Jason Resnick is the EVP of Acquisitions for Aviron Pictures. He has been a consultant and executive producer advising organizations and filmmakers on the opportunities for production, financing and distribution in the independent film marketplace. His current clients include MGM Studios; Proimagenes Colombia, the audiovisual arm of the government of Colombia; Seven Stars Film Studios, a Chinese production and distribution company; Twin, a Japanese distribution company; Score Revolution, a new film music company and the Riki Group, a Russian animation studio. He has previously worked with SkyItalia, an Italian TV channel; the Canadian Film Centre and Script East, an Eastern European script development program. From 1998 to 2008, Mr. Resnick served as an executive for Universal Pictures and Focus Features. His most recent title was Senior Vice President and General Manager, Worldwide Acquisitions for the Universal Pictures Group. Mr. Resnick was in charge of all acquisitions and co-productions for all of Universal's distribution platforms worldwide: Universal Pictures, Focus Features, Rogue Pictures and Universal Home Entertainment. His acquisitions for Focus included The Motorcycle Diaries, Lost in Translation, Swimming Pool, Brick, Mean Creek and My Summer of Love. His Rogue acquisitions included Jet Li’s Fearless, Dave Chappelle’s Block Party and Unleashed. For Universal his acquisitions included Ray, Drag Me to Hell, Step Up 2, Land of the Dead, Mulholland Drive, Brotherhood of the Wolf, Gosford Park and In the Bedroom. From 2005 to 2008, Mr. Resnick was also in charge of Universal's local language productions in Latin America and Asia. In Latin America, this included overseeing Universal's production deal in Brazil with Fernando Meirelles (The Constant Gardener, City of God); bringing in and overseeing Elite Squad, winner of the Golden Bear at the 2008 Berlin Film Festival and among the ten most successful Brazilian films of all time, and overseeing the production of the Mexican film, Sin Nombre, which won the Directing and Cinematography Awards at the 2009 Sundance Film Festival. In Asia this included two major Japanese productions, Dororo and Midnight Eagle, overseeing Universal's production deal with Hong Kong-based producer, Bill Kong, which yielded master fight choreographer, Yuen Wo Ping's martial arts epic: True Legend, and Universal's co-production with CJ Entertainment of Thirst, Korean director Park Chan-wook's vampire film which won the Jury Prize at the 2009 Cannes Film Festival. Mr. Resnick is fluent in French and Spanish, proficient in Italian and Portuguese and holds a Bachelor of Arts in English cum laude from the University of Pennsylvania. Full Bio »
With more and more content being created, the theatrical distribution market is changing. But, there still IS an opportunity for a film to be distributed to the US market in theaters.
We've brought in veteran acquisitions executive, Jason Resnick, from Aviron Pictures to talk about what makes an independent film stand out for theatrical distribution in today's market. Jason was formerly the GM of Worldwide Acquisitions for the Universal Pictures Group and in charge of all acquisitions for Universal, Focus Features, Rogue Pictures and Universal Home Entertainment. Now, he'll go over what the US theatrical market looks like for film acquisitions. And, it's more accessible than you think!
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!
In this exclusive Stage 32 Next Level Webinar Rosi Acosta (UPM, DGA) will be going over her 30 years of experience as a UPM working on over 100 film, television and commercial shoots on projects such as DRIVEN, SPEED KILLS, IMPRISONED and more. Rosi will explain, in an easy to understand/straightforward way, many concepts that are learned only in the trenches about what a Unit Production Manager does and what impact can production management have for the whole film team. You will acquire a wider view and understanding of the elements you should take into account when planning a film successfully and how to properly manage any film project. Plus! Rosi will be going over case studies from projects she's worked on!
Learn directly from Rachel Crouch, who works in development at Cold Iron Pictures (Sundance award-winning Swiss Army Man, Diary of a Teenage Girl, winner of an Independent Spirit award and more) as she sets out the basics of the pre-production process! Pre-production is the most important time for filmmakers. How you plan and the crucial decisions you make will determine the success of your production and ultimately, your film. No matter what experience level you are at, pre-production can quickly become an overwhelming process. To make the most of this valuable time to prep you'll want to take it step by step to ensure no loose ends come back to derail your film. In this Stage 32 Next Level Webinar, Rachel Crouch will use her experience from Cold Iron Pictures to help ensure your pre-production process runs smoothly. She will provide an overview of the prep and planning that will need to happen during the pre-production process. Then she will break it down to help you understand how to hire the right crew, put in place your department heads and why communication every step of the way is so vitally important. You will learn how to define the budget for your film and the differences between prepping a micro-budget film and a film with a significantly larger budget. Rachel will also cover location scouting and why that is so important to the success of your film, key advice on how to avoid common pitfalls in pre-production. She'll also use case studies from film pre-production cycles that she has assisted in to give you a real-life look at how to get started on the right foot. Rachel Crouch has worked on such films as the Spirit Award-winning The Diary of a Teenage, this summer's Swiss Army Man starring Daniel Radcliffe and Paul Dano, Time out of Mind starring Richard Gere,and Mike Birbiglia's latest Don't Think Twice, as well as produced a series of short YouTube videos in her "off" time.
Learn directly from Jordan Bass, Casting Director and partner in bass/casting, a bicoastal casting company with feature film and television credits including New Line Cinema's Annabelle, Starz' Spartacus pilot, Lionsgate's The Last Exorcism, and HBO's newest Project Greenlight among others! For many independent films, the filmmaker also wears the hat of casting director. How do you go about the casting process? How do you choose one actor over another when they both had a good audition? What should you be looking for to create your ensemble cast? In this Stage 32 Next Level Webinar, host Jordan Bass will breakdown the steps in the general casting process so you have a full comprehension of casting, from script to screen. He will focus primarily on the approach to independent film, and will share his advice on how to best tackle the "puzzle" that is creating a great ensemble cast. You will leave this webinar knowing: A general understanding of the basic casting process from first read to final locked class. How to dissect a script. The most effective tips to writing a character breakdown. A general understanding of the audition process. The most common pitfalls actors make during auditions Tips for creating a great working ensemble. Jordan Bass is a well-respected casting director, as well as partner in bass/casting, a bi-costal casting company run by brother-sister team Jordan and Lauren Bass. Recent theatrical films include the New Line thriller Annabelle, Lionsgate's Summer Camp, Chris Sparling's The Atticus Institute, and Friedberg & Seltzer's hilarious send-up of the Fast & Furious franchise Superfast. Upcoming releases include HBO's new Project Greenlight feature The Leisure Class, Blumhouse'sMartyrsdirected by The Goetz Bros, Sean Nalaboff's Hard Sell and Ryan Schwartz's Still Life.
With the ability to film being more accessible, there are more opportunities than ever to be a director. To help you on your directing journey, we've brought in Stacia Crawford. In 2018 she directed two films that premiered on Netflix and Lifetime and with their success she is now signed on to direct two more. She started her career as a producer and actress in feature films and television which led to her love for directing and becoming a professional Storyteller. In this exclusive Stage 32 Next Level Webinar, attendees will walk away with general information on what a Director’s responsibilities are through pre-production, physical production and post. Since Stacia has also produced, you will get the added benefit of general production information, as well as tips on working with actors. The more well-rounded a director is, the better the final product will be.
Let's rock and roll, Creative Army. We've been well overdue to get together live. I've got just the solution. Let's hang AMA (Ask Me Anything) style. Since the last AMA in May, I've been running all over the globe fulfilling Stage 32 partnership responsibilities, conducting business, exploring creative writing/filming/producing opportunities, and mentoring in such places as Cannes, Budapest, Majorca, Paris, Dordogne, Trinidad and Tobago, London, Munich, Hamburg and, of course, right here in Los Angeles. To say there's been much going on would be the understatement of the century. I have much to share! And I know you all have questions! So let's chill together for a couple of inspiring, motivating, and brutally honest 2 hours of craft and industry talk. Remember, no matter what your discipline, skill level, geographical location, etc, this AMA is for ALL! Bring your questions and the energy and I'll handle the rest. As always, registering for my AMA is completely FREE! And the more the merrier, so do invite any of your fellow creative peers to join us as well. Cheers! RB
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. WEEK #1 – Introduction, Pitch Docs, Character This week we will cover the syllabus, your instructor's background and experience, your goals for this eight-week lab and launch into a discussion on creating strong characters for your pilot. We will discuss the types of drama pilots and how they differ from network to network. We will go over how to create effective loglines and pitch documents. Then we will delve into character – what makes for strong characters and weak ones. The assignment for this week will be to create a pitch document and write a detailed description (around half a page) on each of your series regular characters. WEEK #2 – Pilot Outline and Series Bible This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of drama pilot (procedural or serial) and the network (broadcast, cable, streaming, digital, etc.) We will identify what kind of network to target for your story idea and structure the pilot accordingly. We will also discuss the function of your series bible and what it needs to include to support your pilot. The assignment for the week is to complete a pilot outline and start work on your bible. WEEK #3 – Pilot Outline (One on One Consultations – No Online Class) This week will consist of one-on-one consultations regarding pilot structure. Each writer will send in their pilot outline in advance and will have a 10-minute call to discuss what works and what doesn’t. The assignment for the week is to address any notes given on the outline before proceeding with next week’s class and to continue working on your series bible. WEEK #4– Scenes, Beats, Dialogue, This week we will address the qualities of effective (and ineffective) scenes, story beats, and dialogue. The assignment for the week will be to write three complete scenes from your outline: the teaser/opening scene, a scene with heavy dialogue, and a strong character scene. WEEK #5– Acts 1 and 2 We will discuss both the four-act and five-act structure. You will decide which works best for the pilot that you are developing. This week we will go over all the necessary story beats that exist in acts 1 and 2 of a drama pilot, including exposition, number of scenes per act, traditional page count, inciting incidents, acts 1 and 2 breaks, etc. The assignment this week will be to complete Acts 1 and 2 of your pilot. WEEK #6– Acts 3, 4 and 5 Similarly to last week, we will cover the necessary story beats that traditionally exist in acts 3 and 4 of a drama pilot. If your pilot structure has five or more, as some broadcast network shows do, there will be time allotted for further instruction on how to proceed. The assignment this week is to complete the first draft of the entire pilot and to turn in your series bible. WEEK #7–Consultation for Revision (No Online Class) This week will consist of one-on-one consultations. Please turn in your pilot at least 24 hours before your scheduled call, and each writer will have a 10-minute call to go over notes. Your assignment this week is to address any notes. WEEK #8– One-on-one Feedback and Polish (No Online Class) This week will consist of 10-minute one-on-one phone calls as well. Please submit your revised pilot at least 24 hours before your scheduled call. Final notes and next steps for your pilot will be given. Payment plans are available - please contact email@example.com for more information.