For nearly three decades, the Konwiser Brothers have made innovative entertainment of the highest quality, and demonstrated prescience for entertainment and cultural trends. Their dozens of credits across feature films, TV series, documentaries, interactive multimedia, live events, and music & dance projects have garnered multiple prime time Emmys and festival awards worldwide. The Konwisers have collaborated and partnered with luminaries such as Kenny Ortega, Quincy Jones, Peter Guber, David Falk, Magic Johnson, the Grateful Dead, Carlos Santana, Herbie Hancock, Chuck D, Oliver Stone, Darren Aronofsky, Laurence Fishburne, among many others. With a broad skill set as both senior management business executives and creative artists, the Konwisers have helped to raise the profile of many of the world’s top brands in entertainment, sports and music, including Legendary Pictures, Blizzard Entertainment, NIKE, Burton Snowboards, Gatorade, TapouT, And 1, General Electric, Mandalay Sports Entertainment, and the estates of Roy Rogers and Duke Ellington, to name just a few. The Konwiser Brothers have earned an impressive array of industry awards and honors along the way, including the Prime Time Emmy Award for Best Picture on two separate occasions, the NAACP Image Award, the Humanitas Prize, the Producer’s Guild of America’s Producer of the Year Award. They have earned Best Picture, Audience Award or Grand Jury Prizes at many of the nation’s top festivals including AFI Fest, the New York Festival, Cinevegas Film Festival, Newport Beach Film Festival, Napa Valley Film Festival, Worldfest Houston, Chinese American Film Festival, Golden Rooster Awards, CINE Gold Eagle, and many others. Whether designing the underlying foundation of new business ventures for international corporate brands, building debt and equity financing for entertainment properties, or producing and directing award winning film & TV content, the Konwiser Brothers continue to prove themselves as renaissance men of the entertainment world. Full Bio »
I was born for this. Started on street corners tap dancing, doing comedy, telling stories & holding an audience until they pay me J A Masters Degree from USC Film School and three decades later there hasn’t been a day when I wasn’t writing, directing, producing or managing as an executive a feature film, television, documentary, live event and/or new media program.
I’ve been blessed to learn from and collaborate with some of the luminaries of sports and entertainment producing and business management. For these efforts, I picked up a shelf full of awards & trophies, maintained an upward financial trajectory and learned to enjoy the ride.
A few of the collaborations in my career include: Netflix, YouTube, NBC, CBS, ABC, Univision, HBO, Showtime, TNT, MTV, VH-1, Sony Pictures, Paramount Pictures, 20th Century Fox, Lionsgate Studios, Legendary Pictures, Blizzard Entertainment The Grateful Dead, Quincy Jones, Michael Jordan & David Falk, Phil Knight/NIKE, Magic Johnson, Peter Guber/Mandalay, Dr. Dre, Snoop & Eminem, Arthur Miller, Michael Bloomberg, Laurence Fishburne, the NFL, MLB and NBA, and most of the financing entities in Hollywood. I’ve established tax incentives that spark states into profitable production while structuring large scale financing. Easier said than done, trust me!
Now, I’m thrilled to join with Stage 32 to talk about my journey and share my experiences from over the years. I love to give back to up and coming filmmakers and I’ll be holding an online Q&A to talk with you, the Stage 32 community, and tell you about the things I’ve learned along the way.
If you’re in the middle of your filmmaking journey, now, no matter where you live in the world, I’ll be taking questions from you live, so ask away!
So relax, this opportunity to not give up on your daydream just got a lot closer.
Clint Eastwood, Kip & Kern Konwiser
Kip & Virginia Madsen
Kenny Ortega (director/choreographer), Jim Belushi, William Levy, Emilio Estefan
Kip, Ron Shelton (director/writer), Pete Rose, Kurt Soderling (DP)
Pre-production at Legendary Studios
"The Konwiser Bros." Kern & Kip Konwiser
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!
Learn directly from John Keedwell, a 30+ year filmmaker who has worked in over 65 countries! Many here on Stage 32 like the idea of producing and shooting your own movies, and often you may have a very limited or no budget available. You will therefore often need to compromise and work around obstacles and challenges. In this webinar I examine both the benefits of shooting on DSLR's and I also take a look at some of the challenges they often throw up for the filmmaker. Shooting a movie on a DSLR often requires different additional accessories and lenses to turn it from a stills camera into a camera capable of consistently recording high quality moving images. I take a look at some well-known movies where a DSLR has been used, and examine how they have been used there. DSLR's don't work exactly like a moving picture camera. It is a stills camera that happens to have a feature to record a sequence of video. As a stills camera they work really well and make great images, yet when it comes to shooting anything more than a few movie clips they all have flaws in operation. While these limitations are not impossible to overcome, they can become significant tiresome issues when shooting for extended periods. I examine the ergonomics and functions of DSLR cameras and how they can often hinder the smooth operation and camera movement possibilities for the filmmaker. It’s better to know and examine this now than before you get on set shooting. There are cameras available now that are less expensive and do a much better job of helping filmmakers, they still have the large sensor cinema "look," yet have better ergonomics, monitoring, lens choice, better dynamic range and resolution, and have more functions to support filmmakers. We’ll explore that as well. At the end if the webinar you will be able to: Know why a cine lens differs to a stills lens, and if it will affect your production The best way to record sound with your DSLR-It may not be what you think How to control your focus and depth of focus How to monitor your output for consistent results Know many of the benefits and potential pitfalls to avoid of shooting with a DSLR.
You’re a writer. Your work is entertaining, informative, thought provoking — heck, it’s even clever. You dream of tapping away on your lap-top in a cabin, sending off your material to a publisher or a producer, and collecting your check from the mail-box in the evening before pouring yourself a glass of Malbec red wine and walking your dog by a river. It’s a beautiful dream. But the reality is, no matter how good your writing is, no matter how brilliant your ideas are — if you’re ever going to have that cabin, not to mention enough cash to cover dog food every month, you have to know how to pitch well. In this Stage 32 Next Level Webinar, TV Writer/Producer Charlie Charbonneau (CW shows: The Secret Circle, The Vampire Diaries, and its spin-off The Originals) will teach you how to successfully pitch your ideas as a writer. You’ll learn about the many different scenarios where you’ll have to translate that spectacular idea in your brain to someone who’s never heard it before. This webinar will lay out the rudimentary yet vital skills used by the pros to win over the show-runners, buyers, and agents. You’ll hear about the nitty gritty do’s and don’ts of pitching in places like the TV Writers Room, a studio or network executive’s office, and at lunch with the agent or manager you’ve been dying to meet with. Also, Charlie will be giving you tips on how to nail your 8-minute pitch so you can take advantage of the Stage 32 Script Services pitch sessions offered every week. He'll guide you through how to start, cultivate interest and leave the executives wanting more. He'll not only cover live pitching but how to deliver a superb written pitch! You will get to examine the biggest enemies to a great pitch — fear and anxiety — and strategies to neutralize them so you can keep your cool. And, of course, those who tune in will get to catch some horrific pitch fails from the trenches of TV staff writing. Writers in any medium and at every experience level will benefit from this webinar — from novices to experts. And anyone else looking to hone their sales tactics in the entertainment industry or elsewhere will walk away with strategies to bring their pitch games to the next level. "The pitching webinar was fantastic. Every I was dotted every T crossed. It helped me to really understand the process than to be afraid of it. I still have lots more work and practicing to do, but it was great. Thank you." - Mindy G "Great real life examples - much appreciated!" - Paul B. "Charlie put a lot of heart in his presentation... that's everything!" - Matthew R. "This was exactly what I need. I'm totally new to the industry and I wanted insight into how to best prepare for pitching my projects. Charlie, thanks for doing such an excellent job of providing that insight." - Cam C.
***Lab spots filled - Join our TV writing lab next week with TV literary manager Spencer Robinson - learn more here*** You’ve heard the phrase “the content gold rush” get bandied about much these days, but as it relates to TV, it’s never been more true. Drama television is at it's peak with such iconic shows like OZARK, KILLING EVE, BETTER CALL SAUL, THIS IS US, THE HANDMAID'S TALE, MR. ROBOT, STRANGER THINGS, BLACK MIRROR, BIG LITTLE LIES and so much more. With the influx of networks and streaming platforms either moving into or expanding their original content libraries, the demand for dramatic TV ideas and pilots has never been greater. Thanks to streamers such as Netflix, Amazon Prime, Hulu, Disney+, HBO Max and others, over 600 shows were greenlit last year and some industry experts are predicting we may see as many as 1,000 television shows greenlit per year by 2025. But not only is the quantity increasing, so is the quality, as companies are funneling an unprecedented amount of money, resources, marketing and talent into their shows. And the impact of COVID-19 is even having an impact that could benefit writers all over the world as many shows are planning to implement virtual writer’s rooms. In short, there has never been a better time to write for TV. Now it’s just a matter of breaking in. The opportunities are plentiful and the prospects have never been more exciting, but if you want to write dramatic television you need to prove that you have the chops, and to do that, you better come armed with a great pilot script sample. Something that shows that you have what it takes; something that shows that you understand the structure and craft that goes into a good teleplay; and something that shows off your own unique voice and sensibility. This is your calling card, your way in, the piece of material that will fire you off the launch pad. The intention of this lab is to help you create that piece of material that stands out, gets you the right meetings, and, ultimately, gets you representation, meetings with decision-makers, and/or a coveted seat in a writer’s room. Over the course of a 15+ year career, Anna Henry has read thousands of television scripts and worked with hundreds of writers. Anna began her career as a development executive at Nickelodeon, then crossed over to prime-time television working at CBS and ABC in drama development and programming before working in management and establishing herself as an independent producer. Anna was Head of Development at Andrea Simon Entertainment, a boutique literary management and production company representing writers and directors. Anna has set up projects at Sony, 20th Century Television, EOne, Starz, Amazon, Netflix, Corus, ITV America to name just some. Anna’s client credits include Netflix's SEVEN SECONDS; Starz' VIDA; BET’s IN CONTEMPT; HBO's THE DEUCE, BIG LOVE, and VINYL; Showtime's THE CHI; NBC's THIS IS US; The CW's JANE THE VIRGIN; DirecTV's KINGDOM, AMC’s FEAR THE WALKING DEAD; PBS' MERCY STREET; and more. Anna has taught numerous webinars, classes and writing labs for Stage 32. She remains one of our most popular and in demand educators. In this lab, she will be working directly with you in a class setting and also during one-on-one sessions with the goal of helping you write a fantastic, market-ready pilot. To do so, Anna will guide you through picking a concept, creating engaging characters, perfecting your structure, constructing an outline and, finally, writing your pilot. If you already have a concept or even a completed pilot, Anna will use the same tools to help you hone and sharpen your material. WHAT TO EXPECT By the end of this 8-week writing lab, you will have a completed drama television pilot script ready to be shown to reps, development execs and other executives and professionals. Sessions will vary between 2-hour group settings and personal one-on-one Skype meetings with Anna. You will be held accountable to take the lessons from each week and move your work forward. Plus, to keep you motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the writing process. To see the full writing lab schedule, see below under "What You Will Learn". PLEASE NOTE: This exclusive Stage 32 lab is limited to 10 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with an executive and an expert in the field is an incredibly unique and valuable opportunity. If you are interested, please do book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Amanda at firstname.lastname@example.org for more information This lab is limited to 10 people ***Lab spots filled - Join our next TV writing lab with literary manager Spencer Robinson - learn more here*** This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea or polish an existing pilot. "My passion is helping writers make their work better. I’m not a screenwriter, so I don’t try to insert my voice into your work. With 20 years of experience as a development executive and literary manager, I consider myself to be your advocate and guide. I know the marketplace and know what will make your project successful. But my goal is to tell YOUR story in your voice. I don’t give vague “reviewer” notes, and I am brutally honest. If you want a cheerleader, I recommend you get notes from your friends. If you want to put in the work to elevate your writing, you’ve come to the right place." - Anna Henry Praise from Anna's previous Stage 32 writing labs: "Anna exceeded my expectations, both in terms of quality (and quantity) of information and overall value. Anna was personable, knowledgeable, and organized. Anna and Stage 32 delivered the goods." - John R. "What a thoughtful, thorough and inspiring class. Not only was the content there, but the structure was also superb. Thank you Anna for your genius and your generosity." - Crispin L. "Anna was so generous with her time, so knowledgeable, so encouraging...very grateful. It feels like there's a stronger wind at my back after that. Thank you!" - Michael L.
If a film production is going to use talent that belongs to a guild, you will need to adhere to labor related matters when it comes to residuals. Residuals are how you pay your guild talent and a key component of any production. These payments have a strict way in which they need to be handled in order to make sure that your talent is being compensated properly - whether it's payment upfront or payment on the backend. Conversely, if you are in a guild you need to ensure that your contract lays out the correct components with residuals to make sure that you are paid properly. Whether you are the person paying or the person receiving, we're talking about money here and you don't want to get it wrong. Understanding residual payments in some of the world's key film markets (US, UK and Canada) is vital to your production. As you are putting together your budget and ensuring that your production comes in at or under your budget you have to know how residuals work. Working with guilds can be tricky, but as long as you are clear upfront on how to pay their members and how that flows into your budget you can ensure success. And, if you're talent that belongs to a guild you want to ensure that you are getting every payment that is owed to you for your service on a project. David Zannoni is an international business specialist for Fintage House in the US, Europe, Canada and Latin America territories. Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies. David negotiates agreements for films and television series and is involved in business development and relationship management globally on hundreds of productions. David is continuously present to make deals and speak at international film markets, festivals and conferences, including: the Cannes Film Festival, the European Film Market (EFM) in Berlin, the American Film Market (AFM), Ventana Sur, the Bogota Audiovisual Market (BAM), and the Toronto International Film Festival (TIFF), and travels regularly to the United States, the Netherlands, Europe, and all over Latin America. David will teach you what exactly residuals are and go over a comparison of them in the USA, Canada and the United Kingdom. He will go into a deep dive example on a US example where he will discuss options for payments of residuals and how the calculation works. You will understand how the payment for residuals is secured in security interest, the collection account or the payroll house. He will even go over the agreements you should know that are related to residual payments. He will even dive into residual and media allocation and the recoupment schedule. You will leave with a clear understanding of how residuals work and how to best protect yourself on both sides when dealing with them. With this webinar you will receive free template downloads: DGA Basic Agreement SAG AFTRA Security Agreement SAG AFTRA Standard Agreement SAG AFTRA Television Distributors Assumption Agreement SAG AFTRA Television Buyers Assumption Agreement WGA Theatrical and Television Basic Agreement Standard CAM Agreement International Multi-picture Rights Distribution License Agreement Sample Webinar Resource Sheet Praise for David's Previous Stage 32 Webinars "David is incredible and lovely and clearly knows his stuff." - Cynthia P. "Eye-opening information. A no-brainer approach that wouldn't be so obvious to the uninitiated." - Gary O. "By far, the best class I've seen on the subject." Kirk K. "David is a fantastic teacher. And what a voice! I could listen to him all day. More importantly, I learned so very much!" - Isabella T.
Understanding film distribution and all of the variables that go with it - just got a whole lot easier. With so many sale options, both foreign and domestic, making the proper decision when it comes to distribution rights can be downright frustrating. To help ease that frustration, Stage 32 is bringing in Alexia Melocchi, a seasoned sales agent and buyers representative for international distributors. For over twenty years Alexia has been in the trenches and continues to move successfully through them, which is why we’ve asked her to share her most sound advice with all of you. Alexia has sold over 25 movies to international and US distributors making three times their budget for herself and her producing partners. In 2017 and 2018 the films she acquired on behalf of her distributor clients have grossed over $900 Million USD. On this information-packed webinar, Alexia will share how this was done, as well as offer a fresh perspective on the ever-changing distribution landscape and what filmmakers need to do to successfully move through the trenches themselves today.
In this Stage 32 Next Level Webinar, host Joe Russo will take writers behind the scenes of 2 horror films and 1 horror pilot. This webinar will be an honest, unapologetic look at the successes and struggles during the development process for each case study so you can you learn what to mimic and what to avoid for your own project. You Will Leave the Webinar With: An understanding of how each film and TV project came to be. An understanding of the different strategies used to package each project and how they were introduced to decision makers. A comprehensive look into the notes process so you can learn what went right and, more importantly, what went wrong. Clear advice on how to apply these lessons to your own script or project. Learn directly from Joe Russo, producer who has helped steer writers' projects through the development process to land on The Young and Hungry List, Hit List and The Black List and sell to the Major Studios and Networks. Joe’s extensive production background includes working on productions for FOX, SyFy, A/E, Lionsgate Films and Universal Studios!