Jay Glazer is a manager at ROAR Entertainment and has helped his acting clients win roles on shows like SHAMELESS, GAME OF THRONES, THE MAN IN THE HIGH CASTLE, MAD MEN, THE WITCHER, and Amazon’s upcoming LORD OF THE RINGS series. Prior to joining ROAR, Jay worked for Brillstein Entertainment Partners and The Gersh Agency. Jay has used his deep understanding of casting and the industry to empower actors of all levels and help them find the breakthrough roles they’ve been looking for. Now he will share his approach with the Stage 32 community. Full Bio »
There are a lot of reasons why acting is such a hard job, but one of them is that it can be incredibly difficult for actors to get to the next level in their careers. If you’re an actor largely finding work in smaller independent features, short films, and TV guest star roles, moving to larger and more high-profile opportunities can feel daunting or like a long-shot. Yet often all this takes is landing that one breakthrough role that can change everything. The good news is there are tactics and strategies you can start applying to better your chances and find the springboard that will profoundly change your acting career.
In traversing your career as an actor, your talent and ability are certainly paramount, but so is the way you are perceived by others. An actor can win a job largely by being perceived as “seasoned” and “ready”. Similarly, an actor can lose an opportunity by coming off as “green” and “inexperienced”. All creative decisions are a risk on some level, and the better a developing actor understands the dynamics at play within the ecosystem of higher-level decision making, the better that actor can position themselves as “the right choice” and land breakthrough roles that make careers.
Jay Glazer is a manager at ROAR Entertainment and has helped his acting clients win roles on shows like SHAMELESS, GAME OF THRONES, THE MAN IN THE HIGH CASTLE, MAD MEN, THE WITCHER, and Amazon’s upcoming LORD OF THE RINGS series. Prior to joining ROAR, Jay worked for Brillstein Entertainment Partners and The Gersh Agency. Jay has used his deep understanding of casting and the industry to empower actors of all levels and help them find the breakthrough roles they’ve been looking for. Now he will share his approach with the Stage 32 community.
Jay will offer an inside look at how working actors land breakthrough roles and develop highly successful careers, and will also explore the complexity and nuance of the representation landscape. He will begin by sharing how to generate your own material the right way to improve your standing, including making your own short films and series, and honing your showreels. He’ll then delve deep into what representatives look for in a client and how you can use this to your advantage. He’ll also teach you how to know if your agent or manager is working on your behalf or not and how to make the switch to “big” agencies. Next, Jay will give you an inside look of how representative actually work behind the scenes to create opportunities for clients and will demonstrate how you can take some of these same steps independently. Finally, Jay will offer a step-by-step look at landing the breakthrough role you’re looking for, from the pre-read through signing the deal.
Jay will give you tools you can start using immediately to boost your career and work towards landing the bigger roles you're after.
Praise for Jay's Previous Stage 32 Webinar
"Jay was thorough, thoughtful and truthful while also being personable. He was so well prepared with his presentation and had concrete examples to provide that I can implement immediately."
Jay was engaging, laid it out well and discussed with clarity
Jay was awesome! I thought this was one of the best webinars I have attended.
"Jay has tremendous real world experience"
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No matter how great your script or story is, it’s not going to become a reality unless you’re able to pitch it effectively to the buyers and people who can help you get it made. Yet before you can even pitch it, you have to get in the room in the first place, and find someone willing to hear what you have to say. Getting that meeting is a skill in and of itself, and you’re going to need more than a good script and a good pitch to get the ball rolling. The good news is in this ever-evolving marketplace, there are myriad opportunities to get your project in front of interested people. The better you understand the industry and the world of pitch meetings, the better your pitch will work for you. Pitching is a form of sales. Whether you are selling your script, your ideas, or yourself, it is critical to understand your audience -- who they are, how they do business, and how they will evaluate your project. The more we can analyze who we are pitching to and how they are defining opportunity and success, the better equipped we will be to get a YES, and conversely, evaluate whether the individual or company we are pitching to is well suited for us. Let’s delve into how you can make this happen. Let's start by learning directly from Jay Glazer who is a manager/producer at ROAR that represents creatives in both the talent and literary fields. His clients have appeared in Emmy-winning SHAMELESS, GAME OF THRONES, THE MAN IN THE HIGH CASTLE, MAD MEN, Netflix's THE WITCHER and many more. Prior to joining ROAR, Jay worked for Brillstein Entertainment Partners and The Gersh Agency. Jay has found success in his roles by understanding how to secure important pitch meetings for himself and his clients, and he’s ready to share what he knows exclusively with the Stage 32 community. Jay will give you the knowledge and confidence to land the pitch meeting you’ve been working towards and nail it. He'll even offer examples of both email and phone call approaches you can use. "Jay was thorough, thoughtful and truthful while also being personable. He was so well prepared with his presentation and had concrete examples to provide that I can implement immediately."-Margaret M.
If a film production is going to use talent that belongs to a guild, you will need to adhere to labor related matters when it comes to residuals. Residuals are how you pay your guild talent and a key component of any production. These payments have a strict way in which they need to be handled in order to make sure that your talent is being compensated properly - whether it's payment upfront or payment on the backend. Conversely, if you are in a guild you need to ensure that your contract lays out the correct components with residuals to make sure that you are paid properly. Whether you are the person paying or the person receiving, we're talking about money here and you don't want to get it wrong. Understanding residual payments in some of the world's key film markets (US, UK and Canada) is vital to your production. As you are putting together your budget and ensuring that your production comes in at or under your budget you have to know how residuals work. Working with guilds can be tricky, but as long as you are clear upfront on how to pay their members and how that flows into your budget you can ensure success. And, if you're talent that belongs to a guild you want to ensure that you are getting every payment that is owed to you for your service on a project. David Zannoni is an international business specialist for Fintage House in the US, Europe, Canada and Latin America territories. Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies. David negotiates agreements for films and television series and is involved in business development and relationship management globally on hundreds of productions. David is continuously present to make deals and speak 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 teach you what exactly residuals are and go over a comparison of them in the USA, Canada and the United Kingdom. He will go into a deep dive example on a US example where he will discuss options for payments of residuals and how the calculation works. You will understand how the payment for residuals is secured in security interest, the collection account or the payroll house. He will even go over the agreements you should know that are related to residual payments. He will even dive into residual and media allocation and the recoupment schedule. You will leave with a clear understanding of how residuals work and how to best protect yourself on both sides when dealing with them. With this webinar you will receive free template downloads: DGA Basic Agreement SAG AFTRA Security Agreement SAG AFTRA Standard Agreement SAG AFTRA Television Distributors Assumption Agreement SAG AFTRA Television Buyers Assumption Agreement WGA Theatrical and Television Basic Agreement Standard CAM Agreement International Multi-picture Rights Distribution License Agreement Sample Webinar Resource Sheet 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.
We've brought in veteran development executive Marla White to give you an ultimate guide on dissecting the first 10 pages of a TV script from her perspective as an executive. In addition, by looking at specific examples from great scripts like “Justified,” “Weeds,” “How I Met Your Mother,” “Grey’s Anatomy,” “Modern Family” and more, she's going to break it down for you why and how those pilots succeed where others failed and how to apply that to your script. Marla has worked with writers who have sold pitches to Fox, TNT, CBS, NBC and ABC and have been staffed on premium cable dramas.
Whether you're controlling some valuable intellectual property, looking to secure IP, or simply have a valuable property in the form of a spec script, TV pilot, webseries, digital series, or other filmed material, you are likely going to be confronted with signing or distributing an option agreement. It is imperative that you understand the various types of option agreements and what information should be included to assure that you are not only protecting your material, but yourself legally as well. As the content gold rush grows, option agreements have become more and more commonplace. It is the vital piece of the paper trail that will ensure you are exercising and getting all your rights as your project gets made. These agreements are designed to protect both sides of a given deal, but can be complicated and sometimes include unnecessary language or clauses that could serve to hold up your content or payment. before you sign on the dotted line, you need to understand what exactly is an option agreement, who has creative control, how much money can be made and what you need to include to protect your rights up front. Lane Shefter Bishop is an Emmy award winning filmmaker and producer who has set up over two dozen book properties - many of them only on book proposals and early partials - with studios, networks and production companies throughout the entertainment industry. She is the CEO of Vast Entertainment, a book-to-screen company with numerous projects at both studios and networks, including feature films for Fox 2000, Silver Pictures, CBS Films & Lionsgate, and TV films for Lifetime, as well as TV series with Phoenix Pictures, Atlas Entertainment, The Donner Company, Storyline Entertainment and Universal Cable Productions. She has been on both sides of option agreements and knows the ins and outs of what you need to take into account for your own option agreement. Lane will provide you essential practical knowledge on the ins and outs of option agreements and break them down step-by-step and section-by-section. You will know what is included in a typical option, what purchase price can be expected, what royalties can be expected, what reserved rights are and how to handle publishers releases, notarized addendums and author assignments. This is vital for authors and screenwriters who currently have or expect to have their own material optioned and want to know what monies they can expect to make, when, and how. But it is also highly beneficial for producers, directors, and talent looking to acquire their own underlying material for development- books, short stories, graphic novels, articles, etc. Lane will provide you with a comprehensive, but easy to understand deep dive on option agreements. She will remove the fear and anxiety which will allow you to clearly and decisively protect yourself and ask for the important items that need to be included in all your agreements. Praise for Lane's Stage 32 Webinar “Very impressed with Ms. Bishop, both her formal presentation and the Q & A that followed.” - Steve Weintz “The seminar was informative, insightful, well documented, entertaining, well thought out and delivered with a touch of humor. Wonderful!” - Katharine Carter
Only 10 Spots Available (3 spots remain!) Exclusive TV Lab including One-on-One Mentoring with a Veteran TV Executive Develop a Polished TV Pitch Document for Your Own Project in 8 Weeks This is the golden age of television and the appetite for content has never been greater. What does every network and streamer want? Fresh, unique, authentic voices with never-been-told stories. While the door is open to new writers, the competition is fierce. Of course you need a very strong finished script, but before that will be read, you need to be able to communicate what makes your show stand out from the crowd, what will make people want to watch it, and why you are passionate about writing it. You need a blueprint of what the series will be beyond one episode. That's where a pitch deck comes in. Whether you are selling your show verbally, sending the pitch to a potential producer, or applying for a fellowship, a pitch deck carries the weight of your imagined world with all its inhabitants and stories. That's a tall order! So where do you begin? In this lab we will delve deep into writing an effective pitch deck for your scripted television idea - one that will clearly communicate your intentions, excite the reader, and convey your voice and your passion. World class pitch deck creator Ewan Dunbar from Disrupting Influence, who has developed scripts and pitch decks with writers and creators that have gone on to secure development deals at various broadcast partners, distributors, and streamers, including Netflix, Disney+, and Amazon, will take you on this journey. In this lab, you will be working directly with Ewan in a virtual class setting and also during one-on-one online sessions to put together a great TV pitch deck to help you communicate your show and get execs and buyers interested. Whether you have a comedy or drama series, 30 minute or 60 minute, Ewan is here to help. Ewan will walk you through communicating your show's world, creating your characters, and how best to convey your story within the bounds of a TV pitch deck. After two months of intense work on your pitch deck, you’ll have the vital pitch materials you need to take your project to the next level and the skills to market any new project you put your passion behind with a pitch deck. Throughout the course of this exclusive online lab, you will have direct access to Ewan as a mentor by email and via video conferencing as you develop your pitch deck. "Ewan’s presentation was excellent I learned so much from him and now feel 100% confident in creating a pitch deck. He is truly an expert." -Margaret M. "I've taken many years of webinars, gone to many conferences, and taken many courses on feature script writing... Ewan Dunbar's webinar was one of the best I have ever taken! Organized, filled with useful information, he sounded like he really cared about helping the audience be better at what they want to do." -Roberta P.
PRE-CLASS PREP - Read your syllabus and plan out your writing ideas. Begin to think about 1-2 ideas that might be a good idea for your drama pilot. Start to prepare for your pilot pitch. WEEK #1 – Introduction, Pitch Docs, Character This week we will cover the syllabus, your instructor's background and experience, your goals for this eight-week lab and launch into a discussion on creating strong characters for your pilot. We will discuss the types of drama pilots and how they differ from network to network. We will go over how to create effective loglines and pitch documents. Then we will delve into character – what makes for strong characters and weak ones. The assignment for this week will be to create a pitch document and write a detailed description (around half a page) on each of your series regular characters. WEEK #2 – Pilot Outline and Series Bible This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of drama pilot (procedural or serial) and the network (broadcast, cable, streaming, digital, etc.) We will identify what kind of network to target for your story idea and structure the pilot accordingly. We will also discuss the function of your series bible and what it needs to include to support your pilot. The assignment for the week is to complete a pilot outline and start work on your bible. WEEK #3 – Pilot Outline (One on One Consultations – No Online Class) This week will consist of one-on-one consultations regarding pilot structure. Each writer will send in their pilot outline in advance and will have a 10-minute call to discuss what works and what doesn’t. The assignment for the week is to address any notes given on the outline before proceeding with next week’s class and to continue working on your series bible. WEEK #4– Scenes, Beats, Dialogue, This week we will address the qualities of effective (and ineffective) scenes, story beats, and dialogue. The assignment for the week will be to write three complete scenes from your outline: the teaser/opening scene, a scene with heavy dialogue, and a strong character scene. WEEK #5– Acts 1 and 2 We will discuss both the four-act and five-act structure. You will decide which works best for the pilot that you are developing. This week we will go over all the necessary story beats that exist in acts 1 and 2 of a drama pilot, including exposition, number of scenes per act, traditional page count, inciting incidents, acts 1 and 2 breaks, etc. The assignment this week will be to complete Acts 1 and 2 of your pilot. WEEK #6– Acts 3, 4 and 5 Similarly to last week, we will cover the necessary story beats that traditionally exist in acts 3 and 4 of a drama pilot. If your pilot structure has five or more, as some broadcast network shows do, there will be time allotted for further instruction on how to proceed. The assignment this week is to complete the first draft of the entire pilot and to turn in your series bible. WEEK #7–Consultation for Revision (No Online Class) This week will consist of one-on-one consultations. Please turn in your pilot at least 24 hours before your scheduled call, and each writer will have a 10-minute call to go over notes. Your assignment this week is to address any notes. WEEK #8– One-on-one Feedback and Polish (No Online Class) This week will consist of 10-minute one-on-one phone calls as well. Please submit your revised pilot at least 24 hours before your scheduled call. Final notes and next steps for your pilot will be given. Payment plans are available - please contact firstname.lastname@example.org for more information.