Jim Wareck is an Independent Spirit Award winning independent producer and writer whose award-winning feature films include the Sundance hit NEWLYWEEDS, the directorial debut of Shaka King (JUDAS AND THE BLACK MESSIAH). Jim most recently produced the film WHEN I AM DONE DYING, which played at prestigious film festivals in Tallinn, Santa Barbara, Seattle and Ankara and garnered numerous awards. The film is being sold by Magnolia International. His previous films have been picked up by distributors including Showtime, Gravitas Ventures and FOX. Jim also serves as a producing mentor for the National Association of Latino Independent Producers Latino Lens program and lectures on independent filmmaking at the university level. Jim has found continued success as an independent filmmaker by understanding how to maximize the resources at his disposal. Full Bio »
If you're planning to shoot an ultra-low budget feature film you need the right resources to maximize your budget From pre-production, on set and post-production.
We've brought in Spirit Award winning producer Jim Wareck, who produced Shaka King's directorial debut and Sundance hit, NEWLYWEEDS, to teach you how you can stretch each dollar to make sure that the quality shows up on screen.
Jim certainly knows how to do this. After he produced NEWLYWEEDS, his director Shaka King went on to direct JEDUS AND THE BLACK MESSIAH, which won 2 oscars and was nominated for 6!
Like it or not, producing a film of any level or any size is a giant investment—not just of time and passion, but of MONEY. Hiring a crew, negotiating talent, locking down equipment, locations, costumes, props, even film festival submission fees—costs add up quickly. And if you’re an independent filmmaker with limited resources, it’s almost too easy to exceed your budget or not even find the money you think you need in the first place. This is why, as an independent filmmaker, you need to be smart about where you spend money and how. Understanding how to navigate this can make all the difference and determine whether you’ll ultimately be able to produce your project or not.
You’ll never be able to make your film for free, but that doesn’t mean you need to spend millions. On the contrary, you’ll find that most film productions spend more than they need to, investing in equipment they don’t need or otherwise wasting money on unnecessary steps. Experienced independent filmmakers are adept at understanding where to cut costs, where to find shortcuts, where to ask for favors, and where you should REALLY be devoting the bulk of your money towards. With the right strategies and approach, you’ll be surprised by how frugally you can make your movie without sacrificing quality.
Jim will walk through the process of producing your own ultra low budget feature from pre-production through post and give you strategies to spend your money efficiently and stretch every dollar every step of the way when you have limited resources available. He will break down where money is normally wasted in a production and teach you how to create and stick to a realistic budget in all its complexities. Jim will help you identify opportunities to save money in pre production, including working with your writer to write for your budget level, targeting and attracting the right cast and crew, identifying who you actually need, and how to negotiate rates. You’ll learn the pitfalls of budget drains on set, how to build an actionable shoot schedule, and how to remain as EFFICIENT as possible each shooting day. You’ll even gain tips on how to save money in post production so you can fully understand how and where to find shortcuts in your project and what aspects should never be skimped on.
Through this invaluable webinar, Jim will arm you with the understanding of how much you really need, of money AND yourself, to produce your film.
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 recording, which you can view as many times as you'd like for a whole year!
If you’re an independent filmmaker or producer working to put together a film or TV project, you are likely going to have multiple producers, investors, financiers, sales agents, and talent that are will be looking to recoup profits on the completed project. This can get tricky. Not only do you have to keep your numbers and figures straight to properly reallocate your revenues, you also likely have to handle guild residuals, navigate liability issues and ensure every party is happy and trusting in the process. This can ultimately be a very messy process, and one that you should not handle on your own as the film’s producer. Instead, it’s probably time you have a collection account. A collection account is an account in the name of a neutral third party who receives revenues generated by an independent film or TV project on behalf of the multiple beneficiaries from local distributors. This process is called collection account management and is an effective tool to guarantee that the beneficiaries receive their share of the revenues. Collection account management is a massive time saver and a way to lower the chances of errors or improper payments. But it’s also the industry standard and something most parties and investors are going to expect you to have if they are considering moving forward. So how exactly does collection account management work and how can you best use this process to your advantage as an independent filmmaker? David Zannoni is an international business specialist for Fintage House in the US, Europe, Canada and Latin America territories. Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies. David negotiates agreements for films and television series and is involved in business development and relationship management globally on hundreds of productions. David is continuously present to make deals and speak at international film markets, festivals and conferences, including: the Cannes Film Festival, the European Film Market (EFM) in Berlin, the American Film Market (AFM), Ventana Sur, the Bogota Audiovisual Market (BAM), and the Toronto International Film Festival (TIFF), and travels regularly to the United States, the Netherlands, Europe, and all over Latin America. David will teach you how to navigate collection account management. He’ll begin by going into what exactly collection account management is and the different elements that go into it. He will also explain when to know if your production will need collection account management and delve into how this process affects your job as a producer, including liabilities, your relationship with your sales agent, and the rights and obligations with financiers, guilds, and talent. Next, David will demonstrate how collection account management works from a legal framework and the paperwork and contracts that go along with it, including the CAM Agreement. Finally, David will outline the benefits you will see as a producer when working with a collection account. He’ll even give specific tips for producers related to the CAM agreements, financiers, residuals, sales agents, and more. Collection account management can be a tricky process, but it’s also one that’s crucial to get right. David will show you how. Praise for David's Previous Stage 32 Webinars "David is incredible and lovely and clearly knows his stuff." - Cynthia P. "Eye-opening information. A no-brainer approach that wouldn't be so obvious to the uninitiated." - Gary O. "By far, the best class I've seen on the subject." Kirk K. "David is a fantastic teacher. And what a voice! I could listen to him all day. More importantly, I learned so very much!" - Isabella T.
As the Vice President of Three Point Capital, Viviana Zarragoitia is one of the most prolific financiers who routinely lend on tax incentives, both domestically and internationally, on independent films. She is aware of the rules and regulations of tax incentives in many jurisdictions, and have spoken on numerous panels about tax credits. In this exclusive webinar, Viviana will be teaching what producers should be aware of when working with tax incentives. Although there are minor details that change within each state/country, there are some overall issues that come up in each jurisdiction that producers should be aware of when taking advantage of tax incentives for their film/TV project. These include, but are not limited to, things such as: corporate structure of the company applying for the tax incentive, making sure that costs in-state are qualified spend, working with tax incentive offices during pre-production, production and post-production, submitting final costs in a timely fashion, working with production accountants/CPAs on tracking qualified spend, working with lenders and filing tax returns to claim the incentives.
Nowadays many independent film and TV productions that have multiple parties involved are looking for the best way to recoup profits on a completed project. One of the best ways to assure the parties involved with your film (producers, investors, financiers, sales agents and talent) see their returns is to have a collection account in place. A collection account is an account in the name of a neutral third party who receives revenues generated by an independent film or TV project on behalf of the multiple beneficiaries from local distributors. This process is called collection account management and is an effective tool to guarantee that the beneficiaries receive their share of the revenues. The beneficiaries include producers, investors, financiers, sales agents and talent. Often times financiers, production partners and international sales agents put a collection account up as a requirement before even boarding project. During this webinar we will explain the functions and benefits of having a collection account in place for an independent film or TV project, how collection account management is set up and which parties should be involved in the entire process. We will further discuss the allocation and distribution of revenues, how to put together the Recoupment Schedule, and the importance of signing, or being a beneficiary to, the Collection Account Management Agreement.
Faith based and faith friendly films have been a steady, popular, and profitable industry and one of the hottest genres for success. It could be considered a niche audience, but it’s a powerful and dependable niche audience that has helped catapult films and filmmakers to success. Recent films like I CAN ONLY IMAGINE, GOD’S NOT DEAD, and THE SHACK have found popularity and impressive box office numbers by tapping into this audience and bringing out church-goers and other faith-friendly communities that might not be as eager to seek out films outside of this genre. And it makes sense that faith-based films are doing well. In challenging or negative times, people will more actively seek out positivity and inspiration, two ingredients almost guaranteed to be featured in a faith-based film. Considering how challenging and negative our current world can be, there might not be a better time to break into the world of faith-based films and write a script that can shine in this market. Writing a faith based or faith friendly script can be tricky, as you don't want to fall into cliches and lose your audience. You might have a great idea for a script with an uplifting message and inspirational ending, but when does it cross the line from a traditional genre script to faith-friendly? What does that audience actually look for and what do faith-based production companies seek out when considering a script? What elements in your story are off-limits and which will help you sell your script? There’s no crystal ball that can tell us 100% what works and what doesn’t in this genre, but there are patterns and constants that can be gleaned and applied to your own script. With a proper lay of the land, you’ll be able to better tackle this genre and write a script that can not only get on the screen, but inspire and uplift viewers at the same time. Brad Wilson is the Co-founder of Higher Purpose Entertainment (HPE), a production company dedicated to telling stories in film and TV that encompass truth of character and strive to embrace inspirationally redeeming qualities. While at HPE he's produced a number of films including THREE BLIND SAINTS, CHRISTMAS ON SALVATION STREET, MY MANY SONS, THE MEANEST MAN IN TEXAS, and THE RESURRECTION OF GAVIN STONE, which was released last year in 1,100 theaters across the country. Brad is well-versed in the business of faith based films and has a keen sense of how projects thrive in this genre. He’s ready to share what he knows exclusively with the Stage 32 community. Brad will walk you through how to create a faith based script that can both sell and have a positive impact within this specific community. Brad will begin with an overview of the faith based/faith friendly landscape and will give you a rundown of how this genre works both at a studio and in the independent space. He’ll then break down major screenwriting points of an effective faith based scripts, including average page count, characters, and plot structure. He’ll outline what makes a script faith based or faith friendly and at what point a drama script would be considered by a faith based production company. He will delve into what the faith based audience looks like and the best ways to reach them. Brad will teach you the elements that work best for a faith based script, including employing romance and a specific message. He will also go over elements to stay away from and how to balance a cross over script with “preaching to the choir”. He will also give tips on how to drive the story forward within this genre. He’ll discuss when to take feedback on your script and when to trust your gut and will give you tips on how to keep your writing real, even when it’s made up. Brad will also discuss the types of budget you should keep in mind for the best chance of success with your faith based script. Brad’s valuable rundown of the faith based genre will give you the tips and tools you need to create an amazing script that will excel within the faith friendly community. Like what you heard from Brad during this webinar? Brad will read your script and speak with you for a half-hour if you click here. Praise for Brad's Stage 32 Webinar "Brad was terrific! This was an excellent real world webinar. Very helpful in reinforcing some of the trends that I have been seeing in this category, and I learned a lot from today's discussion." -Lew S. "Brad was amazing. He laid out so clearly the genre and how to write for it in a practical way. He was an awesome instructor who combined practical info, inspiration, and was so "real." Loved it." -Ricki L. "This was the best webinar I've had so far at Stage 32. Brad's very seasoned and gave wonderful tips that will help me make my faith-friendly script" more marketable." -Gayle R. "A very honest, forth right presentation from a guy whose been there and done that, and knows the pitfalls and promises of the biz." -Dennis H.
Writing a film for television has a ‘unique set of skills’ which are different from writing a traditional screenplay. If you never learn how to write for the BOOM!, act break structure, number of locations, and characters, you’ll get stuck in re-writing hell or worse yet, never have your script read. Understanding script structure, outlining, and deliverables for television films prior to writing will give you a leg up on the competition. Additionally, each network has its own set of rules and you want to ask the right questions prior to typing ‘Fade In’. With more television networks producing their own content and films, the need for content is higher than ever. However, TV films have their own structure and layout, especially when dealing with networks that have commercial breaks. Additionally, working with producers and executives is a different animal than working with producers and executives in the independent world. Courtney Miller Jr. is a 5-time award winning director who has worked with the biggest names in entertainment including Michael Jackson, Beyonce, Usher, and Britney Spears. He's a staff writer for the hit show Saints & Sinners on Bounce TV and recently completed his first feature film A Stone Cold Christmas for Bounce TV, where he served as the co-writer and director. Courtney has development deals with TBS, Lionsgate, MGM, Legendary, Weed Road, Viola Davis' company Juvee, Bounce TV, and Will Packer. His award winning short film REPAIRations! - The Musical, received the Director's Choice Diversity in Cannes Best Musical. He has directed commercials for Nike, Apple & Hewlett Packard. He knows the television writing and directing landscape inside and out and he's ready to share his knowledge with you. Courtney will dive in by explaining all the differences between writing a TV and a traditional film screenplay. He will discuss how to format acts, how to be sensitive to the shooting schedule, what you can expect regarding deadlines and delivery dates and how to navigate dealing with the network. From there, Courtney will take you to the greenlit phase where you'll need to know what deliverables you are responsible for, how much time you'll be given to deliver your rewrite, and how to handle network notes (there will be plenty). Courtney will then jump into the writing process including how to write for the BOOM!, how many acts you need to have in your script (and if that varies) and the importance of writing a compelling and attention grabbing Act 1. Going even deeper, Courtney will discuss beat sheets, how many beats you need to add, and what your overall beat sheet should look like. And finally, Courtney will explain how to write an outline that keeps the execs happy and off your back so you can go do what you do best...write! "Another winner for Stage 32. I have many scripts I thought would be a better fit for television and now I know how to get it done!" - Fiona C. "I'm ready to write for the BOOM! Thanks, Courtney!" - Miguel P. "It's always been a dream of mine to have something on the Hallmark channel. Now I have the framework and I'm ready to start writing." Melissa H. "Couldn't have been any better. Great detail!" - Ida W.
It seems like every day another film festival launches or expands. Specialty festivals are becoming all the rage and major, established festivals have been expanding to accept shorts, digital shorts, documentaries, television pilots, specialty genre content and content focused on diversity. With the market growing, so are the number of submissions to any given festival, especially those which are producing results for the connections of the accepted films. You want to make sure your screenplay is on point, that the story is a fit for the style of the festival you are entering and that the film grabs a judge's attention from the get go. Part of assuring you have a festival darling film is understanding the festival landscape, knowing the right players and making connections that assure your film is being viewed by the decision makers. But this all starts, as it always does, with the script. A majority of screenwriters do not write big budget tentpole blockbusters. They tell more intimate, character driven stories. And these are the kind of stories that most festivals adore. But why do some of these scripts attract financing, producers, and, ultimately, the attention of festival directors while others fall through the cracks? As a writer and/or producer, how can you identify the aspects of your screenplay that might be killing your chances of festival success and fix them before filming begins? And how can filmmakers and producers assure, even if they have a winning film based on a fantastic script in place, that they are entering the right festivals and navigating the circuit correctly? There is a chemistry to all of it. A mixture of the creative and the business side of things. It's imperative that you have an understanding of both. Maren Olson has represented domestic and/or worldwide distribution rights to over 70 finished films, including Academy Award winner The Secret in Their Eyes, festival favorites such as An Oversimplification of Her Beauty, Natural Selection and Red Flag, and Sundance Audience Award winners This is Martin Bonner, Valley of Saints and Kinyarwanda. As a producer, she was responsible for critically lauded Short Term 12, which premiered at the 2013 SXSW Film Festival, where it won both the Grand Jury and Audience Awards. The film went on to win 19 other awards including the Gotham Award for Best Actress and Independent Spirit Award for Best Editing. Maren currently works in the film finance division of CAA, and was formerly the President of Traction Media, where she was responsible for the creative development, packaging, production, financing and sale of independent films. To say she understands all the ins and outs of the festival circuit, what festivals look for and how they operate would be a massive understatement. Maren will teach you what kind of independent film project goes on to become a “Festival Darling” and what you can do to better position your independent film for festival success, from script to screen. She will deconstruct both the writing stage- from the major components of a festival-friendly story idea, to what to consider regarding location and characters, all the way to how to incorporate thinking about the budget when writing your script- as well as the production stage – from how to make sure your film gets properly considered by the right people, to which festivals you should submit to and when, all the way to the common ways festival friendly scripts turn into a film that no festival wants to play. She will teach you the 3 components of a festival-friendly story idea and why you must answer yes to each. She will talk budget, shooting locations and when the proper time is to bring on a producer. She will explain the mistakes people make and demystify the myths people believe when navigating the festival circuit. She will go over common pitfalls screenwriters, filmmakers and producers make that can be fatal when submitting to festivals. Maren will give you the tools to get traction on your project. She will lay out, in clear, precise terms, how to assure your project is given the best opportunity to become a "Festival Darling." "Excellent - informative. Maren brought facts and experience to a very nuanced subject about "Film Festival Darlings - offering an extremely in-depth analysis to the elements of what a writer or producer should consider when moving forward in the Indie film world. My fav Stage 32 webinar so far. Thanks." - Robert G. "Fantastic seminar. Like a good filmmaker, you kept us engaged from opening to close. Thanks again!" - Bob B. "Maren had a lot of practical information and road trap warning for indies. I appreciated the components of a festival face, comps, and specific advice that is useful." - Betty S.