Kristin Harris is a seasoned entertainment executive who has spent the past 15 years in the independent distribution space. She has held key acquisition, development, and production roles at Starz Media, Overture Films, and Cinedigm Entertainment Group. Ms Harris currently serves as VP, Distribution and Acquisitions at Good Deed Entertainment, where she oversees all aspects of the company's distribution arm and manages the release slate, which includes EXTRA ORDINARY, JOURNEY’S END, Spirit Award Nominee, TO DUST, and the Academy Award nominated, LOVING VINCENT. In addition to her duties at Good Deed, Ms Harris has spent time teaching at UCLA Extension, and maintains an active speaking and guest lecturing schedule, having participated in panels, mentorship programs and events at SXSW, Cannes, and LAFF. Ms Harris is an alumna of UCLA where she earned her bachelor’s degree in English Literature Full Bio »
Theater closures brought on by the global pandemic are now leading exhibition and distribution communities to work together and think outside-the-box in order to preserve the arthouse theatrical landscape. Imagine a world without arthouse theaters. It’s a bleak concept for cinephiles and filmmakers alike. In a world where landing a traditional, theatrical commitment from a distributor is like winning the golden cup, what are our options when none of those theaters are open? More so, how do we keep independent theaters, already operating on thin margins, alive to fight another day and provide filmmakers, producers and financiers viable options to make profits on their films? Thankfully, there's a new an exciting option to explore.
Navigating a successful theatrical release is an enormous challenge, in and of itself, when exhibition is operating normally. Add in a global pandemic and those challenges rise even higher. What are the options? Does your distributor simply claim force majeure and rush you into the home entertainment landscape? Will the home entertainment revenues be hurt by the lack of theatrical exposure? How do theaters survive and make money when they can’t have patrons at their physical locations? In times of crisis, it’s always impressive to see innovation born of necessity. Behold the birth of the "virtual theatrical" release, which has emerged and become a key player in these virtual times. But what is that exactly? How does it work? Can you make money and are other digital platforms willing to accept theaters playing in their sandbox? It’s the new Wild West.
Kristin Harris is a seasoned entertainment executive who has spent the past 15 years in the independent distribution space. She has held key acquisition, development, and production roles at Starz Media, Overture Films, and Cinedigm Entertainment Group. Kristin currently serves as VP, Distribution and Acquisitions at Good Deed Entertainment, where she oversees all aspects of the company's distribution arm and manages the release slate, which includes EXTRA ORDINARY, JOURNEY’S END, Spirit Award Nominee, TO DUST, and the Academy Award nominated, LOVING VINCENT. Kristin has been at the forefront of this emerging distribution option "virtual theatrical" and will bring her experience to the Stage 32 community for you to understand what it is, how you can make money for your film from it and if it's right for you.
Kristin will go over the current theatrical distribution landscape which has been affected by the COVID19 pandemic and discuss current available options for your film's distribution. She will introduce a brand new type of distribution, virtual theatrical, and break down the players, how it works from a macro and micro level and how it makes money. She'll go over how to navigate this new reality and how virtual theatrical folds into traditional and non-traditional release plans, reporting and logistics. She'll go over the pros and cons of a virtual theatrical release and help you decide if it's the right thing for your film. She'll also discuss what the future holds for distribution and buying habits in the current environment. These are challenging, yet exciting times for the industry and especially for those working in independent film. Kristin will give you all the current information and guide you through all scenarios including virtual theatrical to assure that your film has the best chance at profitability.
"The industry is changing and we have to adapt. I'm looking forward to sharing some of our case studies involved with virtual theatrical distribution and helping you understand where it fits into the landscape and if it's right for your film."
- Kristin Harris
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!
You know what you like to write, but do you know your personal brand as a writer? Branding yourself as a writer is an integral part of your strategy toward getting read, securing representation, attracting development executives and producers, and, ultimately, securing a long and successful career in the entertainment industry. Should you write in a variety of different formats or stick to one? Should you settle in on a tone or style or show your versatility? All of these questions (and many more) will factor in to how you brand yourself as a writer. Your brand is equal parts preferred medium, chosen genre(s), and personal voice/style. Once all of this is determined and developed, it will become easier to for you, your representation team, and/or your production company to sell/produce/finance your material. There are more screenwriters than ever looking to secure and maintain a career writing for film, television, and now, digital content. But with so much talent vying for limited opportunities, it’s important to find a way to stand out from the crowd. And because there are very few new stories, only fresh takes on proven formulas, a writer’s unique voice and style are paramount when creating and selling content. This voice/style combined with preferred genres and mediums make up a writer’s brand, and cultivating that brand is instrumental in selling yourself and your material in Hollywood. And you don’t need representation or a production company behind you to do it! Developing your brand as a writer starts and ends with you. Once you fully understand, determine and develop your brand with confidence, you’ll find that many more representatives, producers, and other buyers will be willing to jump on your bandwagon. Tiegen Kosiak began her career working with, among others, the Academy Award-winning writers of BIRDMAN and the creator of STEP UP and SAVE THE LAST DANCE. While working in management and development Tiegen recognized how integral a writer’s brand was in submitting material, setting meetings, and pitching clients for open writing assignments. Prior to her new role working with an A-list actress who has a producing deal with Netflix, Tiegen worked for Cinestar Pictures, Zoe Saldana’s production company. In these roles Tiegen uses branding every day to option material, sell screenplays, and attach writers to projects. She'll help you understand how you can stand out, get read and get sold! Tiegen will teach you the tools needed to craft your brand as a writer and how to use that brand to sell yourself and your material to representatives, producers, and other content buyers in the entertainment marketplace. No matter if you're writing for features or television, Tiegen will show you how to rise above the competition by finding your lane and using this focused strategy to get reads and get you in rooms that matter. Whether you're looking for representation or searching for new representation, Tiegen will teach you 9 invaluable tips on approach that won't make you "just another writer" in the eyes of a rep. She will teach you how to choose the right representation (so important). She will explain and help you navigate where to find work, how to handle, general, pitch and network meetings, and how best to approach producers. In short, she will give you all the tools to help brand you and your writing so executives, reps, and decision makers want to read you and work with you from the jump! I found it very helpful and entertaining. I was shocked at how fast the time went. Tiegen packed a lot of great information into the 90 minutes. I know this is a webinar I will listen to again. - Cam C. This was an EXCELLENT webinar! Useful, unique information. Tiegen generously shared an enormous amount of information. Writing is a strenuous, though rewarding endeavor, and her detailed observations and vigorous, yet concise, genotype theories, as it were, have inspired my work ethic. And triple thank you for mentioning there are management companies with offices in NYC, not far. I don't live in LA, and have been worried for ages about that geographic block. Thank you Tiegen, and Stage 32. - Gerri G.
Hello, Creative Army. It's been a busy few months around the Stage 32 offices and for yours truly as it relates to my personal projects. I'm excited to share with you what I'm hearing, what I've learned, and what I've experienced since we last got together. As always, my AMA's are always free! Watch as many times as you'd like. Cheers! RB
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, Brendan Foley, an international producer (11 countries), writer and director with award winning feature films, TV series and best-selling books to his credit, will give an in-depth look at the pros and cons of international co-production. You will learn about different types of producing partners - creative, financial, public and private. 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 an international co-production work, but how to look for producing partners, co-funders and how to protect yourself and your project along the way. This seminar 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. PLUS - Brendan will have on two special guests: Ronni Coulter, SVP Business Affairs Sony Animation and top European co-producer Lars Hermann (CEO Copenhagen Film Festival and Danish state broadcaster DR, former Nordisk, Filmfyn Film Fund,) Special Guests: Ronni Coulter (SVP Business Affairs Sony Animation) Lars Hermann (Copenhagen Film Festival)
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 firstname.lastname@example.org for more information.
Writing action isn't easy! It takes nuance and skill. We’ll break down the action on the page for the heavy-hitting JOHN WICK, the action-comedy THE NICE GUYS, and the slow-building action of HELL OR HIGH WATER.
History is littered with the bones of many failed films which fell apart due to conflicts between the director and producer. While you'll often hear how important it is for a filmmaker to have relationships with all the vital players and department heads on his or her set (and it certainly is), the reality is that the relationship between the director and the lead producer is the one that will begin the earliest and last the longest throughout a particular project. A healthy, cohesive relationship between the film director and the producer will show the cast and crew that a united front has been formed and that everyone is pulling in the same direction. An unhealthy, bifurcated relationship will put the cast and crew on their heels, which will inevitably hurt the project. Directors and producers are often people of vision and power. Harnessed correctly and collaboratively, that combination can bring out the best in everyone and help to make a project stay on time, on budget, and on message and voice. Harnessed incorrectly, ego and hubris take over. It may seem obvious that communication is the key to assuring that the relationship flourishes, and that's not totally untrue. But the key to a productive and positive relationship between the director and producer is understanding all aspects of what needs to get done, recognizing what the other person's needs are, defining what's worth standing up for and what's worth letting go, and recognizing that at the end of the day, you're both fighting for the same result. As President of Production at Zero Gravity Management, Tai Duncan oversees film projects from inception to completion encompassing all aspects of development, casting, finance and production. Zero Gravity is a production and management company based in Los Angeles that boasts a strong client list of screenwriters, directors, actors and financiers for feature films and television. Tai recently produced PROUD MARY for Screen Gems starring Taraji P. Henson and HOW IT ENDS for Netflix starring Theo James and Forest Whitaker, HONEST THIEF starring Liam Neeson and THE MARKSMAN starring Liam Neeson. Zero Gravity produced the Warner Brothers, Ben Affleck starring action/thriller THE ACCOUNTANT, the drama A FAMILY MAN starring Gerard Butler and Willem Dafoe and Executive Produced the hit Netflix television show OZARK starring Jason Bateman. Needless to say, as an on set producer, Tai knows a thing or two about the director/producer relationship including the pitfalls and the paths to glory. Beginning with pre-production, Tai will take you what steps you will need to take from moment one to forge a productive relationship that will last through post and beyond. Tai will talk about the steps you need to make to assure you are communicating clearly and effectively. He will talk you through script notes, casting, hiring crew, location scouting and scheduling. Moving on to production, Tai will teach you how to keep things smooth on set, how t manage disagreements, scheduling and money issues, and the push and pull between what a director wants and what he or she has in the can. Tai will then move on to post, and how to manage expectations during the assembly cut and the director's cut. He will discuss scoring, sound and color, sales and marketing, festival approaches, and even distribution strategies so that everyone is fully communicating and staying on the same page throughout. "Don't allow a failed relationship, miscommunication or misplaced ego sabotage all the work and effort that's gone in to putting a project together. Cohesiveness begins at the top and must continue throughout the project. I'll show you how to get it done." - Tai Duncan