Theresa Carroll is an accomplished animal trainer and coordinator with over 15 years of experience and credits on projects like THE GREATEST SHOWMAN, ANNIE and SATURDAY NIGHT LIVE. Starting her career by providing pet therapy at children’s hospitals, Theresa has since provided animal acquisition, training and set coordination for countless films, TV shows, theater productions and commercials. Her other recent credits include MR. ROBOT, HIGH MAINTENANCE, THE LEFTOVERS, BILLIONS, POWER, LATE NIGHT WITH SETH MYERS, and commercials for AMERICAN EXPRESS, BLUE BUFFALO and NICKELODEON, among many others. Theresa’s deep experience working with animals on many different projects of varying budgets and requirements has made her an expert in this field and given her a passion in ensuring animals and the cast and crew around them are safe and have positive experiences. Full Bio »
Any filmmaker who has worked with animals on set even once knows things can get complicated fast. Even actions as simple as walking a dog or petting a cat get tough when the animal is uncooperative or overwhelmed by crew, equipment, and multiple takes. No matter how small or independent your production is, it’s often worth it to bring on an animal trainer or handler when dealing with your furry (or scaly or feathery) castmates. And whether you have a trainer or not, it’s critical that you understand some key protocols and strategies to get the performance you’re looking for and keep the animal, cast and crew safe, comfortable and happy.
Getting a great animal performance for your project can be a huge boon, but there’s a lot that goes into this and a number of considerations you need to make ahead of time. Yet this side of filmmaking can feel fairly niche—it’s not something a lot of people in the industry are adept at, and it’s certainly not usually taught in film school. So where do you even start? Do you hire an existing animal actor or can you bring on your own pet? How do you find a good animal trainer or handler that doesn’t use adverse training methods? And what do you need to do to keep everyone safe and comfortable but still get the animal performance you’re hoping for? There’s a lot to consider, but knowing general safety preparation, protocols and strategies can make all the difference.
Theresa Carroll is an accomplished animal trainer and coordinator with over 15 years of experience and credits on projects like THE GREATEST SHOWMAN, ANNIE and SATURDAY NIGHT LIVE. Starting her career by providing pet therapy at children’s hospitals, Theresa has since provided animal acquisition, training and set coordination for countless films, TV shows, theater productions and commercials. Her other recent credits include MR. ROBOT, HIGH MAINTENANCE, THE LEFTOVERS, BILLIONS, POWER, LATE NIGHT WITH SETH MYERS, and commercials for AMERICAN EXPRESS, BLUE BUFFALO and NICKELODEON, among many others. Theresa’s deep experience working with animals on many different projects of varying budgets and requirements has made her an expert in this field and given her a passion in ensuring animals and the cast and crew around them are safe and have positive experiences.
Theresa will teach you how to safely and effectively work with animal actors for your independent production and bring in animal trainers or handlers to get the performance you’re looking for and keep everyone safe and happy. She will first explain how you should find and bring on an animal trainer, including when you need one, where you should look, what aspects you should focus on, and how much you should expect to pay. She’ll also outline what you need to do ahead of production to prepare for shooting with animals, including setting safely guidelines, insurance, and proper documentation and paperwork. Theresa will then dive into how to actually navigate the shoot day with animal actors and will show you how cast and crew should interact with animals, where to hold them, how to acclimate animals, and much more.
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Learn how to pitch your work so you can build a profitable career in film and television with the Vice President of the company behind Finding Ohana (Netflix), Saving Private Ryan, Transformers: The Last Knight, Almost Famous, The Boys (Amazon), Preacher (AMC), and more! Do you ever feel like your great ideas go unnoticed by producers, directors, agents, and managers alike, and that you don’t get the shot you're looking for as a result? This isn’t because these decision makers don’t care; it’s because you may not have pitched or sold your ideas the right way. The reality is, successful screenwriters are as much storysellers as they are storytellers. Whether you like it or not, your primary goal as a writer must be to stand out in a sea of competing projects. The bottom line: Whether you're a screenwriter, filmmaker, producer, or any creative or industry professional looking to gain representation, sell their material, attract talent, raise financing, or simply looking to find work, you will have to pitch. Further, you will be in competition with others pitching as well. You've put so much time and effort into your work and building your reputation, you don't want to have it all undermined with a terrible pitch. And the truth of the matter is that most people that pitch make the same fatal mistakes over and over. They don't know how to tell a concise, riveting story. They don't know what to put in, what to leave out, and what elements really and truly sell someone on their story. This webinar will give you insight and tools to pitch better and get ahead of the pack. Will McCance is the Vice President of Production for Ian Bryce, producer of blockbusters like SAVING PRIVATE RYAN, ALMOST FAMOUS, the TRANSFORMERS franchise, and most recently Michael Bay's SIX UNDERGROUND for Netflix. At Ian Bryce Productions, Will oversees the company's entire development slate. Before working with Ian Bryce, Will worked in development at Original Film's TV department, working on hit shows such as THE BOYS (Amazon) and PREACHER (AMC), as well as on SWAT (CBS) and HAPPY! (Syfy). Independently, Will has produced films such as the upcoming LOLA JAMES, starring Nicola Peltz and Oscar-Nominee Virginia Madsen, BERNARD AND HUEY, starring Jim Rash, David Koechner, and Mae Whitman, as well as Belarus's 2018 Oscar selection for Best Foreign Film, CRYSTAL SWAN, along with Vice. Through his years working as an executive, Will has deep experience with working with writers and choosing to work with them or not based on their pitch, and is prepared to share what he’s learned with the Stage 32 community. In this exclusive on-demand Stage 32 webinar, Will will equip you with all the tools you'll need to elevate your next script to the top of the reading stack. He will discuss the various techniques of pitching, from finding the right words and unique style, to understanding which type of pitch to use and when. He will also analyze sample TV and feature film pitches and break down the hidden power of the perfectly-worded logline. He will teach you tactics, strategies, and even books that will make you a stronger storyseller, and in turn, a stronger storyteller. Will will even deliver a pitch of his own to use as an example and will share other film and TV pitches to analyze what works and what doesn’t. Through Will’s presentation, you will not only learn how to better understand and explain your story, but to also instill a newfound sense of confidence that you can take with you to your next meeting or pitch session. PRAISE FROM WILL'S PREVIOUS STAGE 32 TEACHING: "I would not have been able to advance in my writing career without Will McCance and the pitching lab. I highly recommend Will as an instructor and the pitching lab itself for Stage 32 writers. Thank you." -- Sean M. "Will's credentials speak for themself. He is an incredibly knowledgable executive with the passion to help writers get their projects moving forward. Thank you for all your help on my pitching for my feature!" -- Morgan M. "Will has been hands down the best teacher for pitching I've ever had!" -- Chase R.
Only 15 Spots Available! By popular demand, we're bringing in TV executive Anna Henry (who has 100% satisfaction with her webinars!) to teach a one-on-one TV pitch document writing lab! Need help with writing your TV series pitch document? Look no further! Anna's here to help. This is the golden age of television and the appetite for content has never been greater. What does everyone network and streamer want? Fresh, unique, authentic voices with never-been-told stories. While the door is open to new writers, the competition is fierce. Of course you need a very strong finished script, but before that will be read, you need to be able to communicate what makes your show stand out from the crowd, what will make people want to watch it for years and years, and why you are passionate about writing it. You need a blueprint of what the series will be beyond one episode. That's where a pitch document (aka bible, aka treatment) comes in. Whether you are selling your show verbally, sending the pitch to a potential producer, or applying for a fellowship, this document carries the weight of your imagined world with all its inhabitants and stories. That's a tall order! So where do you begin? How do you organize your ideas? What should be in a pitch? How detailed should you get? Should you start with a summary of the pilot? Should you have ideas for future episodes? What should you say about your characters? In this lab we will delve deep into writing an effective pitch for your scripted television idea - one that will clearly communicate your intentions, excite the reader, and convey your voice and your passion. Most writers need help with switching gears and selling their story in addition to telling it - which is the purpose of this lab. Anna has spent her career developing television projects with writers and selling those show ideas as a development executive, manager and producer. What she has found is that most screenwriters have taken classes that helped them learn about story structure, writing scenes, dialogue, etc. but writing a pitch is entirely different. She will not on ly teach you how to write your document, but work one-on-one with you to make sure it's the best it can be to go to market. Testimonials from Anna's previous lab: "I thought it was a great course and really helped me understand the format. Anna is knowledgeable and quickly cuts through to what can help your story better. Her notes on my script were insightful and really demonstrated her thorough experience." - Lee L. "Anna’s class was by far the most thorough, well put together, and organized screenwriting class I’ve ever taken. I have an MFA in filmmaking and, after graduating, I still felt as if I didn’t fully understand the structure of pilot writing. Anna’s class laid it out step by step and she went through every piece in detail. She was also extremely available to her students. During our one-on-one sessions, I expected to have a quick 15 minute call with her but she ended up speaking extensively with me about my story from outline through script stages. She really, truly cares for her students and is there to answer any questions, which, given her abundant experience in the industry, is a priceless piece of her labs. Thank you, Anna!" - Jacqueline D. "Anna was concise, and detailed. I've been working on log-lines/treatments/synopsis for 2 years for my scripts and never had it nailed like Anna was able to do. She rocks!" - Cheryl Lynn S. WHAT TO EXPECT This lab is designed for intermediate writers and producers looking to get their individual television project pitch document ready. 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 15 Spots Available. No exceptions.*** (10 Spots Remain!) 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 15 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 firstname.lastname@example.org for more information
Work Directly With An International Producer & Berlinale veteran to perfect your Berlinale pitch! Only 4 Spots Still Available - Grab Your Spot Now You've bought your Berlinale pass and created your pitch deck, but how confident are you with your verbal pitch? Berlinale moves fast. Distributors, investors, and producers have meetings scheduled back to back. You need a compelling verbal pitch that sells you and your project in under five minutes. In this exclusive 2-part Stage 32 workshop, a select group of only 10 attendees will work one-on-one with international producer/distributor Alexia Melocchi to craft your perfect five-minute pitch. Alexia has had recent distribution projects with clients like Lionsgate, STX, Lakeshore, TF1, The Asylum and Mister Smith, and projects such as ANNA, PEPPERMINT, THE BOY 2, and SHAUN THE SHEEP. Alexia has placed over 100 titles in the last 5 years. In the first session, Alexia will work with each attendee and offer feedback to strengthen their pitch. In the second session, a few days before Berlinale, each participant will pitch Alexia again, having honed and made their pitches stronger and more effective with her guidance. If you've spent the time and expense to attend The Berlin Film Festival, you do not miss this rare opportunity to make sure your five minute pitch sells you and your project effectively. Check out the recent success story from Alexia's AFM pitching class that resulted in a member getting financing here! Praise for Alexia's Previous Stage 32 Education: "Really great. Actually useful, practical advice. Wasn't full of bullshit platitudes, Alexia shot straight with us." - Max W. "Alexia did a fantastic job of making it all relatable and cutting through the noise." - Clint G. "Alexia is clearly very experienced & she is so gracious in sharing her wisdom with all of us. I'm truly grateful that you all put on this class!" - Becca G.
Can you imagine finally getting your project up on it's feet to shoot and not having a plan or a schedule for the whole process? What if you showed up each morning and there was no organization around how you were going to make your wildly important production day? That's why you need to know the fundamentals of assistant directing and production management. Assistant directing and production management are the heartbeat of every physical production. These are the skills you need to properly plan, budget and execute a shoot. Whether you want to be a professional production manager or assistant director (which can get you into the DGA), or you're a producer, director, filmmaker, executive or any part of the content creation process, having a working knowledge of these tools and how to communicate properly with these departments is essential. In this exclusive Stage 32 webinar, you’ll learn an overview of the critical thinking, problem-solving, and communication skills needed to be a great assistant director and how to best manage a production, from an expert who has worked on countless films and television shows. Korey Pollard is a DGA first assistant director. He’s worked on films including STAND BY ME, THAT THING YOU DO, WATERWORLD, and SPY KIDS 2, among others, and hit TV shows like DEADWOOD, MONK, GREY’S ANATOMY, Stephen Bochco’s MURDER IN THE FIRST, HOUSE, CSI, BOOMTOWN, SALEM, KEVIN FROM WORK, and many more. Korie also holds a position on The First Assistant Director/Unit Production Manager Committee of The Directors Guild of America. In this webinar, you’ll cover: What your responsibilities as an assistant director are What questions to ask the director and producer How to read a script with other departments and their needs in mind The different department meetings What crew you need How to create a pre-production calendar How to create a production schedule And so much more. Miscommunication, misunderstanding, and reaching for too much work are all missteps that you’ll inevitably face during production. But by learning these skills and tools from Korey, you’ll have the keys to creating an achievable plan, working with your team to problem solve, and know how to plan and execute a shoot at the highest levels.
Learn directly from Adam Matalon, award winning executive producer, show runner, director and creator who's worked on over 20 projects on cable and network television. The unscripted and reality genres are becoming more and more fragmented and producers are forced into more and more niche areas of expertise. This is creating a vacuum in which producers wanting to step into showrunner roles are unable to do so because they lack the overview expertise. In this Next Level Webinar, Adam Matalon challenges that notion and investigates the role of the showrunner in today's current climate of television. As more and more networks and production companies are struggling with staffing their leader, there are fewer and fewer opportunities. We will discuss the reasons for this and how storytellers, producers, writers, and directors can best prepare themselves for leadership roles in the fast evolving television and digital space. Adam will break down the process of taking a project from presentation, through production and on to delivery to the network; something that is vital for all aspiring showrunners both in the reality and unscripted space as well as a scripted space. Adam will also touch on the best ways for building an environment that will make you more employable, how ‘storytelling’ is utilized in a reality show and the various documents needed to accomplish the task of getting the 'greenlight.'
Learn how to build the most productive and effective Director-Editor relationship from a director who has worked on over 100 feature films for Netflix, SyFy, Lifetime and more. PLUS! You'll receive an exclusive handout to help you optimize your Director-Editor relationships! The saying goes that every film is created three times: the first time is when it’s being written, the second time is when it’s being shot, and the third time is when it’s being edited, which is when a film really comes together and is locked for audiences to experience. The importance of the editing process cannot be overstated when it comes to filmmaking. The tone, style, and even how performances are crafted are all built in the editing room. Given the exact same footage, a talented editor can create two completely different films in the editing room. It is the director’s job to work with the editor to bring their vision to life while remaining open to creative ideas the editor brings to the table. It’s an alchemy and it's importance cannot be overstated. In this exclusive Stage 32 webinar, you will learn the fundamentals of what makes the most successful relationship between a director and an editor on a feature film. You will learn the essential terms, techniques, and processes that you need to know to embark on an efficient editing process. You will walk away from this webinar with a robust understanding what the different film cuts entail and how to improve your film with each iteration, as well as an overview of the post-production processes that happens to finish a film once you are picture locked. It is critical that the director and editor have a firm understanding of all of these tools and procedures in order to thrive in their creative relationship and create the best film possible. Teaching you everything you need to know about the director/editor relationship is prolific director Peter Sullivan, who has made over 100 feature films, many of which have been released on Netflix and Lifetime. Peter’s recent credits include SECRET OBSESSION starring Brenda Song (Netflix), THE SANDMAN (SyFy), FATAL AFFAIR (Netflix), and more. Peter has extensive experience working with multiple editors across different genres and is now sharing everything he’s learned through his years of directing exclusively with the Stage 32 community. Whether you are a director or editor, it is critical you have an understanding of the fundamental editing techniques and terminology used before going into your editing process. Peter will cover how the role of the director and editor have evolved with advances in filmmaking technology and how that influences the workflow during the production and editing process. PLUS! You will receive an exclusive handout from Peter to help you optimize the Director-Editor relationship. Downloads include: Sample post-production schedule Whether you’re a director, an editor or a producer, this webinar is a must! "As someone who has learned a great deal from mentors and instructors over the course of my own career, I know how important it is for emerging filmmakers to find someone to show them the ropes. Resources such as Stage 32 are vital when it comes to shepherding the fresh and diverse talents of tomorrow." - Peter Sullivan