Birgit Kemner is a French-German producer who has headed up successful co-productions for nearly a decade. All of her productions have been selected and awarded in renowned festivals such as the Cannes, Tribeca or Venice Film Festival. Birgit was previously Head of Marketing and Festivals at the MK2 group and has worked on international releases of over 50 films directed by filmmakers such as Gus van Sant (ELEPHANT, LAST DAYS, PARANOID PARK), Olivier Assayas (SUMMER HOURS) and Gela Babluani (13 TZAMETI - Lion of the Future at Venice, Jury Prize at Sundance and European Discovery at the European Film Awards) as well as numerous international film retrospectives of directors such as Charlie Chaplin, François Truffaut and Claude Chabrol. Full Bio »
As the world becomes flatter and technology brings us closer together, opportunities for international cooperation continue to abound. For producers or creatives looking to find or bolster their next indie project, there’s a huge amount of potential in joining forces with companies or teams from other countries and pooling your resources together, creating something larger than the sum of its parts. Forming an international co-production can give you access to more funding and financing opportunities, more access to locations, actors and crew, and more sales and distribution opportunities after the film is finished. But while international co-productions can reap great rewards, they also present unique challenges. After all, each country has its own set of rules and regulations, its own red tape, and its own processes for getting things done. Navigating this transnational world requires a set of skills and wherewithal that can be hard earned but is hugely valuable.
International co-productions are becoming more common in both mainstream cinema and the indie space. But while it yields results, it’s not a science. Collaboration never is. If you have your sights set outwards and are interested in working across country lines to create your next film, be prepared for some unique hurdles. For one, how do you even get started? How do you find international talent or partners in the first place? And once you find them, how do you woo them into working with you? How do you manage financing and how do you make compromises that make all parties happy? After all, collaboration is challenging no matter what, but working with people in another country, people who might not even share the same first language as you, amps that challenge up to another level.
Birgit Kemner is a French-German producer who has headed up successful co-productions for nearly a decade. All her productions have been selected and awarded in renowned festivals such as the Cannes or Venice Film Festival. Birgit was previously Head of Marketing and Festivals at the MK2 group and has worked on international releases of over 50 films directed by filmmakers such as Gus van Sant (ELEPHANT, LAST DAYS, PARANOID PARK), Olivier Assayas (SUMMER HOURS) and Gela Babluani (13 TZAMETI - Lion of the Future at Venice, Jury Prize at Sundance and European Discovery at the European Film Awards) as well as numerous international film retrospectives of directors such as Charlie Chaplin, François Truffaut and Claude Chabrol. Birgit is bringing her years of successful co-production experience exclusively to the Stage 32 community.
Birgit will use her extensive background to walk you through every step of creating a successful international co-production. She will begin by discussing tips on how to choose good projects in the first place and how to identify the right partners for you and your vision. She’ll teach you how to network and attract partners, especially in international markets when you often have ten minutes or less to make an impression. Birgit will then go over the challenges of funding and the resources available, especially in European markets. She will then talk about strategies and tips for your transnational partnership to survive and thrive, including tools to communicate, effective contracts, cash flow schedule, and how to determine who does what when. Finally, Birgit will delve into steps to take after the film is complete to bring it to the international market, get it into festivals, and optimize both marketing and sales. Simply put, you will be learning from one of the best.
Birgit will illustrate all of these points by using two of her own films as case studies, HUMAN CAPITAL, which played in competition at Tribeca Film Festival, and EL ARDOR, which was an official selection at Cannes Film Festival.
Praise for Birgit's webinar:
"Birgit gave me more information about international co-productions than I even knew existed. I now feel totally prepared and energized to tackle my next project"
"Great slides and great information!"
- Marisé S.
"Awesome! Birgit covered the bases and inspired me to look outside the box."
"Very informative, helpful information and guidance to take our next step into making our film. Thank you!"
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Whether musical biopics like Rocketman, historical dramas like Extremely Wicked, Shockingly Evil and Vile or The Irishman from Netflix, or films loosely based on historic events like 1917 or Once Upon a Time in Hollywood... audiences are fascinated by true stories. During this super-sized 90-minute webcast, we explore films and series including Chernobyl, The Social Network, Munich, Molly's Game, Charlie Wilson's War, and more to find out what makes a good script based on true events or real people work.
Whether you're controlling some valuable intellectual property, looking to secure IP, or simply have a valuable property in the form of a spec script, TV pilot, webseries, digital series, or other filmed material, you are likely going to be confronted with signing or distributing an option agreement. It is imperative that you understand the various types of option agreements and what information should be included to assure that you are not only protecting your material, but yourself legally as well. As the content gold rush grows, option agreements have become more and more commonplace. It is the vital piece of the paper trail that will ensure you are exercising and getting all your rights as your project gets made. These agreements are designed to protect both sides of a given deal, but can be complicated and sometimes include unnecessary language or clauses that could serve to hold up your content or payment. before you sign on the dotted line, you need to understand what exactly is an option agreement, who has creative control, how much money can be made and what you need to include to protect your rights up front. To help you navigate option agreements is Thomas Crowell is an entertainment and intellectual property attorney and partner at LaneCrowell, LLP. Thomas specializes in working with artists whose work you’ve seen on Sony, Starz, Marvel, DC, IDW Publishing, Discovery, and many more. You won’t be overwhelmed with legal jargon here. Thomas is an expert at showing writers, directors, producers, and more how to understand their agreement and legal options in a tangible way, as seen in his best-selling legal guide for independent producers, The Pocket Lawyer for Filmmakers. After watching this webinar, you’ll know the difference between shopping agreements, option agreements, and purchase agreements, which one is best for your material or the material you’d like the rights to, understand copyright issues, how to ensure you have exclusivity, and all of the deal points that you’ll need to negotiate.
Zero Gravity Management is a progressive entertainment company whose strength lies in the development and representation of screenwriters, directors, and actors. ZG Management maintains a list of some of the industry's most established professionals in all arenas.
Advanced and in-depth 2-part interactive directing class with award-winning SXSW and Sundance director Clay Liford Learn how to handle shot coverage, scheduling, and time management on set! Perhaps the biggest challenge for any director, new or experienced, big budget or small, film or TV, is making your day, and ensuring you're efficiently getting the footage and performances you need so you don't go over schedule and over budget. This is difficult, but there’s a proven method to keep you on track, while still allowing for inspiration and experimentation on set. It also happens to be the industry standard, and applies to any level of filmmaking - from student short to studio feature. It comes down to identifying what to plan and what to improvise. The truth is the more you plan, the more you’re free to experiment while filming - provided you optimize your time and focus on the right elements. Let's go deep into how exactly to plan your day so you can do your job on set, stay in control, stay creative, and leave with the best possible film you can make. Clay Liford is an award winning independent filmmaker and director of photography whose projects have premiered at Sundance Film Festival, SXSW, Munich, AFI Film fest and more. As a director of photography, Clay has shot over twenty-five features, including the SXSW award-winning films ST. NICK and GAYBY. His film credits also include WUSS, EARTHLING, SLASH, and MY MOM SMOKES WEED, a Sundance Film Festival favorite. As an indie filmmaker, editor, and writer, Clay has mastered the art of pre-production and production so that his projects move like clockwork. And as a film production instructor at the University of Texas, Clay has become proficient at teaching his methods for efficiency and artistic self-sufficiency. Now he’s sharing what he knows with the Stage 32 community. In this intensive and interactive 2-part class, Clay will work closely with you and show you how you can save time and money as a filmmaker by employing strategies and practices to make your day and keep your project moving. Focusing on both pre-production and production, Clay will walk you through how exactly to plan your days on set, address where to place emphasis in your pre-production process, and lay out a specific method for planning shots and scenes, which includes shot lists and top-down lighting plots. Along the way, Clay will provide invaluable handouts and case studies. Praise for Clay's Previous Stage 32 Webinars "Excellent - granular and practical, not just theoretical." -Peter C. "Clay was amazing. Would love to take more classes from him" -Jacqueline A. "I was impressed with Clay. He has what feels like a natural gift for teaching from a comfortable and personal level" -Maeve T.
Payment plans available - contact firstname.lastname@example.org for details Limited Class Size - Only 4 Spots Remain Get Guidance in Rewriting and Improving Your Half-Hour Pilot Script with Experienced TV Writer Meghan Pleticha of SILICON VALLEY Rewrites can make or break a pilot. It’s the time when you can take your script to be a cut above the rest, or overwork it and undermine its potential. Nowhere is this truer than in the half-hour comedy pilot, where jokes can halt the story's momentum and the plot can overwhelm the characters. But with the guidance of a professional half-hour writer, you can take your script to the next level and kickstart your career with a ground-breaking comedy. In this exclusive Stage 32 lab, you’ll work directly with SILICON VALLEY writer Meghan Pleticha as she mentors you through rewriting your half-hour comedy pilot. In addition to writing for the Emmy-nominated HBO series, Meghan has also worked on Cartoon Network’s POWER PLAYERS, FX’s MARRIED, ABC’s CHARITY CASE, and VH1’s HIT THE FLOOR. You’ll also read successful half-hour comedy pilots to see what made them stand out in the booming television marketplace and will be able to ask Meghan questions directly as you work in a limited setting. With only 12 spots available, you’re guaranteed quality time with Meghan and your new network of fellow comedy writers. Using her own unique and tested rewrite process and a series of assignments and exercises, Meghan helps you tackle your script the best way possible so that you leave with a stronger pilot you can be proud of. Don’t miss out on this incredible chance to be mentored by a professional staff writer on a critically acclaimed show. These spots are filling fast. "Writing pilots is hard! You have to come up with characters, a world, AND a story?! In script after script, I've seen writers spend so much time on the first two, the story gets lost. Even worse, without a strong pilot story, your world and characters won't reach their full potential. I love helping writers find the best structure for their show so their script can most accurately represent them and their idea. And I'm looking forward to doing that with Stage 32. See you in class!" -Meghan Pleticha
Outlining isn’t for everyone. But if you find yourself struggling with where to begin, or getting stuck in the middle of a draft, or if the concept of writing a full screenplay just feels too daunting, then an effective outline can help make the process easier. An outline helps you to dive into your story before you begin writing, so that you can craft a plan for turning your vision into a reality. If your screenplay is a house, the outline is the architectural blueprint. Mastering outlining can elevate your next project to new heights and convince more people to take notice in your story. It happens to everyone: You have an idea that you’re passionate about and leap into writing page one. But eventually, that initial spark wears off and it’s a struggle to figure out what to write next. Outlining is a great way to curate your ideas into a game plan so you can hold on to that spark. But in order to have a successful plan and structure for your screenplay, it’s crucial to know not only how to outline, but to read what that outline is telling you about your story. Let’s take a closer look. Steve Desmond is a WGA screenwriter whose screenplays have been voted onto the prestigious industry Black List four times in the past five years, including in 2020 with his latest script, The Saturday Night Ghost Club. He sold his sci-fi adventure screenplay, Harry’s All-Night Hamburgers, to Warner Bros in a bidding war, with an Oscar nominated producer attached. FilmNation (Arrival, The King’s Speech) hired him to adapt the Stoker-award-winning horror novel The Cabin at the End of the World. He’s also been hired to work on projects for Legendary Pictures, Sony, Blumhouse, and Mandalay, amongst others. In honing his craft as a writer, Steve has leaned heavily on the art of outlining and has used it to find success for his work. Steve will provide tips and best practices for outlining to help you better prepare for writing your script and zero in on your project’s story and structure. He’ll explain the positives and negatives of outlining and how to find the outlining approach that’s best for you. He’ll also discuss how best to research and the benefits of creating a notes document. Steve will delve into ironing out your premise, focusing in on theme and tone, and building out characters. He will talk about three act structure and his own “build the bridge” method for outlining. Finally he’ll discuss next steps after you finish your first go at the outline. Expect to leave with strategies and ideas you can take back with you to better organize and attack your own script. Praise for Steve's Previous Stage 32 Webinars: "This was fantastic. Steve offered so much insight, dozens of little nuggets that rang true or gave me pause to think of something I'd never considered before."-Ed K. "Perfectly laid out, clear and concise material taught by a genial host!"-George P. "Steve was fantastic. His examples and insights were on point. Thanks!"-Adam H. "I made 3 pages of notes; good pertinent topics with simple fundamental answers presented. Very helpful, worth the time and fee."-Thomas W.