On Demand Webinar - For immediate download. Unlimited access for 1 year.
On Demand Webinar - For immediate download. Unlimited access for 1 year.
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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Not only are more and more film festivals accepting short films, but festivals dedicated to nothing but short films have become more popular than ever. Additionally, more managers, agents, and producers are looking to short films to find untapped talent and new ideas. So many successful filmmakers today, from Christopher Nolan to Damien Chazelle, have used short films as a calling card to showcase their skills and show the world that they were ready for the big time. But shooting a quality short film means raising some financing. And for many, this can be challenging. One thing that many creatives avoid when putting together a short film is everything that goes into the business end. From determining and compiling a true and realistic budget, to being able to tell your creative and financial story within a pitch deck, to thinking about a distribution strategy and recoupment plan well before shooting, there is so much to think about toward getting investors in your corner beyond the creative. Allow us to help you by showing you everything you need to know so that you can attract investors looking to get behind you, your unique vision and your work. ABOUT YOUR STAGE 32 EDUCATOR JT Molner knows a thing or two about raising funds for shorts and feature films. Although JT is a writer and director, he's been deep in the trenches in raising funds for his projects leaving no stoned unturned and nothing to chance. After raising financing for many successful shorts which caught the eyes of producers and talent, JT rolled up his sleeves and helped his producers raise financing for his first feature film, Outlaws and Angels, which was originally shot as a short film as proof of concept. The feature became an Official Selection at Sundance and was sold to Orion Films. He will teach you everything he's learned from his decade of raising financing for his short films and other projects. And, as an added Bonus you'll receive a pitch deck from JT's film OUTLAWS AND ANGELS which started as a short film proof of concept, and went on to be made as a feature, being selected as an Official Selection at Sundance and selling to Orion films! Holy clarity! I've made so many mistakes along the way. Every short film has seemed like a struggle not worth reliving and now I understand why. These wounds were self inflicted. Thank you, JT, for not only (kindly) setting things straight, but for opening my eyes. I can't wait to get started on my next project. - Manford C.
Get the lowdown on how to save your film even in the worst case scenario with a veteran producer with over 35 films under her belt. Comes with example Letters of Intent Try as hard as you might, even when you dot every ‘i‘ and cross every ‘t’, the production of your film is never going to go perfectly. Things invariably come up or go wrong that are outside your control. Ask any producer—it is a certainty. As a result, it’s not the mark of a good producer to prevent unexpected problems from coming up, but instead to be able to address these issues when they do inevitably arise. You’ll never know what might come up during the course of your film’s production, but two of the biggest and scariest issues are when your money or your talent fall through. Even with everything else set to go, a full team intact, your locations booked, and your equipment prepped, if you lose either of these two crucial elements, it can bring your entire film to a grinding halt. Losing your film’s money or top-level talent just before production begins is a more common issue than you might think, and while it’s certainly a difficult situation to navigate, it doesn’t need to derail your project. There are strategies you can use as a producer to soften the blow, move forward, and bring the money or actors back on board. It comes down to attitude, knowing your options, always having contingency plans, and being smart and measured in how you communicate with financiers, agents, and actors. So how do experienced producers deal with losing these elements last minute? How can they convince financiers to stay on board? How do they renegotiate with actors without going over-budget? And how do they know when to re-approach and when it’s time to part ways? Aimee Schoof is the co-founder of Intrinsic Value Films and a veteran film producer with 35 features under her belt. Of those 35, 9 have premiered at the Sundance Film Festival, four at the Tribeca Film Festival, three at SXSW, and one each at LA Film Festival, Toronto, Venice, New York FF, New Directors/New Films, and Berlinale, to name a few. Aimee’s company develops, produces and sells independent films that have been distributed worldwide, have won many awards and been honored with numerous nominations. Accolades include winning a Sloan Sundance Award and a Sundance Special Grand Jury Prize. Aimee’s work has led her to be nominated five times by Film Independent as a producer. She is currently both a Sundance and Film Independent Fellow and has worked in international sales attending all major markets, and regularly lecturing on film finance and production. Through her career, Aimee has had to navigate losing money and losing talent many times and has developed valuable strategies she will share with the Stage 32 community that has kept her projects moving and allowed them to find success. Aimee will walk you through what exactly you should do for your film if either your funding or your talent fall through during the course of pre-production or production. She’ll lay out the first steps you should always take when you first find out you’re about to lose either of these elements. She’ll then spend time discussing financing specifically and strategies you should employ. She’ll talk about how to figure out what really went wrong and how to renegotiate with the financier, including how to offer points or credits. Aimee will also talk about how you can move forward anyway by paring down expenses and altering your schedule. She’ll also tell you how to reapproach investors or partners that said no in the past. Aimee will also spend time discussing strategies specifically for losing talent. She’ll tell you how to gauge if the talent can be recovered, and offer actor-specific tips on how to renegotiate. She’ll talk about communication tips for both actors and their reps and advise you on when it’s worth it to reschedule your shoot. She’ll also go through how to find new acting choices and use leverage to get a last minute replacement. Finally, Aimee will show you how you can best recover when things fall through and how to move forward with your plan B without sacrificing the quality of your film. Along the way, Aimee will share personal stories of her own past and even show you specific emails and language she used to renegotiate or find new funding or actors. You’ll never be able to fully prepare for problems that come up last second, but Aimee will give you the tools and confidence you can use to navigate these problems and keep your project afloat. Praise for Aimee’s Previous Stage 32 Webinars "I've taken many Stage 32 webinars and they've all been wonderful, but Aimee's had me ready to run through a wall! So much thoughtful and intelligent information!" - Debra S. "This webinar was jam packed with so many useful and accessible strategies I can start using today. Thank you!" -Brian D. "Grounded and Practical" -Jennifer S. “Aimee was able to take these big ideas and make them feel totally accessible and easy to understand. I really enjoyed hearing from her” -Howard F.
Intellectual property (IP) has become a critical aspect in creating new content and selling projects within the film and television landscape. At this point it’s almost feels like a prerequisite for a project to be tied to some sort of pre-existing property before it’s picked up by a studio or network. Whether it’s a book, graphic novel, podcast, article, life rights, or anything else, IP can give executives the confidence they need to move forward with that next show or movie. After all, with IP, they have a working blueprint of how the finished product could look, they have a built-in audience with the fans of the original property, and they have something substantial to show talent, investors, and the higher-ups looking at the bottom line. This inclination towards IP can make it harder for you as a writer or filmmaker to sell a fully original project, but at the same time it can give you opportunities to better build, package, and sell your next project. If you can find and acquire exciting new IP, you’re going to have a distinct upper-hand in getting people to notice your project and are well on your way to it actually getting made. There’s no denying the value of IP in today’s industry, but navigating this world can take some finesse. If you’re not in the business of constantly tracking and consuming new books and media, it might be hard to come across that property that is perfectly suited to you. And even if you find that standout book or article, how do you get the rights to it in the first place? How can you get that original author to trust you? For the writers and filmmakers not interested in adapting existing material, creating your own IP could be an effective solution, but what does that even mean? Those who are understanding and embracing this new concept of creating your own IP have a major competitive advantage in selling their scripts right now. It’s high time you learn what you need to know about IP in today’s climate. Alex Creasia is a literary manager and producer at Pathfinder Media where he represents writers and directors around the globe, focusing on all formats of TV, film, books, podcasts and digital media. He has sold multiple properties for his clients based on all different types of IP to places like Netflix, Amazon, HBO, ABC, Freeform, Disney +, Marvel, MGM, Imagine Entertainment, AGBO, Facebook Watch, Snap, and more. Alex has become an innovator when it comes to sourcing and creating IP for scripts that big companies want to buy. Alex will teach you all the ins and outs of finding and obtaining intellectual property to position your next project for success. He will begin by giving a rundown of what IP is and the three typical types seen in entertainment. He’ll then provide you with specific and helpful tips to find available IP that’s right for you and what to do if it turns out the property you’re after is unavailable. He’ll then discuss idea of creating your own IP in order to better sell your story as a film or series and how to enhance your IP by finding it a following in order to give it more clout and notice. Finally Alex will delve into the world of life rights and the different ways you can get permission to tell a real person’s story.You will have plenty of fresh, modern and unique IP options to make your project more marketable in today’s climate. Praise for Alex's Webinar "Informative! A good presentation!" -Susan D. "This gave me so many ideas of how to get my current project noticed" -Regina G. "Alex made something I always thought of as scary and impossible feel easy and achievable. I'm so glad I saw this" -Jeff E. "I feel totally inspired to find my own IP now. Thanks, Alex!" -Jose G.
The most significant aspect of any actor’s career is securing work, but with overwhelming competition, roles are scare and difficult to come by, which can make this task incredibly tough. Yet in the end, acting careers are built on the work and honing your skills as a performer. Every actor knows that work begets work. This is because as we expand our experiences and circle of connections, more doors open with opportunities for more work. It’s great to have an agent, to make those connections, to develop strategies to become more marketable, but more important than all of that is becoming the best actor you can possibly be. Ultimately, producers want to hire the right performer for the role, and putting yourself in a position to get that role is less complicated than others might have you believe. Whether you are preparing for an audition or a performance for a role you are already cast in, your main tool and blueprint before you even get on set or in that audition room is likely going to be the script, and any practiced actor will tell you there’s a lot more to a script than just your character’s dialogue. If you’re simply going through the script to highlight your lines, you’re missing out on a treasure trove of information that will lend itself to you finding the character and giving your best possible performance. An experienced actor is able to fully break down any written scene to internalize not just the dialogue, but the beats, the context, the elements that are unwritten but still very present. Knowing how to analyze a script and glean from it all of its information and clues will allow you to more fully inhabit your role and make you a better and more cast-able actor. Taylor Nichols is an award winning filmmaker, theater director and actor with over one hundred credits to his name. He is currently on the Emmy-nominated Hulu show PEN15 and the HBO smash-hit PERRY MASON. Taylor has also appeared on shows such as Emmy and Golden Globe nominated THE WALKING DEAD and PRISON BREAK, the cultural hit DIRTY JOHN, Emmy-winning MODERN FAMILY, 24, Golden Globe nominated THE MENTALIST and many more. In addition to acting, Taylor is an award winning short filmmaker and an experienced producer with feature credits including THE NEXT STEP and CASE 219. Taylor brings to Stage 32 more than 30 years of experience in the entertainment industry and is ready to share with the community the skills and lessons he’s developed throughout his career. Taylor will lay out how to break down a script as an actor and develop the techniques needed for characterization and emotional depth to “live truthfully under imaginary circumstances”. Taylor will begin by teaching you what an actor should do as soon as they get the script, including what to focus on during your first read through and how you should be marking it up. He will give you the tools to zero in on a specific scene’s theme and will then delve into determining your character’s objective, both in the scene and in the story as a whole. He’ll talk about how and where you should place dramatic beats by finding the scene’s shape and creating and feeding into the flow. He’ll go into what makes beats and pauses feel natural and honest and when they feel put on and will also outline how you can use your beats as a tool for line memorization. Taylor will then go over how to define your character’s obstacles while reading the script and how you should create your own honest actions in the scene. He will also explain how these actions can successfully interact with both beats and objectives. Next he will explain what “givens” are in a script and how you can find the givens of your character. He will also teach you the difference between naturalism and honesty when giving a performance and explain why honesty is always what an actor should be working towards. Taylor will also lead a live, interactive acting workshop to illustrate the strategies he has taught and show how to use the written scene to define the characters. Taylor will break down down a scene of a script in real time and will bring up students to perform these role based on this breakdown. Through his lesson and workshop, Taylor will give you invaluable tools to help hone your craft and better prepare you for any future auditions or performances. Praise for Taylor's Stage 32 Webinar "Wonderful job on all counts. Taylor was very informative and ever so likable." -Jody F. "I really loved the webinar - Taylor gave a really useful and inspiring presentation, which felt genuinely rooted in the love of acting and the respect for the craft of it. I found both the teaching and the workshopping aspect of it very informative and really gave us as actors clear examples of how to up-level our work." -Rowen B. "Taylor was great and very helpful." -Martin B. "Taylor was great! I thoroughly enjoyed Taylor's class & will be re-visiting it through the on-demand option." -Laurka L.
The new wave of indie publishing has taken the book industry by storm. Previously unknown and/or unpublished authors are making a living—sometimes a prosperous living--by writing. Traditionally published authors are also developing hybrid careers, where they write for their publishers as well as self-publish. Some successful indie authors are also catching the attention of traditional publishers, who are acquiring their books. Screenwriters may struggle to find recognition for their work and make a living with their writing. Often screenwriters must have a “day” job in order to survive, which can leave little time and energy to pursue their dreams of success. Adapting screenplays into a books may produce extra income and recognition, as well as provide other benefits to a screenwriting career. In this Stage 32 Webinar, Debra Holland will discuss her journey from an unpublished author to a NY Times Bestselling author. In her six years of indie publishing, Debra has sold more than a million books and has made a six-figure income for the last five. She’ll introduce you to self-publishing, provide some tips for adapting your screenplays into books, cover basics to get you started in indie publishing, and help you consider whether self-publishing your screenplays as books might be conducive to your career as a screenwriter.
Whether it’s penning a feature screenplay or finding a staff position on a TV series, many actors have found new and continued success by venturing into writing. And there’s a good reason why. Transitioning from one part of the industry to another can feel daunting. But if you’re an actor, you’re not starting from scratch – you are pivoting. And in order to do so you need to recognize your strengths, utilize your previous acting experience, and build on your established relationships. Most importantly, as an actor, you already have inherent superpowers that will help you excel as a writer. Actors are storytellers so it makes sense that at some point they may want to write their own stories. But will you be taken seriously? Can you move from being in front of the camera to behind the computer screen successfully? You absolutely can. And you don’t have to give up acting in order to do so. Ultimately, you will be able to write, pitch, and produce better because of your previous experience. So let’s hone those skills and get you ready to make that pivot! After starting out her career as an actress, most notably starring as Emily in the cult classic 3 NINJAS, directed by Jon Turteltaub, Kate Sargeant has become an accomplished television writer, working on over 100 episodes of network TV on shows like CASTLE, CSI: CYBER, NCIS: NEW ORLEANS and BLINDSPOT. She has also written, directed, and produced a few of her passion projects including three short films: CHANGING LANES, FACING LIFE, and ANOTHER FOREIGN CONCEPT. In addition, Kate launched an original comedic series that she wrote, directed, and produced called YOU CAN’T DO THAT ON THE INTERNET about our obsession with social media. Most recently Kate served as a Supervising Producer on a one-hour drama for Sony entitled OBLITERATED. Kate just launched a new half-hour comedy series on YouTube entitled VIRTUALLY SINGLE, which she created, wrote, produced, and stars in. Kate has successfully navigated the pivot from acting to writing and is excited to share what she’s learned during this transition. Exclusively for Stage 32, Kate will teach you how you can make the jump from acting to writing, not by starting over, but by using the superpowers you’ve already developed as an actor to take the next step. She’ll explain her own story and how she made the jump herself before explaining how you can do the same. She’ll discuss what it really means to become a writer and will then show you the superpowers you have as an actor that you might not realize that can help you with every element of writing, from dialogue writing to pitching. She’ll discuss specific challenges you’re going to need to face as an actor and will give you tools and strategies to take the first steps towards writing. She’ll finally reveal how you can use your writing to boost your acting career. If you’ve always wanted to write but have never been sure how to make the leap, Kate will give you the tools and inspiration you’ve been looking for