Clay Liford is an award winning independent filmmaker and director of photography whose projects have premiered at Sundance Film Festival, SXSW, Munich, AFI Film fest and more. As a director of photography, Clay has shot over twenty-five features, including the SXSW award-winning films ST. NICK and GAYBY. His film credits also include WUSS, EARTHLING, SLASH, and MY MOM SMOKES WEED, a Sundance Film Festival favorite. As an indie filmmaker, editor, and writer, Clay has mastered the art of pre-production and production so that his projects move like clockwork. And as a film production instructor at the University of Texas, Clay has become proficient at teaching his methods for efficiency and artistic self-sufficiency. Now he’s sharing what he knows with the Stage 32 community. Full Bio »
Time is money. And in the world of indie film, this is undeniably true. The number one expense filmmakers face today isn’t equipment rentals or crew wages. Nor is it crafty or actor day rates. It’s a DAY. And once a day is lost, it’s extremely difficult to get back. Often referred to as “the single biggest budget multiplier,” loss of days while shooting can sink your film if not kept under control. Falling behind just one day quickly leads to losing another and then another, and before you know it you have a runaway production. If you’re contemplating pre-production and production for your independent film or project, carefully managing your days is a priority.
Many filmmakers avoid too much pre-planning for fear of losing the creativity and spontaneity that can make their project special, but it doesn’t need to be one or the other. There’s a proven method to keep you on track, while still allowing for inspiration and experimentation on set. It also happens to be the industry standard, and applies to any level of filmmaking - from student short to studio feature. You don’t have to toss the creative baby out with the budgetary bathwater. It comes down to identifying what to plan and what to improvise. The truth is the more you plan, the more you’re free to experiment while filming - provided you optimize your time and focus on the right elements.
Clay Liford is an award winning independent filmmaker and director of photography whose projects have premiered at Sundance Film Festival, SXSW, Munich, AFI Film fest and more. As a director of photography, Clay has shot over twenty-five features, including the SXSW award-winning films ST. NICK and GAYBY. His film credits also include WUSS, EARTHLING, SLASH, and MY MOM SMOKES WEED, a Sundance Film Festival favorite. As an indie filmmaker, editor, and writer, Clay has mastered the art of pre-production and production so that his projects move like clockwork. And as a film production instructor at the University of Texas, Clay has become proficient at teaching his methods for efficiency and artistic self-sufficiency. Now he’s sharing what he knows with the Stage 32 community.
Clay will lay out how you can save time and money as a filmmaker by employing strategies and practices to make your day and keep your project moving. Not only will Clay address where to place emphasis in your pre-production process, but he’ll also lay out a specific method for planning shots and scenes, which includes shot lists and top-down lighting plots. These methods are optimized so that you make your day without losing a beat or turning it into a budgetary bean-counter. He’ll then round out the webinar with a “trouble-shooting” guide that’s easy to understand, and applicable to the vast majority of scheduling issues that often arise on set.
Clay's guide will give you confidence when it comes to time management so you can focus on what really matters in putting together a project you can be proud of.
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You may be surprised by JUST how many successful filmmakers today began their career by writing short films. Everyone from Christopher Nolan to Ryan Coogler to Chloe Zhao to Justin Lin have short film writing credits to their name and used those projects to springboard their career. This is how new and untested creatives can prove their mettle, get their name out there and actually get their foot in the door. And you can do this as well. Whether you’re building up your filmmaking career, itching to write the next festival darling or award-worthy short film, or just love the short form format, you too, can master the art of short film writing. There are many reasons and inspirations for writing a short, but shorter doesn’t mean easier to write. One of the great challenges is that many people go into writing a short with the mindset of creating a proof of concept for a feature. While there’s nothing inherently wrong with this, this mindset tends to encourage a few logical fallacies, and in a strange way actually devalues the work. Short films require a fine balance of elegance and story economy. They require an innovative storytelling technique that usually takes years of practice and feedback to master. With the right guidance though, you’ll be able to master this in no time. Clay Liford is an award-winning independent filmmaker and director of photography whose many shorts include the Sundance hit MY MOM SMOKES WEED. His projects have premiered at Sundance Film Festival, SXSW, Munich, AFI Film fest and more. As a director of photography, Clay has shot over twenty-five features, including the SXSW award-winning films ST. NICK and GAYBY. His film credits also include WUSS, EARTHLING, SLASH, and MY MOM SMOKES WEED, a Sundance Film Festival favorite. As an indie filmmaker, editor, and writer, Clay has mastered the art of writing and making both feature length and short films. He is also a film production instructor at the University of Texas, who has become proficient at teaching his methods for efficiency and artistic self-sufficiency. Now he’s sharing what he knows with the Stage 32 community. Clay will take you through his proven and effective approach to writing an effective short films that get you noticed and advance your career. He’ll go over the REAL differences between shorts and features, what every short film needs to succeed, how to think like a director (even if you’re not one), and how to maximize your festival strategy. Most importantly, he’s going to introduce you to the concept of Iconography. You’ll have the opportunity to ask him questions, and by the end of this webinar, you’ll fall in love with this format and walk away with a new perspective and appreciation for the short film format. Clay's guidance will give you confidence to develop your short film and help you succeed in the short film market. PLUS! Clay provides you with the following handouts: Overview of How to Write a Short Film - Things to Consider & What to Watch Out For Story Structure Diagram Breakdown of Film Roles on a Set Elements of a Lookbook Duties of a Director Suggested Reading List Testimonials for Clay's Webinar: "Clay had great energy and pace. He was able to explain things in different ways and with excellent examples." -Magi A. "Clay didn't sugar coat anything - keeping the short within a tight budget and length is smart strategy & practical. I appreciated his honesty." - Shaan D.
Advanced and in-depth 2-part interactive directing class with award-winning SXSW and Sundance director Clay Liford Learn how to handle shot coverage, scheduling, and time management on set! Perhaps the biggest challenge for any director, new or experienced, big budget or small, film or TV, is making your day, and ensuring you're efficiently getting the footage and performances you need so you don't go over schedule and over budget. This is difficult, but there’s a proven method to keep you on track, while still allowing for inspiration and experimentation on set. It also happens to be the industry standard, and applies to any level of filmmaking - from student short to studio feature. It comes down to identifying what to plan and what to improvise. The truth is the more you plan, the more you’re free to experiment while filming - provided you optimize your time and focus on the right elements. Let's go deep into how exactly to plan your day so you can do your job on set, stay in control, stay creative, and leave with the best possible film you can make. Clay Liford is an award winning independent filmmaker and director of photography whose projects have premiered at Sundance Film Festival, SXSW, Munich, AFI Film fest and more. As a director of photography, Clay has shot over twenty-five features, including the SXSW award-winning films ST. NICK and GAYBY. His film credits also include WUSS, EARTHLING, SLASH, and MY MOM SMOKES WEED, a Sundance Film Festival favorite. As an indie filmmaker, editor, and writer, Clay has mastered the art of pre-production and production so that his projects move like clockwork. And as a film production instructor at the University of Texas, Clay has become proficient at teaching his methods for efficiency and artistic self-sufficiency. Now he’s sharing what he knows with the Stage 32 community. In this intensive and interactive 2-part class, Clay will work closely with you and show you how you can save time and money as a filmmaker by employing strategies and practices to make your day and keep your project moving. Focusing on both pre-production and production, Clay will walk you through how exactly to plan your days on set, address where to place emphasis in your pre-production process, and lay out a specific method for planning shots and scenes, which includes shot lists and top-down lighting plots. Along the way, Clay will provide invaluable handouts and case studies. Praise for Clay's Previous Stage 32 Webinars "Excellent - granular and practical, not just theoretical." -Peter C. "Clay was amazing. Would love to take more classes from him" -Jacqueline A. "I was impressed with Clay. He has what feels like a natural gift for teaching from a comfortable and personal level" -Maeve T.
It’s impossible to find an actor, writer, producer, or director who doesn’t have a favorite sketch they have been quoting since they were a kid. And with the recent explosion of short-form content, sketch comedy is more popular and relevant than ever before. Maybe you’re an actor looking to produce your own short-form content but have no idea how to translate your idea to the page. Maybe you’re a comedy writing machine but your sketches feel disorganized or too scattered. With more and more execs/reps wanting to see your work and click a link, sketch comedy isn’t just fun anymore, it can be a functional calling card. And having your sketches hit the mark is essential to making sure those people know your comedy voice is strong, unique, and one worth watching. Since sketch is so accessible, many people dive headfirst into writing/producing sketches without learning the language, tools, and structure. And that’s the reason why 99% of sketches are, let’s be honest, pretty cringey. But with a clear understanding of what a sketch is and what are the engines that drive the comedy, you can learn actual tools/methods to take a simple funny thought and turn it into a tight, streamlined sketch. You have a comedic POV within you; but without the structure, rules, and techniques to hone and streamline an idea into a tight, digestible sketch those ideas spiral out of control. Conversely, you have a great ideas but no conception of how to take that vague thought to finished comedic product. The solution to both these seemingly opposite comedy ailments is the same – structure and technique. Jeff Galante is an actor/comedian/writer is based out of the Groundlings Theater where he is a regular performer and a senior teacher. He created several network comedy pilots including STUNTED (NBC) and THINK TANK (A&E), which was exec. produced by Chris Moore (AMERICAN PIE, GOOD WILL HUNTING). Jeff is currently developing a slate of feature projects including a horror comedy with Jack Quaid and Joe Dante, a rom com with Damon Wayans Jr. and Davis Entertainment, and a dramedy with Andy Fickman. Jeff has consulted on SMALLFOOT (Warner Bros.), contributed material to SATURDAY NIGHT LIVE, and was an actor/writer on Wanda Sykes’ USA sketch comedy pilot WHAT HAPPENED WAS. He recently won the Stage32 Feature Script Competition and has been a finalist/semi-finalist in competitions including the Nicholl Fellowship, Austin Film Festival, and the Universal Emerging Writers Fellowship. As an actor, Jeff has appeared on such shows as 2 BROKE GIRLS (CBS), IDIOTSITTER (Comedy Central) and DISASTER DATE (MTV). He has performed live at Standup NBC, San Francisco Sketchfest, Chicago Sketchfest, and was a cast member/writer on NATIONAL LAMPOON’S revival of Lemmings alongside the boys from WORKAHOLICS. He is also a highly sought-after comedy teacher/director for networks like G4 and SMOSH. In this enlightening webinar, Jeff will equip you with all the tools you'll need define sketch comedy and identify the different types of the craft. He will deep dive into the various engines of comedy using sketch examples. He will also explain characters and how to make them memorable. He is including a guided brainstorming session in which he will use tools and techniques to get a jumpstart with a clear sketch idea.
Learn directly from Laurie Cook, Producer and Head of Development at Bigscope Films, who's produced 4 feature films that have sold theatrically worldwide! Lured by generous tax incentives, many of Hollywood's biggest films have shot in London or are planning to head to the U.K. There is over $500,000,000 worth of public money to be spent on films each year in the U.K., and in 2012 there were over 250 films shot in the U.K. and over 600 films released there. It's a wonderful place to get films made, but the competition for finance and distribution is stronger than ever. What makes the film market different in the U.K than in Hollywood? How do you get your foot in the door as a writer, director, or producer in the U.K. film industry? Once you're in, how do you stand out from the crowd? In this Stage 32 Next Level Webinar, host Laurie Cook will guide writers, directors and producers through the independent U.K. film market from an insider's point of view: how to get funding for your script and film, how and why certain projects stand out against the rest, and how to boost your chances of success. This will be your go-to guide to navigating the U.K. film market and getting your film made in the U.K. You will leave with an agenda to make you and your project focused and well presented for maximum impact. Your host Laurie Cook is a Producer and Head of Development at Bigscope Films, where he produced the films Pressure (starring Matthew Goode & Danny Huston) and Don't Hang Up (starring Gregg Sulkin) releasing this year, as well as Hangar 10 and Outpost, which were released in 2014. He knows the ins and outs of the U.K. film market, what executives are looking for when taking on projects and how to make your mark to get your script and films made.
**Only 15 spots available - 10 spots remain** Payment Plans Available - contact email@example.com for details Are you feeling stuck trying to create your film investor decks? How long should it be? What should be included? How do I lay it out? What are some design tricks? Where do I find images and comps? It's crucial to help you raise money for a project but can be very confusing. It can be SO hard to find good examples because they contain proprietary info! But, in a private one-on-one class your Stage 32 Educator Sara Elizabeth Timmins is going to take you "behind the scenes" for a SNEAK PEEK at decks that have attracted over $15M in film funding! You will gain insight so you can craft your own with knowledge, understanding, and confidence. Sara Elizabeth Timmins most recently helped produce the Emmy nominated HBO hit MCMILLIONS for Mark Wahlberg’s company and has worked with actors like Jane Seymour, Ellen Burstyn, Chris Cooper, Josh Lucas and Mackenzie Foy. Her films have been seen in theaters, HBO, The Hallmark Channel, Starz, Showtime and internationally. Your film investor deck is your number one marketing material/door opener for your film. Nailing it is key to getting the meeting or getting your script read. In this lab, we are going to look at several different decks that have been used with great success and explore what to include and the secrets to decks that convert. You will also get a chance to submit your deck for critique so you can learn real time and see the difference changes can make and be able to put what you learn into practice. You will get to see examples, which will make all the difference in understanding where to start and what you need – giving you the confidence you are on the right track. Join us for an inside peek so you can craft your own film investor pitch deck with knowledge, understanding and confidence!
It's not an understatement to say that the decisions made during the casting of your film, short film, TV pilot, or short form digital content can make or break or break your project. Being able to cast a wide enough net to assure that you see enough actors so you can choose those who fit the vision and tone of the material is paramount. But not all filmmakers and producers have that kind of reach. Further, they don't have the connections and experience to not only cast that wide net, but also bring in familiar and experienced talent that can accelerate this aspect of the pre-production process while saving valuable time, resources, and, most importantly, money. But for many, identifying and engaging casting directors of value is a challenging process. And for that reason alone, many filmmakers and producers handle the casting calls, the auditions and the decisions to hire their actors on their own. Often, that's a fatal mistake. Finding the right actors for your film does not have to be difficult. Neither does interviewing and, eventually hiring a casting director. The fact is, casting directors are plugged in to the most experienced and the best up and coming talent. Further, they know what to look for in the room during the audition process. What questions to ask. What signs to look for. And what red flags may be readily visible to them that you might overlook. While many filmmakers and producers believe they can't afford a casting director, they don't have the information and knowledge to truly know. Experienced filmmakers and producers know they have to include a casting director in their budget. And they also know that they can secure one without breaking the bank while bringing enormous value to their project. Over the course of her stellar and prestigious career, Casting Director Erica S. Bream (CSA) has had the opportunity to work on a myriad of projects across all platforms. A few of these titles include TV series such as ALTERED CARBON, COLONY, WORKAHOLICS, HOUSE OF LIES, CRIMINAL MINDS, and the upcoming TELL ME YOUR SECRETS, PANDORA as well as numerous TV pilots and miniseries, including Hulu’s 11.22.63, and FULL CIRCLE from DirecTV. She has worked on several feature films including STAR TREK: INTO DARKNESS and many indie films, such as the John Legend-produced BREAKING THROUGH. Erica has also worked extensively in the internet and short film worlds, most recently casting award-winning AFI short, RITA MAHTOUBIAN IS NOT A TERRORIST as well as PINKY for Refinery29. She has also ventured back to her first love, theatre, working closely with THE BLANK THEATRE COMPANY and IAMA THEATRE COMPANY in Los Angeles on many main-stage plays, as well as numerous years casting The Blank's prestigious YOUNG PLAYWRIGHTS FESTIVAL. Finally, Erica is an Artios Award winner (Casting Society of America) and seven-time nominee for her work in theatre, television and short films. Erica will teach you exactly what a casting director does and lay out in specific detail why you need to hire one and where to find one that can make a difference for your project. She will cover all your questions on budgeting for a casting director and what the expectations should be. She will discuss how to approach casting directors for features, short films, web series, digital shorts and more. She will show you how to secure name talent that can lead to a greenlight. Erica will also take you through the audition process, including live and taped auditions, and call back sessions. She will take you through common mistakes filmmakers and producers make when communicating with casting directors and how to not only avoid them, but what to do instead. This is a full, immersive deep dive into demystifying all the untruths and misinformation regarding hiring casting directors and how, instead, you can have a CD on your team that can help elevate your material and allow for you to see your vision on screen with actors who can carry that vision forward. Praise for Erica "I've been listening to the wrong voices. For the longest time I thought it would be impossible to get a casting director to cast my film and also thought it would be ridiculously expensive. My world has completely opened up." - Christina T. "Now I know exactly why my casting director was the wrong casting director. I won't make the same mistake twice." - Aimee C. "Drop the mic advice." - Slater M. "This felt like I was accepted into a secret club. So much information that I have never heard before. Insider kind of information. Thank you, Erica!" - Dina R.