How To Make A Feature Film Based On Your Short Film
Hosted by Nicholas Bogner
$49
On Demand Webinar - Available for immediate viewing and unlimited access.
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Hosted by Nicholas Bogner
$49
On Demand Webinar - Available for immediate viewing and unlimited access.
Webinar hosted by: Nicholas Bogner
Head of Literary / Manager at Affirmative Entertainment
As a literary manager Nicholas Bogner has run the literary branch of Affirmative Entertainment for the last fifteen years. Under his stewardship, he has had numerous movies made including Wedding Season for Netflix announced in Deadline, Infinite Storm for Sony, announced in Variety, Come Play for Amblin and Focus Features and has sold television pilots to just about all of the majors from network to streamers. In addition, many of his writers have been staffed at various levels of successful shows over the years including a supernatural thriller sold to Paramount, announced on Deadline. Previously, Bogner served as Vice President of Original Programming for TNT. In this capacity, he was responsible for the development of all long form – including two-hour movies, backdoor pilots, mini-series - for the network’s TNT Originals franchise. Bogner worked on several high-profile projects including Steven Spielberg’s twelve-hour mini Into The West as well as Stephen King’s Salem’s Lot. Beyond these projects, Bogner shepherded over 15 movies into production. Prior to assuming his position at TNT, Bogner spent four years at Cruise-Wagner Productions (Tom Cruise and Paul Wagner), where he spearheaded the acquisition of material, supervised writers and collaborated with directors and talent on such films as Mission Impossible: 2, Without Limits, Vanilla Sky, and The Others, which he’s credited with finding and supervising. Bogner began his career at the Agency for Performing Arts (APA) before becoming a story editor for Michael Douglas at 20th Century Fox. Bogner has two produced credits as a screenwriter, The Little Death and No Strings Attached. He also produced Soccer Mom starring Emily Osment and Missi Pyle for Starz and Anchor Bay. Most recently, he produced A Nice Girl Like You (based on a non-fiction book by Ayn Carrillo- Gailey) which stars Lucy Hale. Full Bio »
Webinar Summary
Learn how to turn your short film into intellectual property (IP) that you can then develop and make as a feature film from esteemed literary manager Nicholas Bogner of Affirmative Entertainment, whose client's short films have gotten feature films deals with major companies like Steven Spielberg's AMBLIN PARTNERS!
PLUS! You'll receive the scripts for the short film LARRY and the feature film based off the short, COME PLAY, that was produced by Amblin.
Intellectual Property (IP), such as books, toys, comic books, graphic novels, short stories, etc., are a bedrock of film and television development. This year's biggest films, including BARBIE and OPPENHEIMER, are based on pre-existing IP. The reality of the current film and television marketplace is that it is increasingly difficult to sell your project if it is not based on any IP. And that's why making a short film that can then be used as IP that you develop into a feature film has become a proven avenue to success.
There is an absolute obsession in the marketplace to have material based on pre-existing IP as a way to mitigate the risk of the investment in the project. If there’s already been an audience for the book, short film, article, etc., then film and television buyers feel at ease that there will be a built in audience for their large investment into the film. While original films and series do get made, it is particularly challenging for new and emerging writers and filmmakers to get their project sold if it is not based on IP. However, there is a way for you to create your own IP without having to spend big bucks to buy the rights to a book or a person’s life, and that is to make your own short film! One notable example of a short film leading to a feature film is Damien Chazelle's WHIPLASH, which became the Academy Award winning feature film of the same name and launched Damien Chazelle's career (he went on to write and direct LA LA LAND, FIRST MAN, and BABYLON).
In this exclusive Stage 32 Webinar, you will learn how you can use your short film as IP to help sell your feature film or television project. You could be sitting on a gold mine with your short film, and we’re going to help you figure out how to leverage it to make your larger project. Teaching you everything you need to know about how to use your short film as IP for a feature film or television project is literary manager Nicholas Bogner of Affirmative Entertainment. Former VP of Original Programming at TNT and head of development at CRUISE/WAGNER, Nicholas’ clients have had immense success making shorts and creating their own IP.
In an information packed 90 minutes, Nicholas will share how he guided his client Jacob Chase to success through his short film. Jacob made the short LARRY, which was then sold in a bidding war to Steven Spielberg’s company, AMBLIN PARTNERS. Jacob’s concept was subsequently made into a feature film for Amblin and Focus Films with the new title of COME PLAY. Subsequently, Jacob made a short film titled MR. BLUR, which sold to BLUMHOUSE, and is currently being adapted into a feature film. Many of Nicholas’ other clients have also made shorts which has led to representation and future projects.
You will walk away from this webinar with the skills and industry insight you need to use your short film as IP to leverage a feature film or television series deal.
PLUS! You’ll receive exclusive handouts to help you create IP out of your short film. Downloads include:
- Script for the short film LARRY
- Script for the feature film COME PLAY based off LARRY
What You'll Learn
- WRITE YOUR SHORT SCRIPT:
- LENGTH: be mindful of the length. How long should your short be?
- BUDGET: Make sure it is budget friendly since it is more than likely you will be financing it yourself
- How can you write a short that won't break the bank?
- IS THERE A MOVIE IN YOUR SHORT? It will be more beneficial for there to be a potential movie concept in your short (at least that is what your manager and/or agent will hope for)
- Why you should make a visual short that can really showcase your talent
- HIRE YOUR CREW (HOPEFULLY FOR FREE!)
- You need a producer (other than yourself)
- What jobs you should do and shouldn't do as a director
- The importance of contracts!
- Why you need to cover yourself and how it can come back to bite you if you don't
- Perhaps there is a promise of monetary payment in the event you sell the project but limit your exposure
- Why you need to be flexible and how to do it
- Crew will bolt if they find paid work, so have back-ups in mind. Consider shooting over a weekend, so day jobs don’t get impacted
- You need a producer (other than yourself)
- CASTING
- Your budget might be minimal, but don’t compromise when it comes to casting (talent-wise). And think big. Professional Actors like to work and when they are between shows, you might be able to land someone much bigger than you anticipated
- How do you get a name actor in your short?
- THE FEATURE FILM
- If there is a feature film in your short (hopefully), pick a scene that really sells it to buyers. Think WHIPLASH.
- You don’t have to have the film figured out before you make your short, but have it in the back of your mind. Soon as you share it with your reps, they will want to hear the feature film version.
- SUCCESS STORIES THAT I HAVE HELPED SELL:
- OCULUS by Mike Flanagan
- COME PLAY (aka LARRY) by Jacob Chase
- MR. BLUR by Jacob Chase
- Q&A with Nicholas
About Your Instructor
Nicholas Bogner
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Other education that may be of interest to you:
The WR Pitch Tank with Nicholas Bogner.
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How To Be a Power Producer In Today's Market
The director and actors may get the lion’s share of the credit, and the writer might be the one who thought up the story in the first place, but it’s the producer who actually puts a film together and who turns ideas into reality, all the way from conception through distribution and beyond. The role of a producer can be enigmatic, though. It’s not as straightforward of a job as, say, an actor or a DP, and with so many different types of producers (Line producer? Associate producer? Executive producer? Co-Executive Producer?) it’s a hard concept for people to wrap their heads around. But if you’re interested in being a producer yourself and in leading the charge in creating great content that people want to watch, it’s important you better understand the role and find ways you can separate yourself from the pack and excel. There are a lot of producers out there, a lot of people working to create content. 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Aimee’s company develops, produces and sells independent films that have been distributed worldwide, have won many awards and been honored with numerous nominations. Accolades include winning a Sloan Sundance Award and a Sundance Special Grand Jury Prize. Aimee’s work has led her to be nominated five times by Film Independent as a producer. She is currently both a Sundance and Film Independent Fellow and has worked in international sales attending all major markets, and regularly lecturing on film finance and production. Aimee has had more than 25 years’ experience working as a hands-on producer on projects of all shapes and sizes and knows what I takes to thrive in this role. She’s excited to share that with you. Aimee will give you a soup-to-nuts overview of what it takes to produce a film of any level and how to position yourself for success not only on your current project, but for your career moving forward. 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As an independent filmmaker or producer, you likely start working on a new endeavor for creative reasons—the chance to tell an amazing story, build worlds, create something of cultural value. Yet this is, of course, not the only element of filmmaking. Like it or not, your independent film is not just a creative endeavor; it’s also a business. You’re sourcing financing and bringing in investors, building a team, and creating a property that will (hopefully) ultimately make money not only in the present, but for years to come. In short, you’re not just a making a piece of art; you’re also running a business. To operate successfully in the world of independent film and continue to make films that you’re proud of, you need to be able to think like an entrepreneur and understand the dynamics and the relation between financing, distribution and recoupment of film investments. 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How To Make Your Logline Attractive to A-List Actors, Producers, Directors, Managers, Agents, Financiers and Development Execs
Exclusive to Stage 32, Chris Lockhart, one of the most legendary and revered literary agency story editors in the business, teaches you how to create a world-class logline. Chris has read over 60,000 scripts in his career for WME and has the database to prove it! **PLUS! Chris breaks down selected loglines submitted from the Stage 32 community!** A logline is the way your screenplay is introduced to the world. It’s rare that anyone in the industry will read your script without knowing something about it first. A-List actors, producers, directors, managers, agents, financiers and development execs usually require hearing a logline before ever agreeing to read a screenplay. If your logline doesn't sing, the script usually doesn't get opened. Even more important, if the logline doesn't work, it's a signal to those who read screenplays for a living that the script probably doesn't either. Delving into a logline can help you identify problematic elements of your screenplay, enabling creative solutions to fix those issues. There is no one better to teach this subject than Chris Lockhart. As Story Editor at William Morris Endeavor (WME), the world's largest diversified talent agency, Chris has curated projects for A-list actors such as Denzel Washington, Liam Neeson, Mel Gibson, Matt Damon, Rachel McAdams, Ben Affleck, and countless others over the last 20+ years. He's accomplished this reading and exploring through piles of screenplays, magazines, books, old movies, TV shows, and pitches in search of potential film projects. If you've seen one of these actors in just about anything, chances are Chris was the first stop for the screenplay (of which he's read over 60,000), but only after he heard the logline and deemed it worth of a read in the first place! Chris began his career at International Creative Management (ICM), where he worked as script consultant to legendary talent agent Ed Limato, who represented industry giants such as Mel Gibson, Richard Gere, Michelle Pfeiffer, Liam Neeson, and Robert Downey, Jr. Chris later moved to the venerable William Morris Agency, which eventually merged with Endeavor to form WME. Chris is the Story Editor for A-list talent such as Denzel Washington, Michelle Williams, Richard Gere and more! In this exclusive stage 32 on-demand webinar, Chris will break down the mechanics of a logline to determine what makes one work. He'll show you what aspects A-List actors, directors, managers, agents, producers, financiers and development execs look for in a logline that makes them want to take the next step and read your script. Chris will then take you on a broader discussion of the elements of successful screenwriting and how your logline can betray what you've written or reveal the shortcomings in your script. As a bonus, Chris will then read and break down several loglines that we're sent in by Stage 32 community members to demonstrate what worked and what didn't. In this jammed packed and entertaining webinar (trust us, Chris is a character and a half), Chris will not only teach you how to write a logline, but how to tailor it in such a way that it is appealing to talent, representation and the money! Praise for Christopher's previous Stage 32 Teaching: "Amazing webinar, loved it. It was the best I have ever watched!" -- Robert M. "Chris was clear, concise, helpful, and focused. Loved his enthusiasm and humor." -- Lori H. "Oh my god, I was laughing all the way through. In between writing about 10 pages of notes. SO much fun and a wealth of knowledge." -- Denise G. "Very informative. Clarified a lot of questions I've always had regarding loglines. Well worth the money." -- Emmit R. "It was very informative and insightful." -- Mays S.
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