Michael Colleary is a film producer, screenwriter and television writer who’s career has spanned over 3 decades. Some of his writing credits include Face/Off, which the New York Times praised as one of the “1,000 greatest movies ever made”, Firehouse Dog, The New Alfred Hitchcock Presents, and the story for Lara Croft: Tomb Raider. Most recently in television he wrote for Unnatural History on the Cartoon Network. Michael is an active teacher and consultant who’s students have gone on to careers making movies and writing television shows such as BoJack Horseman, Modern Family, Arrested Development, The Boy Next Door, A Girl Walks Home Alone at Night, Scrubs, Psyche and CSI Miami. Michael mentors for the Writers Guild Foundation and the CineStory Foundation. Full Bio »
You want to be a studio writer. You have a high concept screenplay. Perhaps you control some blockbuster intellectual property (IP). Or maybe you have the next big trilogy or breakthrough character idea. There are hundreds of studio films that are released each year in need of talented writers. But writing high concept screenplays requires a particular set of skills and understanding.
Landing a studio job as a writer is NOT an impossibility. In fact, more and more studios are turning to writers (and directors) of smaller films to help develop and write bigger budget features. But, as you might imagine, this is a competitive arena. Learning how to write a studio style screenplay is only part of the game. You need to understand how to get from completed screenplay to into the room. And then you have to understand how to work the room. The simplest way to get all this done? You need a team. Securing a manager, perhaps an agent, and, most importantly, a qualified, killer entertainment attorney on your side can make all the difference.
Sounds like a long haul? It's not. It all begins by looking at yourself as an entrepreneur.
Michael Colleary has been working within the studio system for over 3 decades. He was the lead writer on Face/Off and the story creator and editor on Lara Croft: Tomb Raider. And those are a couple of the movies that got made! Michael has made a career and a very lucrative living writing studio films that were purchased and never made. Even though you know some of Michael’s films, he’s made an entire career off of writing things that maybe you’ve never seen get made. Studios pay big money for screenplays, even those that don't make it to the screen.
Michael will take you through everything you need to know about breaking into the studios and sustaining a career. You will learn to think like an entrepreneur and develop the skills you need to get work writing specs, rewrites, pitches and script doctoring. These are the skills that will make you an in demand writer. But that's not enough! Michael will also teach you the business side of working within the studio system. You'll understand how to build your support team and how to negotiate. This often overlooked part of the process is what will separate you from the pack and help you get in and stay in the system.
“Anyone, and I mean anyone interested in becoming a screenwriter – or becoming a BETTER screenwriter has come to the right place. Michael is the best story analyst in Hollywood. Smart, insightful, thorough and creative – he will work his rear-end off on your script or story idea until it sings with commercial and artistic viability. I know this from first hand experience, having collaborated with him on numerous television and feature film projects, beginning with ‘Face/Off.’ Additionally, he has served as my personal mentor and sounding board on practically every sale I’ve ever had in my entire career. You will not be disappointed!”
- Mike Werb; screenwriter “The Mask,” “Face-Off,” “Tomb Raider,” “Unnatural History” and more.
Demystifying "The Business"
The ever-changing landscape of the entertainment industry can be a challenging and confusing place. In this section Michael will discuss:
Screenwriter as Entrepreneur
Screenwriters can be notoriously slow to embrace their "business" side. Here Michael will discuss the crucial importance of connecting with your inner entrepreneur.
Building Your Team
You'll learn what each of your reps provides - and doesn't provide - for you. Common questions addressed:
Let's Make a Deal
In this section, Michael will explain the different categories of screenwriting jobs within the Studio system, including:
Michael will then revisit his "planetary guide" of Hollywood and walk you through - step-by-step - the process of landing a studio writing job, including:
Finally, Michael will break down how a screenwriter gets paid, how a writer's reps are paid, and how to manage economic unpredictability without losing your creative fire.
Q&A with Michael
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! For a live webinar, you will be given the link within 2 business days after the live session.
“Anyone, and I mean anyone interested in becoming a screenwriter – or becoming a BETTER screenwriter has come to the right website. Michael Colleary is the best story analyst in Hollywood. Smart, insightful, thorough and creative – he will work his rear-end off on your script or story idea until it sings with commercial and artistic viability. I know this from first hand experience, having collaborated with him on numerous television and feature film projects, beginning with ‘Face/Off.’ Additionally, he has served as my personal mentor and sounding board on practically every sale I’ve ever had in my entire career. You will not be disappointed!”
Mike Werb; screenwriter “The Mask,” “Face-Off,” “Tomb Raider,” “Unnatural History” and more.
“Among the most serious—and common—mistakes writers make is to expose their screenplays before they’re truly ready. Nothing better could happen to writers than to have Michael Colleary review their pages and provide notes prior to submission to agents, managers, and producers. This is true not only for first-time writers but also for seasoned professionals, even those who have development deals with production entities, writers smart enough to have Michael ask the hard questions before the producers ask them.
I have worked closely with Michael Colleary now for over thirty years, first as my student, and now as my longtime friend and colleague. That we regularly engage him to teach advanced classes in UCLA’s graduate screenwriting program represents eloquent testimony to the nosebleed-high regard in which he is held by all of our faculty.
Michael Colleary is an approachable, gentle taskmaster with a keen eye for what is superfluous, the roiling, swirling paraphernalia that burdens scripts when writers inevitably get in our own way, blocking our narratives, suffocating our chances for success with a particular project or an entire career. Rarely do I encounter a script consultant with chops as strong as Michael’s. Never have I met one who is stronger.”
Prof. Richard Walter, Screenwriting Chairman; Associate Dean, UCLA School of Theater, Film, and Television
“Not every great athlete is a great coach and likewise, not every artist is a great teacher. Michael Colleary is that rare find who excels in both areas. As co-area head of the UCLA screenwriting program, I have watched Michael with his students. He is generous, supportive, involved. his critical insight is laser sharp, delivered with the kindest of hands.”
Hal Ackerman, former co-chair of UCLA MFA Screenwriting Program
“Michael is one of the smartest script consultants around. I first met him when I was a UCLA screenwriting grad student and was lucky enough to have him as an instructor. His notes were incredibly insightful and delivered with such finesse that I left my critique not only feeling that I could rewrite my script with ease, but that’d I’d become a better writer from that note session alone. I have since invited him to come to numerous CineStory Foundation retreats, where he is a beloved mentor, not only because his notes are outstanding, but because he is also outstanding as a person, mentor and critic. He is on our permanent mentor ask list – he’s that good.”
Lisanne Sartor is an award-winning writer/director whose short film “Six Letter Word” has screened at over fifty film festivals worldwide, including the Telluride Film Festival and the American Pavilion at Cannes (www.sixletterword.org).
She made “Six Letter Word” via the AFI Directing Workshop for Women.
Long-time family film and TV executives will teach you how to make your family project market-ready and get it sold. Comes with a case study of a real pitch deck for a produced family film If you’re interested in creating family friendly content for film or TV, you have come across a fantastic time to make something happen. Recent family films like THE ONE AND ONLY IVAN, A DOG’S JOURNEY and OVER THE MOON have been hugely popular, and often produced at a lower budget than their more adult competitors, whetting the appetite of studios to create more like these. And on the TV side, family series continue to be wildly successful as streamers and networks continue to seek out and new content and add to their slate. More studios, networks, streamers and production companies than ever before are looking for this type of all ages content, meaning the opportunities are plentiful if you understand how to best put together, pitch, and sell your project. The opportunity is certainly prevalent for new family films and series to be sold and produced, but it will still be difficult to get your own project off the ground if you don’t understand how exactly your project can fit in. Perhaps more than other genres, family content comes with strict mandates as well as very specific audience demos, each with their own unique profiles and specifications. Projects that can’t easily align or fit into these already defined sections have a much harder to time to sell. Additionally, each studio and network looks for something a little different when putting together their own slate. In order to put your best foot forward and get executives to notice your family-friendly film or series, you first need to understand how the industry works and how best to adjust your project and your pitch. Mike Sammaciccia is the founder and producer at Afterglow Pictures, which specializes in family friendly content and has over 15 projects in development, including a documentary and tv series with Will Smith's Westbrook Studios. Mike also produced the action thriller SURVIVE for Jeffrey Katzenberg, which starred GAME OF THRONE’s Sophie Turner and STRAIGHT OUTTA COMPTON’S Corey Hawkins. Before creating Afterglow Pictures, Mike served as Walden Media’s first creative executive, bringing in the book HOLES and serving as the executive in charge of production for the hit family film starring Shia Labeouf and Sigourney Weaver. He also served as Senior Vice President of live-action movies and series for Nickelodeon for many years, producing 4-5 live action and animated movies per year. This content consistently broke audience benchmarks and propelled the careers of many young stars. Mike has been at the forefront of family content—both film and television—for almost 20 years and knows better than most what it takes right now to get a family project off the ground. Exclusively for Stage 32, Mike will walk you through how to approach developing, pitching and selling your own family friendly series or film. He’ll explain what the state of family content looks like today, laying out the different demos and what kind of content studios, networks and streamers are embracing. He’ll also point to where family content may be headed in the future. Mike will then teach you how to get your own family film or series market ready by defining your own demo, deciding if it’s better as a film or series, making your characters family-friendly, and developing necessary partnerships along the way. Next he will discuss how to get your project in front of the right studio, network or production company and how to determine which one is the right fit for your project. He’ll also speak to whether you need a manager or agent. Mike will then go through how to best pitch your family project, going through the documents you should have, how to pitch and what should go into your pitch deck. Mike will even share a real pitch deck for a family film he went out to pitch and explain why he made the choices he did in assembling it.
"The workbook alone is worth 10 times what the webinar cost. I am in awe. Thank you, Gary." - Antonio T. There's nothing worse than having a screenplay bought or a project with financing get placed on hold because of legal issues that could have been handled at the start. Too many projects have been shelved permanently and will never see the light of day because of conflicts and misunderstandings that could easily have been avoided. Unfortunately, few screenwriters, filmmakers or producers know the right questions that need to be asked and answered in order to protect yourself and your project legally. It doesn't need to be this way, though. There are simple legal steps you can take from the beginning to assure a smooth and steady ride so your focus can be on making the best project possible. Especially for those in creative fields, navigating legal issues can feel overwhelming and confusing, maybe even unnecessary. Yet having a basic legal understanding of how to protect your work and property is incredibly crucial. You need to know how to legally incorporate everyone's input and notes into your script without worrying about losing authorship. You need to know how to set up a partnership for success and why so many people run into trouble when doing so. You need to know when it's okay to agree to work for free or 'on spec' and why it's still vital to have a written agreement. And you need to know when it's okay to talk business on your own behalf. The good news is you don't need to pass the bar in order to ensure you and your projects are in good legal shape. Instead, you just need a little guidance. Producer and attorney Gary W. Goldstein star of Netflix's The Movies That Made Us, has produced some of the biggest box office hits in film history and has served as a mentor to dozens of prestigious writers, producers, and filmmakers. His credits include PRETTY WOMAN, UNDER SIEGE, THE MOTHMAN PROPHECIES, and many more. He's also papered some of the biggest deals in film history. By working as both a producer and entertainment attorney, Gary's knowledge of deal memos and contracts is without peer. He knows all the do's and don'ts, the tips and tricks, and the side streets and alleyways toward making sure that you are not only protected, but getting the benefits and compensation you deserve for your efforts. Now, exclusively for Stage 32, Gary will teach you: A complete "how to" in order to assure that you use a proven and smart approach to protecting yourself legally His 3 rules that should never be broken when entering into deals Whether you should use an agent or an attorney (or both) to negotiate your compensation and benefits on your behalf How to deal with release forms and option agreements How to assure you get everything in writing so there are no surprises or disappointments down the road How to maintain a paper trail of all communication and why it's monumentally important to do so. The realities of maintaining creative control and how to handle the creative contributions of others as well as the pitfalls to avoid when receiving feedback. The qualities of finding a good creative or business partner and the essential questions to ask up front. As if all this wasn't enough, Gary will provide a 40-page interactive workbook exclusive for those who take this webinar. This is an invaluable resource!
As an independent filmmaker, screening your project at a film festival may be the best opportunity to put your film (and yourself) on display. It remains a powerful platform for filmmakers of all levels to have their work seen. In fact you’d be hard-pressed to find a successful filmmaker working today who didn’t get their start at a festival. It’s where films get sold, where talent gets discovered, where reputations are crafted, where communities are built, and where the best networking can happen. And with the current movement away from the theatrical model and towards streaming, festivals can also often be the only possible way to physically show your film on the big screen to an audience during its life cycle. Film festivals are indeed often the next desired destination for a filmmaker, but it’s not always easy to get in, even with a great film. It can be disheartening after finishing a film and investing so much money and resources into it to realize there is still more money to be spent in going the festival route. The act of submitting to festivals can set you back hundreds, if not thousands of dollars simply through festivals’ submission fees. It’s probably going to add up no matter what, but it can set way pricier without a plan in place. It’s common for filmmakers ready with a film to more or less blindly submit to festivals: “Sundance? Check. Tribeca? Check. Cinequest? I heard that one was good, let’s do it.” Yet just because you’ve heard of a festival, just because it’s a legitimately great festival, doesn’t mean it’s the right fit for your project, and it doesn’t your film is the right fit for them. Successfully navigating the festival landscape requires a lot more effort and a lot more time than just pressing that submit button. Yet doing the research, understanding your goals, and carefully building your strategy will not only yield more positive results, but will also save you money on unneeded submission fees in the long run. For nearly a decade Harrison Glaser has been immersed in the professional film industry working for Austin Film Festival and Stage 32. As Austin Film Festival’s Film Competition Director, he programmed the festival’s films for five years and discovered his passion for identifying deserving projects and championing exciting and unrecognized talent. During Harrison’s tenure as AFF’s Film Competition Director, over 100 films he programmed went on to secure distribution, six short films were later nominated for Oscars, and one that he qualified ultimately won the Academy Award. His work with Austin Film Festival and Stage 32 allows him to champion undiscovered storytellers and help them amplify their work. He also serves as a professional moderator for many different film related industry panels both online and offline. Through his many years leading AFF’s film selection and working closely with other film fests, he has become intimately familiar with the inner workings of larger festivals, as well as the common missteps many filmmakers make when working with them. He’s excited to share what he knows exclusively with the Stage 32 community. Harrison will walk you through how best to develop your film festival strategy and choose the right festivals for your film, well before you start submitting. He will begin with the basics of why you should or shouldn’t be submitting to festivals in the first place, and how to best think of festivals as a tool. He’ll then lay out what the festival landscape looks like, including what makes up the “Festival Circuit”, what Tier 1, Tier 2, and Tier 3 festivals are, and the lowdown on both niche festivals and destination festivals. Next he will delve into the importance of having your own specific festival goal and how to find it. He’ll provide six examples of valid and common festival goals and how best to adjust your submission strategy for each. Harrison will go deep into how to research festivals before submitting and what you should be looking for before you should feel comfortable paying their submission fee. He’ll also offer various strategies to choose the right festival and giving yourself the best advantage in getting accepted, including considering niche festivals, finding your ‘in’ and developing your network. He’ll spend some time explaining how scam festivals work and what you can do to spot them and stay away from them. He will offer some tips and context of what you should do if you film is ultimately rejected from one of your top choices, and also what to do if your film is ultimately accepted. You will leave with a slew of strategies to tackle your festival run more strategically and more effectively. Praise for Harrison's Previous Stage 32 Webinar: "This was great. Very comprehensive about festival strategy and works for shorts and features. Probably the best content about this topic I've seen" -Paige F. "The teacher really knew his subject. He was also friendly & warm and made the students feel relaxed. A well spent event and I learned so much." -Toni M. "Appreciated the way Harrison did not gloss over any point — he spoke thoroughly about everything." -Elease P. "Very knowledgeable, open, easy to follow" -Marilyn L.
Serialized dramas produced in the streaming and premium cable spaces may be garnering more awards recognition and chatter on social media, but their often-ignored cousins – the procedural dramas that present closed-ended stories within each episode – should not be underestimated. Procedurals continue to not only draw huge crowds, but can stay on the air for many more seasons than their streaming counterparts (can you believe GREY’S ANATOMY has had 17 seasons??). Current ratings for shows like CBS’s EQUALIZER, FOX’s 9-1-1 and NBC’s CHICAGO P.D., CHICAGO FIRE and CHICAGO MED demonstrate just how wildly successful procedural dramas continue to be. The fact is writing and producing the successful procedural remains a highly marketable skill that can offer longevity to a writer's career, though it requires both technical knowledge and an understanding of the current marketplace for these enduring shows. For something that seemingly sticks closely to a formula, the professional TV procedural script can be deceptively hard to write, and there is little if any published literature addressing this subject. Over the years, many “rules” for writing the procedural or mystery have developed in rooms across Hollywood, and expectations for what such a script must include have grown. But how can up-and-coming writers or writers of other genres learn these rules? What actually constitutes an effective procedural pilot script and how can writers demonstrate this skill in order to find their way into a writers’ room? Barry Schkolnick is a long-time writer and producer in Hollywood who has written on over 20 procedural TV dramas including LAW & ORDER, UNFORGETTABLE, THE GUARDIAN, THE DIVISION, STAR TREK: THE NEXT GENERATION, and IN JUSTICE. Barry also served as co-executive producer on USA Network’s IN PLAIN SIGHT and consulting producer for CBS’s Emmy-nominated and critically acclaimed THE GOOD WIFE. Barry’s work on LAW & ORDER was honored with a nomination for a Writer’s Guild of America award for Best Episode, Dramatic Series and a Silver Gavel Award from the American Bar Association. In addition, he was a member of the writing staff of LAW & ORDER’s Emmy and Peabody Award winning season. Barry has an incredibly deep experience in the world of procedural drama television and will be sharing what he knows exclusively with the Stage 32 community. Barry will walk you through procedural drama television, how it fits in to today’s market and to best write in this genre in order to break into the space and create compelling television. After breaking down the actual difference between serialized and procedural dramas, Barry will give an honest appraisal of the market today and the pros and cons of writing procedural television within it. He’ll walk you through the main types of procedural series currently on air and will then lay out some of the main elements any procedural pilot needs. He’ll provide tips and strategies to best write in this space, including choosing the right lead character, how to best outline, and what the Golden Rule of procedurals is. Barry will conclude the webinar with a case study of the pilot script of THE GOOD WIFE, which he served as a consulting producer on. Using the lessons he taught, he’ll explain why this pilot was so successful and how you can use the script as inspiration for your own procedural project. Praise for Barry's Stage 32 Webinar "Barry presented information that I needed to know whether I was aware of that or not before the webinar. I like that Barry used a script that was available to us ahead of time and knew where he was going to in that script to show us what he wanted us to learn. It was one of the best webinars I have taken." - Bev I. "Barry gave great examples to distinguish the different types of procedural drama from serialized drama. They were easy to understand especially since Barry focused in on the key elements of the procedural drama. I did like the fact that Barry broke the pilot into "chunks" and talked about each one separately." - Susan S. "Barry spoke very personally and also gave good examples and applied his experience to today. Also he was very focused on what to do to succeed but he also was honest that you have to love writing. He came across as smart and no nonsense but also very warm and kind, which seems like a great combination for a writer. Maybe that's why he has been so successful!" - Deborah B. "Barry was very likable, down to earth, forthright. I felt that he really cared about helping writers." - Elise M.
The COVID-19 pandemic and quarantine have changed the film and television industry profoundly. Like it or not, we’re thinking about movies differently now, we’re making them differently, we’re selling them differently, and we’re watching them differently. Studios, buyers, and producers are keenly aware of this shift and are applying this to how they are choosing their next projects. As a writer, understanding how the industry is changing and what people are now looking for can make all the difference in being able to take the next steps in your career. With so many new obstacles and challenges now involved in making a film, producers have to weigh a lot more factors when choosing their next projects, including which movies will be safest to put together. Small details in scripts—scenes or moments that might have been no big deal to include as recently as a year ago—might now be all it takes for a producer or financier to reject. So how does production during COVID look like and how can you make your script work and come across as more attractive within these constraints? Let’s take a closer look. Multi Emmy Award-winning filmmaker and author Shane Stanley has worked in almost every capacity on and off the set with hit shows like ENTERTAINMENT TONIGHT and SEINFELD and producing films like Sony Pictures’ GRIDIRON GANG a #1 box office hit starring Dwayne ‘The Rock’ Johnson. For three years, Shane was Vice President of Sheen/Michaels Entertainment where he produced several motion pictures starring Marlon Brando, Mira Sorvino, Thomas Hayden Church, Donald Sutherland, Marisa Tomei, Sean Penn, John Travolta, and Charlie and Martin Sheen. Shane continues to produce and direct independent films of all levels, including the action thriller BREAK EVEN and action comedy DOUBLE THREAT, currently in production. Shane recently released his book What You Don’t Learn In Film School, which covers filmmaking from concept to delivery and has already landed on required reading lists at several universities across the country. Shane continues to produce films during COVID and is well versed on what it takes to put a film together in this unique time. Shane will dive deep into how producers are operating in the time of COVID-19 and how you can make your script “COVID-friendly” and more attractive for producers to work on. He will begin by outlining how production has changed since COVID, including the biggest new hurdles, new guild requirements, and what’s keeping talent from signing on. He’ll explain what’s making movies more expensive to produce and what locations are now ideal or no longer easy to shoot in. He will next delve into what a COVID-friendly script looks like to a producer. He’ll talk about what kind of stories producers and buyers are seeking out, what red flags in your script will keep producers from signing on and how many characters are too many now. He will also discuss locations as well as the genres and themes that buyers are now gravitating towards. Shane will then discuss how to adjust your script to fit this new era, including deciding whether it’s worth adjusting or saving until things are safer and how to find compromise and middle ground when making changes. Finally, Shane will give you tips on how to get a producer on board during this time. This is a tricky time for everyone, but Shane will give you the lowdown to be smarter and more strategic in finding opportunities and success.
Chris Moore has done and seen it all. During a career spanning over 30 years, Chris has produced films that have had multiple Oscar nominations and wins such as Good Will Hunting and Manchester by the Sea, to studio blockbusters like American Pie and The Adjustment Bureau, to independent darlings such as Waiting, to creating and starring in the critically acclaimed industry television shows Project Greenlight alongside Matt Damon and Ben Affleck and The Chair. One of the secrets of Chris' longevity in the business is a full understanding of the business. He's as plugged in as they come and he knows how to adjust quickly, swiftly, and successfully as the landscape changes - which seems to happen on a daily basis these days. Most importantly, Chris is known in the industry as a take-no-prisoners, no bullshit guy. He tells it like it is and pulls no punches, which, in this business, is welcome and refreshing. And now he's here exclusively for Stage 32 to teach you how to build a lasting career in today's entertainment industry. With the evolution of the industry causing dramatic shifts in the way you create and consume content (film, television, digital) and more content being created, bought, sold, screened, broadcast and streamed than ever before, there are more and more opportunities are being presented for a creative career. But you have to know where to look, how to position yourself, how to best present yourself and show that you have a complete understanding of where the industry is headed and how you can add significant value. Chris will discuss the current state and the shifts in the market to help you make educated decisions on the path you should take with your career in the industry to not only assure success, but satisfy the lifestyle you desire. He will also discuss where he believes the future is headed so you can be ahead of the curve in making the right decisions for you and your career. Then, Chris will make the proceedings interactive, workshopping with select attendees and discussing primary and alternative paths for their wants and goals. Some examples: For filmmakers having trouble gaining traction, Chris will go over alternative ways you can break in and gain your footing. For screenwriters who have been at it a long time and haven’t gotten their break, Chris will discuss alternatives and lifestyle choices for the current industry. For cinematographers (or other creatives) looking to move from digital shorts to streaming TV, Chris will present a path and strategies to make it happen? This is a no nonsense, detailed filled, strategy packed session designed to help ALL creatives and professionals! "Undoubtably, my favorite Stage 32 webinar yet, and that's saying something. Wow, was this a welcome kick in the ass. I love Chris' style, passion, and energy. Obviously, his experience and success speaks for itself, but as a teacher, he's a master. This was a huge land for Stage 32. I hope you bring him back again!" - Ronnie W. "I like the way Chris organized all the changes in entertainment so it was easy to understand. It's overwhelming trying to figure it out and I appreciated Chris taking the time to explain it. I also appreciated the workshopping advice. Thank you Chris." - Marisa S. "The brutal truth how Hollywood operates was eye opening, but it's best that I'm aware as I try to find my place." - Wolf O. "Chris Moore is a hero. He saved me from my doubts." - Julia C.