Micky caught the eye of Alison Eastwood and Warner Bros. with a script she wrote entitled RAILS & TIES. Directed by Eastwood, the film starred Kevin Bacon and Marcia Gay Harden. It premiered in the U.S. in the Telluride Film Festival and overseas at the Toronto International Film Festival. Since then, Micky has completed several book adaptations, including AMISH GRACE for which she received a Humanitas Prize nomination. Other adaptations include NOBODY from the award-winning book by Caryl Phillips, DANCING IN THE DARK, THE COINCIDENCE MAKERS from a best-selling novel by Israeli author Yuav Blum, and STOLEN WATERS from the Romanian short story collection by Ada Shauluv. Micky’s directorial work in film includes the shorts, PAGE’S GREAT AND GRAND ESCAPE, distributed by Virgin Produced, and UNION, starring Sean Patrick Thomas, which Micky adapted from a story by best-selling author, Steven Heighton. Full Bio »
Do you ever wonder how to break into an industry consumed with discovering the next big IP? You could turn the tables, and find that great source material first. Learn how the pros lock the rights and create your favorite films and television shows, from a writer who’s done it for the biggest names in the industry.
IP, short for “intellectual property,” has become the buzzword in recent years. Sometimes it seems like there aren’t any originals left. So if IP is what producers want, how are you supposed to get them to read your original pilot?
Maybe it’s time to adapt that short story, magazine article, or epic fantasy novel you’ve had on your mind for years.
Now, where do you begin?
How do you lock down IP before someone else does? What does it cost to get the rights to the source material? And once you do get the rights, how do you attack it so that it has your voice but stays true to the original?
In this Stage 32 exclusive webinar, you’ll learn the ins and outs of landing the rights to every kind of source material, including understanding the chain of title, how to approach the author or reps of the IP, and the different rights agreements available to you. You’ll know how to break the story in a way that audiences will love while still making the story your own, and how to attract talent to create a package that sells.
Taking you through the journey of adaptation is Micky Levy, a screenwriter who launched herself in the industry with the script RAILS & TIES, which was directed by Clint Eastwood, starring Kevin Bacon and Marcia Gay Harden. She has a long history of adapting IP, including AMISH GRACE, which earned her a Humanitas Prize nomination, NOBODY by Caryl Phillips, DANCING IN THE DARK, THE COINCIDENCE MAKERS by Yuav Blum, and STOLEN WATERS by Ada Shauluv.
Micky will take you through the process of securing IP, her own process of breaking the story, and how to launch your own writing career or package the project to produce. Micky will even provide examples of decks and mood boards that help emerging writers and producers sell their projects and that you can use to create a buzz for the next hit film or series created by you.
You’ll also have the opportunity to ask Micky any questions you have during the live webinar about your own adaptation, writing process, or breaking into the industry. With Micky’s incredible industry experience, you can use this webinar to get ahead of the trends and snag the next juggernaut project based on IP that you had the foresight to discover.
The First Step: Getting the Rights
The Development Process
Examples: Decks and moodboards
Q&A with Micky
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"Micky Levy was really well prepared and gave tremendous advice. Not only an experienced screenwriter and a skilled communicator, but just a fine human being too." -John D.
"The webinar was very informative and helpful. I appreciated the inclusion of the instructor's own pitch deck during the presentation to have as an example."
"GREAT info - I will have to watch the replay to get it all again! Thank you!" -Paolina M.
This is a private, virtual group for only 15 people - This will fill up so get your spot now! Payment plans available - contact firstname.lastname@example.org for more info! From DUNE, THE HANDMAID'S TALE and NOMADLAND, book adaptation projects continue to be a Hollywood staple bringing some of the best film and TV we are watching today. Studios, streamers, and networks are always looking to bring great IP to the screen and they are a great way for you to break in and get noticed. Is there a book, short story or graphic you have your eye on adapting that you know will make a great film or TV show? What if you can work on your project step-by-step alongside someone who's adapted almost a half a dozen produced projects? We're bringing you an incredible opportunity... Micky Levy caught the eye of Alison Eastwood and Warner Bros. with a script she wrote entitled RAILS & TIES. Directed by Eastwood, the film starred Kevin Bacon and Marcia Gay Harden and premiered at the Toronto International Film Festival. Since then, Micky has completed almost a half a dozen book adaptations, including AMISH GRACE for which she received a Humanitas Prize nomination. Other adaptations include: NOBODY from the award-winning book by Caryl Phillips, Dancing in the Dark, THE COINCIDENCE MAKERS from a best-selling novel by Israeli author Yuav Blum, and STOLEN WATERS from the Romanian short story collection by Ada Shauluv. Micky knows exactly what it takes to adapt IP since she has done it time and time again and she's bringing her extensive knowledge to the Stage 32 community. Micky will walk you through every step of the process for adapting IP to the screen in a private virtual class, plus work one-on-one with you on your own project. In this exclusive 8-week private, virtual lab you will: Have a private virtual group that you will interact with over the course of 8 weeks under the guidance of your Stage 32 Educator Have your Stage 32 Educator available on email in between classes to help you with any questions you have about your own projects. Learn the overview of the adaptation process Learn why it's important for you to get the exclusive rights to the IP you want to turn into a screenplay Learn how to secure the rights to IP Learn what to to do once you have the rights - to pitch it or spec it Learn how to break it down into a relevant screenplay, package it and market it. By the end of this 8 week virtual lab, you are going to be ready to secure the rights to the next big Hollywood adaptation of a book, short story, or graphic novel. PLUS! As an added bonus, you will receive: Sample Option Agreement Sample Shopping Agreement Sample Adaptation: Script and Long Form Treatment. You will be given the option to purchase the book on which the Sample Adaptation is based. Short Form Treatment Adaptation Pitch
Flashbacks Make sure your flashback scenes drive the plot forward, are not more dramatic than the present, reveal information about your character or situation, have a specific point of view.
Learn directly from acclaimed author and screenwriter Max Adams who has worked with companies such as Columbia Pictures, Touchstone Pictures, Universal Pictures, Walt Disney Studios, and Tri-Star Pictures and Max’s students have won three Academy Nicholl Fellowships, two Austin Film Festival Screenwriting Awards, a Stage 32 Happy Writers Award and more! We continuously hear from the executives that we work with that concept is the most common mistake in spec scripts today. Readers see so many spec scripts that have no chance of becoming films not because the writing isn’t great, but because the writer did not spend enough time on concept. It is one thing to fall in love with a story idea. It is another to stick with it during the uncomfortable phase of working on that idea to make it bigger, badder, better and more enticing to the world. How can you ensure you consistently develop ideas that excite readers and push your script toward a sale? How do you know if your idea is “high concept” enough? What exactly does “high concept” even mean? Stage 32 Next Level Webinars is thrilled to bring you acclaimed screenwriter and writing coach Max Adams to teach you how to create compelling concepts and re-craft existing concepts so that they garner instant attention through one sentence descriptions alone. Dubbed “Red Hot Adams” by Daily Variety for selling three pitches over a Christmas holiday, she will teach you how to pull a story out of the “been there seen that no thanks” file and into the “I have got to read that” file. You’ll learn how to break your story into individual components to find its strengths and weaknesses, which gives you tools to analyze your future writing projects and raise stories’ impact. This will be your complete crash course in high concept writing, and you will leave this webinar knowing how to make your stories more interesting and enticing for readers, buyers, producers, editors, representatives, cast and industry players!
Like it or not, the film and television industry is and will always be a business. It may produce stunning works of art and lead to social and cultural impacts, but it still comes down to the bottom line. That means that as a writer, unless your name is Christopher Nolan, you’re going to have to deal with more constraints that just the words on a page in order to make your vision a reality. You’ll need to convince a producer that the script can be made and can be made with the money available. And, if you’re a filmmaker or producer, you’ll need to understand how much of the budget is going to each page in order to make your film profitable. In order to do this, it’s important to understand how to read scripts from a cost perspective and what stands out to them as red flags or unnecessary challenges. Considering this throughout the writing and development process rather than being caught off guard after a script is fully written can be invaluable. It can be frustrating to have limitations get in the way of your creative expression, to be told that the world and story in your head can’t be made because of financial constraints. It can feel like selling out to alter your script in order to fit a financier’s budget. This doesn’t have to be the case, though—you don’t have to sacrifice your narrative in service of the bottom line. Instead, there are ways to meld your creativity with some financial savvy and learn to think about how story, character, and structure translate into dollars on the page. So before you write that ambitious live action space opera, the one on the rain planet with children and exotic animals, join producer James Crawford and learn how a producer thinks and breaks down pages.This will give you a leg up on the competition when trying to get your script made. James Crawford is the Head of Development for Fireside Pictures. Prior to joining Fireside Pictures, James was the Executive Director of Development at Engage Entertainment, where he developed, sold, and produced seven movies to Hallmark Channel over three years, including THE ROOFTOP CHRISTMAS TREE, SLEIGH BELLS RING and A DECEMBER BRIDE. In addition to his feature production experience, James has developed several one-hour television series at Engage, 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. James has a storied background as a producer and executive and is intimately familiar with what it takes to turn a script into a produced film or series. James will provide you with an understanding of the unforeseen costs that go into producing a script. He’ll begin by going over what it generally means to think like a producer in the first place. He’ll then delve into the specific financial challenges that come with genre and ‘genre-ish’ projects and how you can prepare yourself for these issues. James will break down the seven main types of producers on a project and what each one does. James will focus on the relationship between the producer and the line producer, a critical partnership for finding the resources to keeping your vision. James will then give you a full breakdown of what costs could go into every single page of your script, from above-the-line and below-the-line talent to locations, production design, and small things you might not have ever considered before that can seriously add up. To illustrate this, James will provide you with a case study of a real scene of a real shooting script, illustrating line-by-line where the costs lie in the script. Finally, James will teach you 10 strategies you can use if you’re starting to go over-budget. You will leave with a firmer understanding of how your script will translate to costs, and clear strategies to keep your vision while going easier on the budget. Praise for James’s Webinar: 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.
Only 15 Spots Available! By popular demand, we're bringing in TV executive Anna Henry (who has 100% satisfaction with her webinars!) to teach a one-on-one TV pitch document writing lab! Need help with writing your TV series pitch document? Look no further! Anna's here to help. This is the golden age of television and the appetite for content has never been greater. What does everyone network and streamer want? Fresh, unique, authentic voices with never-been-told stories. While the door is open to new writers, the competition is fierce. Of course you need a very strong finished script, but before that will be read, you need to be able to communicate what makes your show stand out from the crowd, what will make people want to watch it for years and years, and why you are passionate about writing it. You need a blueprint of what the series will be beyond one episode. That's where a pitch document (aka bible, aka treatment) comes in. Whether you are selling your show verbally, sending the pitch to a potential producer, or applying for a fellowship, this document carries the weight of your imagined world with all its inhabitants and stories. That's a tall order! So where do you begin? How do you organize your ideas? What should be in a pitch? How detailed should you get? Should you start with a summary of the pilot? Should you have ideas for future episodes? What should you say about your characters? In this lab we will delve deep into writing an effective pitch for your scripted television idea - one that will clearly communicate your intentions, excite the reader, and convey your voice and your passion. Most writers need help with switching gears and selling their story in addition to telling it - which is the purpose of this lab. Anna has spent her career developing television projects with writers and selling those show ideas as a development executive, manager and producer. What she has found is that most screenwriters have taken classes that helped them learn about story structure, writing scenes, dialogue, etc. but writing a pitch is entirely different. She will not on ly teach you how to write your document, but work one-on-one with you to make sure it's the best it can be to go to market. Testimonials from Anna's previous lab: "I thought it was a great course and really helped me understand the format. Anna is knowledgeable and quickly cuts through to what can help your story better. Her notes on my script were insightful and really demonstrated her thorough experience." - Lee L. "Anna’s class was by far the most thorough, well put together, and organized screenwriting class I’ve ever taken. I have an MFA in filmmaking and, after graduating, I still felt as if I didn’t fully understand the structure of pilot writing. Anna’s class laid it out step by step and she went through every piece in detail. She was also extremely available to her students. During our one-on-one sessions, I expected to have a quick 15 minute call with her but she ended up speaking extensively with me about my story from outline through script stages. She really, truly cares for her students and is there to answer any questions, which, given her abundant experience in the industry, is a priceless piece of her labs. Thank you, Anna!" - Jacqueline D. "Anna was concise, and detailed. I've been working on log-lines/treatments/synopsis for 2 years for my scripts and never had it nailed like Anna was able to do. She rocks!" - Cheryl Lynn S. WHAT TO EXPECT This lab is designed for intermediate writers and producers looking to get their individual television project pitch document ready. 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 15 Spots Available. No exceptions.*** (10 Spots Remain!) You will be given exclusive and confidential handouts that will accompany the lessons and that you will be able to hold onto after the lab ends. This lab will consist of six sessions occurring twice weekly for three weeks, each roughly 90 minutes in duration. In addition to the lessons where Raquelle teaches the class, you will have the opportunity to ask her questions during each session as well as multiple chances to speak with her 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 TV project development lab schedule, see below under "What You Will Learn". PLEASE NOTE: This exclusive Stage 32 lab is limited to 15 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with a manager and an 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 Amanda at email@example.com for more information
**This video presentation contains English closed captions. To view the webinar without captions, click here. Stage 32 + Netflix join forces to bring you an exclusive television pitch workshop Learn best practices to make your pitch work and what your pitching document should look like You do NOT want to miss this! For many, the holy grail of television has become Netflix. It’s a titan in the industry, and with over 200 million subscribers worldwide, no one can put out content quite like them. Just look at the recent hit show BRIDGERTON, which has already been seen by a massive 80 million households (!!) since its release. If you’re a writer or creator, getting your series onto Netflix’s platform can spell success in a big way. But first there’s the matter of getting your series in front of them and pitching it effectively. It should be a comfort to know that you’re not the only one who wants your series on Netflix. Netflix wants that too! Netflix execs are constantly on the lookout for exciting new voices and new series to fill their slate. Yet it takes more than just a good series or a good pilot script to get on Netflix’s radar; you need to be able to communicate it well and pitch it in a way that will get their team excited. This certainly takes some work, but it’s absolutely achievable. If you’re interested in getting your show on Netflix, it’s time to learn directly from the source what it will take to make that happen. In an effort to reach more writers and find more content, Netflix has joined forces with Stage 32 to present a FREE and invaluable workshop on what it is that they’re looking for in new shows and how you can best pitch your series to their executives. In Stage 32's continued effort to help level the playing field for content creators worldwide, we felt it's important that we help you get tools you need to be able to make sure that you can pitch effectively. Kicking off the workshop will be Stage 32 CEO, Richard "RB" Botto (@rbwalksintoabar), and hosting this presentation will be Stage 32's Managing Director Amanda Toney with Netflix’s Director of Creative Talent Investment and Development for International Originals Christopher Mack. Christopher was previously Senior Vice President of Scripted Content for Stage 13, overseeing all of the brand’s original scripted series and development slates across multiple genres, including Emmy nominated Netflix series’ SPECIAL and IT'S BRUNO. Before Stage 13, Chris headed the Warner Bros. Workshop, the writing and directing program for professionals looking to start and/or further their careers in television. Over a period of 10 years in this role, Chris curated a roster of close to 100 writers and 50 directors representing the breakthrough emerging voices working on high-profile television shows today. In addition to these responsibilities, Chris has covered hit shows such as TWO AND A HALF MEN and SMALLVILLE for the Current Programs department. Prior to joining Warner Bros., Chris spent seven years writing on various one-hour dramas including ER, THE PRACTICE and THE NEW TWILIGHT ZONE. After graduating from Loyola Law School, Chris got his start in television at NBC Studios as an associate and he quickly rose to becoming an executive. During his time at the newly created NBC Studios, he oversaw a varied list of shows including: THE FRESH PRINCE OF BEL AIR and IN THE HOUSE, among others. In this exclusive Stage 32 workshop, Christopher will delve into what exactly makes a television pitch work at Netflix. He’ll discuss the essentials you’ll need to catch Netflix’s eye and will zero in on how to write an effective pitch document. He’ll pose questions you be able to answer and communicate for your series and give you ideas on how best to communicate your show’s overview, world, tone, and characters. Christopher will then discuss how season summaries should be built and give you ideas on how to think about and present potential episodes. Finally, you will have the invaluable opportunity to ask Christopher your own questions. You will leave this presentation with the understanding of how to structure and present your series, not in theory, but directly from the source.