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
As a television maker, one of the most difficult aspects of your job is creating and managing the budget for your project. Budgeting a feature or a short can be complicated enough, but at least you have all of the information at your fingertips. You have a script, schedule, rates—all of these things are at your disposal. However what happens when you need to budget a TV show? You don’t have all the scripts, there’s seemingly no way to create a schedule and, on the surface, no way to generate a budget. And once that budget is established, how do you handle decision making and cost tracking over a many, many months long process? These seemingly unsolved issues do have answers, and ones that may be simpler than you think. Successfully producing a TV show to get on screen requires that you understand not just how to build a TV budget, but also how to operate it. Knowing the ins and outs of Movie Magic and the various tools within as it relates to television is key. It’s very easy to get overwhelmed and drown in the details of creating and managing the budget of a series. Through thorough research of the software, what it does and how it affects your project, you will be able to create TV budgets with ease. Presenting a solid TV budget will help you gain the confidence of those who can ultimately invite you into the inner circle of TV producing and allow you to advance your career to new heights. Rami Rank is a producer with credits on shows including Amazon's GOLIATH, DEXTER for Showtime, SWINGTOWN for CBS, HELP ME and HELP YOU for ABC, as well as features such as the remake of APRIL FOOL'S DAY. Rami began his career working on indie features as a Production Coordinator, Production Manager and Line Producer. After joining the union and coordinating the third season of DEXTER, Rami joined Universal Studios where in addition to helping manage the Backlot and Stage Operations he also ran UVS-1, Universal’s Virtual Production business until 2013, when he came back to production. Through his storied career, Rami has produced and budgeted for all types of television shows, including some of the biggest ones out there. He knows intimately what goes into the vital aspect of creating a budget for these projects and is ready to share all he’s learned exclusively with the Stage 32 community. In this 3-session class, Rami will offer detailed, practical, and exhaustive guide to creating and managing a successful TV budget. In session one he will review the basic starting point of a TV budget: where the information comes from and how to utilize it. He will review some basic concepts like Budgeting and Scheduling Software, Rate Guides and the two types of budgets you’ll be creating – Patterns and Amorts. Session 2 will be a deep dive into the Amort budget. Students will receive a copy of an Amort budget to use as reference as we walk through all of the departments, positions and costs to consider in preparing the Amort. In the final session you will receive copies of a pattern budget to use as reference as he teaches how this budget is transformed into an episodic budget and then tracked using hot costs and cost reports. You will leave these three classes with the knowledge base and confidence to tackle any TV budget. WHAT TO EXPECT This class is designed for beginner and intermediate students looking to learn the ins and outs of creating a budget for a television show. This is an in-depth, practical, and detailed class with significantly more than a standard 90-minute webinar. You will be given guides and walk throughs of software and procedures and will receive handouts and resources that will accompany the lessons and that you will be able to hold onto after the class ends. This class will consist of three sessions, each roughly 90 minutes in duration and spaced one week apart from one another. In addition to the lessons where Rami will be sharing his screen and walking you through section by section of television budgeting software, you will have the opportunity to ask Rami questions during each session. Plus, to stay motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the budgeting process. To see the full budgeting class schedule, see below under "What You Will Learn". "As a long time producer, I know how important a solid budget is for any television show, and I know just how challenging it is to create one successfully—much harder than for features and shorts. I’m excited to empower producers and creatives in the Stage 32 community to do the same. Get ready to learn more about TV budgets than you ever have before!" -Rami Rank
If you're thinking about attending some of the major film markets - including Cannes, TIFF, AFM or EFM - it's important to understand how to navigate the commerce of the markets. We're bringing in international producer Alexia Melocchi, who has over a decade of experience at the markets to go over each of the markets and how you can get the most out of attending!
As creators we can get swept away in the excitement of having our film or television project greenlit. Imagining "lights, camera, action", the collaborative process and the excitement of having a successful and profitable project is the reason we pursue a life in film and TV. But, before you step on set and get rolling, you'll need remember that this is, in fact, a business. It's a business with a great deal of money at stake for investors who want to make sure their money is protected. In order to do this, you'll need to understand how to set up your project as an entity and the tax implications involved for you and your investors. It may be the least sexy, but certainly the most crucial component to putting together a film - the accounting process. Someone (or maybe even yourself) has taken a chance on investing in your dream, and that means that investment should be treated with care. Taking the important step of understanding what entity type you should set up and the tax implications that go along with it, will help you avoid major headaches down the road and give you the peace of mind that will allow you to concentrate on making your project the best it can be. Having your project setup correctly from the get go will also help you avoid costly mistakes with investor distributions. And, let's face it, you hope to show that you know the ins and outs and that you can deliver a successful project so your investors will stay with you and invest in your next film or TV project. John Thomas and Kristy Clabaugh are Atlanta based CPAs that specialize in providing services to the film & entertainment industries both abroad and in the US. Kristy also serves on the executive board of directors as Treasurer for both the Georgia Production Partnership and Women in Film & Television Atlanta. Together they have worked on hundreds of film and television projects assisting clients in all stages of project implementation from investor relations, entity structuring, waterfall projections, budgeting, pre-production and development, production accounting to post-production. John and Kristy will teach you the differences between an LLC, Corporation, S-Corporation and Foreign Entity and the common strategies that go along with each. You'll understand the tax effects of your selection and how dividends vs. distributions will work. You'll also learn how to work with tax incentives and financing. And, most importantly, you'll understand how to talk with your investors and what you'll need with K1s, Section 181, money flow, loan-outs and more. They will teach you everything you need to know to set up your entity correctly, protect yourself legally, give your investors the comfort and security that they're money is protected, and that you're in the best position to see a return. "This is the holy grail! John and Kristy are so knowledgeable about so many things with the business side of the film!" They made this part of the process actually fun!" - Wade N. "All I can say is wow. I have seen the light and now feel beyond comfortable putting together my next film." - Jennifer L.
It's the question every screenwriter eventually wants an answer to: How do I get a manager. There's a lot of information out there, and probably even more misinformation, on the proper approach toward attracting and securing a manager. The truth of the matter is that most managers are tremendously busy. They are not only reading their clients scripts, they're helping them flesh out new ideas. And when they're not reading their clients' work, they're reading scripts recommended to them by trusted sources and staying on top of industry trends, as well as production company/network/streamer mandates, wants and needs. So how best to break through and make sure you have the most solid chance to land a quality manager? What if you had the chance to pull back the curtain back and hear directly from a successful literary manager as to what makes them interested? Now you can. All writers think they have the next great screenplay. And maybe you do! But to get the proper feedback, get the script into market shape, and have a confidant on the business side of your pursuits to get your work out there, having a great manager who's plugged in can make all the difference. Unlike agents, managers are there to make sure all of your screenplays are molded toward marketability. Additionally, they're in the career building business. They'll help you hone and shape not only your existing screenplays, but your ideas for the next one and the one after that so that you go from novice to experienced and in demand. Conrad Sun currently working as a Film & TV Literary Manager and Development Executive at Meridian Artists, a management company with offices in United States and Canada. Originally from Canada himself, Conrad made the move to Los Angeles nearly 10 years ago where he attended the University of Southern California’s Peter Stark Producing Program. After attaining his masters in film & TV producing, Conrad went on to work in both film & TV lit management at New Wave Entertainment, and TV production at Motion Theory Films. Conrad currently heads the Los Angeles offices of Meridian Artists and reps film & TV writers in both the comedy and drama space. Conrad writers have credits including BLINDSPOT, BOJACK HORSEMAN, 2 BROKE GIRLS, MOTIVE and SLASHER. In this jam-packed 90-minute plus webinar, Conrad will give a complete and thorough overview of the screenwriter/manager relationship. He will explain the often confusing world of managers vs. agents and explain which one you need first, what each does for their clients and whether you'll ever need both. He will explain how a manager works in the day-to-day so you can understand how to best help your manager to position yourself toward success. Then, Conrad will dive into the nitty gritty of how to get the attention of a manager, the importance of writing samples, how to utilize writing groups, the psychology of your reader. From there, Conrad will use real world examples by breaking down the pilot for BLINDSPOT. Conrad will also go over the merits (or lack thereof) of query letters, screenwriting contests, pitchfests and more. And in one of the most important but overlook aspects of the building of a screenwriter's career, Conrad will discuss the importance of defining, building, and explaining your brand and the brand of your work. You will also receive a list of resources from Conrad to help you on your screenwriting journey. This is an all out, fully comprehensive look at how to find, secure and build a relationship with a quality literary manager. Praise for Conrad "There are so many 'experts' out there giving advice on how to secure management. This webinar proved how much of it is BS. Thanks to Conrad for giving the straight skinny." - Steven L. "So much logic. So much common sense." - Gina P. "Eye-opening and immensely helpful." - Heather P. "I've wasted so much time taking the long, winding road. Thanks for putting me on the highway." - Drea T. "My 5th Stage 32 webinar and I get more impressed with each one I take." - Michael M.
So you want to shoot a micro-budget film. You've got your idea. You're excited as hell. You can't wait to get going. There's just one problem. You have little to no money, need to shoot this film on the cheap, and you can't do it without an experienced crew. So how can you get quality, talented people to work for you for little to no money? It happens every day. If you know how to navigate. The old saying goes, a filmmaker is only as good as his or her crew. Making sure that everything is buttoned up on set, from your script supervisor to your sound engineer to your DP and gaffer, the more quality you throw at your film in pre-production and during production, the less headaches and "let's try to fix it in post" problems (which are also painfully expensive) you'll face in post-production. The thing is, regardless of your budget, and in this case we're talking ultra low to $250,000, you can find passionate, creative, and qualified people to work for you well below their normal rate. Barry Andersson is an award-winning director and cinematographer. He has directed 5 feature films (time and time again with some of the best crews imaginable) and has had his features theatrically released in theaters with his latest film distributed by Lionsgate. Barry's has also shot several television pilots, acclaimed short films, numerous commercials, and countless commercials and corporate videos. As if that wasn't enough, Barry is also the author of the hugely successful and revered DSLR Filmmakers Handbook. Barry will teach you how to secure top level, Hollywood quality, crew members for cheap no matter where you live in the world. He will instill in you the confidence to identify and then go in for the proper "ask". He will show you why sometimes a positive and visionary attitude is everything. He will even teach you how to be flexible with your story and locations in an effort to give yourself the best chance of finding and securing a crew that can take your film from OK to masterpiece. Barry is an excellent teacher. He never fails to inspire and make you understand that what you always believed to be impossible, or at least ridiculously daunting, is not only possible, but absolutely attainable if you follow his methods. I wouldn't be where I'm at without him. - Julia V.