Richard Teodorczyk has been working in the camera and grip department for over 35 years, most recently serving as key grip for the second season of Netflix’s LOCKE & KEY. Richard has recently served on other notable shows including Amazon’s THE BOYS, Netflix’s THE UMBRELLA ACADEMY, and FX’s WHAT WE DO IN THE SHADOWS and films like SCOTT PILGRIM VS. THE WORLD, LARS AND THE REAL GIRL, and THE VOW. Although his experience mainly comes from a grip’s point of view, his years of experience allow him to share knowledge, tips and helpful tricks for those wishing to join the industry in a grip, electric or camera capacity. Full Bio »
Learn directly from top key grip from Amazon's THE BOYS and Netflix's LOCKE & KEY & THE UMBRELLA ACADEMY!
It truly does take a village to put together a production, and while the actors and directors often get the lion’s share of the credit, there many other players that are absolutely critical to a film’s ultimate success. Key among these are the grip, electric, and camera departments. Including the key grip, best boy, gaffer, ACs and other positions, these folks are the ones who actually get the film made. They manage equipment, set up and operate the camera and dollies, rig the lighting, and more. It’s not as widely considered as other departments, but the camera, grip and electrical fields are a fantastic way to break into the film industry, pick up skills on set, contribute to exciting projects, and build a reputation for yourself.
For aspiring filmmakers looking to get in the middle of the action, there are very few opportunities as entrenched and as involved as the camera, grip, and electrical team. But how do you break in? You might see roles like “key grip”, “2nd AC”, “gaffer”, and “best boy” in the credits, but what does each do, and which roles could you be the best fit for? And once you’re in, how can these roles lead you to new opportunities like cinematographer or director?
Richard Teodorczyk has been working in the camera and grip department for over 35 years, most recently serving as key grip for the second season of Netflix’s LOCKE & KEY. Richard has recently served on other notable shows including Amazon’s THE BOYS, Netflix’s THE UMBRELLA ACADEMY, and FX’s WHAT WE DO IN THE SHADOWS and films like SCOTT PILGRIM VS. THE WORLD, LARS AND THE REAL GIRL, and THE VOW. Although his experience mainly comes from a grip’s point of view, his years of experience allow him to share knowledge, tips and helpful tricks for those wishing to join the industry in a grip, electric or camera capacity.
Richard will teach you how you can begin a career in film and television by working on the shooting floor. He will walk you through all the possible jobs within the camera, grip, and electrical fields, what skills you need to be successful, and how COVID-19 has changed the film landscape. He will provide valuable tips on how to find your place and keep it, and how to maintain your sanity through what sometimes seems like a daily grind. He will also discuss the path from the camera department to other roles like cinematographer and director. Richard’s presentation will help you decide which direction is right for you and how to avoid the many potential pitfalls of the biz that always seem to be lurking in the background.
Working in film and television provides an individual the incredible opportunity to work day in and day out with creative people in interesting situations. It can also create tense and difficult scenarios when so many voices collide. I hope my years of experience can offer some insight into how to navigate this beautiful and crazy minefield we call the shooting floor, and teach people what to expect in a world that is continually evolving.
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A: Yes! After the purchase of a live or On-Demand webinar, you will have on-demand access to the recording, which you can view as many times as you'd like for a whole year!
Learn directly from Anne Marie Gillen, who has over 20 years of experience with independent film financing and has raised over $100M worldwide! There is no getting around it. If you want to make your own project, if you want to control your own career, you will need financing. In order to secure that financing you will need the necessary tools, language and know-how. Equity is King – and finding and closing it is the key component to funding every project no matter what the budget! This webinar will address 5 key strategies regarding financing that most filmmakers do not know. Are you stressed & overwhelmed with the thought of finding money for your film? Do you know how to talk the language of an equity investor? Entertainment is a high risk investment. Do you know how to mitigate that risk to get investors to a "Yes!"
Your pitch deck is the most important tool in your initial stage of obtaining financing for your script. A pitch deck is also used as an aid to attaching an actor or director you are interested in. As a tool, your deck is the first impression of your film condensed so the investor can become familiar with your project and determine if this is an opportunity for them. To close the deal or at least garner meaningful consideration and interest, your pitch deck has to stand out. It has to not only tell the story of your project, why it should be attractive to talent, and what the true potential audience may be, but, most importantly, it needs to show a true and realistic path to profitability. And this is where so many decks fail. Sure, you want to paint a rosy picture with your investor pitch deck. But here's the thing, most investors who have put money into films before know BS from reality. They will know if you are overshooting your estimates (an extremely common tactic), whether your film comps are ridiculous (they almost always are) and if you're exaggerating who your potential audience will be (nearly always the case). A great investor pitch deck is filled with equal parts optimism and reality. Sure, every investor wants to dream of unbelievable riches and success, but what truly makes them open their wallets is believing in the team, the project, and being presented a realistic worldview as to the potential return on their investment. Michelle Alexandria knows a thing or two about raising money. As a producer and Head of International Sales and Acquisitions for Glasshouse Distribution, Michelle has raised or assisted in raising funds for dozens of films and other projects. She has personally worked on 25 feature films $6MM and under and 3 television projects in various capacities including producing, line producing and executive producing. Michelle has spoken on the topic of raising financing at the Cannes Producers Network and other prominent film festivals and markets including MipCom, Berlin, Buenos Aires, UniFrance, Sundance, and AFM. Her knowledge is extensive and her advice actionable, and now she's here to deliver the goods exclusively on Stage 32. Michelle will teach you how to create an investor pitch deck that doesn't have that same dusty feeling of so many decks and which fits the current climate of raising funds. She will show you what elements truly matter for an investor and which you can leave out of your deck entirely. She will discuss the value (or lack thereof) of artwork and posters. Additionally, she'll dive into loglines and synopsis to assure that you are giving your potential investors the true vision of the project. She will teach you how to put together a realistic cast list and film comps. She will discuss budgets, scheduling and how to incorporate those elements into your deck. She will talk to you about putting together the right team and how those team members can send the right or wrong signal. As an added bonus, Michelle will share examples of pitches decks that have helped secure millions in financing! "Clear, concise, and brilliant." - Mario D. "No BS, straight to the point information. Loved every second." - Patricia H. "I have a deck for my film. It's going in the garbage. I will be starting over tomorrow with this wealth of information flowing in my head. Remarkable job, Michelle!" - Phil M. "Sure, everyone wants Leo or George in their films. Sure, everyone thinks their film is the next My Big Fat Greek Wedding or some other independent blockbuster. Sure, everyone believes that they have THE idea that is going to get them the money. Michelle just gave me the map as to HOW to get the money by being REAL. I can't wait to get started and to bounce ideas off my team. This was so much fun. Thank you!" - Denise P.
A year ago, you might not have believed that one of the biggest limited series phenomena of 2020—or ever—was an intimate story about an orphan chess prodigy battling addiction. Yet here we are. The long-time passion project from Allan Scott started in 1989 when he optioned the rights to Walter Trevis' novel THE QUEEN'S GAMBIT. Now, over 30 years, 9 rewrites and countless directors to get the project off the ground later it is the model of perseverance and inspiration to storytellers worldwide. Scott teamed up with Oscar-nominated writer Scott Frank (OUT OF SIGHT, MINORITY REPORT, LOGAN) and THE QUEEN'S GAMBIT was released on October 23, 2020 and quickly became Netflix's most popular scripted limited-series ever. It was watched by a staggering 62 million households in the first 28 days of release and won 15 awards, including the Golden Globe for Best Television Limited Series. But no one has broken down exactly what makes the series such a critical and commercial success...until now. In an exclusive Stage 32 Script Breakdown Webcast our Director of Script Services, Jason Mirch, will break down the first episode of the series live using excerpts of the book and the teleplay, as well as clips from the episode. Jason Mirch is a feature film, television, branded entertainment, and digital content producer and executive with over 15 years in the industry. Most recently, he produced a 3D animated feature film starring Jacob Tremblay, Christopher Lloyd, Mel Brooks, Kenan Thompson, and Carol Kane. Mirch was the Head of feature and television development at Image Nation, a finance and production company based in Abu Dhabi, UAE. There, he supervised the Image Nation contributions in the development of FLIGHT, THE HELP, THE BEST EXOTIC MARIGOLD HOTEL, CONTAGION and more. Prior to his work at Image Nation, Mirch was Co-Head of Development at Zadan/Meron Productions (CHICAGO, FOOTLOOSE, THE BUCKET LIST) where he was actively involved in developing a slate of feature film projects for New Line, Paramount, Summit Ent., and CBS/Paramount. He also developed and sold television projects and mini-series to CBS, NBC, Fox, ABC, and Lifetime. During this FREE Stage 32 Next Level Webcast Jason will take you step by step as he examines the four key elements that make up the protagonist's character, how the opening sequence is designed to hook the audience, how theme and tone are exhibited in the text and on screen, how this first episode lays the foundation for the arc of the entire series, and much more! Plus, everyone who registers for the webinar will receive a copy of the pilot script of THE QUEEN'S GAMBIT to study!
Once you finish your screenplay and decide it’s time to reach out to producers and representatives, one of the most common responses you may receive is that your idea is not ‘high concept’ enough or your logline doesn’t have a ‘high concept hook’. This term is thrown around a lot in the movie business, but what does it actually mean? ‘High concept’ might be a buzz word, but it’s also a term that carries with it significant meaning as well as some lessons and perspective you can bring back to your own project if you know how best to approach it. Readers, producers and buyers see so many spec scripts that have no chance of becoming films not because the writing isn’t great, but because the writer did not spend enough time on concept. It is one thing to fall in love with a story idea. It is another to stick with it during the uncomfortable phase of working on that idea to make it more enticing to the world. So how can you ensure you consistently develop ideas that excite readers and push your script toward a sale? How do you know if your idea is “high concept” enough? What exactly does “high concept” even mean? Andrew Kersey is a literary manager and the head of Kersey Management whose clients are working on projects at all the major studios and streaming outlets including Netflix and Amazon, and the networks and cable channels ABC, Fox, NBC, CW, Disney Channel, and Nickelodeon. Andrew recently just sold his client's sci-fi spec script to Universal with THE SOCIAL NETWORK and FIFTY SHADES OF GREY Oscar-nominated producer Mike De Luca, and his client’s comedy VACATION FRIENDS is in production at Broken Road for Hulu starring John Cena and Lil Rel. Andrew has helped his clients pitch countless projects and knows better than most what buyers are looking for and how a high concept approach can make all the difference in getting that script sold. Andrew will break down what makes a script ‘high concept’ and how you can write and sell your own high-concept screenplay. He’ll nail down exactly what a high concept story is and offer examples of high concept movies in different genres, explaining what makes them successful. He’ll then break down why high concept stories are so appealing, from the perspective of producers, studios, and audiences. Next Andrew will delve into how to actually write a high concept story and whether you can adjust your existing screenplay or write one from scratch. He will go through breaking down genre walls and other writing tips you can take with you. Andrew will then teach you how to sell your high concept story. He’ll talk about the importance of your logline and title and give you tips to pitch your high concept story to execs and buyers, including how to explain your world and use comps. Finally he will go over common mistakes writers make when creating high concept stories and will reveal where not to begin and whether size and budget matter. Expect to leave this webinar with a much clearer idea of what makes something “high concept” and a series of tips and ideas you can bring back to your own project to better sell it. "Throughout my time as a literary manager, the term "high concept" has come up more times than I can count. The writers that I work with that are most successful are the ones that understand what this term really means, what buyers are looking for, and how they can adjust to fit this idea. I'm excited to share these secrets with the Stage 32 community." -Andrew Kersey
TV movies are very much alive and well, and if you’re a screenwriter or producer looking to break into this huge market niche, you’ve come to the right webinar. Despite the change in viewer habits with on-demand movies, the TV Movie and the Movie of the Week on Hallmark, Lifetime, and Disney, as well as many other channels are still extremely popular. To breakdown this landscape and share the truths behind the TV Movie model, Stage 32 has brought in MarVista’s former Acquisition and Co-Production executive, Justine Wentzell. Justine has worked on almost 100 different TV movies in MarVista’s core business. After she digs into the specifics of what these networks are looking for, Julie will offer tips on writing a successful script for this niche. Stick around for a Q&A after the webinar to take an even deeper dive into other key elements of this form of storytelling. You will not get more in-depth overview of TV movies, what goes into developing, writing and producing them anywhere else!
Over the course of an extended two-and-a-half hour webinar, learn drama pilot story structure from one of Stage 32's most popular and requested instructors Includes case studies, story maps and free script downloads of the pilot episodes of: SUCCESSION LUPIN* THE MARVELOUS MRS. MAISEL THE EXPANSE It almost sounds cliché at this point, but we’re living in the Golden Age of Television, an era where TV dramas as diverse, ambitious, and creative as BETTER CALL SAUL, BRIDGERTON, THE QUEEN’S GAMBIT, I WILL DESTROY YOU, and MRS. AMERICA are not only put on air, but find an audience and gain serious popularity. This is in turn an era where networks and streamers are actually looking for new voices and new stories. More than ever before, there is a path for your own television drama to be discovered. Yet no matter how great your concept is, how strong your characters are, how diverse, clever or unique your world is, your drama series will not be effective and will not be successful unless you can nail your script’s structure. Nailing your TV drama’s story structure—specifically your pilot—is no easy task. In the span of just 40-60 pages, you have to introduce your world, your characters, your central plot and conflict, and your inciting incident, all while keeping your pacing consistent, finding some resolution for that episode, and allowing your audience to want to watch more. This is a complicated, and delicate game and ultimately comes down to how you structure and map out your script before you start writing. No matter what genre you’re writing in, understanding how to structure your pilot is vital. Gaining a clear grasp on how successful drama pilots are arranged and the rules they all follow is a necessary step if you want to have a show that will get picked up and ultimately connect with an audience. Anna Henry is a Producer and Development Executive who has worked at CBS, ABC, Nickelodeon, and multiple production companies, as well as a manager at Andrea Simon Entertainment. Her clients have worked on shows such as THE DEUCE, POWER, IN CONTEMPT, TOMMY, VIDA, SEVEN SECONDS, HUNG, CHICAGO FIRE, FEAR THE WALKING DEAD, THIS IS US, and THE FLASH, and have set up projects at AMC, Amazon, Starz, HBO, Sony, Fox, EOne, ITV America, OddLot Entertainment, Corus, and others. One of Stage 32’s most popular instructors of all time, Anna has projects currently in development around the world and is incredibly familiar with what goes into a great television pilot. Anna will go in-depth on how to properly structure your drama TV series pilot and will use real past pilot scripts as examples as she breaks down, act by act, the elements necessary to turn your series pilot into stand-out script. Anna will go over the main types of one-hour pilots and will outline the elements for pilot development, including story engine, world, characters, themes and tone. She’ll discuss how to select and map your own template show as well as incorporating multiple plotlines. Anna will then delve into the function and elements of your pilot’s teaser and Acts 1 through 5, as well as your pilot launch, pilot climax, and series launch. She will finally lay out the most common structure problems that you should avoid. Don’t even think about starting to write your own drama pilot until you gain the tools Anna will provide. Examples will be used from notable past one-hour drama pilots on network, cable, and streaming platforms. PLUS! you will receive pilot scripts and Anna's own story maps for each after the webinar: LUPIN* (Netflix) THE EXPANSE (Syfy) THE MARVELOUS MRS. MAISEL (Amazon) SUCCESSION (HBO) *Pilot script not available for LUPIN Praise for Anna's Previous Stage 32 Webinar: This was my first Stage 32 webinar, and it exceeded my expectations, both in terms of quality (and quantity) of information and overall value. Anna was personable, knowledgeable, and organized. The slide deck was helpful, and her overall presentation hit all the key topics. Anna and Stage32 delivered the goods. - John R. What a thoughtful, thorough and inspiring webinar. It's clear that Anna Henry put an enormous amount of work into this presentation. Not only was the content there, but the structure was also superb. I feel educated and inspired to go back to my own work and do better than what I thought was my best. What could possibly be better than that! Thank you Anna for your genius and your generosity. - Crispin L. "Comprehensive, insightful. Combined a lot of material I had heard snippets of on character, world dev, etc. but artfully stitched together in one presentation." -James F. "It was amazing, enlightening - completely. I learned soooo much - especially as a feature writer who's been asked to turn a feature script into a pilot!! Thank you soooooo much." -Kristin G.