Amy Baer - President, Gidden Media Amy Baer's experience in the entertainment Industry uniquely spans major studios, independent financiers, and producing. Collectively, the films she has supervised and/or produced have grossed nearly $2 billion in worldwide box office. Her first film as a producer was the 2013 hit LAST VEGAS (starring Michael Douglas, Robert DeNiro, Morgan Freeman and Kevin Kline) which grossed $136MM worldwide. In 2012, Baer raised a 7 figure development fund and launched Gidden Media, a content incubation and production company. Its first film, the romantic drama MARY SHELLEY, starring Elle Fanning (THE BEGUILED) and directed by Haifaa Al Mansour (WADJDA), had its World Premiere at the 2017 Toronto Film Festival. It was released by IFC in May 2018. GM’s next film, the inspirational true story BRIAN BANKS, had its World Premiere at the LA FILM FESTIVAL on September 22nd, 2018, and won the LAFF Audience Award. Starring Aldis Hodge (UNDERGROUND), Oscar-nominee Greg Kinnear (LITTLE MISS SUNSHINE) and directed by Tom Shadyac (BRUCE ALMIGHTY),) the film tells the story of Brian Banks, an all-American high-school football player committed to USC by his junior year, whose life was upended in 2002 when falsely accused of rape. With the help of the California Innocence Project, Banks got his conviction overturned his name cleared in 2012 after a decade of wrongful imprisonment and parole. BRIAN BANKS is eyeing an early 2019 release. Before starting her own company, Baer served as President & CEO of CBS Films (2007-2011), launching the division for CBS Corp. Baer spent the previous 17 years at Sony Pictures Entertainment, where she oversaw such hit films as 1997’s MY BEST FRIEND’S WEDDING, Oscar nominated ADAPTATION (2001), S.W.A.T. (2002), SOMETHING’S GOTTA GIVE (2003), and the 2006 holiday hit THE PURSUIT OF HAPPYNESS, which earned Will Smith an Oscar nomination. She also developed the 2011 Oscar-nominated Sony hit MONEYBALL, starring Brad Pitt. She began her career at Creative Artists Agency in 1988 as an assistant to the late Jay Moloney. Baer became Board President of Women in Film in June 2018, stepping into the role at a critical juncture in Hollywood, as the entertainment industry faces a broad reckoning over gender disparities and sexual harassment. Founded in 1973, Women In Film advocates for and advances the careers of women working in the screen industries – to achieve parity and transform culture. Baer graduated magna cum laude from Georgetown University in 1988 with a B.A. in English literature. She is married to producer Matt Baer (UNBROKEN), and has two sons. In addition to Women in FIlm, she also serves on the board of the Planned Parenthood Advocacy Project. She is a member of the Academy of Motion Picture Arts & Sciences, the Producers Guild of America, and SAG-AFTRA. Richard "RB" Botto - Founder, Stage 32 Richard “RB” Botto is the Founder and CEO of Stage 32 (stage32.com). Stage32 is the world’s largest online platform connecting and educating film, TV & digital creatives and executives worldwide. Since 2011, Stage 32 has emerged as an online community of over 500,000 creatives with over 1,000 hours of online education taught by over 500 industry executives. Stage 32 is also the official film education & networking platform of AFM and the Cannes Film Festival Marche du Film. RB is also a working actor, producer and screenwriter. As a producer, his films have played at dozens of festivals including the Sundance award winning feature, Another Happy Day, written & directed by Sam Levinson, the documentary Crutch, and the upcoming Rain-Beau’s End. As a writer, his latest screenplay, The End Game, is currently in development at Covert Media. As an actor, his latest film On the Corner of Ego and Desire is premiered at the 2018 Raindance Film Festival.RB has spoken at such festivals as Cannes, AFM, Tribeca, Raindance, SXSW and has taught at institutions such as Harvard and Columbia University on the subjects of filmmaking, screenwriting, social media, crowdfunding and crowdsourcing. Additionally, he has appeared on MSNBC, CNBC, Fox News, and other news and entertainment outlets speaking on the film and tech industries. Prior to launching Stage 32, RB was the founder, publisher and editor of RAZOR Magazine, a national men's lifestyle magazine which had a readership of 1.5 million at its peak. He was also a sports radio host on a variety of programs on ESPN and FOX affiliates. In the 90’s, RB was an integral part of the team responsible for creating the vendor tracking system used by many of today’s top e-commerce companies. Botto headed the development, design and commercial implementation for several of the top 50 most visited sites on the web during that period. RB serves on the Advisory Board for Old Town Music Hall, a classic film theater in El Segundo, built in 1921. A lifelong fan of film, a serial entrepreneur and a passionate creative himself, he’s a great guy to have a drink with! Oh, and he was once named one of People Magazine's Most Eligible Bachelors (no lie) Full Bio »
With the tremendous box office success of CRAZY RICH ASIANS, BOOK CLUB and THE BIG SICK and the streaming successes of SET IT UP, SIERRA BURGESS IS A LOSER, and TO ALL THE BOYS I LOVED BEFORE, romantic comedies are making a huge comeback for all types of audiences. Variety called Rom-Com's the "Hottest genre" for 2018 and beyond. If you have been sitting on a Rom-Com script or been thinking about writing one, now's the time to learn about the current marketplace for romantic comedies.
Join our very own Richard "RB" Botto, producer Amy Baer (MARY SHELLEY, MY BEST FRIEND'S WEDDING, SOMETHING'S GOTTA GIVE) and Head of Development of Gidden Media Chris Ceccotti (BRIAN BANKS) as they break down the current marketplace for romantic comedies in a FREE webcast!
Amy Baer, President Gidden Media - Richard Botto, Founder Stage 32
Producer Development Exec Anna Henry joins our Panel as we listen and read your pitches live to help educate the Writers' Room screenwriters on what is and isn't working in their pitch.
3-part previously recorded online class taught by Regina Lee, Producer and Former Studio Executive who’s developed and/or supervised movies and TV shows set up at Universal Pictures, 20th Century Fox, New Regency Productions, New Line Cinema, Summit Entertainment, MRC Film, HBO Series, Starz, CBS, The CW, Sony TV, and Paramount TV! As you break into writing professionally, the one thing you’ll always need to do is to hook your reader from the get-go, within the first 5 pages of your project. Whether you’re submitting your script to a screenwriting contest, a manager, an agent, a non-writing producer, a series showrunner/producer, a financier, a star, or a director, you have to get through your reader’s initial skepticism and earn every single page that is read. In fact, first impressions are cemented when reading page 1. And that goes for all scripts, whether you’re a beginner trying to place in your first contest, or you’re a professional, with scripts sold to major studios and networks. It’s a challenge that never goes away. Stage 32 is excited to bring you the previously-recorded 3 part class: How To Hook Your Reader In Only 5 Pages, taught by producer and former studio executive Regina Lee! In this class, Regina covers what executives are looking for, the typical paradigms for a script’s opening, what an opening must deliver, and how you can give executives what they want to see. You will leave this class with a solid understanding of how to get your reader hooked in only 5 pages or less! Purchasing gives you access to the previously-recorded live class. Although Regina is no longer reviewing the assignments, we still encourage all listeners to participate. Testimonials: "Thanks for a wonderful class! Your efforts have been amazing." -Heather F. "Great class, very helpful and useful information." -John R. "Thank you for a great class filled with valuable info. I think the way you delivered the info seemed fresh and insightful. A few different slants to the way I see the same material made a difference. The point about ‘clean writing’ really resonated with me. I appreciate your ‘personal’ content in what to expect, your encouragement, etc. Thank you so very much." -Lynne L. "I've just watched the recording in the UK and I have to say the content was brilliant! I learnt so much in that 2 hours, especially knowing you are the real deal. It makes the information so much more valuable to me." -David E. "It was a great educational experience taking your class!" -Heather P. "Regina offers great insight, [this class] instantly made me a better writer.” - David L. "I just re-wrote my first five pages based on this class and Regina's incredibly insightful feedback, and wow! What a difference it made. This class is a "must take" Stage 32'ers!" - Shari F.
So, you’re a writer with a great script. You want to get signed! You want to get it sold! Heck, you just want it to be read! This is where you learn what the studios/producers/agents look for in a script, so you can address those points before anyone even takes a look. You will be miles ahead of the screenwriting pack by knowing IN ADVANCE how they evaluate a script. Or you’re a writer/producer. The #1 job of any producer is knowing how to identify material, and how to make that material BETTER. This is where you will learn how to break that script down, and build it back up. Or you’re a director. It is your duty to look at a piece of material (yours or someone else’s) and know how to improve all aspects of it – from story to character to conflict. Or, you’re an actor reading a screenplay. You like the part, but something’s missing. The story needs work. You want to shine, and it’s up to YOU to give notes on that character and that story. But you don’t know how to express to the director/producer what you innately feel. This is where you will learn how to analyze the script, and communicate what you think to make your role pop. This workshop is for anyone looking to break into the industry, or anyone already deep into it who wants a better grasp of story. Story is king in entertainment – now and always – and knowing what makes a good story and how to improve upon one, is vital.
Branding yourself as a writer is integral to your success in the entertainment industry. Your brand is equal parts preferred medium, chosen genre(s), and personal voice/style. Once this is developed, it becomes easier to for you, your representation team, and/or your production company to sell and produce your material. The entertainment industry is filled with writers, but with so much talent vying for limited opportunities, it’s important to find a way to stand out from the crowd. And because there are very few new stories, only fresh takes on proven formulas, a writer’s unique voice and style are paramount when creating and selling content. This voice/style combined with preferred genres and mediums make up a writer’s brand, and cultivating that brand is instrumental in selling yourself and your material in Hollywood. And you don’t need representation or a production company behind you to do it! Developing your brand as a writer starts and ends with you, but once you have command of this brand, you’ll find that many more representatives, producers, and other buyers are willing to jump on your bandwagon. In this Stage 32 webinar, development executive Tiegen Kosiak will teach you the importance of branding yourself as a screenwriter and how that brand is helpful in procuring representation, building relationships in the entertainment industry, and ultimately selling and producing your projects in the ever-changing Hollywood marketplace. Beginning her career in literary management and working with, among others, the Academy Award-winning writers of BIRDMAN and the creator of STEP UP and SAVE THE LAST DANCE, Tiegen recognized how integral a writer’s brand was in submitting material, setting meetings, and pitching clients for open writing assignments. Formerly, Tiegen worked for Cinestar Pictures, movie star Zoe Saldana’s production company. In this role Tiegen used branding every day to option material, sell screenplays, and attach writers to projects. This webinar will provide you with the tools needed to craft your brand as a writer and how to use that brand to sell yourself and your material to representatives, producers, and other content buyers in the entertainment marketplace. You will walk away with a better understanding of the Hollywood hierarchy and how to cultivate relationships within each tier. Remember, it all begins with you, the writer!
**Payment plans are available - contact email@example.com for details*** **If you have to miss a class, don't worry. Each class is recorded and you can watch on-demand** PRE-CLASS PREP - Read your syllabus and plan out your writing ideas. Begin to think about 1-2 ideas that might be a good idea for your comedy pilot. Start to prepare for your pilot pitch. WEEK #1 – Introduction, Character, World This week we will cover the syllabus, your instructor's background and experience, your goals for this eight-week lab and launch into a discussion on creating strong characters for your pilot. We will discuss the types of comedy pilots and how they differ from network to network. This will include a discussion about Single-Camera and Multi-Camera comedies. We will go over how to create effective loglines and pitch documents. Then we will delve into character – what makes for strong characters and weak ones. Also knowing the world your show takes place in. We will also discuss other kinds of TV comedy writing (late-night talk shows, sketch, political comedy talk shows, etc.) The assignment for this week will be to create a document with a detailed description (around half a page) on each of your series regular characters, and an explanation of the world. WEEK #2 – Pilot Outline, Pitch Document This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of comedy pilot (single-camera or multi-camera) and the network (broadcast, cable, streaming, digital, etc.) We will identify what kind of network to target for your story idea and structure the pilot accordingly. We will also discuss the function of your series bible and what it needs to include to support your pilot. The assignment for the week is to complete a pitch document with characters, pilot outline, and future episode ideas. WEEK #3 – Pilot Outline (One on One Consultations – No Online Class) This week will consist of one-on-one consultations regarding pilot structure. Each writer will send in their pilot outline in advance and will have a 10-minute call to discuss what works and what doesn’t. The assignment for the week is to address any notes given on the outline and pitch document before proceeding with next week’s class. WEEK #4– Structure, Scenes, Dialogue, We will discuss both the Single-Camera and Multi-Camera structure. You will decide which works best for the pilot that you are developing. We will address the qualities of effective (and ineffective) scenes, dialogue, and jokes. The assignment for the week will be to write three complete scenes from your outline: the cold open, a scene introducing your main character(s), and a scene with strong jokes. WEEK #5– Pilot Structure This week we will go over all the necessary story beats that exist in a comedy pilot, including traditional page count, act breaks, tags, etc. The assignment this week will be to complete a first draft of your pilot WEEK #6– After You Write Your Pilot Last online class. We will discuss what happens when you take meetings with managers, agents, and showrunners, and how to pitch a comedy pilot. The assignment for the week is come up with a pitch for your pilot WEEK #7–Consultation for Revision (No Online Class) This week will consist of one-on-one consultations. Each writer will have a 10-minute call to pitch your pilot. WEEK #8– One-on-one Feedback and Polish (No Online Class) This week will consist of one-on-one consultations. Each writer will have a 10-minute call to go over notes on the pitch and script. Final notes and next steps for your pilot will be given.
Learn directly from award winning non-fiction producer, Jim Young, who's produced 8 films based on books, including Lovelace (James Franco, Amanda Seyfriend), The Man Who Know Infinty (New York Times best Seller), The Catcher Was a Spy and Layover Some of the recent best feature films were based on books, including Hidden Figures, Lost City of Z, Unbroken, American Sniper, Inherent Vice, Wild, The Imitation Game, and The Theory of Everything. Some of the top recent television series based on books include Game of Thrones, True Detective, Pretty Little Liars, The Leftovers, Boardwalk Empire, Justified, True Blood, Dexter, the upcoming Fresh Off the Boat. As you can see, great books often make for great films and TV programs. The first step to beginning an adaptation is to find a book that lends itself to being turned into a film or television project. Discovering an adaptation-worthy subject can be as simple as stumbling across an interesting title at a bookstore or airport newsstand. Another way to find possibilities include reading the magazine Publisher’s Weekly, which profiles new books hitting the market each week along with short synopses. Many other magazines and newspapers give mentions of new titles each month as well. In this on-demand Stage 32 Next Level Webinar, Jim Young will go over how to adapt a book into a film or TV series! Jim will cover everything from acquiring the rights, to script development, to pre-production, to production, all the way to the finish line. Having produced films such as 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 the upcoming The Catcher Was a Spy (directed by Ben Lewin and written by Robert Rodat) and Layover (written and to be directed by Toni Kalem) all based on books, Jim knows how to adapt a book into a film and TV series from start to finish. Jim Young is an independent producer and the president of Animus Films. He has produced over eight films, with upcoming productions including Cut Throat City, directed by RZA. Young is currently developing many other film and television projects with independent companies including Lynda Obst Productions, Ruby Films, Tollin Productions, Tribeca Productions, Underground Films, and Pressman Films.