The Future Film Group was established in London in 2000 as a film financier, utilizing the expertise of its principals in both the entertainment and business worlds, quickly establishing itself on the UK scene through its involvement in films such as Bend It Like Beckham (starring Keira Knightley), The Queen (starring Dame Helen Mirren) and Mrs. Henderson Presents (starring Dame Judi Dench and Bob Hoskins). The company quickly formed a production division to work alongside its financing arm and, through an ever-expanding structure, has since been involved in the production and/or financing of nearly 200 films and television shows. In 2006, the company opened an office in Los Angeles to give it a greater outreach to the wider filmmaking community, thereby making it a truly global brand. With this new outreach, the Future Film Group has produced films and television shows all over the world, including the US, the UK, Ireland, Spain, France, Eastern Europe and South Africa. Notable titles include Flawless (starring Demi Moore and Sir Michael Caine), Transsiberian (starring Woody Harrelson and Sir Ben Kingsley), Cracks (starring Eva Green), Fifty Dead Men Walking (starring Jim Sturgess and Sir Ben Kingsley) and Manolete (starring Adrien Brody and Penelope Cruz). Ricky joined Future Films USA in March 2007 as its Production and Development Executive, where his responsibilities included the sourcing and tracking of projects that required financing and helping them to progress into production, working closely with the London office to provide the Future Film Group with a global outreach for its fundraising and production activities. Other elements of his work included liaising with the various film commissions to keep abreast of their legislation, and the development of relationships with producers, sales agents and financiers. Since 2010, Ricky has been working in the role of Vice President of Future Films USA, continuing his work on the financing side whilst also becoming a more integrated part of the Future Film Group’s production activities, working closely with its London office. He has recently been directly involved in the production and financing of such high-profile films as Veronika Decides To Die (starring Sarah Michelle Gellar and Melissa Leo), Breaking The Girls (starring Agnes Bruckner), Last Passenger (starring Dougray Scott), and Walter (starring William H. Macy and Virginia Madsen), among others, often serving in an Executive Producer or Associate Producer capacity, as well as serving as an Executive Producer on television shows including Ultimate Brain for the BBC. Simon Graham-Clare is a producer at The Future Film Group, USA. In his current position Simon assesses film and television projects that Future Films might board to finance or produce. Simon then works with producers and filmmakers to build a viable package and finance plan, attach a sales agent and raise any remaining finances. Full Bio »
In this Stage 32 Next Level Webinar, Simon Graham-Clare and Ricky Margolis will demystify global tax incentives and highlight some of the many other factors to take into consideration when looking at different locations. They will look at current example incentives from around the world and also enlighten you on ways these incentives can trigger additional investment into your project.
Filmmakers will learn more about international independent film financing and how tax incentives are a key element to the business plan and can open doors to a slew of potential partners, helping to plot a ‘road map’ to production. Writers will learn why they need to be thinking about the locations in which they set their stories, and how it affects the attractiveness of their scripts to producers and financiers. Having a clear understanding of today’s global tax incentives will leave your project looking more professional and further advanced, hopefully increasing your chances to move the project into production.
Your hosts Simon Graham-Clare and Ricky Margolis are Producers at Future Films USA, having financed and produced over 200 films and TV shows! The Future Film Group was established in London in 2000 as a film financier, utilizing the expertise of its principals in both the entertainment and business worlds. They quickly established themselves on the UK scene through their involvement in films such as Bend it like Beckham (starring Keira Knightley), The Queen (starring Dame Helen Mirren) and Mrs. Henderson Presents (starring Dame Judi Dench and Bob Hoskins). At Future Films USA, Simon works as a producer, assessing film and television projects that Future Films might board to finance or produce. Ricky works in the role of Development Executive, continuing his work on the financing side whilst also becoming a more integrated part of the Future Film Group’s production activities.
Simon Graham-Clare and Ricky Margolis
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!
“I felt like Simon had a concise step by step study guide on the process of getting to the green light…it's no longer a jumble!” – Russ G.
“Excellent presentation! Organized, well-spoken.” – Brent B.
“Very well presented with a personal take on the business.” – Glenn C.
“Great seminar, thanks!” – Augustus L.
If you are a writer, filmmaker, digital content creator, or producer, it's vitally important to not only understand the role of a sales agent, but how to find, vet and hire the right sales agent. This is a vital, yet extremely overlooked aspect that could make or break the viewership and profitability of your film or project! In this challenging and competitive world of film and digital content finding the right sales agent is key. Understandably, many creatives, producers and digital content creators find venturing into the world of sales agents to be daunting. But it doesn't need to be! There are few who know the world of sales agents better than Simon Graham-Claire and Ricky Margolis. Simon and Ricky head up, Future Films USA and have been involved in the financing and distribution of over 200 films and TV shows. In this extremely popular and exclusive Stage 32 Webinar, Simon and Ricky give you all the tools to navigate the minefield of sales agents. Just some of the questions Simon and Ricky will be answering include: What can a sales agent do for me that I can't do for myself? Where do I go to find a sales agent? How do I know if a sales agent is reputable? How do I know a sales agent is right for my genre? What questions should I be asking when vetting a sales agent? What if a sales agent disagrees with where I believe the film or project should be distributed? How much do sales agents cost? Will a sales agent expect to have an equity position in my film? How does the waterfall distribution of funds work with a sales agent involved? Can a sales agent bring financing to a project? Let Simon and Ricky demystify the world of sales agents and help you protect the films, shows, and projects you worked so hard to conceive and create by getting your work seen and by increasing your likelihood of profitability! Praise for Simon, Ricky and How to Find and Hire the Right Sales Agent to Help You Distribute Your Film or Project "I felt like Simon and Ricky had a concise step by step study guide on the process of getting to the green light... The idea of hiring a sales agent is no longer a jumble" - Betty S. "Loved the presentation and I found it very informative! Thanks again!" - Richard D. "Great seminar - informative and to the point." - Robert G. "Very well presented! Loved their personal approach!" - Glenn C. "Excellent presentation! Organized, well-spoken, and crystal clear!" - Brent B. "My second webinar with Simon and Ricky. They're incredible. Please bring them back again." - Samantha M. This webinar is available for immediate and unlimited viewing On Demand
With YouTube changing frequently, it's important to understand the ins and outs of this global platform. After taking these 4 sessions you will: ● Develop the ability to conceive of, develop, and produce original and engaging YouTube content. ● Gain proficiency in uploading & posting videos to their YouTube channel. ● Display a working knowledge of YouTube’s best practices & strategies to help build an audience on the YouTube platform by measuring subscribers, views and audience engagement via comments. ● Demonstrate the ability to measure video performance via YouTube Analytics, including user engagement, view reports and demographics. ● Develop an individualized artistic voice.. ● Illustrate the concepts of the YouTube auteur culture via exposure to a series of web videos spotlighting successful YouTubers who’ve built a sizable audience and presence on the YouTube platform. ● Participate in the user-generated content (UGC) by gaining understanding of the largest user-driven video content provider in the world successfully built on the user-to-user social experience.. Also, understand YouTube Anthropologically, it's culture as not only a video platform but as a search engine and social media site.
Some of the most well regarded recent feature films and television shows were based on books, including the Oscar-nominated Little Women, JoJo Rabbit, The Two Popes, The Irishman and the Emmy-nominated Game of Thrones, Chernobyl, Fosse/Verdon, Sharp Objects and many more. Authors spend months, if not years, formulating characters and worlds that make it onto the printed page. This creativity serves as great source material that would translate greatly to the big or small screen. If you're an author who's written a novel and are looking to get it adapted, a screenwriter that's written a script based off a book you have (or would like to obtain) the rights to, or a producer or financier who has the rights or are circling securing the rights to a property you believe would make a great film or TV show, you need to understand the steps to take to obtain the rights, protect yourself legally, and make the development process a smooth and enjoyable ride. Discovering an adaptation-worthy story can be as simple as stumbling across an interesting book or article at a bookstore, library or newsstand. Understanding how to obtain the rights and develop that material effectively is the harder part. It takes meticulous planning and approach to be able to get the rights to the desired intellectual property and successfully adapt and develop the material. Many factors go into getting an adaptation to the screen including negotiations, legal hurdles and making sure you're staying authentic to the source material. Once misstep and it could derail an amazing project. You need to be prepared. Jim Young has produced films adapted off of books and intellectual property such as The Catcher Was a Spy (starring Paul Rudd), Lovelace (starring James Franco, Sharon Stone, and Amanda Seyfried) and The Man Who Knew Infinity (starring Dev Patel, Jeremy Irons, Toby Jones, and Stephen Fry) and Life of King (starring Cuba Gooding Jr.). He's had his films premiere at Sundance, Tribeca, SXSW and has earned himself a reputation of being an expert in adaptations. Through years of working with authors, publishers, talent, financiers and distributors Jim knows how to adapt a book into a film and TV series from start to finish. Jim will teach you how to acquire the rights to a book you're interested and go over where to look for title, how to approach the author and publisher and how to close the deal. He'll give advice on the story development process and how to engage the author during that time, as well as tips on how to avoid liability. You'll learn two essential people you must have in your pre-production phase and how to work with the cast, crew and author on set. You will get insider tips on what to do before your film or TV show hits the screen to gain momentum for your project. And, finally, Jim will give you six legal elements to have in place prior to your project's release. This is must-know information coming from someone who's prolific in producing films based off of books.
There was once a time when screenwriters solely used typewriters to tell their stories. Obviously that time has since passed, and the tools writers use to create their scripts have drastically evolved. Software like Final Draft, Writers Duet and Fade In has been created to optimize a writers’ experience, help with formatting, and ideally aid writers through their various obstacles and make the process easier. Yet this doesn’t always work out as intended. Too often, technophobia - the tendency to be intimidated by technology - limits writers’ ability to work with efficiency and speed and makes these programs more overwhelming and burdensome than helpful. And with so many different types of writing software out there, how can you know which one is the best fit for you? We all know that writing is hard enough on its own without the extra burden of navigating difficult technology. The tools you use to write shouldn’t get in the way of creativity. Instead, gaining confidence and proficiency with technology can allow it to fade into the background, allowing you to focus on the task of great screenwriting. Knowing how best to use the tools available to you—and which ones to use in the first place—can serve as a powerful boon to your writing process and overall career. Whether it’s software, hardware, or workflow, moving past the technophobia and embracing the tools that are right for you can allow you to write with more ease, speed and efficiency than might be otherwise possible. First, it’s important to know what’s out there and how to actually use it. Jon Stahl is a writer, producer and script coordinator, who has served on HBO’s DGA, SAG, WGA and Emmy Award-winning comedy series VEEP. Jon began his career in production, working on projects like Jason Reitman’s YOUNG ADULT starring Charlize Theron, Showtime’s THE BIG C, and IFC’s MARON. He also produced Season 1 of the Emmy-nominated series EASTSIDERS, before getting his first high-profile writers’ room position on the NBC network sitcom MR. ROBINSON with Universal Television. Jon went on to work in the writers' room at Nickelodeon on their show GAME SHAKERS. He’s currently on the upcoming FOX animated series HOUSEBROKEN starring Lisa Kudrow and Will Forte. Jon’s career has hinged on writing quickly and efficiently by using various software and technologies and knows better than most how to use the tools available to enhance your own writing career. Jon will give you the tools to embrace good technology and use all the technological tools at your disposal to tell an amazing story. He’ll begin with a rundown of the different tools you should have to write, including keyboards, monitors, ergonomics and software. He’ll then delve explain why you need screenwriting software in the first place. Jon will delve into the lay of the land of screenwriting software, including a run through of the main players, free and affordable options, and what the standards and expectations are in the industry. Next he will show you how you know what screenwriting software is the best fit for your specific needs. He’ll go through the strengths and weaknesses of the leading programs and show you what paid software can offer that free versions do not. Jon will then go through a live demonstration of Final Draft. He’ll walk you through Final Draft’s interface and main features, how to start a script on the software, how to set up your workflow through Final Draft, and keyboard shortcuts you need to know to save you time. He’ll also go through other tricks Hollywood writers use to optimize Final Draft, how to write safely and back up your work, and how to use templates. Jon will then do the same live demonstration for both WriterDuet and Fade In. Next he will discuss other types of software to consider, including general purpose writing software, miscellaneous writing tools, and system software. Finally, he will provide you with additional resources you should consider. Expect to leave feeling a lot more confident and a lot less overwhelmed in bringing in good technology to help your writing. "Screenwriting software is a necessary tool for anyone who wants to write for film and TV. I'm so excited to lead this webinar and help anyone who wants to gain proficiency with these widely-used tools, so you can focus on the craft of storytelling." -Jon Stahl
All actors want representation. It’s often the first step actors take in their careers. After all, agents and managers are the ones that are connected to the industry. They know who is casting and where the auditions are, and they’re positioned to help you succeed—at least in theory. Many reps are incredible allies and partners for actors and transform careers for the better, but not all are created equal. Some reps unfortunately don’t carry their weight and fail to champion a client—sometimes they’re not as connected and in-the-know as they suggest, sometimes they might not be as invested in you as they should be. It can be common for actors in this position to blame themselves for lack of opportunities, even if the fault lies out of their control. But having a bad rep doesn’t mean you’re untalented and it doesn’t mean you can’t make it in the industry; it just means it’s time to recognize where the problem lies and to take back your own power. And, if you've decided to go without a rep, it's important to know that you have the power to move the needle on your career. Many actors will sign with an agent or manager immediately because they feel it is better to be represented than have no rep at all. However, it’s important to make sure you and your rep have the same goals for your career and that you both will do what needs to be done to get those goals accomplished. If that’s not in the cards, it’s time to make a change. Every actor should first and foremost consider themselves their own representative—managers and agents will inevitably come and go throughout your career, but you will always need to be your best advocate. It’s therefore critical to understand, as your own representative, when the people in your corner are really in your corner, and when perhaps there is more you can do as an actor to find more success. When making these difficult decisions, remember that an actor’s world doesn’t start and stop with their rep; there is so much you can do before signing, after, and in between. It’s time to understand how to take control of your own career and hold both yourself and your representative accountable (if you have one). Elizabeth Guest is an actor, writer, director and producer based in Los Angeles and has appeared on Netflix's REAL ROB, the Emmy-winning CALIFORNICATION, NBC'S A.P. BIO, CBS's THE MENTALIST and more. She attended USC's School of Cinematic Arts and has spent the past few years writing and performing her own material. She has put up numerous plays at the Upright Citizens Brigade theater, one of which, called NICE GIRLS, was eventually turned into a digital series by Funny or Die. She also wrote/directed/produced and starred in the digital series GUEST APPEARANCES which won the Best Scripted Digital Series Jury Award at Austin Film Festival and the Best Short Form Jury Award at the Nashville Film Festival. She was named by Moviemaker Magazine as one of the "25 Screenwriters to Watch." Season one and season two of GUEST APPEARANCES will soon be streaming on FICTO. She has two feature films that are currently in post production. Elizabeth is a big believer in creating her own opportunities and is ready to inspire actors in the Stage 32 community to do the same. Elizabeth will draw from her own experience to teach you how to find your own power as an actor and how to know when to leave a rep that isn’t doing their job. She’ll begin by going over the roles and expectations of both managers and agents, what the differences are between the two, what an ideal agent and manager look like, and what a beneficial relationship between a rep and an actor should feel like. She’ll also discuss the separation of responsibilities that are standard between reps and actors. She’ll then talk about what to how to know when your rep isn’t doing their job. She’ll give you 6 red flags to keep a lookout for with your rep to determine if they might not be holding their end of the bargain. She’ll also share five things you should be asking yourself as a self check-in to make sure you’re doing all you can before blaming your rep. Elizabeth will teach you strategies you should try with your rep to repair the relationship and will give you tips on when to know it’s finally time to leave. Next, she will discuss the proper way to end your relationship with a manager and how to understand the legal aspects to avoid complications. Elizabeth will give you the tools and wherewithal to move forward with your career after leaving your manager or agent, including creating your own opportunities and finding ways to get yourself discovered without outside help. Finally, Elizabeth will explain what it means to take back your own power, how to craft the career you want and focus on the work to achieve your goals independently. It’s so important for actors in this industry to feel empowered and know their worth, and Elizabeth will give you the tools to do just that. Praise for Elizabeth's Stage 32 Webinar "Liz was informative and inspirational! Great ideas about content creation!" -Bill H. "Elizabeth is terrific, and inspiring. Plus she is experienced and knowledgeable" -Dede R.
The surge of television platforms, networks, and streamers in recent years has drastically opened up the world of television content production, spelling good news for aspiring content creators around the world. We’re not just talking Netflix and Amazon; countless other channels and streamers like Tubi, Roku, Snap, and many more are actively building their slates and looking for new content to buy outright. With these opportunities, it’s more than possible to create, sell and be profitable on your own independent TV series. Yet this does not mean it’s easy. Financing and recouping costs for independent television production requires a firm understanding of the constantly changing TV landscape and opportunities available to secure funding. With the rules and trends of television changing so frequently, it is difficult to be on top of where opportunities lie. Standard and subscription networks are losing revenue to streamers, and their acquisition budgets are decreasing. At the same time, streamers prefer buying all rights, and spend much less money on digital rights only, which disrupts the financial model. And many investors who are more used to funding films are resistant to TV shows without the splashy premiere and red carpets that they’re used to. These challenges and more stand in the way of fully financing your own television project, but they can all be overcome with the right approach and understanding. Over twenty-five years and working across three continents, Jeanette Milio has been involved in the production of over 500 hours of content for film and television, with a total production value of over $250 million, and including Academy Award® winning talent in front of and behind the camera. Recently, Jeanette has focused on the development, financing, and production of television series. She co-created, co-financed and executive produced the beauty competition series GLOBAL BEAUTY MASTERS on TLC and its spin-off series THE LOOK ALL-STARS on The CW. She further managed the renowned dog series TV series and brand DOG WHISPERER WITH CESAR MILLAN, which aired for 9 seasons on the National Geographic Channel and sold in over 180 countries. In 2020 Jeanette co-created, financed, and produced two seasons for the new series DOG MASTERS, starring Laura Nativo and Alex Rossi, which is being represented by The Gersh Agency for the U.S. and international distribution. Jeanette’s decades working and finding success in the TV industry has given her a unique and unrivaled perspective of how to finance television content and get it sold. Jeanette will lay out step-by-step how you can successfully finance your own content for television in today’s ever-changing ecosystem. She’ll begin by taking a look at the independent TV space today, what’s being produced, what’s selling and what opportunities are out there aside from Netflix. She will identify available funding sources and go through the rules of financing you need to understand. She’ll then go into what effective TV pitch documents need to include for investors and how to make your stand out. Next, Jeanette will give you tips on how to secure “free money” for your project by leaning into things like co-productions, subsidies, and tax incentives. She’ll explain how you can mitigate risks for yourself and your team and teach you how to create your own IP to attract audiences and therefore investors and distributors. Jeanette will explain distribution deals that are available today and help you understand how to determine which deal is right for you and your project. Finally, Jeanette will identify the biggest potential pitfalls for producers and investors that you need to avoid. It’s more possible than ever before to fund, produce, and sell your own independent TV content, especially if you can understand the rules to follow and the traps to avoid that Jeanette will thoroughly lay out.