The Future Film Group was established in London in 2000 as a film financier, utilizing the expertise of its principals in both the entertainment and business worlds, quickly establishing itself on the UK scene through its involvement in films such as Bend It Like Beckham (starring Keira Knightley), The Queen (starring Dame Helen Mirren) and Mrs. Henderson Presents (starring Dame Judi Dench and Bob Hoskins). The company quickly formed a production division to work alongside its financing arm and, through an ever-expanding structure, has since been involved in the production and/or financing of nearly 200 films and television shows. In 2006, the company opened an office in Los Angeles to give it a greater outreach to the wider filmmaking community, thereby making it a truly global brand. With this new outreach, the Future Film Group has produced films and television shows all over the world, including the US, the UK, Ireland, Spain, France, Eastern Europe and South Africa. Notable titles include Flawless (starring Demi Moore and Sir Michael Caine), Transsiberian (starring Woody Harrelson and Sir Ben Kingsley), Cracks (starring Eva Green), Fifty Dead Men Walking (starring Jim Sturgess and Sir Ben Kingsley) and Manolete (starring Adrien Brody and Penelope Cruz). Ricky joined Future Films USA in March 2007 as its Production and Development Executive, where his responsibilities included the sourcing and tracking of projects that required financing and helping them to progress into production, working closely with the London office to provide the Future Film Group with a global outreach for its fundraising and production activities. Other elements of his work included liaising with the various film commissions to keep abreast of their legislation, and the development of relationships with producers, sales agents and financiers. Since 2010, Ricky has been working in the role of Vice President of Future Films USA, continuing his work on the financing side whilst also becoming a more integrated part of the Future Film Group’s production activities, working closely with its London office. He has recently been directly involved in the production and financing of such high-profile films as Veronika Decides To Die (starring Sarah Michelle Gellar and Melissa Leo), Breaking The Girls (starring Agnes Bruckner), Last Passenger (starring Dougray Scott), and Walter (starring William H. Macy and Virginia Madsen), among others, often serving in an Executive Producer or Associate Producer capacity, as well as serving as an Executive Producer on television shows including Ultimate Brain for the BBC. Simon Graham-Clare is a Producer at Future Films USA, with a background in physical production and film finance. In his current position Simon assesses film and television projects that Future Films might board to finance or produce. Simon then works with producers and filmmakers to build a viable package and finance plan, attach a sales agent and raise any remaining finances. Full Bio »
If you are a writer, filmmaker, digital content creator, or producer, it's vitally important to not only understand the role of a sales agent, but how to find, vet and hire the right sales agent. This is a vital, yet extremely overlooked aspect that could make or break the viewership and profitability of your film or project!
In this challenging and competitive world of film and digital content finding the right sales agent is key. Understandably, many creatives, producers and digital content creators find venturing into the world of sales agents to be daunting. But it doesn't need to be!
There are few who know the world of sales agents better than Simon Graham-Claire and Ricky Margolis. Simon and Ricky head up, Future Films USA and have been involved in the financing and distribution of over 200 films and TV shows. In this extremely popular and exclusive Stage 32 Webinar, Simon and Ricky give you all the tools to navigate the minefield of sales agents.
Just some of the questions Simon and Ricky will be answering include:
What can a sales agent do for me that I can't do for myself? Where do I go to find a sales agent? How do I know if a sales agent is reputable? How do I know a sales agent is right for my genre? What questions should I be asking when vetting a sales agent? What if a sales agent disagrees with where I believe the film or project should be distributed? How much do sales agents cost? Will a sales agent expect to have an equity position in my film? How does the waterfall distribution of funds work with a sales agent involved? Can a sales agent bring financing to a project?
Let Simon and Ricky demystify the world of sales agents and help you protect the films, shows, and projects you worked so hard to conceive and create by getting your work seen and by increasing your likelihood of profitability!
Praise for Simon, Ricky and How to Find and Hire the Right Sales Agent to Help You Distribute Your Film or Project
"I felt like Simon and Ricky had a concise step by step study guide on the process of getting to the green light... The idea of hiring a sales agent is no longer a jumble" - Betty S.
"Loved the presentation and I found it very informative! Thanks again!" - Richard D.
"Great seminar - informative and to the point." - Robert G.
"Very well presented! Loved their personal approach!" - Glenn C.
"Excellent presentation! Organized, well-spoken, and crystal clear!" - Brent B.
"My second webinar with Simon and Ricky. They're incredible. Please bring them back again." - Samantha M.
This webinar is available for immediate and unlimited viewing On Demand
Just some of what you'll learn from Simon and Ricky includes:
Simon Graham-Clare and Ricky Margolis
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!
"Loved the presentation and I found it very informative! Thanks again!" - Richard D.
"Great seminar - informative and to the point." - Robert G.
"Very well presented with a personal take on the business." - Glenn C.
"Excellent presentation! Organized, well-spoken... nothing negative to say here!" - Brent B.
"I felt like Simon had a concise step by step study guide on the process of getting to the green light... it's no longer a jumble" - Betty S.
Learn directly from Simon Graham-Clare (Producer) and Ricky Margolis (VP) at Future Films USA (Over 200 films & TV shows financed and produced)! In this Stage 32 Next Level Webinar, Simon Graham-Clare and Ricky Margolis will demystify global tax incentives and highlight some of the many other factors to take into consideration when looking at different locations. They will look at current example incentives from around the world and also enlighten you on ways these incentives can trigger additional investment into your project. Filmmakers will learn more about international independent film financing and how tax incentives are a key element to the business plan and can open doors to a slew of potential partners, helping to plot a ‘road map’ to production. Writers will learn why they need to be thinking about the locations in which they set their stories, and how it affects the attractiveness of their scripts to producers and financiers. Having a clear understanding of today’s global tax incentives will leave your project looking more professional and further advanced, hopefully increasing your chances to move the project into production. Your hosts Simon Graham-Clare and Ricky Margolis are Producers at Future Films USA, having financed and produced over 200 films and TV shows! The Future Film Group was established in London in 2000 as a film financier, utilizing the expertise of its principals in both the entertainment and business worlds. They quickly established themselves on the UK scene through their involvement in films such as Bend it like Beckham (starring Keira Knightley), The Queen (starring Dame Helen Mirren) and Mrs. Henderson Presents (starring Dame Judi Dench and Bob Hoskins). At Future Films USA, Simon works as a producer, assessing film and television projects that Future Films might board to finance or produce. Ricky works in the role of Development Executive, continuing his work on the financing side whilst also becoming a more integrated part of the Future Film Group’s production activities.
As creators we can get swept away in the excitement of having our film or television project greenlit. Imagining "lights, camera, action", the collaborative process and the excitement of having a successful and profitable project is the reason we pursue a life in film and TV. But, before you step on set and get rolling, you'll need remember that this is, in fact, a business. It's a business with a great deal of money at stake for investors who want to make sure their money is protected. In order to do this, you'll need to understand how to set up your project as an entity and the tax implications involved for you and your investors. It may be the least sexy, but certainly the most crucial component to putting together a film - the accounting process. Someone (or maybe even yourself) has taken a chance on investing in your dream, and that means that investment should be treated with care. Taking the important step of understanding what entity type you should set up and the tax implications that go along with it, will help you avoid major headaches down the road and give you the peace of mind that will allow you to concentrate on making your project the best it can be. Having your project setup correctly from the get go will also help you avoid costly mistakes with investor distributions. And, let's face it, you hope to show that you know the ins and outs and that you can deliver a successful project so your investors will stay with you and invest in your next film or TV project. John Thomas and Kristy Clabaugh are Atlanta based CPAs that specialize in providing services to the film & entertainment industries both abroad and in the US. Kristy also serves on the executive board of directors as Treasurer for both the Georgia Production Partnership and Women in Film & Television Atlanta. Together they have worked on hundreds of film and television projects assisting clients in all stages of project implementation from investor relations, entity structuring, waterfall projections, budgeting, pre-production and development, production accounting to post-production. John and Kristy will teach you the differences between an LLC, Corporation, S-Corporation and Foreign Entity and the common strategies that go along with each. You'll understand the tax effects of your selection and how dividends vs. distributions will work. You'll also learn how to work with tax incentives and financing. And, most importantly, you'll understand how to talk with your investors and what you'll need with K1s, Section 181, money flow, loan-outs and more. They will teach you everything you need to know to set up your entity correctly, protect yourself legally, give your investors the comfort and security that they're money is protected, and that you're in the best position to see a return. "This is the holy grail! John and Kristy are so knowledgeable about so many things with the business side of the film!" They made this part of the process actually fun!" - Wade N. "All I can say is wow. I have seen the light and now feel beyond comfortable putting together my next film." - Jennifer L.
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.
A script's journey of a thousand miles begins with a single page. Well, more accurately, ten pages - that's the amount of space a typical script has to grab the attention of the anonymous, overworked reader that picked their script off a pile for evaluation. If a writer's sample script is excellent enough, the pieces start to fall into place: an entire script read, the writer recommended, the manager's decision to represent, the long and fruitful thousand-mile career. If a producer's script is perfect for the marketplace, a reader will get excited, move it up the ladder and then the wheels start in motion for finding financing, attaching talent and going into pre-production. None of it happens, though, if the script never makes it to the decision maker's desk. But who are these mysterious readers? Who decides which scripts go on to consideration or representation - and maybe one day fame and fortune - while others get a stone-cold pass? It's not exactly who you might think: while the agents and managers of Hollywood excel at their jobs, they only have so much time in the day and most of it is not spent seeking out new talent. That job falls to the Gatekeepers, the assistants and pro readers who tackle stacks of scripts every week hoping to find the diamond in the rough: a script they can confidently recommend. So, who are these gatekeepers, how do you even get to them and, more importantly, how do you win their endorsement to help move your script up the ladder? Gabriel Chu works with artists, writers, and directors to identify and develop new ideas and stories, shepherding them from page to screen. As a story analyst at Sony Pictures, he works on current projects alongside the executive team and helps to field incoming submissions and identify new talent for the studio. Prior to joining Sony Pictures, he was an executive at Vertigo Entertainment, working closely with award winning directors and writers on both animated and live action film projects for Warner Bros., Lionsgate, and Fox Animation. Gabriel started his career at Bad Hat Harry Productions, and has also worked at Summit Entertainment and Mandalay Pictures. Through his career, Gabriel has served as a gatekeeper in multiple roles and knows intimately what it takes for a script to break through and make it to the right person’s desk, and he’s ready to share what he knows with the Stage 32 community. Gabriel will give you a rundown of how gatekeepers manage script submissions and what you can do to give your own script the best chance to be noticed and make it past those first rounds of coverage to make it to the eyeballs you’re aiming for. Gabriel will begin by explaining how scripts are able to get submitted to studios and other gatekeepers in the first place, including through agents and manager, through script competitions, other types of referrals, and through networking. He will also explain how taking the assistant route at an agency could help your chances of getting that script noticed. Next he’ll outline how coverage actually works at production companies and studios. He’ll explain the differences between the procedures at production companies, studios, and other organizations and what their differing expectations might be. He’ll delve into what roles read your script at what point in the process, focusing on the verticals at production companies and studios. He’ll explain the roles of interns and assistants, coordinators, story analysts, and finally executives, and what each role looks for when reading scripts. Gabriel will teach you the common formatting errors that knock scripts out of the running before people even start reading for content, including title page expectations, font and spacing, dialogue formatting, and other issues. He will share real examples of scripts that exhibit these errors to share what they look like on the page. Next he will go over narrative issues that can also sideline a submitted script. Finally, he’ll share other strategies that can make your script stand out to readers in these positions. Through demystifying the process of script reading and coverage as well as the people behind it, Gabriel will leave you with a concrete sense of how to get your script in front of the people you want to read it, and practical ways to help your chances. Praise for Gabriel's Stage 32 Webinar: I was very pleased with the webinar. The speaker got right to the point and explained exactly how the screenplay selling process works. Steven W. I loved how Gabriel didn't pull any punches and gave a realistic assessment of the realities of breaking into the industry as a writer. -Peter M. I loved this webinar because Gabriel talked about a variety of things from how to approach agents/managers/producers, to what not to do in a script. I learned a lot! -Melissa P. Amazing. I liked the "no sugar coating" approach. -Candice E.
Sorry, this lab is filled. Keep checking back Stage 32 Education for upcoming labs. Develop An Outline and Pitch Document for Your Animated Television Series in 5 Weeks Netflix Animation Director Will Be Your Mentor via Virtual Classes & One-on-One Meetings! Animated television is currently experiencing a boom like we’ve never seen before. Since it’s possible for the bulk of the work to be completed from home or while socially distanced, animation has been flourishing as more players are turning to this format. New shows like SOLAR OPPOSITES on Hulu, CLOSE ENOUGH on HBO Max , and KIPO AND THE AGE OF WONDERBEASTS on Netflix are hugely popular, and this is just the beginning. Scores of upcoming animated shows are in the pipeline and just around the corner. Considering this appetite, it doesn’t look like this trend is fading any time soon. And more interest in animation means there are more opportunities for your own project to get noticed and get picked up. The opportunities may be extra plentiful right now, but you still need to have a dynamite show to present if you want to be noticed. This means a great concept, a fantastic pitch deck, and a knockout pilot script. And all of these elements don’t need to just be good; they all need to lend themselves to the format and industry that is animated TV. But if you can ace all of these elements, you may have just found your way in and the piece of material that will fire you off the launch pad. Let us give you the guidance to make your animated pilot as good as it can be and help you springboard your writing career. Mike Disa is an accomplished director, producer, writer, and artist who directed on shows like the hit Netflix series PARADISE PD and has been in the animation industry for over twenty-five years. Mike found success working with studios such as Dreamworks, Disney, Warner Bros., Paramount, and many others. Over a fascinating career, Mike has worked with some of the greatest and most infamous people in Hollywood including Steven Spielberg, Eric Goldberg, Ralph Bakshi, Glenn Close, Steve Oedekerk, David Tennant, Amy Poehler, Adam Sandler, Jeffery Katzenberg and Roy Disney. A favorite and fixture among the Stage 32 community, Mike is deeply entrenched in the world of animated TV and knows better than most what it takes to get an animated show off the ground. In this lab, you will be working directly with Mike in a virtual class setting and also during one-on-one online sessions to hone your concept and build your pilot outline and pitch deck for a fantastic, market-ready animated pilot. Whether you are interested in creating a “prime time” adult comedy series, action, dramedy, or children’s animation, Mike is here to help you. He will guide you through creating engaging characters, building your world, perfecting your structure, constructing an outline and building your bible or pitch deck to sell your show. If you already have a concept, or even a completed pilot, Mike will use the same tools to help you hone and sharpen your material. Throughout the course of this exclusive online lab, you will have direct access to Mike as a mentor by email and via video conferencing as you develop your animated series. Students who sign up for this lab with Mike will be eligible to participate in a Level 2 Lab where Mike will continue to mentor you in writing your pilot! WHAT TO EXPECT By the end of this 5-week writing lab, you will have a polished pilot outline and pitch deck for your animated television series. Sessions will vary between 2-hour group settings and personal one-on-one Zoom meetings with Mike. You will be held accountable to take the lessons from each week and move your work forward. Plus, to keep you motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the writing process. To see the full writing lab schedule, see below under "What You Will Learn". PLEASE NOTE: This exclusive Stage 32 lab is limited to 10 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with a manager and an expert in the field is an incredibly unique and valuable opportunity. If you are interested, please do book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Amanda at email@example.com for more information This lab is limited to 15 people - Sorry this lab is sold out This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea or polish an existing pilot.
Learn directly from the Director of Development for Ryan Reynolds' Dark Trick Films! Creating an independent film from scratch is daunting, but immensely rewarding, and can be done with any level of resources. Films under $1MM are especially a sweet spot for many independent filmmakers but certainly come with their sets of challenges. Stage 32 is excited to bring in the development executive for Ryan Reynold's production company Dark Trick Films & TV, Blake Goza, who has spent the last 7 years working projects such as Deadpool, Buried, The Change Up and RIPD. Even though Blake works on some of the most popular films & television of today, it's his personal project - a film entitled Escort - which he made independently for under $1MM that fuels his passion for being a creative. With this webinar, Blake will give you a producer’s perspective on building an independently financed movie, from start to finish, for under one million dollars. Using The Escort as a case study, he will walk you through each stage of the independent process: finding a script, packaging talent, determining a budget, acquiring financing, shooting, post production, and ultimately, distribution. Blake will discuss process specifics, like his decision to attach a sales agent in the early stages of development; what financing options he prefers - the benefits and risks of private equity versus foreign pre-sales; what talent he chose to attach first – the argument for finding your director before making offers to actors; and how to build a release strategy for your film that allows for success as you define it – whether your goal is critical acclaim, commercial exposure, or financial reward, begin with the end in mind, and build a platform that allows you to achieve that goal. If you’ve wanted to produce a film outside of the studio system on a responsible budget, then this class if for you!