Jordan Yale Levine, President, Yale Productions Named as one of Variety's 10 Producers to Watch in 2016, a member of the Producers Guild of America, and the President of Yale Productions, Jordan Yale Levine has made a strong name for himself in the entertainment industry. Jordan has garnered a substantial list of film credits, as well as currently having several projects in various stages of production and development. Jordan is responsible for the producing, financing and/or distribution of over twenty-five feature films. These films include the recently released IFC title, King Cobra, starring James Franco, Christian Slater, Garrett Clayton & Keegan Allen, which premiered at the Tribeca Film Festival in 2016, and Jack Goes Home, released through eOne, starring Rory Culkin, Britt Robertson & Lin Shaye, which premiered at SXSW in 2016. Additional films include Petunia, starring Brittany Snow, Thora Birch, and Eddie Kaye Thomas; Addiction: A 60's Love Story, starring Ian Harding, Evanna Lynch, and Carol Kane; Black Limousine, starring David Arquette, Bijou Phillips and Vivica A. Fox; Wreckage, starring Aaron Paul, Scoot McNairy and Cameron Richardson; He's Way More Famous Than You, starring Michael Urie, Jesse Eisenberg, and Ben Stiller; and more. Upcoming releases that Jordan produced include Welcome The Stranger, starring Riley Keough, Abbey Lee, and Caleb Landry Jones, which is Jordan's second collaboration with writer/director Justin Kelly, and Welcome to Willits, starring Bill Sage, Thomas Dekker, and Chris Zylka. Most recently, Jordan produced Pretenders, which was written by Josh Boone, directed by James Franco, and stars Jack Kilmer, Shameik Moore, Jane Levy, Juno Temple, Brian Cox, and more. Matthew Helderman, CEO, Bondit Media Capital Matthew Helderman founded Buffalo 8 Productions in 2012, as a feature film & commercial production company growing to deliver projects to clients such as Sony and Lionsgate. Under Helderman’s leadership, Buffalo 8 has built a full library of content – touting 4 premieres at the 2016 Sundance Festival – a roster of commercial directors, a talent management division and a full post-production facility. In 2013, Helderman co-founded BondIt Media Capital to solve the multitude of financing difficulties found in the entertainment & media business — by 2017 BondIt had participated in the financing over 200 feature film projects ranging from low budgets to studio level productions. Helderman graduated with a B.A. in Philosophy with a minor in English from Lake Forest College. Helderman has been a featured speaker at the Cannes, London, and Bahamas Film Festivals as well as guest speaker at the Chinese US Business Summit. Full Bio »
This is the 2nd installment of the Stage 32 + Bondit Media Capital Masterclass featuring Matthew Helderman (CEO of Bondit Media Capital) and Jordan Yale Levine (President, Yale Productions).Please note this webinar is audio only.
Your Stage 32 + Bondit Film Finance Master Class host, Matthew Helderman, leads a discussion with Jordan Yale Levine, President of Yale Productions, about film financing today. In this exclusive Master Class they go over common traits of producers and financiers that allow them continued success. Matthew and Jordan go over the process of creating a brand to help you create project after project. They talk about a case study of working together with James Franco on the film King Cobra and how that model has helped them continue producing successful features. They discuss the common thread for attaching name talent and modern packaging. They also talk about the need to be on set as a producer and what it takes from the crew to make a successful film. Together they go through various case studies on low-budget to mid-budget films they have worked on together. After, both Matthew and Jordan participate in a Q&A session.
Jordan Yale Levine
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If there has been one genre that has stood the test of time throughout the history of the film industry, it's the biopic. True stories about interesting people and events are always in vogue. Studios, indie production companies and the streamers love them because they draw big audiences and awards recognition. Actors love them because it gives them something meaty to chew on and increases their odds for awards success. Many a writer has broken through by writing a screenplay based on true events. And right now, especially with the streamers upping their game, the genre has never been hotter. But to write a killer, non-rote biopic, you need to understand where to find your material, how to secure it, and then how to best tell your version of the story so that it attracts representatives, producers, financiers, and talent. The last 10 years has seen a biopic renaissance. The Social Network, Wolf of Wall Street, The Imitation Game, 12 Years a Slave, The Theory of Everything, Bohemian Rhapsody, American Sniper, The Two Popes, A Beautiful Day in the Neighborhood, The King's Speech, Dolemite is My Name, The Irishman and Ford Vs. Ferrari all have been nominated or won major awards. And those are just a handful of the biopics that have been distributed either theatrically or digitally over the last decade. And with the streamers going full force, the studios looking for the sure thing, and the independent community looking for smaller, unknown stories, the desire for biopic and true story screenplays is only going to grow. Even short form biopics are booming with TV series and limited series based on real people and events all the rage. Tyler Ruggeri is a screenwriter, story consultant, and former literary manager with over a decade of experience on both sides of the entertainment industry. His biopic script The Making of Rock Hudson sold to veteran producers Celine Rattray and Trudie Styler of Maven Pictures. He also adapted the acclaimed non-fiction book Trapped Under the Sea, which led to a series of writing assignments on both original projects and rewrites. He is currently working on a feature for a major studio and developing a limited series. Tyler began his career as a manager at Exile Entertainment, where he represented screenwriters and directors in addition to developing the company’s film/TV slate – among his clients were Academy Award winner Damien Chazelle (La La Land, Whiplash). Other projects he developed with clients sold to A-list producers/financiers. With his vast experience, Tyler not only knows the world of writing biopics, but how to find and secure material as well. He will teach you resources to help you find the right material and how to find the right story for you to tell. He'll show you how to secure intellectual property. He will instruct you on the benefits of wiring an original screenplay vs. an adaptation. He will dig deep into the process of how to shape your story, including how to find your way into the story before you start writing so that your opening is an attention grabber. He will teach you how to do research and how you can do the extra legwork to go deeper into the world of your story. He will dive into 4 tips to join fact with fiction and 4 tips on dramatic license and when and how to use it. Tyler will show you how to creative the best character arcs possible including character motivation, behavior, stakes, and how the characters exist in time and place. He will help you uncover themes and make sure those themes are fleshed out to attract the widest audience possible. He will then discuss the market, how to sell, how to cover yourself legally and much, much more. If you've ever had a passion to tell a story based on a real person or events, Tyler will take you through everything you need to know to secure the IP, protect yourself legally, develop the story, write the screenplay and put yourself in a position to get the material massive attention. "Legitimately one of the best classes I've ever taken. I've had a story based on a book I've been eyeing forever and didn't know how to go about it. Now I do. What an incredible blueprint to securing, writing, and selling biopics." - Amanda P. "Outstanding in every way." - Marco G. "I'm overcome with gratitude. The best." - Danny C. "I don't think I could be any more inspired." Patricia S.
"Jason was and is wonderfully inspiring!" Watch for FREE here: Want to join Jason's 2-part AD class April 8 & April 15? Register here!
Feature films, documentaries, biopics, book adaptations, and sequels/prequels are all very different from each other, but they share a fundamental legal necessity: the need to acquire certain intellectual property rights in order to make the film. Whether it’s a fictional character or a real-life person; a novel, play, comic book, movie, TV show, or web series if you don’t own or control the underlying rights your film may end up in litigation rather than the theaters. This webinar will introduce you to basic intellectual property concepts and walk-through the key agreements and licensing language you will need when you are making a film based upon somebody else’s property or persona. Too often filmmakers “shoot first and get permission later.” This might be fine for scenes which can be cut if you can’t get the rights but is disastrous when your entire movie depends upon a copyright or life story that you have not effectively licensed. Intellectual property can be complex, and confusing, and the failure to include the right licensing language may result in a film that can never be distributed. To make matters even more complicated, conscientious producers often pull forms from the web that are not designed for their particular projects. In this webinar you will learn from one of the top entertainment attorneys in the industry, Thomas A. Crowell, Esq. A former television producer and director of development for STN, Mr. Crowell counsels clients on a wide range of entertainment law and intellectual property rights issues. He has worked with clients who have had deals with TLC, Elsevier Publishing, Starz, Discovery Communications, Focal Press, the Smithsonian Network, WE: The Women's Entertainment Network, The Science Technology Network, IDW Publishing, and Sony Entertainment. His clients' work is seen in the pages of Marvel and DC Comics and on movie, TV, computer, and mobile screens across the world. He will teach you how to spot problems with licensing agreements, learn what agreements are needed in order to license copyright and “life rights,” and learn how to investigate and correct breaks in a film’s “chain of title.” You will walk away feeling confident that you have the correct copyrights in place for your project!
Filmmakers, producers, and financiers can really be held back by distribution contracts. If they don’t understand the language or terms, are passive or held hostage by a feeling that they may be getting ripped off, or simply do not have the support system to advise them or the knowledge to know what to fight for, they can find themselves at an extreme disadvantage. In many cases, the excitement of the "someone likes my movie/let's get it out there" mentality supersedes common sense. And that alone can lead you into giving away your rights, accepting horrendous percentages or agreeing to terms that lock you and your project up. Don't fall into these traps! You worked hard on your film. You sacrificed time and likely money to get to this point. While most might think this is time to hit the gas pedal, it's actually time to tap the brakes. You want to be sure you're doing everything humanly possible to not only protect yourself, your investors and your team, but maximizing your film's potential in the marketplace. Anna Darrah is an experienced film buyer, negotiating with and licensing over 800 films in her 12 years working for Gaiam and Spiritual Cinema Circle. She has been an active player on the festival circuit and currently advises filmmakers on custom distribution strategies. Anna is also a filmmaker who produced two documentaries that aired on The Sundance Channel, and directed a music video and the short film THE MATTER OF MAGIC. She also produced a feature-length documentary about Helen Schreider (www.THEHELENMOVIE.com) while also making short films for the ZILLOW.COM series, HOMEMAKERS. Anna has enjoyed jurying and participating in film festival panels and workshops here and abroad and is currently offering a Film Distribution Workshop co-taught with Jilann Spitzmiller. Now Anna brings her knowledge and teaching prowess to Stage 32. Anna will begin by breaking down theatrical and broadcast rights as well as exclusive and non-exclusive deals. She'll dive into breaking down deal points including term, territory, rights and compensation. She'll discuss standard terms and point out red flags within and speak to what you should negotiate to assure you get the best, and most fair, deal. She will even look at the negotiation process from the other side of the table so you can understand what a distributor truly wants out of a deal. Thinking outside the box, Anna will even discuss going the DIY distribution route or a hybrid DIY/traditional distribution path. All this and much more. It’s incredible how each contract is like a snowflake -- totally unique and yet similar in some very important ways. I will help you understand the entire distribution arena so you can sleep well knowing you've made the best deal for you, your partners and, most importantly, your film. - Anna Darrah Praise for Anna "Excellent overview of terms to be aware of when negotiating or reviewing a distribution agreement." - Valerie N. "Anna was great, the information she shared was so very useful!" - Christian C. "For a complex subject, Anna made it all so simple and easy to follow. Excellent webinar!" - Drea P. "A knockout." - Mana W.
With the runaway success of breakout international television shows like HBO Max’s GOMORRAH and Netflix’s MONEY HEIST and LUPIN, US-based networks and studios are looking more and more to the international markets for creative inspiration. Whether in the guise of formats (established foreign shows adapted to air domestically) or direct buys from writers and producers, companies have finally realized that importing talent is good creative business. This means there has never been a better opportunity for writers outside of America to find success and interested buyers stateside, especially if you can write something that fits American sensibilities. It’s clear that writers from abroad bring fresh ideas and unique perspectives that reinvigorate the film and television. Yet they still need to adapt their sensibilities to make them successful across the pond—NBC’s adaptation of BBC’s THE OFFICE, for instance, didn’t find its footing until it took the core of its uniquely British perspective and polished it to reflect the unique politics of the American workplace. This same adjustment can be made for your own project, provided you understand what exactly this adjustment should look like. So what are American sensibilities? What makes a show more relatable to American viewers and what can you do as a writer to make sure American decisionmakers will see value in your film or series? James Crawford is Canadian/Australian, US-based producer and development executive who has worked with writers from Mexico, Finland, Spain, England, Scotland, South Africa, Brazil, Australia, and the Philippines. James has developed several one-hour television series, pitching to EPiX, WGN America, Cinemax, and Universal Cable Productions, among others. James worked as Creative Executive at Cartel Entertainment, a television and film literary management and production company, and was responsible for identifying, developing, and pitching content for its first-look deal with Entertainment One, including the Stephen King novel The Regulators. At Cartel Entertainment, James developed pitches for Amazon, FX, Hulu, Netflix, Cinemax, UCP, and other major networks. While working at Cartel Entertainment, he developed formats from the Brazilian network Globo for the American market. He has taught at screenwriting retreats in France and worked for the Australian Film Commission (now called Screen Australia.) A man of the world, James also holds Estonian citizenship. James has a storied background as a producer and executive and is intimately familiar with working with foreign writers to get their projects seen and sold. James will teach you how to make your series idea salable in the US market. This doesn’t mean selling out, but rather translating your unique voice so that it’s better heard by American producers and development executives. Which subjects will or won’t work for the American screen? How do we understand the different cultural sensitivities of different marketplaces? What story structures and arcs are common internationally but don’t land over here? How does the entertainment business structure US (agents, managers, execs) differ from what you experience at home? And how does that environment change how your story is received? As we answer these, you will better understand how to adapt the cultural issues that are important in your home country and make them resonate abroad. Praise for James's Previous Stage 32 Webinars James was awesome. Clear, concise, and knowledgeable. -Stephen B. “James Crawford was very informative, and the way he brought the webinar across was entertaining and kept you engaged. I loved every bit of it! I hope he comes back for a round 2” -Imo C. Super helpful and very clear. Right to the point. Not full of anecdotes but actual teaching. -Helena W. “It was very informative in a practical way. James was great!” -Dave M.
If you’re a writer, producer or other aspiring creative with hopes of one day actually getting behind the camera and directing your own project, taking the first step can be daunting. Where do you even start? And how can you be sure you know what you need to in order to take that plunge? Now you can under the guidance of Oscar-nominated director/producer Rick Rosenthal. Over the course of 9 weeks, Rick will guide you through actually prepping, shooting and editing your first project as a director in a supportive and encouraging environment - best of all? You can do all of this in the comfort of your own home. Even better? You don’t need any special equipment to participate. All you need is a cell phone that records video, a computer, and editing software that you will download for free. You will leave this lab with real world, valuable practice in putting a project together, and the knowledge and skills to direct the next project on your own. Rick Rosenthal is an Oscar and Emmy nominated director/producer and the CEO of Whitewater Films, which is known for many feature film hits that have premiered at Sundance, Cannes, SXSW, and more. Through his film directing background, Rick has directed the likes of Joaquin Phoenix, Sean Penn, John Lithgow, and Jamie Lee Curtis. Along with his credits directing films, Rick has also worked as a producer on Amazon’s Emmy-winning series TRANSPARENT for the first three seasons, along with directing and producing credits on countless other shows. When Rick launched Whitewater Films as a production company, he committed to helping up-and-coming filmmakers and offering them the advice and assistance he never had. Furthering his drive to give back and educate burgeoning filmmakers, Rick also served as the chair of the Directing Program at the American Film Institute. Through his decades-long career Rick has become well versed in diverse genres of filmmaking and has specialized in educating and empowering new voices, which he is bringing directly to the Stage 32 community. Through this lab, you will have the opportunity to prep, shoot, and edit two scenes from a script that Rick will provide you. You will learn camera placement, camera movement, blocking a scene, all from different points of view--single character, multiple character, and omniscient. Rick will bring in a special guest editor to teach you the basics of editing a scene through the free software DaVinci Resolve, which is quickly becoming an industry standard. Through Rick's mentorship, you will walk away confident to take these skills and apply them to your own directing project, whether that's a short film, feature film, or web series. PLEASE NOTE: This exclusive Stage 32 lab is limited to 10 students and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with a practiced director and expert in the field is an incredibly unique and valuable opportunity. If you are interested, please book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Harrison at firstname.lastname@example.org for more information WHAT TO EXPECT This lab is designed for writers, producers, or other aspiring creatives interested in becoming a director and looking for actionable skills, practice, and guidance to make this transition. This is an in-depth, practical, and detailed lab with one-on-one time with the instructor and significantly more content than a standard 90-minute webinar. ***Only 10 Spots Available*** This class will consist of six weekly sessions. There will be an additional week where you will sign up for an extensive one-on-one mentoring session with Rick. In addition to the lessons where Rick teaches the class, you will have the opportunity to ask him questions during each session as well as multiple chances to speak with him directly about your specific project. 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 TV project development process. To see the full directing lab schedule, see below under "What You Will Learn".