Patrick Raymond is a Creative Executive at Mandalay Pictures where he gets to work on his passion every day: cultivating amazing stories and working with great writers. Prior to joining Mandalay, Patrick studied business and film production at the University of Southern California. He worked in the financial services industry for four years before transitioning to entertainment, where he worked as a production assistant in television for four years.After that he transitioned to working at Gersh in the production department but he also gained exposure to the literary world, working with writers and story. He then moved over to LD Entertainment for three years, where he was a Creative Executive, working with writers and helping build scripts and acquire ideas for new projects. Here he had the opportunity to work for Tate Taylor on a James Brown biopic entitled, Get On Up, and learned about assembling large studio films. He has since transitioned to the Creative Executive position at Mandalay Pictures. Patrick was born in Alaska and raised in Seattle prior to moving to LA. Full Bio »
Learn directly from Patrick Raymond, a development executive at Mandalay Pictures which sold biopic Birth Of a Nation at the 2016 Sundance Film Festival for a record-breaking $17.5 million!
Stage 32's "Deconstructing the Script" series has emerged as one of the most helpful ways to learn and improve your own screenwriting skills. By breaking down some of the top scripts in the marketplace, this exclusive series shows you choices screenwriters make in plot, dialogue, pacing, tone, world and description that will help inform your own writing. Even better - Stage 32 brings in working creative and development executives to break down each script - from their own perspective - so you can better understand how executives see writing and develop projects.
In this Stage 32 Next Level Webinar, Deconstructing The Script: Oscar-Nominated Straight Outta Compton, we have brought in Patrick Raymond, Creative Executive at Mandalay Pictures, as your host to break down the script for this Oscar-nominated biopic. Recently Patrick's production company sold biopic Birth of a Nation at the 2016 Sundance Film Festival for a record breaking $17.5 million!
Even though Straight Outta Compton is a biopic, the structure, themes and world-building is applicable to any narrative feature screenwriting. In this 90-minute online webinar Patrick will work through the script, identifying the key elements, characters, and plot points that make this more than just a biopic but also a statement, keeping the tone and voice consistent throughout as it relates to the subject matter. He will identify specific scenes that support the themes and identify not just specific plot points, but also highlight relevancy for the modern audience/culture. You will be able to see margin notes and specific script examples from Straight Outta Compton to learn how and why choices were made.
As a development executive in Hollywood, Patrick has a plethora of experience reading and developing various musical biopics. Straight Outta Compton is one of Patrick's favorite scripts from 2015 and "...from a story and script level, stands as one of the best." Find out why by registering for this Stage 32 Next Level Webinar.
**Patrick will be presenting detailed analysis of the script and referencing his own script notes throughout his webinar for you to view. Although it is not required, we recommend that you read the STRAIGHT OUTTA COMPTON script prior to taking Patrick's webinar. You can access the script by clicking here!
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!
Nearly every executive that has come in to hear pitches through Stage 32 is looking for thriller features. It's one of the few genres that can translate internationally. Having a solid, unique thriller in your portfolio is something any manager or agent will appreciate. Thrillers like Gone Girl, Taken, The Boy Next Door and Non-Stop have profited more than quadrupled what their respective shooting budgets were. But writing thrillers comes with its own challenges. A writer has to make sure the characterization is strong throughout the story without letting the action sequences overshadow it. But those action sequences must be thrilling enough to fuel the story forward and the pacing must be thriving and building in every scene. Stage 32 Happy Writers is excited to bring you our exclusive 3-week online intensive class How to Write a Compelling, Commercially Viable Thriller taught by the creative executive of Mandalay Pictures, Patrick Raymond! In this hands-on course, you will learn what it takes to write a compelling, fast-paced thriller and how to successfully pitch it to production companies. With interactive lectures and weekly homework assignments directly geared towards strengthening your pages, this class will help you craft your writing into a thriller that will stand out. The objective of this course is: To learn the rules of writing a page-turner thriller with a unique hook. To prepare you on how to pitch your completed thriller. To elevate your writing and story to a more marketable level. You will leave the course knowing: Tropes used in thrillers to avoid and tropes to embrace. How to commit to tone from page 1. How to option a book or article to establish an IP. The difference between the subgenres of a thriller (including blockbusters, psychological, erotic and art-house). How to prepare your pitch document for your completed thriller. About Your Teacher Patrick Raymond, Creative Executive at Mandalay Pictures Patrick started his career working as an assistant at Gersh, where he was able to learn the business from the ground up as well as make solid connection in the town. He worked primarily in the production department but gained lots of exposure to the literary world, working with writers and story. He utilized his experience and passion as leverage in a transition to work as a producer’s assistant. LD Entertainment became his home the next three years, where he was eventually promoted to a creative executive, working with writers and helping build scripts and acquire ideas for new projects. After three years, he had the opportunity to work for Tate Taylor on a James Brown biopic entitled, Get On Up. He learned a lot about assembling large studio films. He has transitioned back into more of a creative executive position at Mandalay Pictures, where he gets to go back to my passion: cultivate amazing stories and working with great writers. Class Schedule ( 6/20, 6/27, 711) Week #1 (6/20): This is an all inclusive look into the world of thrillers. This will offer you a behind-the-scenes look on what executives look for when reading thrillers and some common mistakes writers make that disrupt the reading process. This class will also cover: Concepts that sell and concepts that don’t. Market trends (i.e. female driven thrillers, the state of erotic thrillers after movies like The Boy Next Door). Tips on making sure your first 10-15 pages pop and hook the executive. Stereotypical tropes/cliches writers use to set up their characters that turn off an executive. Tips on creating and layering your antagonist. How to make sure your protagonist is relatable and engaging. How to create a stand out catalyst and a sharp break into act two. Week #2 (6/27): This week will focus entirely on the engine of your story. This week will cover outlining and writing act 2 and act 3. Topics that this will cover include: How to write a thrilling action sequence. Description to dialogue ratio. Making sure you are incorporating set pieces that complement your sub-genre (i.e. what specific set pieces would you include in your second act if you are writing an erotic thriller). Tips on how to outline your heightened set pieces to make sure the emotional crescendo of your story is always escalating smoothly. How to make sure your characterization is strong throughout act two and three while keeping the tension hight. Overall tips on how to outline your script. Week #3 (7/11): This week will cover tips on how to end your script with a lasting final image and what happens after your first draft is completed. This week will include: Some of the most common elements that are rewritten after getting picked up by a production company. How to avoid development hell. Tips on how to pitch your thriller. Typical elements that can be found in a pitch package. How to decipher which companies are looking for what.
One of the most useful things a writer can do is to team up with a mentor to help them on their journey. Too many writers try to navigate through the script writing process without guidance. Wouldn't you want a mentor that develops and sells material for a living to help you take the mystery work out of your journey? The most successful writers in the industry have their own mentors to make sure they are going in the right direction - do the same for yourself. Stage 32 Happy Writers is thrilled to bring back our 8 Week Working Writer's Lab. This is one of our most hands on, prestigious and talked about labs and we only offer it a few times a year. To find the perfect teacher we go through our rolodex of 400 executives and hand pick an executive that is one of the most raved about from our writers. Your teacher for this lab will be Patrick Raymond, creative executive at Mandalay Pictures! Patrick has assisted a number of our writers on strengthening their scripts and he is excited to help you bring your concept to life. With interactive lectures and weekly homework assignments directly geared towards bringing your concept to life, PLUS ongoing contact with Patrick in between classes, your experience writing has never been easier. Under The Guidance of Patrick Raymond you will: Pick a unique and commercially viable concept. Craft engaging, unique characters that pop off the page. A solid structural skeleton that successfully carries your concept. Cinematic set pieces that will give your story that much-wanted theatrical feel. A fully realized outline highlighting every major plot point in your script. The Objective of the Lab is: To take the mystery work out of picking a concept that can sell. To match you with an executive that will assist you with making sure all your script's elements is as strong as possible. Give you an experience on how development executives develop projects that are now on their company's slate. Class ScheduleWEEK #1 – The Story of Me; Your Questions; Your Stories General class overview. Patrick's history and experiences. What Patrick loves writing about and why. What he looks for in a good story/screenplay. Any initial queries raised in the pre-class questionnaire. NOTE: Given the online format, Patrick will use this week’s “office hours” to more personally respond to/discuss the ideas you are contemplating working on during the Lab. WEEK #2 – Character Creating strong, unique memorable characters. How to have them best serve your story, the genre, themes, etc. Dialogue and voice. Patrick will cover some examples, including personal experience. WEEK #3 – Act I; Premise into Story How to make the leap from basic premise/concept and characters into a full-blooded story. Where to start. What to include in Act 1. Where does Act 1 end and Act 2 begin? Creating a world and setting a tone. Patrick will discuss examples of strong (attention-grabbing and/or smartly-chosen) and weak (meandering, overstuffed, unfocused, etc.) beginnings. WEEK #4 – The Story So Far (Consultation) No on-line class this week. Instead, you will submit premise, Character Bio(s), and Act I outline for review; Patrick will discuss the materials individually in 30 minute phone calls and advise any changes/concerns. WEEK #5 – Act II; Structure and Plotting Plotting and development of your story across Act 2. Examples of structure (midpoints, end of Act 2, Internal/external conflict, etc. WEEK #6 – Theme; What’s it All About? How to ensure that your script isn’t just an escalation of events, but is a rich narrative experience that is hopefully actually about something. Topics to include Theme, Topicality, Relatability, Universality. WEEK #7 – Act III; Sticking the Landing Why 'when and how' to achieve a strong finish is arguably one of the most difficult parts of writing a screenplay. Examples of scripts/films that have accomplished this, as well as those that have not (and why). WEEK #8 – The Completed Outline (Consultation) No on-line class this week. Instead, you will turn in your completed outline for review; Patrick will then discuss with you over a 30-minute consultation. About Your Instructor, Patrick RaymondPatrick Raymond is a Creative Executive at Mandalay Pictures, Peter Gruber’s decades-old production company responsible for films such Sleepy Hollow, The Score, The Jacket, Into the Blue, When the Game Stands Tall and Horns. At Mandalay, Patrick gets to work on his passion every day: cultivating amazing stories and working with great writers.Prior to joining Mandalay, Patrick studied business and film production at the University of Southern California. He worked in the financial services industry for four years before transitioning to entertainment, where he worked as a production assistant in television for four years.After that he transitioned to working at Gersh in the production department but he also gained exposure to the literary world, working with writers and story. He then moved over to LD Entertainment for three years, where he was a Creative Executive, working with writers and helping build scripts and acquire ideas for new projects. Here he had the opportunity to work for Tate Taylor on a James Brown biopic entitled, Get On Up, and learned about assembling large studio films. He has since transitioned to the Creative Executive position at Mandalay Pictures. Patrick was born in Alaska and raised in Seattle prior to moving to LA.
When people think of Manchester By the Sea, they think of an independent film drama that finds comfort in its misery. There is a stoic color palate that highlights the depressing grey of New England and its melancholy protagonist. The script (and film) are also filled with a certain quirkiness and comedy typical of the American working class city by the sea. Through its incredible pain, there are rays of sunshine and humanity that are delicately written and incredibly effective. We've brought in the Development Executive for Mandalay Pictures, Patrick Raymond, to deconstruct this Oscar-winning script. What we will discuss and uncover is the process and elements required that enabled a film as seemingly small and intimate, like Manchester, to become a commercial and critical success. We also will address the elements of writing that attract A-level talent and help create characters that support great performances. Patrick looks forward to the discussion. All attendees will receive the Manchester by the Sea script and we highly recommend you read it in advance of the webinar.
Learn directly from leading creative executive at Mandalay Pictures, Patrick Raymond! Every screenwriter has a goal they set out to accomplish. The mark of a great screenplay usually depends on whether or not this goal was achieved. Aside from being a visually arresting film, 'Ex Machina' stands apart as one of the great recent screenplays and finds its success in bringing forth engaging ideas, strong characterization and lofty goals. What is it about this intriguing and unsettling piece that resonates with audiences across the globe? What makes this ambitious screenplay cinematic as opposed to something we can watch on television or other formats? We are going to dig deep into the pages to identify the mechanisms and components that are utilized by Writer/Director Alex Garland the really bring the pages to life. I'm excited to take this journey with you and look forward to our discussion.
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?
Learn directly from Maren Olson, Producer of Short Term 12, who has represented domestic and/or worldwide distribution rights to over 70 finished films, including Academy Award winner The Secret in Their Eyes and festival favorites such as An Oversimplification of Her Beauty, Natural Selection and Red Flag, and Sundance Audience Award winners This is Martin Bonner, Valley of Saints and Kinyarwanda! "Excellent - informative. Maren brought facts and experience to a very nuanced subject about "Film Festival Darlings - offering an extremely in-depth analysis to the elements of what a writer or producer should consider when moving forward in the Indie film world. My fav Stage 32 webinar so far. Thanks." - Robert G. "Fantastic seminar. Like a good filmmaker, you kept us engaged from opening to close. Thanks again!" - Bob B. "Maren had a lot of practical information and road trap warning for indies. I appreciated the components of a festival face, comps, and specific advice that is useful." - Betty S. In this Stage 32 Next Level Webinar you will learn what kind of independent film project goes on to become a “Festival Darling” and what you can do to better position your independent film for festival success, from script to screen. Host Maren Olson will deconstruct both the writing stage- from the major components of a festival-friendly story idea, to what to consider regarding location and characters, all the way to how to incorporate thinking about the budget when writing your script- as well as the production stage – from how to make sure your film gets properly considered by the right people, to which festivals you should submit to and when, all the way to the common ways festival friendly scripts turn into a film that no festival wants to play. Maren brings over a decade of experience attending and winning film festivals worldwide to change your perspective on what it really takes to create that festival-friendly script, and ultimately a successful independent film. Maren Olson works in the film finance division of CAA, and was formerly the President of Traction Media, where she was responsible for the creative development, packaging, production, financing and sale of independent films. Olson has represented domestic and/or worldwide distribution rights to over 70 finished films, including Academy Award winner The Secret in Their Eyes, festival favorites such as An Oversimplification of Her Beauty, Natural Selection and Red Flag, and Sundance Audience Award winners This is Martin Bonner, Valley of Saints and Kinyarwanda. As a producer, she was responsible for critically lauded Short Term 12, which premiered at the 2013 SXSW Film Festival, where it won both the Grand Jury and Audience Awards. The film went on to win 34 other awards including the Gotham Award for Best Actress and Independent Spirit Award for Best Editing. Her 2015 production, Ava’s Possessions, premiered at the 2015 SXSW Film Festival.