Jordan Barel (Legal, Producer) is a writer, producer and lawyer for Loaded Barrel Studios. Based in LA, he's worked for New Line Cinema, AMC, Verve Talent Agency and was recently named in Variety's Hollywood Movers and Shakers list. Jordan is the scribe behind the Elon Musk biopic script "The Man From Tomorrow". Full Bio »
Cable networks all have their niche. For example, AMC has really honed in on intense dramas, such as The Walking Dead, Breaking Bad, and Mad Men; USA focuses on character driven mystery dramas such as CSI, House, and NCIS; TBS centers around comedy sitcoms like The Big Bang Theory, Ground Floor, and Cougar Town; ABC Family focuses more on sitcoms relating to family, such as Melissa and Joey, Baby Daddy and The Fosters.
Knowing how to tailor your pitch to a specific cable network opens up immense opportunity for your TV pilot. Every cable network can be a real home for your work - it’s just a matter of the how, when, and why. Knowing how to appeal to multiple networks gives your pilot a better chance of getting picked up!
In this Stage 32 Next Level Webinar, host Jordan Barel will teach you both how to pitch your pilot and how to tailor your pitch to the right cable network. In addition, he’ll go over what kind of shows live on each network currently, and what may be the right fit for you. You will walk away with a clear understanding of how to pitch effectively as well as a clear understanding of how to make your pilot what each network is looking for.
Your host host Jordan Barel is a writer, producer and lawyer for Loaded Barrel Studios. Based in LA, he's worked for New Line Cinema, AMC, Verve Talent Agency and was recently named in Variety's Hollywood Movers and Shakers list. He worked for Paul Scheer through his producing deal at FOX, working on development with his projects as well as bringing in new writers for him. Jordan also works at Abominable Pictures in their comedy and TV department. Previously, he worked as the Television Coordinator for Verve Literary Agency, producing the company's staffing video which lead to a 200% increase in the company's staffed writers. While there he also vetted all new TV and film clients. Jordan knows what will make your pitch stand out and is here exclusively for Stage 32 to help guide our writers toward success!
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!
To see a video sample of the class, see below! 3 part class taught by Jordan Barel, who works TV Coordinator for Verve Talent and Literary Agency! In the past four years, we have seen The Avengers, Batman Vs Superman, Deadpool, Captain America, Man of Steel, The Amazing Spider-Man, Guardians of the Galaxy, Iron Man, The X-Men, The Dark Knight and many other comics turned into major studio films that smash the box office. There is no doubt that there is a demand for super hero and comic-based stories. Have you found a comic that you think would make a great film? Have you ever read a Marvel or DC comic and thought “how did they screw up the movie so bad?” Do you have your own comic series that you think would make a hit movie? Do you dream of being a writer but don’t yet have your angle? Or do you want to write a Major Summer Tentpole based off an original idea? Stage 32 is excited to bring you the previously-recorded 3 part class: How to Write a Film Based Off an Original Idea or Comic Book Adaptation taught by Jordan Barel, who works in Development at Paul Scheer's company, Abominable Studios. Jordan gives you a how-to on translating comic books into film writing, and how to write a summer Tentpole based off an original idea. He covers everything from story structure and dialogue, from legal issues to pitch packets. Here's a sample of what to expect in this exciting Stage 32 Next Level Class: Purchasing gives you access to the previously-recorded live class. Although Jordan is no longer reviewing the assignments, we still encourage all listeners to participate.
As screenwriters, it is our job to create well-rounded stories. That means not only having a main character whose journey we follow but also including supporting characters and stories. The addition of strong supporting characters and subplots allows the audience to feel as if your story actually has a life outside of the confines of your script. This is the difference between being a professional screenwriter and someone who writes as a weekend hobby. In this Stage 32 Next Level Webinar, Jordan Barel, who's worked in producing and development for over 15 years will teach how to bring your supporting characters to life. You will learn how to create characters that are integral to the main plot and the shape of your screenplay. He will walk you through using your support characters to subtly deliver key exposition and give insight into your protagonist. In addition, Jordan will show you how to use your subplots to strengthen your second act and keep the action moving along. You'll break down various film genres to show how each utilizes supporting characters and subplots so you can apply it to your projects. You will walk away with the tools necessary to deliver a fully developed script that says "professional" and not "hobbyist"! "It was absolutely excellent information." - Gerri G. "Great speaker, lots of great info. Thanks!" - Ron H.
When putting together a deal as a writer or producer there are many things to think about when it comes to your contracts - between option agreements, purchase agreements and negative pickups it's important you understand what deal you're getting yourself into before you start development. We will cover three different types of contracts: purchase agreement, option agreement, and negative pickup. We will discuss terms in both a legal and practical matter so that you get the information needed to be prepared to negotiate your next agreement. Such things will include material and boilerplate terms, what can or can't be negotiated, and how lawyers themselves will be reading and reviewing your agreement. This will be an in-depth, but accessible, legal discussion walking you through each part of a standard purchase and option agreement. Plus! You'll get 5 contract templates to download! Your Stage 32 Educator is entertainment attorney Jordan Barel, who's a California attorney that has worked with AMC, New Line Cinema, Generate and Alloy. He is also a producer who develops projects based off IP and started out as the television coordinator at Verve Talent & Literary Agency. Whether you're a producer, filmmaker or writer learn the overview of contracts to give you a competitive advantage in your next negotiation! **All materials have been prepared for general information purposes only to permit you to learn more about certain types of contracts within the entertainment industry. The information presented is not legal advice and is not to be acted on as such, please consult your lawyer for issues specific to your contract.
Documentary filmmaking is a very different game than narrative filmmaking, as any documentarian can tell you. Perhaps the most important difference between the two is that narrative filmmaking follows a script. The story is determined and developed before production begins. This is not the case with documentaries—it can’t be. Documentaries capture real life which is anything but predetermined. As a result the documentary filmmaking process is flipped and the story is crafted after production. Therefore perhaps the most important but least talked about stage of documentary filmmaking is the editing. Not the technical craft of editing, but storytelling, specifically finding and crafting the story from your footage. This doesn’t just make or break your documentary; it is your documentary. Yet this process of finding the story can be incredibly hard since it’s is often vastly different from the story in your head. But mastering this skill is the key to being a great documentary filmmaker and something that’s entirely within your grasp. Most documentary filmmakers reach a stage in putting together their film where they believe they’re “too close to the footage” and “need fresh eyes.” At this point, they hope an outsider will help solve the problems arising in their edit. On the contrary, this is stage where the filmmaker needs to get closer to the footage and ask themselves some very big questions. More than the interviews, more than shooting footage, more than even the assembly edit, this is the moment that makes a documentary great; it’s not the time to tap out. Knowing what makes a good documentary story, which big questions to ask, and how to get out of tough narrative jams can make all the difference in putting together your project. Eric Daniel Metzgar is an Emmy Award-winning filmmaker and the producer and editor of Hulu's documentary CRIME + PUNISHMENT, which won an Emmy and Sundance Film Festival's Grand Jury Prize. A two-time Sundance Documentary Lab Fellow, Eric has extensive experience directing, producing, writing, and editing award-winning documentary films. He directed, shot and edited REPORTER, which premiered at the Sundance Film Festival, aired on HBO, and was nominated for an Emmy Award. He also directed, shot and edited LIFE.SUPPORT.MUSIC., which aired on PBS’s long-running documentary series POV, and THE CHANCES OF THE WORLD CHANGING, which also aired on POV and was nominated for an Independent Spirit Award. Eric also edited GIVE UP TOMORROW and ALMOST SUNRISE, which were both nominated for Emmys and also aired on POV. Through his storied and heavily awarded history, Eric has positioned himself as a practiced and highly sought after editor and documentarian. He’s prepared to share what he knows with the Stage 32 community. Eric will teach you invaluable strategies to help you move through the inevitable difficult stages of your documentary editing journey and to stay on track when the going gets tough and all seems lost. He will begin by going over what makes a good documentary story in general, including beginnings, middles, and ends, arcs, stakes, and “releasing power”. He’ll then discuss how best to approach your own footage and determining if you have a story. He’ll explain differentiating between the footage and the story in your head, how to craft an outline, and create a reckoning with beats. He will also teach you what selects are and why they can make all the difference. Next Eric will give you tips on how to approach the initial assembly edit, where to start, how to stay motivated, how to avoid “the music trap” and the best way to start linking your scenes together. Then he will delve into the real editing after the assembly is completed. He’ll discuss rearranging, re-cutting, and deleting, how to fix the scenes that aren’t working and how to know when to kill your darlings. He will also give you tips on revisiting raw footage later on in the process and what to do when you hit those inevitable but painful roadblocks. Eric will focus on the two hardest parts of a documentary—beginnings and endings, and strategies to make them successful. Next Eric will go into strategies of how to be objective of your own project in order to figure out why it sucks. He will spend time giving tips and inspiration for what to do when you hit that dreaded brick wall and how to stay on track and hold on to your purpose when things get difficult. He’ll talk about getting others’ opinions and what you need to do to allow your film to be good, how to take it from good to great, shifting from the content to the form, fine tuning, working with the film as a whole, and how best to address lingering doubts. There’s nothing harder than editing a great documentary, but you will leave this webinar with a better understanding of how to be successful and a collection of strategies to help you navigate your way through. "Editing a documentary is hard, period. There's no road map and no formula. But after editing a number of documentaries, I've learned a few things that I wish I'd known at the beginning of my journey, and I hope my experience can help others who are struggling to make their film as great as it can be." -Eric Metzgar
Acting is such a tough profession. Facing rejection, navigating the Hollywood system, understanding the rules and politics of it all—it’s all hard enough in general, but even harder when you have to go at it alone. That’s why it can make all the difference to have a talent manager. Good talent managers can drastically transform your career as an actor. They have the connections that can get you into rooms and auditions you weren’t privy to before, they can help you prepare for roles and auditions, and they’ll give you the expertise to support you in navigating your own career and finding success long-term. Talent managers are great, but finding one in the first place can be a challenge. Just like with everything else, this comes down to marketing yourself. There are a lot of actors out there looking for representation, and it’s easy to get lost in the crowd. To find a good representative, it’s critical that you stand out. Displaying talent as an actor certainly comes into the equation, but so does marketing yourself correctly and creatively to better pop when a potential manager is looking through potential clients. To do this, it’s important to understand what a talent manager does, how they think, and how they operate. There are ways to get talent managers interested and excited about representing you. Sometimes it just comes down to learning the language. Joe Lorenzo started working in talent management 15 years ago and has since transitioned to Los Angeles, running his talent management and producing firm, Society Entertainment. He currently has working talent on a variety of networks including ABC, FOX, CBS, Showtime and more, streaming platforms such as Netflix and Amazon and a variety of independent films. With his background as a casting director, Joe has been able to get name talent, name directors, and recognized writers on to projects he is producing. Joe packaged 4 films in 2005, including the feature film GIRLS CLUB with Jaime King, and the Television Movie of the Week, CHRISTMAS AT WATERS EDGE with Keisha Knight Pulliam. In 2006, Joe produced ROCKER, a low-budget indie with his client as the writer and the star. In recent years he produced the feature films NEXT OF KIN in Los Angeles, BOSTON GIRLS in Boston Mass, and THE NO SIT LIST aka BABYSITTERS BEWARE, in Los Angeles. Joe has been managing actors for a very long time and intimately knows what it takes for an actor to land representation. Joe will give an in-depth rundown of how to attract and work with talent managers, from a talent manager’s perspective. He’ll begin by discussing the best ways to get a talent manager’s attention, including the importance of headshots, how to write your resume, tips for a great acting tape, and how to get the right people to give you referrals. Then he will discuss what managers generally look for in clients. Next, he will go over what talent managers expect from the clients they sign, including how best to communicate and the power of honesty. Joe will delve into how managers approach both developmental clients as well as clients that are already currently working with credits. He will speak to the ever-present question of the differences between agents and managers, the different ways each can help you, and how an attorney can also come into play. He will then talk about the different major markets in the industry and how an actor can find success even if they do not live in any of these cities, including mastering the self tape audition and how to ace a live Skype audition. Joe will give you four specific ways to edge out to the competition in the room or on tape and will delve into ways actors can stay current on their own, including creating their own content and being proactive on social media. Finally Joe will give you an idea of how new clients generally start their relationship with their manager, including paperwork you should expect and how to approach initial conversations. You will leave this webinar with a strong understanding of how talent managers operate and more confidence in how better to approach and work with them to bolster your own acting career. Praise for Joe's Stage 32 Webinar I loved how straightforward and upfront Joe was about everything. I’m excited to use this to step up my own game! -Leticia G. This was so helpful. It’s great to hear about managers directly from a manager himself—especially one as giving and honest as Joe. -Jeremy H. This was great! I learned so much. -Henry V. I’m so glad I saw this. It really helped me wrap my head around acting representation, which always felt so unwelcoming and enigmatic until I heard it from Joe. -Ashley W.
You want to be a studio writer. You have a high concept screenplay. Perhaps you control some blockbuster intellectual property (IP). Or maybe you have the next big trilogy or breakthrough character idea. There are hundreds of studio films that are released each year in need of talented writers. But writing high concept screenplays requires a particular set of skills and understanding. Landing a studio job as a writer is NOT an impossibility. In fact, more and more studios are turning to writers (and directors) of smaller films to help develop and write bigger budget features. But, as you might imagine, this is a competitive arena. Learning how to write a studio style screenplay is only part of the game. You need to understand how to get from completed screenplay to into the room. And then you have to understand how to work the room. The simplest way to get all this done? You need a team. Securing a manager, perhaps an agent, and, most importantly, a qualified, killer entertainment attorney on your side can make all the difference. Sounds like a long haul? It's not. It all begins by looking at yourself as an entrepreneur. Michael Colleary has been working within the studio system for over 3 decades. He was the lead writer on Face/Off and the story creator and editor on Lara Croft: Tomb Raider. And those are a couple of the movies that got made! Michael has made a career and a very lucrative living writing studio films that were purchased and never made. Even though you know some of Michael’s films, he’s made an entire career off of writing things that maybe you’ve never seen get made. Studios pay big money for screenplays, even those that don't make it to the screen. Michael will take you through everything you need to know about breaking into the studios and sustaining a career. You will learn to think like an entrepreneur and develop the skills you need to get work writing specs, rewrites, pitches and script doctoring. These are the skills that will make you an in demand writer. But that's not enough! Michael will also teach you the business side of working within the studio system. You'll understand how to build your support team and how to negotiate. This often overlooked part of the process is what will separate you from the pack and help you get in and stay in the system. “Anyone, and I mean anyone interested in becoming a screenwriter – or becoming a BETTER screenwriter has come to the right place. Michael is the best story analyst in Hollywood. Smart, insightful, thorough and creative – he will work his rear-end off on your script or story idea until it sings with commercial and artistic viability. I know this from first hand experience, having collaborated with him on numerous television and feature film projects, beginning with ‘Face/Off.’ Additionally, he has served as my personal mentor and sounding board on practically every sale I’ve ever had in my entire career. You will not be disappointed!” - Mike Werb; screenwriter “The Mask,” “Face-Off,” “Tomb Raider,” “Unnatural History” and more.