Meet the Panelists: Raquelle David - Literary Manager, Elevate Entertainment Raquelle David is a Producer and Literary Manager with Elevate Entertainment, a full-service Talent and Literary Management firm. Elevate Entertainment is a full- service Hollywood Talent and Literary management firm. Elevate manages a small but strategic client list from all over the world to bring back the true meaning of personal management. By accessing only the highest level of contacts within the TV and Movie industry, it succeeds as one of the most powerful boutique management firms in Hollywood. Elevate also works with masters of the craft behind the camera and on the page, including the Oscar-nominated Taylor Sheridan, writer of SICARIO, HELL OR HIGH WATER, WIND RIVER, and the Paramount series "Yellowstone". Other clients include Alexa Alemanni ("The Librarians", "Mad Men"), Robin Aubert (RAVENOUS), Graham Reznick (BUSHWICK), Brian Kelly ("Outlander", "Downton Abbey", "Torchwood"), Charles de Laurzirika (BLADE RUNNER, THE MARTIAN), Mary Cardenas ("Shameless", "Supergirl"), and Jesse Fox Chaney (EASY A, IRON MAN). Raquelle David has worked across independent film and television as a producer as well. Her multiple film credits have garnered a number of accolades including nominations for Palme d’Or at the Cannes Film Festival, Australian Academy Cinema and Television Arts (AACTA) Award and the Screen Producers Australia Award. Raquelle previously worked for Goalpost Pictures, Seven Network, Screen New South Wales in Australia and Rhombus Mediain Toronto, Canada, under the tutelage of producer Niv Fichman (THE RED VIOLIN, ENEMY, BLINDNESS). Tracy Mercer - Senior Vice President, Television, Amasia Entertainment Tracy is Amasia Entertainment’s Senior VP of Television. She joined Amasia in 2017. Currently, Amasia is in development at The CW with a sequel series to Dan Curtis’ classic, DARK SHADOWS, to be showrun by Emmy-winner Mark B. Perry. Additional shows in development include BECAUSE THE NIGHT based on the James Ellory book, WOLFE— A contemporary mystery thriller series inspired by a Patricia Highsmithian author, a Francis Perkins miniseries about the trailblazing woman known as FDR’s conscience, and a sexy CIA actioner created by SPYGAME writer Michael Frost Beckner. A graduate of Pepperdine University, Tracy began her film in production before working as a personal assistant to actress, Jennifer Aniston. Tracy assisted Aniston in production during three seasons of FRIENDS, and several feature films. After working as a script analyst for producers Jennifer and Suzanne Todd at Team Todd, Tracy took a story editor position with producer Rob Fried at Fried Films; there she worked on projects including THE BOONDOCK SAINTS, and HBO’S, WINCHELL. Tracy next joined producer Dan Halsted at Halsted Pictures, who was then partnered with Oliver Stone, where she worked in development on TNT’s WITCHBLADE and films including ANY GIVEN SUNDAY and THE ART OF WAR. Tracy was next hired by her childhood hero, Gale Anne Hurd, at her company, Valhalla Motion Pictures. She rose through the ranks to become Senior Vice President and Head of Development. At Valhalla, Tracy was the executive in charge of production on the PBS award-winning documentary, TRUE WHISPERS: THE STORY OF THE NAVAJO CODETALKERS and helped develop Ang Lee’s HULK, Marvel’s THE PUNISHER, and Karyn Kusama’s AEON FLUX. After four years at Valhalla, she headed up development for Academy Award-winning actor Morgan Freeman’s Revelations Entertainment, where she was involved in the development of films including INVICTUS, directed by Clint Eastwood, and 10 ITEMS OR LESS, directed by Brad Silberling. Of all of her work at Revelations, she is most proud to have been instrumental in setting up, developing, and serving as an executive producer on the pilot of CBS’ hit series, MADAM SECRETARY. Working with TV showrunner Barbara Hall remains a career highlight. Tracy was a producer on 60 episodes of MADAM SECRETARY before moving on from Revelations to launch Amasia’s TV division. Stuart Arbury - Director of TV & Episodic Content, Ramo Law Stuart Arbury joined Ramo Law in 2017 as a television executive, where he collaborates with clients to review, develop, package, and take out series projects, both scripted and unscripted. Arbury’s background includes executive posts for producers and buyers in television, digital and features. Prior to joining Ramo Law, Arbury was Director of Development at Canvas Media Studios (StyleHaul’s VANITY) and Captivate Entertainment (THE BOURNE IDENTITY franchise). His responsibilities for both included originating and acquiring projects, working directly with writers, actors, directors, representatives, and studio executives. Arbury was also a Creative Executive for Dimension Films, spending two seasons overseeing on-set duties for MTV’s SCREAM series, based on the hit horror franchise. Richard Botto - Writer/Producer, Founder & CEO, Stage 32 I am the Founder and CEO of Stage 32. I started my creative career as an actor in New York and moved into screenwriting and producing upon moving to Los Angeles. On the screenwriting side, I am represented by David Greenblatt of Greenlit Creative. A film based on my script, THE END GAME, is currently in development at Covert Media. My TV pilot, THE SALTON SINK is being produced by an Emmy award-winning producer and is currently packaged with A-list talent. I have 2 other features in active development and recently broke ground on a new screenplay for Zero Gravity.As a producer my films have played at dozens of festivals including the Sundance award-winning feature, 'Another Happy Day', starring Ellen Barkin, Demi Moore and Kate Bosworth, written & directed by Euphoria creator Sam Levinson, the road trip thriller 'What Lies Ahead', starring Rumer Willis & Emma Dumont, the documentary 'Crutch' and the upcoming 'Rain-Beau’s End' starring Ed Asner and Sean Young. I am an Executive Producer on 'Vagic' with Amy Baer at Gidden Media and 'My Clone’s an A-Hole' with National Lampoon. I have also produced a variety of award-winning short films, including 'Metaphorms', a Hungarian production which screened at the Raindance Film Festival. I have also produced the popular online digital comedy series, 'Becoming Jiff', which was released by Samuel Goldwyn Films.I am the author and audiobook narrator of 'Crowdsourcing For Filmmakers: Indie Film and the Power of the Crowd' which was published by Focal Press/Routledge under the American Film Market Presents banner and quickly became one of their best-selling titles. The book is currently being used as the curriculum for the very first film crowdsourcing class to be taught at a film school in the U.S. at the University of Central Arkansas. The book has garnered over 100 5-star reviews and has hit #1 in 6 different film and business-related categories on Amazon and Audible. It is available for Kindle and paperback at Amazon. The audiobook can be downloaded for free on Audible.For the last 9 years, I have run Stage 32. Stage 32 is the world’s largest online platform connecting and educating film, TV & digital creatives and executives worldwide. Through Stage 32 I have helped incubate hundreds of film, TV and digital projects. Some recent notable projects include 'Chick Fight', starring Malin Akerman and Alec Baldwin, Kevin Connolly and Bella Thorne, produced by Yale Productions and Ramo Law, and '10-31', produced by Eli Roth and Orion Pictures.As an actor, you can see me in 'On the Corner of Ego and Desire" which premiered at the Raindance Film Festival and is now available on Amazon.I have been a teacher, mentor, moderator and panelist at such festivals, conferences and institutions all over the world including Cannes (France), Sundance, Tribeca, SXSW, Raindance (England), FEST(Portugal), Trinidad and Tobago, Hamburg (Germany), AFM, PGA, WGA, DGA, Columbia, Harvard, USC and more on the subjects of filmmaking, producing, screenwriting, independent film, entrepreneurship, business, social media, marketing, crowdfunding, and crowdsourcing. Your Moderator: Jason Mirch, Director of Script Services, Stage 32 Jason Mirch is a feature film and television producer and executive with over 15 years of experience. Jason also serves as the Director of Script Services at Stage 32 where he works directly with screenwriters, filmmakers, and leading industry executives. In addition to his work with Stage 32, Jason runs production and development for a company which produced low-budget genre pictures for an international audience, as well as serves as a business advisor to a successful post production vfx company which contributed to The Peanut Butter Falcon, Crawl, Martin Scorsese's Silence, Arctic, and Let them Talk for Steven Soderbergh and HBO. Most recently, he produced a 3D animated feature film starring Jacob Tremblay, Emmy-winner Christopher Lloyd, Oscar-winner Mel Brooks, Emmy-winner Kenan Thompson, and Emmy-winnerCarol Kane. Mirch was the Head of Feature and Television Development at Image Nation, a finance and production company based in Abu Dhabi, UAE. There, he supervised the Image Nation contributions in the development of Flight, The Help, The Best Exotic Marigold Hotel, Contagion, Careful What You Wish For, Ghost Rider 2, and 100 Foot Journey. Prior to his work at Image Nation, Mirch was Co-Head of Development at Storyline Entertainment(Oscar-winning Chicago, Footloose, The Bucket List) where he developed a slate of feature film projects for New Line, Paramount, Summit Ent., and CBS/Paramount. He also developed and sold television projects and mini-series to CBS, NBC, Fox, ABC, and Lifetime. He has lectured on all areas of filmmaking, speaking on panels at the Producers Guild of America, Austin Film Festival, the Harvard Screenwriting Group, American Film Market, University of Southern California Film School, Chapman University School of Film & Television, NYU, as well as several international film festivals and markets. In addition, he has consulted brands, including Burberryand Creative Artists Agency. Mirch graduated Cum Laude from Chapman University’s School of Film and Television, where he received a B.F.A., in Film Production, with an emphasis in Writing and Directing. He was mentored by Academy Award Winning Writer/Director David S. Ward and is the winner of Chapman University Student Filmmaker Award, for Best Director for his film Ally. Full Bio »
Tune in for this panel discussion on how the COVID-19 pandemic is affecting all aspects of the entertainment industry. Producers, lenders, talent, and distributors are all adapting to the current shutdown. This panel will discuss how they are operating under the current shutdown, how existing and future productions are being handled, and most importantly, how we can strategically plan and learn for the future during this uncertain period.
Our Stage 32 Director of Script Services Jason Mirch hosted this incredible round table panel. You will hear from top industry professionals that can offer thorough points of view from multiple facets of the television business:
Top Literary Manager, Television Producers, Writers
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!
We've brought in veteran development executive Marla White to give you an ultimate guide on dissecting the first 10 pages of a TV script from her perspective as an executive. In addition, by looking at specific examples from great scripts like “Justified,” “Weeds,” “How I Met Your Mother,” “Grey’s Anatomy,” “Modern Family” and more, she's going to break it down for you why and how those pilots succeed where others failed and how to apply that to your script. Marla has worked with writers who have sold pitches to Fox, TNT, CBS, NBC and ABC and have been staffed on premium cable dramas.
Internet TV is not “TV light”, in fact it’s not TV at all. It’s a completely different sandbox than TV and while many of the rules of the game are the same, there are distinctly different rules you must know before you break them. In this informative and entertaining seminar, Digital Strategist and Web Series Launch Expert, Brian Rodda outlines the Top 5 things to consider while in pre-production for your digital series. Items to be discussed are: Appropriate length and form specific to different video distribution platforms (Youtube vs. Vimeo vs. Netlfix, etc…) casting/working with a Digital Influencer, expanding your world with Ancillary Content, Marketing Budgets, securing social media real estate and so much more! To read the Television Academy's interview with Brian click here!
It can be the bane of a filmmaker’s existence, but there’s no denying that financing is a critical step in getting that movie made. After all, not even the greatest script can get produced without the money and resources to back it up. But this is never a straightforward endeavor. Securing the funding for your film is almost without question a fraught, complicated ordeal. It can be enough to drive the most optimistic filmmaker away, but if done smartly and successfully, financing can give you the resources you need to not only see your vision through, but perhaps even to elevate it, to gather opportunities and talent to raise your project’s profile and find further success. Finding and dealing with financing for a film can feel like a Sisyphean task, a hunt for treasure without any map to help. After all, we’re not just talking about finding people with deep pockets who believe in your vision (though that definitely helps); you also need to be well versed in tax structure and incentives, legal codes, equity models, sales projections, crafting a pitch to investors—all things you likely didn’t learn along the way or through the process of writing that script. Yet as overwhelming and insurmountable as it seems, there’s always a way through, and there are strategies and skills you can pick up as a producer or filmmaker to find the money and navigate the politics and nuances of this difficult landscape. Aimee Schoof is the co-founder of Intrinsic Value Films and has produced more than 35 feature films. Of those, nine have premiered at the Sundance Film Festival, four at the Tribeca Film Festival, three at SXSW, and one each at LA Film Festival, Toronto, Venice, New York FF, New Directors/New Films, and Berlinale, to name a few. Aimee’s company develops, produces and sells independent films that have been distributed worldwide, have won many awards and been honored with numerous nominations. Accolades include winning a Sloan Sundance Award and a Sundance Special Grand Jury Prize. Aimee’s work has led her to be nominated five times by Film Independent as a producer. She is currently both a Sundance and Film Independent Fellow and has worked in international sales attending all major markets, and regularly lecturing on film finance and production. Aimee’s extensive experience has made her an expert in the art of film financing, and she has developed a slew of skills and lessons learned to more successfully find and manage funding for independent projects, skill and lessons that she’s excited to share with you. Aimee will give you a comprehensive look at how to finance your independent film and the tips and strategies to have in your arsenal to make sure you’re taking advantage of every opportunity available. Aimee will start by discussing how equity models are structured and the benefits that come with starting your own LLC. She will then delve into the legal components of a standard investment deal, including being clear with who owns the rights to the film and how those rights are distributed and paid for. Then, Aimee will go into navigating foreign sales and domestic sales within this quickly changing landscape and how you may be able to find the right sales partner that can give you an advance to make the movie. Aimee will teach you everything you need to know about tax incentives and how best to take advantage of them and earn back what is essentially free money. Next, Aimee will discuss the benefits of crowdfunding and the strategies and tips she has employed in the past to create a successful campaign. She will talk about the rise of the digital streamers and how to target these platforms for possible funding. Aimee will then delve into the art of finding and approaching potential investors, including the research you need to do and how best to pitch them your project. Aimee will even share one of her own pitch decks to illustrate how to craft the perfect pitch deck. She will teach you ways to think outside-the-box and find non-traditional investors or partners that you might not have otherwise encountered. Finally Aimee will teach you strategies to better network, including finding way to get to people you don’t personally know and how to use film festivals and film markets to your advantage. Be prepared to leave this webinar with an expansive and comprehensive view of film funding and the tools you need to get your next project financed. Praise for Aimee’s Webinar: Clear and efficient! -Dirk B. I've watched several webinars on film financing and this has been by far my favorite. Thank you for the practical, straightforward advice, and for presenting the info in a way that is not too overwhelming to take in. -Rose M. Grounded and Practical -Jennifer S. This webinar was jam packed with so many useful and accessible strategies I can start using today. Thank you! -Brian D.
State of the industry Why the majority of TV/Film comes from pre-existing IP "The Executive Bias" Pre-existing Fan Base/Fleshed Out World Adapting Books/Articles Where to Go! How To Choose Material Who To Contact For Film/TV Rights How To Close The Deal Case Study: Game of Thrones, Sex and The City Case Study: The Wedding Sting in the Atlantic, now going to be a film at Paramount Adapting Comic Books / Video Games Where to Go! How To Choose Material Who To Contact For Film/TV Rights How To Close The Deal Case Study (Comics): Guardians of the Galaxy (Marvel/Disney, lesser known/less successful comic became a blockbuster) Case Study: Jessica Jones (Marvel / Netflix) Case Study (Video Games): Assassin's Creed (FOX, to be released this December) Making it your own Most say DO NOT adapt your own material (leads to being too protective of your work/not as open to change) Fun thing about IP, when you build a world, it can keep being adapted into other mediums (Example: Orphan Black the comic book was one of the best-selling comics last year, adapted from TV show. Goes in both directions) The heart of this, however, is making sure the new versions are different enough from the old, AND have your voice in them. LIVE Q&A with Maggie!
Stage 32 believes in evolving and transforming to continuously put our writers ahead of the competition. Now, no matter where you live in the world, we are giving you the opportunity to work directly with a TV development executive on a one-on-one basis to help shape your writing through a Stage 32 TV Writing Lab. All classes are taught online and at the end of this 8-week intensive, you will have a completed 60 minute original TV drama pilot. With the TV market exploding right now, 60-minute TV drama and dramedy pilots are in demand. Many, if not all, managers and agents are looking for writers that can write in this space, and with more and more production companies heading into TV, knowing how to write a strong TV pilot will give you a competitive advantage and help you find success as a TV writer! To teach this Virtual Writer's Lab we brought back veteran TV executive Anna Henry. Anna has set up projects at Sony, 20th Television, EOne, Starz, Amazon, Netflix, Corus, ITV America and more. Anna began her career as a development executive at Nickelodeon, then crossed over to prime-time television working at CBS and ABC in drama development and programming before working in management and establishing herself as an Independent Producer. She was Head of Development at Andrea Simon Entertainment, a boutique literary management and production company representing writers and directors. She has more than 15 years experience working with writers on developing their passion projects and building their careers with client credits including Netflix's "Seven Seconds"; Starz'"Vida"; BET’s “In Contemt”; HBO's "The Deuce", "Big Love", and "Vinyl"; Showtime's "The Chi"; NBC's "This Is Us"; The CW's "Jane the Virgin"; Direct TV's "Kingdom"; AMC’s “Fear the Walking Dead”; PBS' "Mercy Street"; and more. Why Anna? We'll let her last lab students tell you why... "Anna exceeded my expectations, both in terms of quality (and quantity) of information and overall value. Anna was personable, knowledgeable, and organized. Anna and Stage 32 delivered the goods." - John R. "What a thoughtful, thorough and inspiring class. Not only was the content there, but the structure was also superb. Thank you Anna for your genius and your generosity." - Crispin L. "Anna was so generous with her time, so knowledgeable, so encouraging...very grateful. It feels like there's a stronger wind at my back after that. Thank you!" - Michael L. WHAT TO EXPECT By the end of this 8-week lab you will have a completed first draft of your TV drama or dramedy pilot that will grab the industry's attention. Under the one-on-one guidance of Anna, this hands-on intensive lab will guide you through picking a concept, creating engaging characters, structure, outlining and writing your pilot. The main objective of this lab will be to have a solid completed script that is market-ready. You will meet online with Anna for 2 hours a week in a class setting, plus have phone or Skype meetings during some of the weeks when you don't have an online class. This will be accompanied by weekly homework assignments to guide you on your way to creating a marketable, unique pilot that will grab the industry's attention. Plus! To keep you motivated and accountable you'll have a private dedicated virtual writer's group inside the Stage 32 lounge where you can meet, stay in touch and work with your fellow classmates as you're going through the writing process. Payment plans are available - please contact Amanda at firstname.lastname@example.org for more information This lab is limited to 10 people This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea
It's no secret that television is a red hot medium right now. Over the last few years, the average number of shows broadcast has been well over 500. With the advent of even more streaming options (HBO Now, Disney+, and more), some experts expect that number to double or even possibly triple over the next 2-4 years. That doesn't even account for the number of television projects that get sold or brought to pilot that never get picked up! In short, the amount of television pitches being greenlit in the room and the amount of television scripts being optioned and sold has never been higher. But, as is the case with just about anything, the bigger the gold rush, the more people seeking the gold. The content is one thing, how you pitch the content to networks, development execs, financiers, producers, managers, agents and other decision makers is quite another. Experienced professionals can spot an amateur pitcher within the first 30 seconds, if not sooner. You have to be able to stand out. And we're here to help you do just that. So, you have a great idea for a show, now what? How do you get it to the right people? What to do/how to present it to them? What most people don’t understand, is that once they’re in the door they need to think about the other side of the table. Who they’re pitching to, how many pitches that person reads/hears and how best to position themselves to stand out. Busy producers and executives get pitched all the time - honestly...All. Day. Long. Whether oral, written or Skype, you basically have 30 seconds or the first paragraph to keep them interested. And for both, the format matters! Don’t let your great idea fall on deaf ears or eyes! If you’re a writer or someone who works with writers, you need to know how to orchestrate a good pitch. Bret Slater has worked as a producer on such acclaimed shows as the multi Emmy nominated Boardwalk Empire and Ballers for HBO. Bret has worked alongside such talent as Steve Buscemi, Mark Whalberg, Russel Crowe, Dwayne "The Rock" Johnson, Steven Levinson (Entourage), Catherine Zeta Jones, Ryan Phillippe and many more. Bret has been reading and listening to television pitches all day and just about every day since he broke into the business over a decade ago. He's seen every style, heard every idea, and knows as well as anyone what makes a television pitch a winner. Bret will teach you the entire landscape regarding pitching a television pilot or idea. In what is perhaps the most misunderstood aspect of the pitching process, Bret will take you inside the mind of the pitchee, the person hearing the pitch. What are they looking for in the first 30 seconds? What are you portraying when you walk in the room? What details matter and which make the person you are pitching to zone out? How do you craft your pitch to producers, managers and agents? He will teach you the 3 basic, yet much overlooked, rules that must be in every pitch along with the #1 rule on how to deliver your pitch. Bret will break down written, oral and online/Skype pitches and the do's and don'ts for each. He will teach you how to open, and more importantly, close your pitch so that you leave the person or people you are pitching to wanting more. Bret will even show you the proper etiquette for following up after a pitch. Bret will provide all the tools that will help lift the anxiety and doubt of pitching for television and give you the confidence to deliver your pitch in a mannered, informed and professional way. "Yet another winner from Stage 32." - Patricia C. "So much quality information. There were at least 3 things I was absolutely doing wrong with my approach when pitching. This clarified the mistakes I was making. Thank you, Bret." Marty T. "Having spent nearly 10 years in the feature world, I recently wrote a pilot and quickly realized the landscape is much different. My old tricks for pitching features didn't apply for TV. It's a different animal. Now I'm ready to get back on the attack." Milos S.