! Don’t let your great idea fall on deaf ears or eyes! If you’re a writer or someone who works with writers, you need to know how to orchestrate a good pitch. Bret Slater has worked as a producer on such acclaimed shows as the multi Emmy nominated Boardwalk Empire and Ballers for HBO. Bret has worked alongside such talent as Steve Buscemi, Mark Whalberg, Russel Crowe, Dwayne "The Rock" Johnson, Steven Levinson (Entourage), Catherine Zeta Jones, Ryan Phillippe and many more. Bret has been reading and listening to television pitches all day and just about every day since he broke into the business over a decade ago. He's seen every style, heard every idea, and knows as well as anyone what makes a television pitch a winner. Bret will teach you the entire landscape regarding pitching a television pilot or idea. In what is perhaps the most misunderstood aspect of the pitching process, Bret will take you inside the mind of the pitchee, the person hearing the pitch. What are they looking for in the first 30 seconds? What are you portraying when you walk in the room? What details matter and which make the person you are pitching to zone out? How do you craft your pitch to producers, managers and agents? He will teach you the 3 basic, yet much overlooked, rules that must be in every pitch along with the #1 rule on how to deliver your pitch. Bret will break down written, oral and online/Skype pitches and the do's and don'ts for each. He will teach you how to open, and more importantly, close your pitch so that you leave the person or people you are pitching to wanting more. Bret will even show you the proper etiquette for following up after a pitch. Bret will provide all the tools that will help lift the anxiety and doubt of pitching for television and give you the confidence to deliver your pitch in a mannered, informed and professional way. "Yet another winner from Stage 32." - Patricia C. "So much quality information. There were at least 3 things I was absolutely doing wrong with my approach when pitching. This clarified the mistakes I was making. Thank you, Bret." Marty T. "Having spent nearly 10 years in the feature world, I recently wrote a pilot and quickly realized the landscape is much different. My old tricks for pitching features didn't apply for TV. It's a different animal. Now I'm ready to get back on the attack." Milos S.