Tripper is a screenwriter who dabbles in tv and film, comedy and drama. His credits include STUBER for 20th Century Fox, I AM NOT OKAY WITH THIS for Netflix, and two new shows for Quibi: DIE HART, an action-comedy starring Kevin Hart and John Travolta, as well as VARSITY BLUES, a modern day reimagining of the original movie. A graduate of Wake Forest undergrad and The University of Texas grad school, Tripper lives in Los Angeles with his wife, Maggie, and their daughters, Olive and Ruby. Full Bio »
For many years in the industry, there were only three types of scripts that a working film or TV writer would ever be asked to write: a feature-length script, an hour-long TV script or a half-hour TV script. But with the addition of Quibi as a major driver of content and a serious player in the entertainment space, more and more writers are finding themselves working in a newer, short-format style of writing. In this webinar, Tripper Clancy, who has sold two shows to Quibi, will discuss how a Quibi show is made: from conception, to pitch, to writing, and ultimately to production. It’s not rocket science, but it’s definitely unlike anything else in the TV landscape right now and it's something you should learn to have another tool to be armed with.
If you’ve got your sights set on becoming a working screenwriter in the industry, you may already know exactly what you want to write. Perhaps you want to be staffed on a particular HBO show. Or you have the perfect pitch for Netflix. Or you wrote a feature script that Blumhouse would love. Well, one of the things you’ll learn is that the secret to making a living as a writer is being open-minded about who pays your bills. And in TV, that means that a pitch that you knew was perfect for Amazon may actually end up at Quibi. And suddenly you’ll find yourself wondering how the hell you’re go tell a story that you imagined in one format in an entirely different, much shorter manner. When that moment happens, you need to understand how to be flexible with your story, and how you can adapt it to Quibi’s format.
Tripper Clancy is a screenwriter who dabbles in TV and film, comedy and drama. His credits include STUBER for 20th Century Fox, I AM NOT OKAY WITH THIS for Netflix, and two new shows for Quibi: DIE HART, an action-comedy starring Kevin Hart and John Travolta, as well as VARSITY BLUES, a modern day reimagining of the original movie. Tripper has carved out a successful career as a writer and has entered into short form storytelling with Quibi as a medium. Exclusively for Stage 32 Tripper will give you insight on how to write for a short streamer like Quibi.
Tripper will go over a general overview of writing the the film and TV industry, including how to break in and the roles managers, agents and attorneys play in your journey. You'll get an understanding of specs vs. OWA (open writing assignments), how to pitch and how to get staffed. After you have a clear understanding of the general landscape, Tripper will dive into the similarities and differences between Quibi and traditional TV. You will know the length of time per episode, number of episodes and how they roll the episodes to the public. You'll get to learn the SVOD model and the pros and cons of writing for a streamer like Quibi vs. broadcast/streamers. Tripper will teach you how to approach pitching a Quibi show, how to develop the concept and what to pitch in the meeting. Finally, Tripper will teach you how to write for a Quibi show using case studies of his two Quibi shows: FRIDAY NIGHT LIGHTS and DIE HART with Kevin Hart. You will walk away with a clear understanding of the short form storytelling eco-system for a short streamer like Quibi.
"With short form storytelling being the new wave of the future on how audiences watch content, it's important you know how to approach it, develop it, pitch it and write it. Let me show you how I used a specific approach toward selling 2 shows to Quibi."
- Tripper Clancy
General Overview of Writing in the Film/TV Industry
Before we discuss the nuts and bolts of Quibi, we’ll first talk generally about writing in the TV/Film industry and specifically how a TV show is typically written for a broadcast network or streamer:
Similarities and Difference Between Quibi and Traditional TV
How to Approach Pitching a Quibi Show
How to Approach Writing a Quibi Show
Q&A with Tripper!
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 audio recording, which you can view as many times as you'd like for a whole year!
2 part class taught by Joe Bohn, Assistant Director who was worked with the Russo Brothers, David Fincher, Miley Cyrus, Justin Timberlake and more! AVAILABLE ON DEMAND! Are you interested in being the point person on a film set responsible for how the day runs and coordinating the structure and workflow of the day? Do you have a drive to shoulder the responsibility of keeping a production on track, ensuring clear and concise communication between the higher ups and the below the line team and being the directors right hand for any and all needs? Welcome to being a 1st AD. Stage 32 is excited to bring you the previously-recorded 2 part class: Pictures Up! Thought, Theory and Practice of Being a 1st AD taught by Joe Bohn, Assistant Director with over 50 IMDB credits! This intensive class will give you an in-depth and thorough examination of the 1st AD position, supplemented with exercises that simulate real world responsibilities. Purchasing gives you access to the previously-recorded live class. Although Joe is no longer reviewing the assignments, we still encourage all listeners to participate.
Today, more than ever, self tape auditions are an integral part of the casting process. This is even more true in the age of social distancing. Additionally, due to the convenience self tapes provide and tight deadlines casting directors often operate under, more roles are cast via self tape auditions than ever before. Understanding how to set up, craft, and shoot a self tape can be the difference between landing more roles or having your talents fall by the wayside. When a casting director requests and accepts self tapes to assist in their casting process, they inevitably wind up with tapes of varying quality and content. Whether it's picture quality or sound quality fails, a bad self tape immediately gets bypassed. Actors often think that their talent will always win the day. In a room, that might be true. But on a self tape, quality matters. Fortunately, there are some very simple, but comprehensive steps you can take that will make a massive difference in what you present to a casting director. The goal is to keep the attention off cosmetic or sound flaws and on your acting, where it belongs! Marin Hope, CSA is a Los Angeles native and LA-based casting director, who won the 2020 Artios Award for Casting. Marin works alongside Heidi Levitt, casting film, television, commercial, theatre and New Media projects. Some casting credits include HBO's BESSIE starring Queen Latifah, Mo’Nique, Michael K. Williams and Mike Epps, AMERICAN MADE, starring Tom Cruise and Domhnall Gleeson, COMPLETE UNKNOWN, starring Michael Shannon and Rachel Weisz, HOMELAND, starring Claire Danes, THE LAST WORD, starring Shirley MacLaine and Amanda Seyfried, KINGS, starring Halle Berry and Daniel Craig, Bad Samaritan starring David Tennant and Robert Sheehan, WHO WILL WRITE OUR HISTORY, starring Joan Allen and Adrien Brody, and most recently MOLLY, Javier Bardem, Elle Fanning, Chris Rock, Laura Linney and Salma Hayek, which is currently in post-production. Over her storied career she has seen thousands of auditions and hundreds of casting self-tapes and she's back here exclusively on Stage 32 to impart her wisdom on what can help you get a leg up on the competition when it comes to your self tape. Marin will talk about the need for self-tapes and why they are an essential part of today's casting process. You'll get insight as to why some jobs rely on it vs. others who require in-person auditions. She will go over your question on whether or not you should use a self-tape facility or film from home. When it comes to shooting at home, you will learn background, lighting, angles, wardrobe choices and equipment you will need, as well as whether or not you should film horizontal or portrait. Finally, Karen will teach you the do's and don'ts of a self-tape and share with you examples of good and bad auditions. You will learn all of this from an esteemed casting director's perspective which will give you the unique insight into how your own self-tape is viewed. PLUS! Marin will share with you: Videos clips of do's and dont's for casting videos A resource sheet of tools and equipment that can help you with the look of your casting tape "Over my career I have see in all in film, television, theater and new media. As a casting director you know instantly when you see "it." I know what it takes to have your self tape stand out." - Marin H.
Science Fiction (Sci-fi) is a multi-billion dollar a year film & TV industry with film classics such as Alien, Star Wars, 2001: A Space Odyessy paving the way, as well at TV classics such as Star Trek, Babylon 5, Battlestar Galactica also blazing a trail. When done correctly, sci-fi can be a storyteller’s dream - taking an audience on a fictional journey through space and time with no boundaries. Writing science fiction is an art that is perfected by a few key leaders in the industry, including our Stage 32 Next Level educator Marc Zicree. Marc has written for such classics as Star Trek: The Next Generation, Deep Space 9 and Babylon 5. Plus, he is also currently writing, directing and producing the multi-part Space Command - an epic science fiction drama film starring Doug Jones (Pan’s Labyrinth, Falling Skies, The Strain), Armin Shimerman (Deep Space 9, Buffy), Mira Furlan (Babylon 5, LOST), Bill Mumy (Lost In Space, Babylon 5), Robert Picardo (Star Trek Voyager), Faran Tahir (J.J. Abram’s Star Trek, Iron Man), James Hong (Blade Runner, Big Trouble In Little China) and Mike Harney (Orange is the New Black). We are honored that Marc has brought his extensive knowledge to the Stage 32 community. In this exclusive Stage 32 Next Level Webinar, Marc will be teaching you the keys to delivering exceptional sci-fi writing. You will learn the tools necessary to apply to your writing that will help improve the essence and marketability of your script. You will walk away with a clear path to identifying your story and incorporating writing elements to strengthen your characters, story and dialogue.
One of the weakest elements in screenwriting is story momentum. Without story momentum, pacing drags, plots lose focus, second acts die, and story climaxes are – anticlimactic. Achieving story momentum is not addressed often enough in screenwriting classes. Nor is the direct correlation between dramatic tension and the cause and effect elements needed to link scenes and scene sequences. This relationship is the cornerstone of achieving dramatic tension and mastering story momentum. In this Stage 32 Next Level Webinar, Max Adams, a 20-year working screenwriter and acclaimed author who has worked with Columbia Pictures, Touchstone Pictures, Universal Pictures, Walt Disney Studios, and Tri-Star Pictures, will explain why linear plotting fails and will give you practical tools and techniques you can immediately apply to you writing. You will leave this webinar knowing how to fix story holes, correct pacing, create driving story engines and achieve rising story momentum to maintain a feature film script straight through to a riveting story climax!
It might often be the first name listed on a movie’s end credits, but a Unit Production Manager isn’t exactly the most known or celebrated role on a film’s crew. However the UPM is one of the most critical and valued jobs throughout a movie’s journey. It’s the UPM that holds everything down, that keeps all of the parts moving and makes sure the business elements are taken care of so the director and other creatives have the support and the space they need to carry out their vision. The skills needed to carry out the responsibilities of a UPM are not only crucial, but can also be lucrative for someone looking to succeed within the film industry. Once you start listing it out, the jobs and expectations of a unit production manager are expansive and seemingly never ending: Building a production bible, creating a budget, drafting a schedule, hiring the team, working with unions, insurance, paperwork, payments, even feeding the cast and crew. To be a good UPM you kind of have to be good at everything. So where to start? What exactly does a UPM do and what separates a good UPM from a bad one? Rosi Acosta is a Unit Production Manager, DGA, who has worked on over 75 TV and Film projects and over 100 commercials. She is a valued name in Hollywood as a top UPM who's worked on films such as DRIVEN, SPEED KILLS, IMPRISONED and many more. With over three decades of experience, Rosi has worked internationally with production companies from the US, Europe, Russia and Latin America. Rosi began as a casting director 32 years ago in Puerto Rico working for director Marcos Zurinaga at Zaga Films where she became one of the top casting directors in the Island. After working as such for a few years, she wanted to expand her horizons in production moving on to work with the most important TV producer in the Island, Gabriel Suau, in Telemundo-Puerto Rico, where she worked for several years in various TV shows and telenovelas. Throughout her expansive career and extensive experience Rosi has become one of the most sought-after UPMs in the world. Rosi will delve into the nuts and bolts of the role of the unit production manager and all of the tasks and responsibilities that go along with it. She’ll begin by going over the production management process from a bird’s eye view, from development through production. Rosi will discuss the business elements behind filmmaking and the ways the UPM is responsible for finding the balance between the creative and the financial. She will go over the four major skills needed to be a great UPM as well as the tenuous relationship between the project’s script, budget, and shooting schedule. Rosi will then teach what goes into a production bible and how to create a script breakdown to prepare for production. She will then delve into creating production budgets as well as preliminary shooting schedules. A huge responsibility of the UPM is to plan for contingencies and the unexpected, and Rosi will offer tips and advice on how to make sure you’re covered for everything that might come your way and will illustrate this with examples from her own experiences. She will then teach you about working with the four major unions—SAG-AFTRA, DGA, IATSE, and WGA, and how to obtain insurance packages to cover your team and your production. Rosi will then discuss how hiring works on set, strategies to bring on the right team, and common pitfalls to avoid while doing so. Finally, Rosi will go over the common aspects that will make a movie expensive, and what warning signs to look for to prevent your project from going over budget. Consider this a definitive breakdown of what the underappreciated but critical unit production manager actually does. Plus! This is a bonus extended webinar with over 2 hours of information! Praise for Rosi's Webinar “Super informative; Rosi was very helpful.” -Adam G. “Rosi Acosta was awesome. She is a treasure of knowledge. I definitely got my money's worth.” -Lawrence W. “This was so helpful. I loved hearing from Rosi” -Dana B. “This felt like a Masterclass on the ins and outs of a UPM. I’m leaving this webinar knowing way more than I thought I would. Thanks!” -Jerry C.
Animation offers screenwriters one of the most flexible mediums for the imagination. Animated stories have been capturing our minds ever since media hit the screen through characters like Mickey Mouse, Donald Duck and Bugs Bunny to what we see today in The Simpsons, American Dad, Bojack Horseman, Rick and Morty, Spider-man, Incredibles and (so many) more. Writing animation feature or television requires a special skill - not one that can be taught through traditional feature & TV writing resources. The tools you need to succeed in animation are quite unique and once honed can offer you a long career creatively animating the stories in your mind. But, where do you begin? There are all different types of animated writing - including pre-school, children's comedy and adult animation. Further, how do you find your niche? There are many different animation genres (and styles) in features and television today. Is the writing universal for all genres? It takes a seasoned professional to understand the nuances of all types of animated writing and being able to write efficiently for the story and the project. Educating yourself in all aspects of how animation writing works for features and television will assist you greatly in achieving your goal whether it's attracting representation, trying to sell an original concept, pushing an animated feature or TV pilot, or finding work in an television animation writer's room. Mike Disa, director of the highly praised Netflix show Paradise PD has been working in animation for two decades. With no film training or knowledge of the byzantine workings of the entertainment business, he eventually found success at studios such as Dreamworks, Disney Feature, Warner Brothers, Paramount, and many others. Over a fascinating career, Mike has worked with some of the greatest and most infamous people in Hollywood including Steven Spielberg, Eric Goldberg, Ralph Bakshi, Glenn Close, Steve Oedekerk, David Tennant, Amy Poehler, Adam Sandler, Jeffery Katzenberg and Roy Disney. Mike will cover everything you need to know about writing animation for features & TV. He'll start with formatting and script length (two aspects surprisingly ignored or misunderstood by most writers). He'll discuss writing low budget vs. high budget and how to write within the scope of each. He will dive into how to write around special effects and other post production implementations. He will discuss reading and production drafts and how to collaborate with your writing and producing teams. He will talk premises, outlines, first draft strategies and how to go about pitching your idea. He will get into writer's room expectations, strategies in working the room, and the steps to take from being a show writer to a showrunner. Mike will use real world examples to show you the entire landscape of writing animated features and TV. And this is just some of what you'll learn! This is 3 HOURS of comprehensive education from a director of a top animated Netflix show on how to write, sell, and build a career in writing feature AND television animation! Praise for Mike: "Mike Disa was amazingly generous with his time and information. And he was real. It doesn't get better than that. I'll be able to apply his insights and the information he shared immediately. I'm so glad I decided to participate." - Elizabeth A. "Excellent webinar. I think that I learned more than I expected to about animation writing and how it relates to working in the industry. I had a good time watching this and appreciate how kind everyone was with their time." - Kari H. "Mike was very informative. He was friendly and open very easy to listen to. I learned some valuable lessons.." - Lind J. "The stories and ideas and descriptions were excellent. Straight talk from a true professional." - Don S.