Antonio is a manager representing screenwriters and filmmakers at Circle of Confusion in Los Angeles. Antonio’s clients work across film and television, selling shows to Apple, Universal TV, eOne among others and their films have been recognized by numerous organizations and festivals including The Nicholl Fellowship, Cannes, Sundance and SXSW. Prior to joining Circle of Confusion he worked with Gale Anne Hurd’s Valhalla Entertainment and Principato-Young Entertainment. He landed at APA in the feature literary department working with clients like Mike Flanagan and John Carpenter which continued to solidify his love of genre filmmakers. After APA he joined Jeremy Platt as he launched Plattform. Assembling a roster with a focus on the unique and left-of-center, he also assisted in the development of studio projects like DEATH NOTE and the TV series HAP & LEONARD. He helped manage Plattform’s first look deal with Amazon Studios. Antonio was born and raised in rural Ohio (Amish country to be specific) and attended Columbia College Chicago. Full Bio »
For most writers and directors, securing representation represents a huge step forward in legitimizing the pursuit of their dreams. The right rep can help you make a living doing what you love - whether it's seeing actors speak your words on screen or managing a cast and crew and yelling "Action!" on set. It's a step that can get you one step closer to quitting your day job and concentrating on your creative career full time. Finding the right manager and/or agent will help you give you a member of your team responsible for helping you develop your creative voice or your distinguished eye, get you in the right doors to connect with the right opportunities, and to help you begin to get paid for your talent and effort.
So, how and where do you find the right managers and agents? And, what makes you stand out among the thousands of creatives reaching out and vying for the attention of these representatives on a daily basis? For starters, there are many questions you need to ask yourself to make sure that you're prepared to be representation ready. Further, beyond putting the work into your craft, you need to do your research to assure you have the right knowledge to give you the best shot to stand out in an effort to secure a rep meeting. There's much work that needs to go into being a professional creative before you get your foot in the door. And, once you bust that door open and get the attention of a quality rep, there's an art to making sure that you are asking the right questions to assure that this rep is right for you and your career so that you can start working and keep working.
Antonio D'Intinio is one of the hardest working managers in the industry that represents screenwriters and directors at Circle of Confusion. He began his career at the agency APA before joining Jeremy Platt at Plattform, where you helped manage Plattform's first look deal with Amazon Studios. Antonio’s clients work across film and television, selling shows to Apple, Universal TV, eOne among others and their films have been recognized by numerous organizations and festivals including The Nicholl Fellowship, Cannes, Sundance and SXSW. He strives for excellence in his clients, and that is mutually reciprocated making it a successful client-manager relationship.
Antonio will teach you the best strategies to obtain representation as a screenwriter or director. You will learn what you need before you approach representation, how best to reach out to representation and most importantly what to do once you’ve obtained representation. Antonio will get down in the weeds to teach you what you must look for in terms of communication from your rep. What questions to ask to make sure you're making the right decision. What expectations your rep will likely put on you from time management to deadlines to the ability to receive and apply notes. You will learn how to achieve the ultimate goal with your rep, mutual respect and expectations. Antonio will demystify the representation landscape and give you the tools to have the confidence to approach potential reps with a clear understanding of what you're looking for, while understanding fully what they want in a client.
No matter what stage of your career you're in - whether you're unrepped or looking to change representation - you will benefit from the INSIDER INSIGHTS Antionio shares in this exclusive Stage 32 Next Level webinar!
"Antonio really took us behind the curtain with a no B.S. approach. A straight shooter that tells it like it is. Eyes wide open for me now."
My goal was always to be repped. And I got my wish. And it went terrible. We weren't on the same page. I didn't know what to do. After watching Antonio's presentation, my last rep and I parted ways and I was able to secure a new manager. The change has been night and day. We work together for a common goal. Thank you, Antonio!
- Steven L.
Representation Crash Course
Are You Ready for Representation?
You're Ready, Now What? How Do You Approach Reps and Get Noticed?
Sealing the Deal
You're Repped, What’s Next?
Long Term Plan
What Can You Do For Your Rep?
Q&A with Antonio
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It’s a dream of many to turn their idea for a television show into reality and actually sell their series to a network or company. And with so many shows constantly being created by more and more companies, this dream is coming true for more people all the time. As networks continue looking for new ideas, new voices, and diverse perspectives to fill up their slate, opportunities have never been greater to get your television show sold. And yet, it’s going to take more than a great idea and a great voice to get your TV series picked up. After the research, the writing, and development, there’s a lot you need to do if you want your series to get noticed and see the light of day. The truth is having a completed pilot is only half the battle. You also need to understand the current TV market and how to get that pilot seen. This can feel like a large or insurmountable task. Where do you even start? Do you call production companies? Hit up a studio? Perhaps reach out to a network? Do you need to attach a showrunner or an actor? How do you approach the next steps of trying to sell your show? These next steps aren’t easy, but there is a lot you can learn to better prepare you for the battle ahead. Antonio D'Intinio is one of the hardest working managers in the industry that represents screenwriters and directors at Circle of Confusion. He began his career at the agency APA before joining Jeremy Platt at Plattform, where you helped manage Plattform's first look deal with Amazon Studios. Antonio’s clients work across film and television, selling shows to Apple, Universal TV, eOne among others and their films have been recognized by numerous organizations and festivals including The Nicholl Fellowship, Cannes, Sundance and SXSW. Antonio has years of experience shopping and selling his clients' shows and knows what it takes for a series to find success. Antonio will teach you exactly how you can sell your TV series. He will begin by describing the general TV landscape. Then he’ll outline the players in the landscape and how they operate, including showrunners, production companies, studios and networks. He will walk through the three main seasons of broadcast network television—staffing, development, and pilot season. Antonio will share 3 approaches to setting up a TV show, which include format, pitches, original pilot, and intellectual property. Next he will delve into the concept of a TV package and how best to incorporate producers, showrunners, talent, and directors. Then he will outline how individuals get paid once a TV show is set up. He’ll explain the agent packaging fee, the producer fee, royalties, and residuals. Finally Antonio will pull the curtain back on the current marketplace and explain how many shows get bought vs. produced vs. aired vs. ordered to series. The TV landscape is murky, but Antonio will walk you through how it actually works and how you can navigate it to better your chances of getting your own television series sold. Praise for Antonio's Previous Stage 32 Webinar "Antonio really took us behind the curtain with a no B.S. approach. A straight shooter that tells it like it is. Eyes wide open for me now." -Michael K. My goal was always to be repped. And I got my wish. And it went terrible. We weren't on the same page. I didn't know what to do. After watching Antonio's presentation, my last rep and I parted ways and I was able to secure a new manager. The change has been night and day. We work together for a common goal. Thank you, Antonio! - Steven L.
A New Exclusive Lab Through Stage 32! Only 1 Spot Left! Payment Plans Available - Contact firstname.lastname@example.org Write your thriller feature outline while being mentored by a manager from one of the top management companies in Hollywood! The structure of a thriller screenplay should give the reader feelings of excitement. Anticipation. Suspense. The heightened feelings in a thriller should spill over beyond the page and onto the screen keeping the audience captivated. Some of the most recent successful films have been thrillers including AMBULANCE, THE GRAY MAN, BULLET TRAIN and SEARCHING and buyers are swooping up this type of content for their platforms. If you're interested in writing in the thriller genre we have a one-of-a-kind opportunity for you. In an exclusive interactive virtual Stage 32 lab, you’ll write a professional thriller feature script outline, developing it from concept to an iron clad outline that has you ready to write your screenplay - all under the guidance of one of the most successful literary managers in the industry. You’ll work one-on-one with Antonio D’Intino, a literary manager with Circle of Confusion. His roster includes some of the best-known projects around, such as FIRESTARTER, UMMA, and THE SILENCING. Antonio previously worked with APA and Jeremy Platt’s Plattform where he worked on projects like HAP & LEONARD. Circle of Confusion’s clients' projects include the JOHN WICK franchise, DAREDEVIL (Netflix), BLACK PANTHER, V FOR VENDETTA, THE SHALLOWS, THE MATRIX, COCO, and many more. Over the course of eight interactive virtual sessions, you’ll learn everything you need to know about what a great thriller feature film needs and how to apply these lessons to your own feature outline, all under the guidance of Antonio. You’ll also learn how to use your outline to help generate interest from producers and executives now, even before you finish your script. You’ll also get support from your writer's group with your fellow writers to improve your outline and learn how to give and receive constructive feedback. Don’t miss out on this phenomenal opportunity to write a world-class thriller feature outline while being mentored by a representative from one of Hollywood’s leading management companies. With only a handful of spots available, they will be gone fast! Plus! Receive exclusive handouts, including sample loglines, beat sheets, premises, outlines, and scripts of successful thriller films.
Sorry, this lab is filled. Keep checking back Stage 32 Education for upcoming labs. Despite the quickly shifting landscape, and the uncertainty much of the entertainment industry is currently facing, there is still no better time to break into television than right now. Shows are continuing to get greenlit and writers are continuing to get staffed. Thanks to streamers such as Netflix, Amazon Prime, Hulu, Peacock, Disney+, HBO Max and others, over 600 shows were greenlit last year and some industry experts are predicting we may see as many as 1,000 television shows greenlit per year by 2025. We’re in the midst of a content gold rush and more people than ever are looking for and buying great ideas and great scripts for their networks and platforms. If you have a great idea for a television show, there is absolutely a path forward, especially if you know how to navigate this new landscape. The opportunities are plentiful and the prospects have never been more exciting, but to get your television project greenlit, there are a few things you need to have down pat. Obviously you need a great idea—not just an idea that’s interesting and unique, but one that can sell. You also need a standout script around that idea, one that reads great and will make network and streamer executives stop, take notice, and want to read more. Yet an idea and a script aren’t enough to get that TV show made. You’ll also need to be able to deliver a convincing and memorable pitch, complete with an outstanding pitch deck and documents, and you need to be able to package your project to be more sellable to your dream network. These elements don’t necessarily go hand in hand, and different skills are necessary to accomplish each, but all are fully attainable and within your grasp, especially the right knowledge and guidance to help get you there. Raquelle David is a Producer and Literary Manager who has sold shows to Netflix, Amazon, Film Nation, eOne, and many others. Her clients have credits including SICARIO, MAD MEN, OUTLANDER, DOWNTON ABBEY, HELL OR HIGH WATER, THE LIBRARIANS, SHAMELESS, and IRON MAN. Raquelle has worked across independent film and television as a producer as well. Her multiple film credits have garnered a number of accolades including nominations for Palme d’Or at the Cannes Film Festival, Australian Academy Cinema and Television Arts (AACTA) Award and the Screen Producers Australia Award. Raquelle previously worked for Goalpost Pictures, Seven Network, Screen New South Wales in Australia and Rhombus Media in Toronto, Canada, under the tutelage of producer Niv Fichman (THE RED VIOLIN, ENEMY, BLINDNESS). Through her career, Raquelle has helped countless writers pitch their projects or get staffed on shows, and knows better than most what it takes to get a project off the ground and greenlit. In this advanced level and exclusive six-session lab (no more than ten students will be admitted), Raquelle will work directly with you in a class setting and also during one-on-one sessions to help you get your television project off the ground and set up for success. To do so, Raquelle will guide you through selecting a concept—either an original idea or based on existing IP—and getting your TV pilot script ready. She will then help you get your pitch and pitch document ready, and will teach you how best to package your project, including finding a good producer and working with showrunners. Finally, Raquelle will go over how best to protect your IP and ownership and how to work with reps and understand the roles and revenue splits when pitching TV. If you already have a concept or even a completed pilot, Raquelle will use the same tools to help you hone and sharpen your material. Plan to leave this lab with your TV project fleshed out and improved, an effective pitch and pitch document, a plan to properly package the show, and a slew of strategies and tools to hit the ground running and finding success. WHAT TO EXPECT This lab is designed for intermediate writers and producers looking to get their individual television project ready to pitch and sell to networks. This is an in-depth, practical, and detailed lab with one-on-one time with the instructor and significantly more content than a standard 90-minute webinar. ***Only 10 Spots Available. No exceptions*** You will be given exclusive and confidential handouts that will accompany the lessons and that you will be able to hold onto after the lab ends. This lab will consist of six sessions occurring twice weekly for three weeks, each roughly 90 minutes in duration. In addition to the lessons where Raquelle teaches the class, you will have the opportunity to ask her questions during each session as well as multiple chances to speak with her directly about your specific project. Plus, to stay motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the TV project development process. To see the full TV project development 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 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 Plus! Raquelle will also provide you exclusive, confidential and helpful documents for you to download and use for your own projects including: Option Agreement Shopping Agreement TV Pitch Deck Examples TV Pitch Template TV Pilot Examples Current Network needs (current list of buyers and what they’re looking for) Current POD deals for TV Comprehensive Showrunner list
Payments plans available - contact firstname.lastname@example.org for more information. 4 of 10 Spots Remain It's hard enough to break an original story on your own, but how do the professionals do it as a group on an idea they didn't create? Working in a writers' room is the dream for many, but once you're in, the work is just beginning. This webinar shows you exactly how a writers' room operates by putting you in a mock room to try and create an episode from scratch as a team. Do you wonder what it's really like to work in a writers' room? When should you speak up versus listen? What are the different roles in a writers' room? Whether you want to write one-hour procedural or serialized television, the ability to write a close-ended episodic is an incredible skill that will benefit you throughout your career. It can be intimidating to enter a writers' room, and you want to have some knowledge to enter confidently. That's where Kate Sargeant and her exclusive Stage 32 course have you covered. In this eight-week course, you'll work with the instructor and a handful of similarly ambitious and creative writers to break an episode of the network procedural CASTLE, including the A, B, and C-story, using a virtual whiteboard. You'll work step-by-step through the process for the most in-depth experience as you work from pitch through a draft as a group together, pitching ideas and learning to communicate with one another. This format gives you invaluable direct, practical, and real-world experience to assist your long-term television career. Running your mock writers' room is professional screenwriter Kate Sargeant, who has staffed in numerous rooms, including CASTLE, CSI CYBER, NCIS NOLA, BLINDSPOT, and more. She's also directed the short films CHANGING LANES, FACING LIFE, and YOU CAN'T DO THAT ON THE INTERNET, as well as the streaming series VIRTUALLY SINGLE. You'll have access to Kate during the eight weeks in class and outside of class via email for any questions you may have. You'll also have the opportunity to develop a genuine working relationship with your classmates, networking with writers with similar goals to your own that can extend beyond class time. "Working with Kate was unlike any other! She's so fun and personable and gives the best advice." - Noella J.
**Work one-on-one with a top producer with deep experience with international writers** Only 10 Spots Available Success of recent international shows like Netflix's LUPIN and MONEY HEIST demonstrate that US-based networks and studios are looking more and more to the international markets for creative inspiration. This is such an exciting time for international writers to find traction and opportunities in America. Yet even with this opportunity, you still need to adapt your script's sensibilities to make them successful stateside. This is something you can absolutely do as a writer, no matter your genre or format or story, provided you understand what exactly this adjustment should look like. Which subjects will or won’t work for the American screen? How do we understand the different cultural sensitivities of different marketplaces? What story structures and arcs are common internationally but don’t land over here? How does the entertainment business structure US (agents, managers, execs) differ from what you experience at home? And how does that environment change how your story is received? These are complicated questions to answer, especially if you're not currently living or selling content in the US. This is why it's critical to work with someone who understand the US market, someone who can serve as an asset for you and make sure you're presenting a film or series that can actually find a home in America. Someone like producer James Crawford. James is a Canadian/Australian, US-based producer and development executive who has worked with writers from Mexico, Finland, Spain, England, Scotland, South Africa, Brazil, Australia, and the Philippines. Over his career, James has worked with international writers in developing their television series and working on pitches for Amazon, FX, Hulu, Netflix, Cinemax, UCP, and other major networks. James is very familiar with working with foreign writers and over 8 weeks, he will work closely with you and a small group of other international writers to adjust your film or series script to make it work in the US market. He will also help you with your project's pitch, pitch documents and outline to better sell it to American companies. While walking you through the different aspects of a successful American script and pitch, James will also work one-on-one with you to make sure your specific project can translate successfully in America. If you have a project you want to sell in America, you're going to want to work with James before sending it out. WHAT TO EXPECT By the end of this 8-week writing lab, you will have a deeper understanding of the US TV and film market and an updated TV or film script and pitch that fits better into American sensibilities, ready to be shown to reps, development execs and other executives and professionals. Sessions will vary between 2-hour group settings and personal one-on-one Zoom meetings with James. 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 producer 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 Harrison at email@example.com for more information This lab is limited to 10 people This lab is designed for screenwriters of all levels looking to update their existing film or TV scripts to better fit the US market
SEE FREQUENTLY ASKED QUESTIONS BELOW Netflix and Stage 32 have partnered on an exclusive global education series in an effort to democratize the worldwide entertainment industry. Together, over the course of 5 webcasts Stage 32's world class educators will bring their knowledge of what it takes to write, develop and produce today's television for the Stage 32 and Netflix creator community. These global webcasts have been seen by hundreds of thousands of creatives worldwide with a 100% satisfaction rate! In our fifth webinar in this exclusive "Creating Television Content for a Global Marketplace" series, we are going to give you the ins and outs on how you can effectively write drama scripts for streaming television. We are in the Great Content Gold Rush of drama television Over 550 original shows aired in 2021 alone and that number is expected to almost double in 2022. Streamers such as Netflix have committed to spending $19 billion in original content this year. The rush for dramatic television shows is on. Are you ready for it? With the success of shows such as Lupin, Squid Game and Bridgerton there is no doubt that streamers are on the hunt for dramatic global stories. These shows drop us into worlds that are new, foreign and exciting for viewers around the globe to watch, yet they all have universal themes we can relate to. The secret to this success is a solid understanding of how to write effective dramatic television...and be able to sustain it for seasons to come. Stage 32 and Netflix are going to teach you how. To help you understand the nuances of drama television is Stage 32 Educator Leila Cohan who is an Emmy-nominated television and feature writer, currently serving as Co-Executive Producer on Netflix’s THE PERFECT COUPLE. Previously, she’s written for SPECIAL (WB/Netflix), BRIDGERTON (Shondaland/Netflix), THE FIRST WIVES CLUB (Paramount/BET Plus), SANTA CLARITA DIET (Netflix), TELENOVELA (NBC), and AWKWARD (MTV). She’s developed pilots for Paramount, Hello Sunshine, The CW, YouTube Red, and the last days of ABC Family, as well as features for Lionsgate and Picture Start. In an exciting FREE webcast Leila will go into more detail on choosing a drama series concept, core elements of your drama pilot, planning your drama series for season one and beyond, plus she'll go over an exercise to turn an idea into a pilot and a series so you can get the practice of what it's like breaking drama television. You do not want to miss this! To see the full webinar overview, see below. Some of the case studies Leila is going to go over in the webinar are: BREAKING BAD LUPIN SCANDAL KILLING EVE YELLOWJACKETS MAD MEN ORANGE IS THE NEW BLACK BRIDGERTON THE WIRE Note: You will receive the Zoom link to login by the morning of the webinar. If you are not yet a member of the Stage 32 community, we encourage you to join the community today at www.stage32.com, it is FREE! You will instantly connect with over 800,000 creatives and professionals in the entertainment industry from all over the world who use Stage 32 to network, find work, learn and develop their projects. YOU MUST HAVE A STAGE 32 PROFILE TO WATCH YOUR VIDEO.