Max Adams is a screenwriter, author, mentor, and teacher. Recipient early in her career of an Academy Nicholl Fellowship in Screenwriting, an Austin Film Festival Screenwriting Award, and an America’s Best Screenwriting Award, Max was dubbed “Red Hot Adams” by Daily Variety for selling three pitches over a Christmas holiday. Max’s produced feature films include Excess Baggage, The Ladykillers, One For the Money and she recently appeared in Tony Tarantino’s Underbelly Blues. She has worked on concepts and pitches with industry luminaries including pitch king Bob Kosberg, producers Robert Evans (The Godfather), Gale Anne Hurd (The Terminator), David Valdes (The Green Mile) and Wendy Finerman (Forest Gump, The Devil Wears Prada). She is the author of The New Screenwriter’s Survival Guide, is a former WGA online mentor, is the founder of two international online screenwriting workshops and the founder of The Academy of Film Writing. Max’s students and workshoppers have been featured on The Black List, have won three Academy Nicholl Fellowships, two Austin Film Festival Screenwriting Awards, a Stage 32 Happy Writers award, and most recently a Tracking Board 2015 Launch Pad Feature Award. Many of Max’s students are working professionally in the industry today. You can read more about Max on her websites http://seemaxrun.com and http://theafw.com. Full Bio »
We continuously hear from the executives that we work with that concept is the most common mistake in spec scripts today. Readers see so many spec scripts that have no chance of becoming films not because the writing isn’t great, but because the writer did not spend enough time on concept. It is one thing to fall in love with a story idea. It is another to stick with it during the uncomfortable phase of working on that idea to make it bigger, badder, better and more enticing to the world.
How can you ensure you consistently develop ideas that excite readers and push your script toward a sale? How do you know if your idea is “high concept” enough? What exactly does “high concept” even mean?
Stage 32 Next Level Webinars is thrilled to bring you acclaimed screenwriter and writing coach Max Adams to teach you how to create compelling concepts and re-craft existing concepts so that they garner instant attention through one sentence descriptions alone. Dubbed “Red Hot Adams” by Daily Variety for selling three pitches over a Christmas holiday, she will teach you how to pull a story out of the “been there seen that no thanks” file and into the “I have got to read that” file. You’ll learn how to break your story into individual components to find its strengths and weaknesses, which gives you tools to analyze your future writing projects and raise stories’ impact.
This will be your complete crash course in high concept writing, and you will leave this webinar knowing how to make your stories more interesting and enticing for readers, buyers, producers, editors, representatives, cast and industry players!
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!
“Max Adams is the kind of smart, engaging teacher that made me want to be a better writer — and she helped me do it.” – Alvaro Rodriguez, Machete, From Dusk Till Dawn: The Series
“Max Adams is the real deal. I’ve taken three of her classes so far and they’ve upped my game as an author and a screenwriter. I still refer to her class lectures as I work on new projects. Max offers real tools you will continue to use over and over again in your career.” – Doug Solter, Skid, My Girlfriend Bites, Legends
“You laid the foundation, Max. Best teacher ever.” - Debi Yazbeck, 2015 Tracking Board Launchpad Feature Winner
“Max Adams is one of the most knowledgeable and talented people in screenwriting that I know, all writers need to hear what Max Adams has to say.” – Kerry Valderrama, Garrison, Sanitarium
“The brilliance of taking Max Adams’ classes is that you start seeing improvement in your writing almost immediately. She has that indescribable knack for finding methods and exercises and examples that break open your understanding of how to be the best writer you can be, how to improve on your voice without mimicry, and how to get your story on the page in such a way that you start getting those “wow” responses… and sales. Not long after Max’s classes, I sold a three book deal to St. Martin’s Press on a pre-empt, hit the USA Today Bestseller list, and am now considering offers on my fourth book.” – Toni McGee Causey, Charmed and Dangerous, Girls Just Wanna Have Guns, When A Man Loves A Weapon
“I’ve taken all of Max’s classes and quite simply, her focused methods and attention to detail blow every other screenwriting class out of the water.” – Jules Howe, Best Comedy Screenplay Austin Film Festival, Best Family Film Screenplay
“The input I got from Max Adams lifted my script, “Redemption,” from a SemiFinalist to a Nicholl Fellowships in Screenwriting award winner. She is smart, savvy, experienced, and generous. She is a fabulous teacher. If you’ve got what it takes, she will pull it out of you. ” – Patricia Burroughs, Winner Academy Nicholl Fellowships in Screenwriting
One of the weakest elements in screenwriting is story momentum. Without story momentum, pacing drags, plots lose focus, second acts die, and story climaxes are – anticlimactic. Achieving story momentum is not addressed often enough in screenwriting classes. Nor is the direct correlation between dramatic tension and the cause and effect elements needed to link scenes and scene sequences. This relationship is the cornerstone of achieving dramatic tension and mastering story momentum. In this Stage 32 Next Level Webinar, Max Adams, a 20-year working screenwriter and acclaimed author who has worked with Columbia Pictures, Touchstone Pictures, Universal Pictures, Walt Disney Studios, and Tri-Star Pictures, will explain why linear plotting fails and will give you practical tools and techniques you can immediately apply to you writing. You will leave this webinar knowing how to fix story holes, correct pacing, create driving story engines and achieve rising story momentum to maintain a feature film script straight through to a riveting story climax!
Back by popular demand, Stage 32 Next Level Education brings you Max Adams, 20-year working screenwriter and acclaimed author who has worked with Columbia Pictures, Touchstone Pictures, Universal Pictures, Walt Disney Studios, and Tri-Star Pictures! You will also learn about static locations vs. clear, wider, more open locations and how they can work for and against you in your writing. You will also have a clear understanding on how to use motion and action to move your screenplay forward. You will walk away having all the tools and techniques necessary to apply to fiction, nonfiction, screenplays, teleplays, and stage plays to make visuals and action “real” on the page - an art unto itself and something that can separate your work from the pack. You will learn how to create compelling visuals on the page that will catapult your writing into an unforgettable — and visual — experience for your readers on the page, and your audience on the screen. The immediacy of motion on a film screen, and its necessity, sets film writing apart from every other written medium on the planet. And is the difference on the script page — and film screen — between selling — or that script dying in a drawer, and that film never being made.
Let's rock and roll, Creative Army. We've been well overdue to get together live. I've got just the solution. Let's hang AMA (Ask Me Anything) style. Since the last AMA in May, I've been running all over the globe fulfilling Stage 32 partnership responsibilities, conducting business, exploring creative writing/filming/producing opportunities, and mentoring in such places as Cannes, Budapest, Majorca, Paris, Dordogne, Trinidad and Tobago, London, Munich, Hamburg and, of course, right here in Los Angeles. To say there's been much going on would be the understatement of the century. I have much to share! And I know you all have questions! So let's chill together for a couple of inspiring, motivating, and brutally honest 2 hours of craft and industry talk. Remember, no matter what your discipline, skill level, geographical location, etc, this AMA is for ALL! Bring your questions and the energy and I'll handle the rest. As always, registering for my AMA is completely FREE! And the more the merrier, so do invite any of your fellow creative peers to join us as well. Cheers! RB
We take a look at how writers use cutaways to drive home punchlines in Family Guy and Brooklyn Nine-Nine, explain big ideas in The Big Short, give historical context in Narcos, and frame stories in The Princess Bride.
Jason Mirch interviews Alexia Melocchi, a producer and film executive with more than more than 25 films and series credits to her name! With more than twenty years in the industry, Alexia has worked in nearly every aspect of the entertainment industry. Working at Little Studio Films since 2000, Alexia serves as Partner and Producer, involved in all aspects of company operations, including distribution and co-production deals, managing production activities, and film and television marketing. Little Studio Films, created by Alexia and Alexandra Yacovlef, is a multilingual boutique consulting, distribution and production company with an extensive background in all areas of the Entertainment Business. It provides services to a variety of clients including producers, production companies, authors, screenwriters, directors, international distributors and Wall Street Companies.During the webcast, Alexia and Jason discuss her career, the state of the global markets, what types of scripts writers should be in the current market, how to find a producer and if the "dollar option" is really a good idea.
Part 1 - Writing, Budgeting & Pre-Production How to write an effective short script The brainstorming process Utilizing real life experiences, what are memorable moments in your life that stick out to you? Moments in a friend’s life? Creating characters: What topics do you uniquely understand? What jobs have you held? What did your parents do for a living? Where did you grow up? Writing in proper format What is the difference between writing “is working” and “works” in a screenplay and why does verbiage matter when writing action? Should I put my WGA and copyright notices on the title page? The business of making a short film What do I need to do to protect myself? Creating an LLC and lawyering up for the right reasons. How much is this really going to cost? Evaluating SAG Short Film Agreements, cost of renting equipment, everything from lighting to locations, and looking forward to release and distributions, what are the costs beyond the actual production of a film? Logistically, how will I be able to execute all the elements? How do I handle room and board for out of town talent? Is there a local film commission I can work with, and if so, what exactly is their role in helping me execute my vision? Part 2 - Directing, Marketing & Distributing Your Film Preparing to direct and the production process What do I need to do before I get to set? What is the purpose of having location walkthroughs? When and how to I make the shot list and how many shots do I really need? How do I make my vision clear to crewmembers while still being collaborative in the process? How do I work with an actor for the first time? How much say should they have in the script and changing the character? Should I allow an actor to change my lines? How do I follow their emotional journey over the course of shooting a film that is totally out of order so it makes sense in the final product? When problems arise on set, how do I respond? What are best practices to maintaining authority without creating conflict? How do I ensure that everyone is getting the proper attention they need so I can avoid problems? What happens if I find out we didn’t shoot something we needed? How do I work with footage or sound that didn’t come out the way I expected? How long should my final product be so I can be successful at film festivals? Marketing your film What can I do to promote my film before we ever start filming? When is the appropriate time to start promoting? What kind of promotion looks and feels professional versus amateur? Is there such a thing as oversharing information on social networks? During production, how can I use my cast and crew to promote the project? What parameters should I set to not give away plot points? What is the role of a still photographer on set and how can I leverage the still photographer for publicity? How do I reach out to press outlets to promote my film? How do I find out what press outlets are the right ones for my film, and how do I even get a journalist interested in covering it? What makes an effective versus ineffective pitch letter? Releasing your film What makes an effective trailer? How can I best prepare and present the trailer and still photos for promotional purposes? Should I create a Facebook page for my film and a website and a Twitter and an Instagram, etc.? How do I get into Sundance? If I don’t get into Sundance, is my career finished? There are entirely too many film festivals, how do I begin to figure out which ones are good and which ones are bad? What are effective ways of meeting, then following up, with producers and gatekeepers that I meet at these events? What kind of communication does an executive find annoying? Should I sell my film or give it away for free? If I give it away for free, how will I be able to pay myself back? How do I quantify if my film was a success? How do I use the short film to get myself ready for my next project? What if the film didn’t come out the way I wanted, am I completely done as a filmmaker? How do I use the lessons I learned to make my next project better? Now that I’ve made my first short film and loved it, how do I make this my full time job and become a professional filmmaker?