Anna is a Los Angeles-based film producer and creative executive. Her most recent accomplishment as music supervisor/music consultant, was for the multi-award winning “short to feature" film WHIPLASH (2013/2014/2015) written and directed by Damien Chazelle, produced by Jason Reitman and Jason Blum. WHIPLASH was released theatrically by Sony Pictures Classics and was nominated for 5 Academy Awards, including Best Picture, winning 3 Oscars, including Best Supporting Actor (JK Simmons). Besides WHIPLASH, other produced and music supervised films include, STICKY NOTES (2016), UZLA (2016), DIRTY (2015), FREE RIDE (2013), WATERCOLOR POSTCARDS (2013), KISS ME (2012), BESTIES (2012), GUNS, GIRLS & GAMBLING (2012), NOMADAS (2011) and VILE (2011). Anna is presently the lead producer and creative executive with a variety of elevated, character driven, film and television content in various stages of development to pre-production. Anna’s entry into the world of music arrived by accident in 2002 while working as an actor in an off-off-off Broadway play in NYC where she was forced to learn music copyright clearances and music publishing, as music was a central theme to the play. Self-taught with no formal training working at record labels and/or music publishers, she currently owns song copyrights, and has become a beckoning music publisher which includes controlling the rights to WHIPLASH. In 2013, Grannucci collaborated with the Academy Award Winning Italian Maestro Ennio Morricone and his son Andrea Morricone on musical material for film in Rome Italy. In August 2015, Granucci acquired the exclusive option rights to the entire library from the estate of the late, E. Jack Neuman, the Emmy Nominated and multi-award winning WGA Writer, Television Producer and Show Creator for all his unpublished and unproduced scripted material. Genres include Action, Crime and Mystery Dramas, Sci-Fi and Westerns. Neuman was best known for several hit television series such as Police Story, Petrocelli, Mr.Novak and A Man Called Shenandoah. Prior to the entertainment business, Granucci spent 5 years in the finance industry as Director of Corporate Communications reporting to the CEO at a publicly traded company with assets in excess of $2 Billion. She has liased her knowledge of business with her passion for the arts. Full Bio »
If you're a filmmaker, producer or any creative head looking to incorporate music into your film & television, advertising or media project, you'll need to understand the basics steps of how to secure the music rights for the music you desire to use. From well known hit songs from major recording artists, to indie bands to public domain to original compositions and cover songs of music hits, you will need to be armed with all the knowledge of clearing the rights to that music for your film or project in order for it to play at festivals, screen theatrically, stream on the internet or be released on DVD/VOD.
The memorable song placeholder you are in love with and want to use in your opening credits that you found online - is that song even able to be used and licensed within your budget if you screen your film theatrically? What type of rights will you need to exploit your project globally? Or, what about that jukebox song your editor tempted into the background during one of your bar scenes - is that okay to use? And for how much will the licensing fee be for the rights you need? Knowing all these details and nuances will inform you as to why you must prepare in well in advance and allow time for the music clearances, along with knowing the type of rights your project requires for the music needed.
• How many rights there are to a song and the steps it takes to uncover the mysterious music clearance process
• The difference between Festival and Theatrical music rights for film, television, DVD/VOD and advertising
• What types of rights there are
• The music planning steps for film, docs, television, advertising and streaming
• The difference between Film Festivals and Film Markets and what rights clearances are acceptable for each
• How the inner workings from music publisher to record label function through the music clearance process
• How several writers per one song must all be in agreement for a music clearance to be approved
• The difference between a Master Use and Synchronization Use license
• How to negotiate music fees and stay within your budget; most filmmakers fall in love with a song they cannot afford. Learn what to do next
• How to know if a song is public domain
• How to consider using Royalty Free and library music as opposed to not being able to afford known song copyrights for your projects
• How and why filmmakers should retain a music supervisor – “the middle man” - early on in the production process of their project
• How and when to move forward with licensing your selected piece of music and the time line to receive the music licensing documents
Plus, an interactive Q&A with Anna!
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.
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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 the world of independent film and TV, productions are increasingly crossing borders in search of funding, locations and ultimately a wider audience. But the difference between a successful international co-production and an international road-crash often lies in the details of choice of partners, structures and creative material. In this exclusive Stage 32 Next Level Webinar, Alexia Melocchi, an international producer, will give an in-depth look at the pros and cons of international co-production and what it takes to prepare. You will also learn when co-producing makes sense for you or your project and when it should be avoided. You will leave this webinar with an understanding of not only what makes to prep for an international co-production and how to protect yourself and your project along the way. This webinar is useful to Producers considering a co-production as well as writers, actors and directors who feel their talent or material would work best on an international scale.
Kevin will be teaching about the step by step process required throughout the development financing stage of your feature film project to create your "Investor Kit". This includes all of the elements from business plans to budgets, proof of concept videos, retaining production counsel and a casting director. He’ll apply multiple strategies on talent outreach via agents and other means. Without these elements in place, an investor can not seriously consider financing your film. Kevin has been working with both Legacy Pictures and Cobalt Capital Ventures as an Executive Producer structuring packages and financing agreements for a variety of different kinds of investment opportunities.
4-part previously recorded class taught by Carol Kravetz, veteran Production Coordinator for shows such as Breaking Bad and It’s Always Sunny In Philadelphia as well as various features for MGM, Warner Brothers, HBO and USA Network! The Production Coordinator position requires wicked organizational skills, resourcefulness and the ability to work long hours and handle a multitude of tasks simultaneously under high-pressure situations. That means you have to be accurate, purposeful and on time (which means early). Whether you are a director, producer, production assistant or production coordinator, knowing how to discover your crew members’ skill sets, delegate effectively and execute tasks with extreme precision is a must for cultivating a successful career. If you'd like to learn how to logistically run a set and organize the moving parts that make a production possible, join us for this exciting class! Stage 32 Next Level Education is thrilled to bring you Carol Kravetz, a veteran Production Coordinator, most recently on shows such as Breaking Bad and It’s Always Sunny In Philadelphia, to teach you a Production Coordinator Master Class: Be A Unique & Efficient Production Coordinator! In this 4-part previously recorded class, Carol provides a fully comprehensive guide on how to be prepared to prepare, prepared to shoot and prepared to wrap. You will learn Carol’s personal list of Production Coordinator best practices, from the various tasks you will be expected to perform and how to execute them with precision, to how to recognize each document you will need in a mound of paperwork, to how to transition the office from pre-production to shoot to wrap. You’ll learn how everything is paid for, how to facilitate rentals and purchases for on-set departments, and the common pitfalls and traps that happen during production so you can avoid them. Carol then teaches you her networking, resume and follow up tips to help you find work and keep working past the wrap party. With interactive lectures and homework assignments directly geared toward making you a stronger and more competent Production Coordinator, you will leave this class with a comprehensive understanding of how to be an effective Production Coordinator and be a valuable asset to any set you work on! Purchasing gives you access to the previously-recorded live class. Although Carol is no longer reviewing the assignments, we still encourage all listeners to participate.
***Please note: There are audio issues with this webinar so the price has been reduced. If purchased you are acknowledging this fact.*** Learn directly from Tatiana Kelly and Jim Young, independent producers who have worked with actors such as Bradley Cooper, Zoë Saldana, JK Simmons, Jeremy Irons, Dennis Quaid, Olivia Wilde, Amanda Seyfried, Peter Sarsgaard, Sharon Stone, James Franco, Lily Tomilin, Cuba Gooding JR, Dev Patel and Jeremy Irons! In order to raise financing for any independent film, most investors these days will be savvy enough to be utilizing the foreign sales-driven model of selling a film based on a director and talent. Attaching “valuable” talent to a film as early as possible is extremely beneficial for filmmakers looking to get a green light on their film. However agents receive so many financial offers for their clients on a daily basis that those that are on an unfinanced film and without a monetary offer will likely go to the bottom of the pile. With an independent budget, how can you make your film stand out as an attractive offer to talent reps? How can you get top talent excited about your project without using money as an incentive? If you don’t already have connections to casting directors, what options are available to get in touch with A-list actors? Stage 32 Next Level Webinars is thrilled to bring back Tatiana Kelly and Jim Young to teach you how to attach talent to your independent film! Having worked with various A-list actors on independent films such as Lovelace, The Words, Life of a King and Wristcutters: A Love Story, they will teach you how to break through an actor’s fortress and get them interested in your project. You will learn how to determine what to offer talent based on your budget, how to be strategic about what agencies you’re making offers to, what to keep in mind at the script stage and early in the casting process and how to get past the dilemma of getting talent without money and getting money without talent. You will leave this webinar not only knowing how to attach talent to your project on an independent budget but how to get actors excited about working with you!
State of the industry Why the majority of TV/Film comes from pre-existing IP "The Executive Bias" Pre-existing Fan Base/Fleshed Out World Adapting Books/Articles Where to Go! How To Choose Material Who To Contact For Film/TV Rights How To Close The Deal Case Study: Game of Thrones, Sex and The City Case Study: The Wedding Sting in the Atlantic, now going to be a film at Paramount Adapting Comic Books / Video Games Where to Go! How To Choose Material Who To Contact For Film/TV Rights How To Close The Deal Case Study (Comics): Guardians of the Galaxy (Marvel/Disney, lesser known/less successful comic became a blockbuster) Case Study: Jessica Jones (Marvel / Netflix) Case Study (Video Games): Assassin's Creed (FOX, to be released this December) Making it your own Most say DO NOT adapt your own material (leads to being too protective of your work/not as open to change) Fun thing about IP, when you build a world, it can keep being adapted into other mediums (Example: Orphan Black the comic book was one of the best-selling comics last year, adapted from TV show. Goes in both directions) The heart of this, however, is making sure the new versions are different enough from the old, AND have your voice in them. LIVE Q&A with Maggie!
Producer Chris Moore has done it all. From producing 2 Oscar-winning films Good Will Hunting and Manchester by the Sea, to producing some of the biggest franchises of our time like American Pie - he's seen it all. What's even more impressive is that Chris is committed to creative careers and the journey it takes to sustain one. Chris was the co-founder of Project Greenlight with Matt Damon, Ben Affleck and Sean Bailey and The Chair - and continues to help inspire those who chose a life in entertainment. With the evolution of the industry causing dramatic shifts in the way you create and consume content (film, television, digital) more and more opportunities are being presented for a creative career. In this Stage 32 webinar Chris is going to discuss what the shift entails and how you make an educated decision on which path you should take with your career in “the industry” to satisfy the lifestyle you want. Producer Chris Moore will be hosting an interactive webinar where he’ll be discussing the future of the industry and will workshop with a select group of students from the class. He’ll talk about your intended primary path and discuss possible alternative paths if you can’t find the right fit with your primary goals. For example, if you are setting out to be a director and you’re having trouble gaining traction, Chris will go over alternative ways you can break in and gain your footing. Or, if you’re a screenwriter and have been at it a long time and haven’t gotten your break, what are alternatives for your lifestyle in this industry? Or, if you're a cinematographer looking to move from digital shorts to streaming TV, what can you do? All creative professions are welcome to attend!