Angela Molloy is WE tv’s vice president of development, based in the network’s Los Angeles office. She works closely with west coast based production partners and agencies to find fresh new unscripted programming for the network. She is currently an Executive Producer on WE tv series L.A. Hair, Marriage Boot Camp, and Bridezillas. Prior to WE tv, Molloy worked as a production, development and acquisitions executive. She was a freelance showrunner with co-executive producer credits on Million Dollar Listing Los Angeles for Bravo, A Sale of Two Cities for HGTV, Extreme Homes for Discovery Channel, and served as the executive producer for Mansion Hunters on Reelz Channel. She also produced a number of pilots and series for a variety of networks including OWN (Life with La Toya), TLC (Maria and Courtney’s Wedding Fiesta), Esquire, A&E, and HGTV (Room Crashers). In 2008, Molloy finished a one-year run with the TLC cable network as a Director of Programming. She took pitches for the network and helped oversee production on a number of new series and event specials including The Miss America Pageant. This marked a return to TLC after Molloy spent four years at the corporate headquarters in Maryland as an acquisitions and development manager. Prior to joining the LA-based TLC team, Molloy was vice president of international at 3Ball Productions. In just over two years, she helped develop and produce Scott Baio is 45…And Single, The Pick Up Artist, and I Know My Kid’s a Star for VH1; and multiple pilots and development projects for Fox, Sci Fi, HGTV, Bravo, Comedy Central, E!, and syndicated shows. She was also the primary liaison with Eyeworks International. Traveling to MIP and other markets, she handled all US development of Eyeworks’ international formats – adapting them for US pitch. She also pitched 3Ball’s US projects in development to Eyeworks territories all over the world. Molloy began her career with WETA-TV, the PBS affiliate and third largest producer of all national PBS programs. Molloy scheduled WETA’s daytime and acquired programming from other PBS stations and independent producers. She also worked at PBS’ headquarters in Alexandria, VA to help launch PBS Online’s Station Relations group. As the senior associate, she created and marketed online integration opportunities to all 349 PBS member stations. Molloy holds a B.A. in Professional Writing and French from Carnegie Mellon University in Pittsburgh. Full Bio »
There is a myth in the television industry right now: more channels mean it’s easier to sell a show, right? WRONG! The diversification of television and the dominance of streaming services over linear cable have made it HARDER to sell unscripted programming. Why? Because there are too many places for the audience to go. In order to get a hit, networks have to become specialized and truly define their brand in order to stand out.
You can no longer just pitch IDEAS to networks. IDEAS are not STORIES and they’re not SERIES. There is a lot more work (research, interviews, and writing) that has to go into a pitch before you can take it to a network. Bomb a pitch and a network might not let you in the door again.
Angela Molloy is one of the original unscripted executives having been in the game since 2001, when it was just getting started. She’s also one of the only executives who has been a network buyer, a production company development executive (seller), and an Executive Producer in the field. In this webinar you’ll learn get an overall sense of the reality landscape and concrete essential tips for how to develop and pitch into it. Sign up today to make sure you don’t get caught with your pants down during a pitch!
Angela Molloy, WE tv
Hollywood studios will release less than 100 movies in 2019, most written by veteran writers. The Independent Film market is struggling. All the while TV is exploding. More than 90% of working WGA writers are in TV, which is the market for quality writing and entertainment. Why? TELEVISION IS RUN BY WRITERS. In 2019, Television will produce more than 500 original scripted shows – that’s more than 5,000 scripts – with Netflix, Hulu and Amazon alone spending a combined $20 to $25 BILLION on programming. What’s the secret to breaking in, finding a job on staff or selling a new show? A GREAT, ORIGINAL PILOT. James Dalessandro will work with aspiring Writers, Directors, Producers to focus them on what it takes to make the dream come true – a career in Television. Your host James was handpicked by Stan Lee to write the TV Pilot and Bible for THE RESTLESS for POW! Entertainment. In addition he also has Brad Bird (Incredibles, Incredibles 2, Ratatouille) attached to direct a feature film '1906' based on his own novel. He's also written and produced TV for FX, Eone, Televisa USA, Starlings Entertainment and Gross/Jacobson Entertainment. ***All attendees will receive a pdf of THE AMERICANS pilot!
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.
Writers can't rely on jump-scares and creepy music, so how do screenwriters create tension on the page? We'll take a look at needling suspense of THE BABADOOK, the tension just below the surface in GET OUT, the apocalyptic horror of “The Walking Dead”, and the creeps and chills of IT.
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.
There is no hotter market right now than television. More content is being ordered than ever before. And with streaming networks such as Netflix planning to have 50% original content in their libraries within the next few years, the demand for quality television scripts, products and minds isn't going away anytime soon. But what makes a television show work? What elements are networks, premium channels and streaming platforms looking for? How do you navigate what has quickly become a very crowded market? By learning from the best, of course. Stage 32 is beyond proud to introduce a new, timely, important and exclusive Masters of Craft webinar: Writing & Producing Compelling Television in Today’s Market. Your teacher is 20+ year television veteran, the one and only David Weddle. Over his prolific career, David has been an award winning producer on some of the most famous shows of all time (Battlestar Galactica, CSI, Star Trek: Deep Space 9, The Twilight Zone). Currently, David is an Executive Producer and Writer for The Strain – the highly acclaimed television series created by writer/director Guillermo del Toro, based on his series of best-selling novels, co-written with Chuck Hogan. David is working alongside one of the most famous and in demand showrunners in the business, Carlton Cuse (showrunner for Lost, Bates Motel, Colony and the upcoming Amazon Studios' show Jack Ryan starring John Krasinski). As an added bonus, in this exclusive worldwide online event Stage 32’s very own CEO, Richard Botto, a writer and producer himself, will sit down with David and discuss the ins and outs of TV. David will take you into the world and processes of creating quality, compelling television. He will get in depth on how shows get bought and made – from writing to budgeting to casting. In short, you will gain pertinent, usable knowledge and information on writing and producing for TV. Further, we will have an extensive Q&A session where you can ask David any questions you have. This is masterful information brought to you by a master of his craft!
Learn directly from Morgan Long, TV Literary Department for a “Big Six” Agency This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea. With the TV market exploding right now, one of the most in demand formats is the 1-hour TV drama pilot. 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 1-hour TV drama pilot will give you a competitive advantage and help you find success as a TV writer! Due to popular demand, Stage 32 is thrilled to bring back our 8 Week Intensive TV Drama Pilot Writing Lab taught by Morgan Long, a TV development coordinator at a “Big Six” Agency! This hands-on intensive lab will guide you through picking a concept, creating engaging characters, structuring and outlining your pilot and writing the first draft! The main objective of this 8-week lab will be to have a first draft of your script. You will meet online with Morgan for 2 hours a week in a class setting, plus have phone consultations 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. Payment plans are available - please contact email@example.com for more information. This Lab is Limited to 20 People. Please Note: Participating in this lab does not mean you are writing for or pitching to Morgan or her company. 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 drama pilot. Start to prepare for your pilot pitch.