Tatiana Kelly is the owner of Serena Films, while Jim Young is an independent producer and the president of Animus Films. Tatiana and Jim boast over a dozen successful indie films which they have produced. Examples of their work include Independent Spirit, Sundance, and Gotham Award nominated Wristcutters: A Love Story; Lovelace (Amanda Seyfreid and James Franco) and The Words (Oscar nominated JK Simmons, Bradley Cooper, Zoe Saldana and Olivia Wilde) which both premiered at Sundance; Life of a King (Cuba Gooding Jr.) which premiered at the LA Film Festival; and the upcoming film, The Man Who Knew Infinity, based on the New York Times bestseller (starring Dev Patel, Jeremy Irons, Toby Jones, and Stephen Fry) which recently premiered at the Toronto Film Festival. Tatiana are Jim are also in pre-production on Cut Throat City which is being directed by RZA from the Wu Tang Clan, as well as Catcher Was a Spy based on the New York Times bestseller of the same name, directed by Ben Lewin (The Sessions) and written by Academy Award-nominated writer Robert Rodat (Saving Private Ryan, The Patriot, Thor 2). They are also in development on projects with Academy Award-nominated writers Tab Murphy (“Gorillas in the Mist”), Roger Avary (“Pulp Fiction”), Ernesto Foronda (“Better Luck Tomorrow”), and companies including The Mark Gordon Company, Tribeca Productions and NBC Universal. Full Bio »
In order to raise financing for any independent film, most investors these days will be savvy enough to be utilizing the foreign sales-driven model of selling a film based on a director and talent. Attaching “valuable” talent to a film as early as possible is extremely beneficial for filmmakers looking to get a green light on their film. However agents receive so many financial offers for their clients on a daily basis that those that are on an unfinanced film and without a monetary offer will likely go to the bottom of the pile.
With an independent budget, how can you make your film stand out as an attractive offer to talent reps? How can you get top talent excited about your project without using money as an incentive? If you don’t already have connections to casting directors, what options are available to get in touch with A-list actors?
Stage 32 Next Level Webinars is thrilled to bring back Tatiana Kelly and Jim Young to teach you how to attach talent to your independent film! Having worked with various A-list actors on independent films such as Lovelace, The Words, Life of a King and Wristcutters: A Love Story, they will teach you how to break through an actor’s fortress and get them interested in your project. You will learn how to determine what to offer talent based on your budget, how to be strategic about what agencies you’re making offers to, what to keep in mind at the script stage and early in the casting process and how to get past the dilemma of getting talent without money and getting money without talent.
You will leave this webinar not only knowing how to attach talent to your project on an independent budget but how to get actors excited about working with you!
Tatiana Kelly and Jim Young
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!
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“Excellent presentation. I've been on another site's presentation and this was far superior. Good info, good answers.” – John M.
“Very clear thread of do's and don'ts and the live questions were very helpful. A "No B.S." webinar. Liked it.” – Bobby G.
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“Great job explaining a complex subject.” – Skip B.
“Great job! I've been producing and line producing for ultra low budget films for years…I definitely learned a lot and appreciated Tatiana's honesty!” – Stephanie B.
3 part class taught by Tatiana Kelly and Jim Young, Award Winning Independent Producers (The Catcher was a Spy, The Words, Lovelace, Wristcutters: A Love Story)! AVAILABLE ON DEMAND! Are you interested in gaining a deeper understanding of what the indie producer role entails and how to improve your own producing skills? What does the independent producer do, exactly? Some producers shepherd the production from start to finish, others jump on later in the process once the script has been developed, and others can just help with raising financing. Oftentimes the producer starts at the beginning and develops an idea or script with a writer, helping to secure the necessary rights for the script, and in some instances the underlying material, such as a book or magazine article. Stage 32 is excited to bring you the previously-recorded 3 part class: The Art of Indie Producing taught by Tatiana Kelly and Jim Young, award winning independent producers of films such as Wristcutters: A Love Story, Lovelace, and The Words. Tatiana and Jim will take you behind the scenes, step-by-step, to learn what an indie Producer really does, beginning with the development stage all the way to packaging a film. You'll learn everything from raising financing to crewing up, including how to attach solid talent. Tatiana and Jim will teach you how to navigate film festivals and markets, and the many pitfalls of a film shoot. Purchasing gives you access to the previously-recorded live class.Although Tatiana and Jim are no longer reviewing the assignments, we still encourage all listeners to participate!
As the Vice President of Three Point Capital, Viviana Zarragoitia is one of the most prolific financiers who routinely lend on tax incentives, both domestically and internationally, on independent films. She is aware of the rules and regulations of tax incentives in many jurisdictions, and have spoken on numerous panels about tax credits. In this exclusive webinar, Viviana will be teaching what producers should be aware of when working with tax incentives. Although there are minor details that change within each state/country, there are some overall issues that come up in each jurisdiction that producers should be aware of when taking advantage of tax incentives for their film/TV project. These include, but are not limited to, things such as: corporate structure of the company applying for the tax incentive, making sure that costs in-state are qualified spend, working with tax incentive offices during pre-production, production and post-production, submitting final costs in a timely fashion, working with production accountants/CPAs on tracking qualified spend, working with lenders and filing tax returns to claim the incentives.
So, you want to make a short film - how do you finance it? We're bringing in Sundance director JT Mollner who launched his career making short films - all while learning how to finance them from outside sources. In this exclusive Stage 32 Next Level Webinar, JT will teach you everything you need to know to finance your short film to make your creative dream a reality! Included - you'll receive a Pitch Deck from JT's film OUTLAWS AND ANGELS which started as a short film proof of concept, and went on to be made as a feature, being selected as an Official Selection at Sundance and selling to Orion films!
If you're thinking about attending some of the major film markets - including Cannes, TIFF, AFM or EFM - it's important to understand how to navigate the commerce of the markets. We're bringing in international producer Alexia Melocchi, who has over a decade of experience at the markets to go over each of the markets and how you can get the most out of attending!
Learn directly from Jon Reiss, a distribution and marketing specialist who's worked with Paramount Pictures, Screen Australia, Film Independent, and is the year-round distribution and marketing lab leader at the IFP Filmmaker Labs. Filmmakers all over the world are confronted with a changing distribution landscape for their work – how are they to approach the myriad of options whether traditional or emerging? No matter how you release your film filmmakers must be grounded in what their goals are and knowing how to engage their audience. This webinar will cover the essentials that all filmmakers need to consider before marketing and distributing their film: goals and audience. We will first examine the five main goals possible for a films release followed by three steps of the Think Outside the Box Office (TOTBO) audience engagement process: identification, connection, value.
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.