Anna is a Los Angeles-based film producer and creative executive. Her most well known 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E. Jack Neuman, the Emmy Nominated and multi-award winning WGA Writer, Television Producer and Show Creator for all his unpublished and unproduced scripted material.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/professional looking to incorporate music into your film & television, advertising or digital project, you'll need to understand the basics steps of how to secure the 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 historical and iconic music hits, you need to be armed with all the knowledge of clearing the rights to that music for your project to protect yourself legally and in order for it to play at festivals, screen theatrically, stream on the internet or be released on DVD/VOD.
The memorable song you heard on the internet. You can't get it out of your head. You would so love to use it in your opening credits. Is it available to be used and licensed if you want to screen your film theatrically? What type of rights will you need to obtain if you plan on distributing your project globally? What about that jukebox song your editor temped 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? (You may just be surprised to the upside!) These are just some of the need to know details and nuances you need to know to be sure you can secure the music that can make or break your film, but also protect yourself legally.
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Stage 32 + Netflix join forces to bring you an exclusive television pitch workshop Learn best practices to make your pitch work and what your pitching document should look like You do NOT want to miss this! For many, the holy grail of television has become Netflix. It’s a titan in the industry, and with over 200 million subscribers worldwide, no one can put out content quite like them. Just look at the recent hit show BRIDGERTON, which has already been seen by a massive 80 million households (!!) since its release. If you’re a writer or creator, getting your series onto Netflix’s platform can spell success in a big way. But first there’s the matter of getting your series in front of them and pitching it effectively. It should be a comfort to know that you’re not the only one who wants your series on Netflix. Netflix wants that too! Netflix execs are constantly on the lookout for exciting new voices and new series to fill their slate. Yet it takes more than just a good series or a good pilot script to get on Netflix’s radar; you need to be able to communicate it well and pitch it in a way that will get their team excited. This certainly takes some work, but it’s absolutely achievable. If you’re interested in getting your show on Netflix, it’s time to learn directly from the source what it will take to make that happen. In an effort to reach more writers and find more content, Netflix has joined forces with Stage 32 to present a FREE and invaluable workshop on what it is that they’re looking for in new shows and how you can best pitch your series to their executives. In Stage 32's continued effort to help level the playing field for content creators worldwide, we felt it's important that we help you get tools you need to be able to make sure that you can pitch effectively. Kicking off the workshop will be Stage 32 CEO, Richard "RB" Botto (@rbwalksintoabar), and hosting this presentation will be Stage 32's Managing Director Amanda Toney with Netflix’s Director of Creative Talent Investment and Development for International Originals Christopher Mack. Christopher was previously Senior Vice President of Scripted Content for Stage 13, overseeing all of the brand’s original scripted series and development slates across multiple genres, including Emmy nominated Netflix series’ SPECIAL and IT'S BRUNO. Before Stage 13, Chris headed the Warner Bros. Workshop, the writing and directing program for professionals looking to start and/or further their careers in television. Over a period of 10 years in this role, Chris curated a roster of close to 100 writers and 50 directors representing the breakthrough emerging voices working on high-profile television shows today. In addition to these responsibilities, Chris has covered hit shows such as TWO AND A HALF MEN and SMALLVILLE for the Current Programs department. Prior to joining Warner Bros., Chris spent seven years writing on various one-hour dramas including ER, THE PRACTICE and THE NEW TWILIGHT ZONE. After graduating from Loyola Law School, Chris got his start in television at NBC Studios as an associate and he quickly rose to becoming an executive. During his time at the newly created NBC Studios, he oversaw a varied list of shows including: THE FRESH PRINCE OF BEL AIR and IN THE HOUSE, among others. In this exclusive Stage 32 workshop, Christopher will delve into what exactly makes a television pitch work at Netflix. He’ll discuss the essentials you’ll need to catch Netflix’s eye and will zero in on how to write an effective pitch document. He’ll pose questions you be able to answer and communicate for your series and give you ideas on how best to communicate your show’s overview, world, tone, and characters. Christopher will then discuss how season summaries should be built and give you ideas on how to think about and present potential episodes. Finally, you will have the invaluable opportunity to ask Christopher your own questions. You will leave this presentation with the understanding of how to structure and present your series, not in theory, but directly from the source.
There is no worse feeling than finally getting your project on its feet, only for it to be brought to its knees because you don’t have the proper insurance coverage in place. You have to make sure your project can be completed safely and responsibly and, ultimately, sold to a distributor. You need the right kinds of insurance to guarantee your success, and you will learn exactly what that entails in this new exclusive Stage 32 webinar. The key to your success is that you understand the 4 basic kinds of production insurance, why each is important and what the function of each type of coverage is. Not having the proper coverage in place could cost the production company big time with losses that you cannot recoup. You may be denied access to a location due to not having the proper coverage in place. You also may not be able to sell your project to a distributor who requires that the film is properly insured. Teaching you every important aspect of the production insurance game is Doug Hodges from Front Row Insurance, an Entertainment Insurance Broker with offices in Vancouver, Toronto, Montreal, Halifax, Los Angeles, Nashville, and New York that specializes in the film, music, and theater industries. Doug routinely negotiates on artists’ and companies’ behalf to obtain the best coverage at the lowest premium from the insurance companies. This essential webinar will give you an overview of insurance coverage, policies and how they protect you, and why having the right insurance is vital to any production and ultimate sale. You will review real insurance policies and receive real-world examples from Doug's vast experience working on every kind of film and with every type of filmmaker. When you’re making your film or TV project, you may focus heavily on the creative side, but you also need to protect yourself with the right kinds of insurance, so don’t want to miss out on this incredibly valuable webinar.
Learn How To Produce In The Global Entertainment Marketplace From An International Producing Expert "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. As global audiences continue to grow, the entertainment industry is building internationally, and in this exclusive Stage 32 class, you’ll learn exactly how to get into the global entertainment marketplace with your projects. Over four weeks, you’ll be guided by international producer Alexia Melocchi of Little Studio Films. Alexia has made a career out of successfully acting as a bridge between Hollywood and the international marketplace. She previously worked as a distributor and sales agent, where she sold over 50 films to profit for clients and acquired more than 150 major studio and independent films, including LA LA LAND, NOW YOU SEE ME 2, and more. Alexia will show you the ins and outs of the international industry, including: The processes and etiquette you need to know The rules and regulations to follow The pitching materials you need, depending on the market How to access the players when you don’t have connections Financing options, including tax credits vs. co-pros vs. in-kind services And more You'll also receive these confidential handouts from Alexia: The top companies in Europe, Canada, and Australia taking project submissions Marketing one-sheet used by international sales agents Sample email for contacting international buyers Don’t miss out on the chance to learn from one of the most prolific international executives by taking this class. You’ll walk away a step closer to seeing your films and TV shows made as you embrace the global wave and launch your international producing career. 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.
When you think of storyboarding you may think that it's just for big budget productions, but the truth is that storyboards are MORE important for lower budget independent projects. A storyboard helps conceptualize the director's vision of the script and creates a blueprint for all the departments on set to prepare and work from. When your indie film is shooting on shorter timeframes with little wiggle room for mistakes, storyboarding can help save your production time and money. If you've never storyboarded before there are a lot of things to think of and plan for when planning out your scenes. Or, if you have storyboarded, it's good to refresh your knowledge and make sure you're maximizing your boards effectively. You have to know when you should start storyboarding and who gets involved. You need to know how the boards get used with the cast and crew from pre-production all the way into post-production. And, most importantly you need to know how storyboards can help find mistakes in the script that could derail on-set production. And, when we wanted to provide storyboarding education to the Stage 32 community, we had to bring in the best… Mark Simon, the “Godfather of Storyboarding”, has over 30 years in entertainment, amassing over 5,000 production credits, including STRANGER THINGS, THE WALKING DEAD, DEXTER, BLACK LIGHTNING, WOODY WOODPECKER and DOOM PATROL. He is also the animation producer for the HOW HIGH 2, LITTLE RASCALS and TOOTH FAIRY 2 features. Mark is now bringing his expertise to our Stage 32 community! In this webinar, you’ll walk away knowing exactly how to incorporate storyboards into your project and the importance of how it can help your production run smoothly! By the end of this webinar, you’ll be running off to storyboard your next production!
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 in the always hugely popular animation universe. 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, most recently the 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.