Tatiana Kelly's first film Wristcutters: A Love Story starred Patrick Fugit, Shannyn Sossamon, Will Arnett, John Hawkes, Shea Whigham, and Tom Waits. It premiered at Sundance in 2006, was released by Lionsgate, earned two Independent Spirit Award nominations, was screened in over thirty film festivals, and was an eight-time Best Feature festival winner. Subsequent productions were Happiness Runs starring Rutger Hauer, Andie MacDowell, Shiloh Fernandez, and Jesse Plemons, Smother starring Steven Bauer and Taryn Manning, and Dark Yellow, starring Melora Walters and John Hawkes. Recent theatrical releases include The Words, which was the Closing Night film in 2012 at Sundance starring Bradley Cooper, Jeremy Irons, Dennis Quaid, Zoe Saldana, and Olivia Wilde, and The Procession, written and directed by Academy Award-nominated writer Robert Festinger (In The Bedroom), starring Lily Tomlin, Jesse Tyler Ferguson, and Lucy Punch. Upcoming films include "Sunset Stories," which premiered at SXSW which starred Monique Curnen, Sung Kang, Joshua Leonard, Zosia Mamet with cameos by Jim Parsons and Kevin Bacon, "Amos' Wake" starring Shiloh Fernandez and Keisha Castle-Hughes, and "Perfection," based on the short film "Slice," which premiered at the Cannes Film Festival. The film was a participant in IFP's Independent Filmmaker Lab, and winner of the Adrienne Shelly Female Directing Grant. Upcoming theatrical releases include "Life of a King" which premiered at the LA Film Festival starring Cuba Gooding Jr. Kelly is also on pre-production on "Cut Throat City" which she is producing with Reggie Hudlin ("Django Unchained") and which is being directed by RZA from the Wu Tang Clan, "Catcher Was a Spy" based on the New York Times bestseller of the same name, directed by Ben Lewin ("The Sessions") and written by Academy Award-nominated writer Robert Rodat ("Saving Private Ryan", "The Patriot", "Thor 2"), and "House of Curl" based on the bestselling book by the same name starring Guy Pearce and Laura Linney. She is also in development on projects with Academy Award-nominated writer Tab Murphy ("Gorillas in the Mist"), Ernesto Foronda ("Better Luck Tomorrow"), and companies including Lynda Obst Productions, CBS Studios, and Tribeca Productions. Full Bio »
The barrier of entry for the micro-budget / DIY / indie filmmaker has never been lower, making the landscape of independent film more exciting than ever. With box office and VOD sales at an all time high and more distribution opportunities than ever, independent films are enjoying a resurgence. Throw into the mix that many studios and larger production companies are committed to producing numerous micro-budget films each year (see Paramount Insurge) and independent producers such as Jason Blum (Blumhouse) have made a living in the space, and the demand for films with micro-budgets has never been higher. Additionally, many creatives are taking matters into their own hands by making micro-budget films as a calling card for their talents.
Some examples of micro-budget films include Napoleon Dynamite, Halloween, Clerks, The Blair Witch Project, Mad Max, Eraserhead, Open Water, Catfish, Saw, Once, Pi.
Story and style win the day as a result of the passion and dedication put into micro-budget films. If you are a screenwriter, producer, filmmaker or any other creative that values control of your story and film and has decided to write, develop, shoot or distribute a film in the micro-budget space, this is the webinar for you.
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One of the unsung heroes of any production is the line producer. Whether you’re putting together your own crew or are looking to work your way up the production ranks, it’s crucial to understand the role of this senior position. When you envision how your shoot will operate, do you see an easy flow or chaos? You don’t want chaos, but setbacks are inevitable. So, if the director is directing, and each crew member is busy providing their specific skill, who jumps in to handle the various issues that arise and impact multiple departments? The Line Producer. The line producer handles logistical issues on both the creative and business sides of filmmaking, making them crucial when the director and other producers are zeroed in on the shoot day. This is the job for someone who thrives under pressure, can think and plan ahead for the schedule, and be present in what’s needed on set today. They’re responsible for or involved with: Hiring the crew Keeping everyone safe on set Generating the budget and ensuring the film comes in on budget Supervising daily operations And countless other micro and macro logistics When the line producer isn’t on their game, the entire production can feel it since many of their tasks involve multiple departments and the budget. In this Stage 32 exclusive webinar, you’ll learn what it takes to make it as a line producer or look for when hiring one. Showing you the ropes is Tatiana Kelly, a producer whose first film premiered at Sundance before being released by Lionsgate, and nabbing two Independent Spirit Awards nominations, as well as being an eight-time Best Feature festival-winner. Tatiana has worked with A-listers, including Oscar winners Jeremy Irons and Cuba Gooding Jr., and Oscar nominees Ethan Hawke, Bradley Cooper, Robert Festinger, and Terrance Howard. And, she is currently in production on her next feature, THE PEOPLE VS. VEGAS DAVE. With her vast industry experience, Tatiana will show you how to determine your line producer’s fee and credit, set the budget, what the first and most important decisions you’ll have to make are, different options for handling COVID protocols, and how to prep for a shoot vs. post-production. You’ll also learn what a Wrap Binder is, its crucial role, and how to put one together. Whether you’re looking to grow your production career or are building your production team, by the end of this webinar, you’ll know the ins and outs of line producing and how to use this position to your advantage.
Learn directly from Host Tatiana Kelly, who has produced almost two dozen independent films including The Words (Bradley Cooper and Zoe Saldana), The Catcher was a Spy with Paul Rudd, Life of a King with Cuba Gooding Jr. and more! "Tatiana Kelly presentation was very thorough. I have five pages of notes taht i can use later. I feel more prepared in planning a budget. Kudos!" --Sandra R One of the most critical stages in filmmaking, once you have a script, is budgeting your film. The budget can cover everything from the inception of the project, such as writing fees and other development costs, all the way to the finished film and even film festival marketing. Whether the film is under $10,000 or over $10,000,000 the film budget must present a spending plan for every dollar to be expended on the production. You will need to have a budget that is detailed and accurate because it will serve as the road map and your bible for the project. It is also one of the key documents of your presentation that should be in place when seeking out investments. It is really the scope of the budget that will directly affect the amount of money needed to be raised. Creating a budget is not an easy task given that it can consist of hundreds of line items that have to be balanced across many different competing priorities. Both over and under estimating the budget can be disastrous in that you can either end up not having enough money to finish the film or you can have enough but it will be impossible for investors to recoup their financial investment. To help you on your way to understanding budget, we've brought in producer Tatiana Kelly. Tatiana has produced almost two dozen independent films including The Words (Bradley Cooper and Zoe Saldana), The Catcher was a Spy with Paul Rudd, Life of a King with Cuba Gooding Jr., Cut Throat City, produced with Reggie Hudlin (Django Unchained), directed by RZA from Wu Tang Clan, Indie darling Wristcutters: A Love Story, and many more. In this Stage 32 Next Level Webinar, Tatiana will present a straightforward method of developing a working budget. She will discuss what some of the key questions are as well as the decisions that need to be made prior to embarking on a budget. There are certain primary elements of the film and the screenplay that may be necessary such as stunts or locations or cast in order to secure financing for example, and which will help start to build out the budget. She will also cover budgeting basics and review what all of the line items represent.
Learn All About Residual Payments From David Zannoni, A Consultant For Fintage House Who Negotiates Residual Payment Agreements For Films And Television Series Both Domestically And Internationally After you've actually made your movie or TV series and you start striking distribution deals a whole new responsibility moves to the forefront... residual payments to your talent and anyone else with equity stakes in your project. Residual payments are often referred to as "mailbox money" because its money that is distributed after their work is done, often for years to come. Understanding and managing residual payments are the responsibility of the producers... and it's a big one. Without this important knowledge, you might be sent a large bill that you hadn't prepared for sometimes downtime line. In this exclusive Stage 32 on-demand webinar, you will examine residual payments from the perspective of the producer. However, whether you’re a producer responsible for the residual payments or an artist receiving them, you’ll benefit from knowing how these payments are defined and how they work. You learn the different aspects involved in residual payments, such as how the Collection Account Manager (CAM) works, what the Payroll Houses do, and how the Guilds set the rules. You will also learn about how contracts are written to address residual payments and how that language makes a huge difference in who gets paid what, how, and when. Your host for this webinar is David Zannoni, a consultant for Fintage House who also runs a consultancy business through Xaman Ha Consulting and Zannoni Media Advisers. David negotiates these very agreements for films and television series both domestically and internationally and is an expert on this topic. Having a firm grasp of how residual payments work will not only save you time and frustration, but it can also help you avoid financial missteps, later on, something every producer needs to know.
Learn from top financier Viviana Zarragoitia, VP of Three Point Capital - exclusively through Stage 32! Get access to exclusive handouts including sample budgets, packages and collection account management statement, sales sheets, sales agent contracts and distribution agreements Over recent years, the independent producing model has shown that films budgeted between $5-$10 Million can not only make a considerable return on investment, but also serve as a launch pad for its creators and win critical acclaim. Take some examples: CODA was made for $10MM and won last year's best picture Oscar. MOONLIGHT was made for $5MM, grossed over $65MM worldwide and won the Oscar for Best Picture. SPLIT was made for $9MM and grossed over $278MM worldwide and continued to propel James McAvoy and Anya Taylor-Joy as global stars. BRUISED was made for $10MM and sold to Netflix after premiering at The Toronto International Film Festival PIECES OF A WOMAN was made in this range and sold to Netflix after premiering at The Toronto International Film Festival GET OUT was made for $5MM, grossed over $250MM worldwide, won the Oscar for best Screenplay and launched Jordan Peele into the elite entertainment stratosphere Knowing how to raise money intelligently for films and projects with budgets between $5MM-$10MM can be your calling card toward taking the next step in elevating your film career. Simply put, if you understand the strategies and methods to help your investors see a return, you get to keep those investors time and time again. And those investors can, and usually do, bring more investors with them if they're happy. While everyone says that raising financing is the hardest aspect of filmmaking, it's not impossible, and in fact can be well within your grasp, especially with the right guidance and education. Viviana Zarragoitia is the Vice President of Three Point Capital, one of the entertainment industry's top financiers that specializes in senior lending on film and television projects. Through Three Point, Viviana closes the financing on every film that the company is involved in. She has been involved in the financing of over 100 independent films, and worked with such producers as Cassian Elwes (DALLAS BUYERS CLUB), Rob Barnum (MARGIN CALL), Anthony Bregman (ETERNAL SUNSHINE OF THE SPOTLESS MIND), James Schamus (BROKEBACK MOUNTAIN), Aaron Gilbert (JOKER), Kimberly Steward (MANCHESTER BY THE SEA), Nicolas Chartier (THE HURT LOCKER) and Kevin Frakes (HEREDITARY), among others. Before Three Point Capital, Viviana worked in accounting at Millennium Films and Bold Films, as well as in the finance division of Lionsgate, where she oversaw the preparation of multi-million dollar film and television distribution deals. Viviana has seen it all when it comes to film financing and knows intimately well how films in the $5-10MM range can find success. In this advanced level and intensive on-demand 4-session class, Viviana will comprehensively teach you how you can finance your own film in the $5-10 million budget range. In Session 1 she will provide an overview of the different types of film financing available to you. In Session 2 she will focus on using tax credits, soft money, and grants to help fund your project. Session 3 will delve into equity, pre-sales, gap, and sales agents. Finally Session 4 will look at waterfalls, recoupment and navigating collection accounts. Along the way, Viviana will provide exclusive and valuable handouts that you can take with you for your own projects, including: Sample Budgets and Packages Sales Sheets Sales Agent Contracts Sample Collection Account Statement Example Distribution Agreements
Learn directly from Morgan Long, TV Literary Department for a “Big Six” Agency This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea. With the TV market exploding right now, one of the most in demand formats is the 1-hour TV drama pilot. Many, if not all, managers and agents are looking for writers that can write in this space, and with more and more production companies heading into TV, knowing how to write a strong 1-hour TV drama pilot will give you a competitive advantage and help you find success as a TV writer! Due to popular demand, Stage 32 is thrilled to bring back our 8 Week Intensive TV Drama Pilot Writing Lab taught by Morgan Long, a TV development coordinator at a “Big Six” Agency! This hands-on intensive lab will guide you through picking a concept, creating engaging characters, structuring and outlining your pilot and writing the first draft! The main objective of this 8-week lab will be to have a first draft of your script. You will meet online with Morgan for 2 hours a week in a class setting, plus have phone consultations during some of the weeks when you don't have an online class. This will be accompanied by weekly homework assignments to guide you on your way to creating a marketable, unique pilot that will grab the industry's attention. Payment plans are available - please contact firstname.lastname@example.org for more information. This Lab is Limited to 20 People. Please Note: Participating in this lab does not mean you are writing for or pitching to Morgan or her company. PRE-CLASS PREP - Read your syllabus and plan out your writing ideas. Begin to think about 1-2 ideas that might be a good idea for your drama pilot. Start to prepare for your pilot pitch.
We take a look at how writers use cutaways to drive home punchlines in Family Guy and Brooklyn Nine-Nine, explain big ideas in The Big Short, give historical context in Narcos, and frame stories in The Princess Bride.