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
Q: How do I watch my webinar live?
A: If you received a confirmation that your webinar is on Go to Webinar, you will receive an email from Go to Webinar with further instructions for participating in the live webinar. You can also access your webinar link in your purchase history located under settings in the top right-hand corner of your Stage 32 profile.
If you received a confirmation that your webinar is on Zoom, you will receive a separate email from Zoom with further instructions for participating in the live webinar. Your login link will not be in your Stage 32 profile. If you did not receive your link via Zoom please email email@example.com.
Q: How do I watch my webinar on demand?
A: You will be able to watch your webinar on demand as many times as you’d like inside your Stage 32 profile. The recording is processed and posted between 24-48 hours after the webinar concludes. You can follow the instructions below.
YOU MUST HAVE A STAGE 32 PROFILE TO WATCH YOUR VIDEO – STAGE 32 IS FREE TO JOIN If You Already Have a Stage 32 Profile:
Q: What is the format of a webinar?
A: Stage 32 Next Level Webinars are typically 90-minute educational broadcasts that take place online using a designated software program from Stage 32. Your webinar will be taught by a working industry professional with in-depth teaching on a topic. If you are able to attend live you will be able to ask your Stage 32 Educator questions during Q&A.
Q: What are the system requirements to watch my webinar live?
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 10.9 (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 cannot attend a live webinar or 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 re-watch?
A: Yes! Like all Stage 32 education, after the purchase of a live or on demand webinar, you will have on-demand access to the recording.
Q: How do I get a copy of the handouts provided?
A: If the webinar you take included handouts you can find them as downloads underneath your on demand video. You must be logged into your Stage 32 profile to view the video and get the handouts by clicking settings in the top right hand corner, then clicking purchase history.
Q: What if I need accessibility and accommodations?
A: Email firstname.lastname@example.org to request accommodations.
Thanks for your loyalty to Stage 32 Education. We value having you in the Stage 32 community.
If you have any further questions, we are always happy to help. Please contact Stage 32 support at email@example.com.
Pitch decks are a mystery. Why? Because no two pitch decks are the same. But there are elements that are crucial that separate a professional deck from an amateur one. A solid pitch deck will get those executives on your side and show them how exciting and marketable your idea is. It can be what stands between you and that green light. But what does a great pitch deck even look like, and do different approaches work better for broadcast networks than streaming networks? What do streaming executives want to see and what should you steer clear of at all costs? To guide you on your process is Ewan Dunbar who serves in Development, Sales, and Acquisitions at Disrupting Influence, most recently announcing BERLIN, I LOVE YOU, starring Helen Mirren and Keira Knightley. Ewan has produced, developed and sold over 30 titles. Having been in many rooms with Netflix, Amazon, Hulu and other streamers, Ewan specializes in developing decks to best showcase a project and make it stand out. Plus, Ewan has insight into a streaming platform’s process once you pitch your show. Ewan will cover what executives are looking for in a deck, what you do and don’t need to include, presentation tips and how to keep acquisitions executives interested in your material. He’ll go over how to keep your audience entertained and simple formatting tips and tricks you can adopt that can make all the difference. Ewan will also discuss how best to present your plot, characters, and world, and how you should adjust your deck specifically for streaming networks as opposed to broadcasters, sales agents, or financiers, and ways to adapt depending on what genre your series most closely aligns with. He’ll also teach you how to bring all your materials together for your final pitch. PLUS! Ewan will go over successful example pitch decks and give you a handout that shows you a guide of what you need in your own deck. ABSOLUTELY FANTASTIC! The presenter delivered more in 20 minutes than other presenters do in an hour, and it NEVER felt rushed and he was always easily understandable. I cannot wait to get the handouts! -Bob S. Ewan’s presentation was excellent I learned so much from him and now feel 100% confident in creating a pitch deck. He was truly an expert. -Margaret M. "Very good, very knowledgeable and very organized. Great presentation and webinar. I walked away with lots of ideas about polishing my pitch decks to make sure they stand out." -James B. "Ewan Dunbar's webinar was one of the best I have ever taken! Organized, filled with useful information, he sounded like he really cared about helping the audience be better at what they want to do." -Roberta P.
“What’s your story about?” Having a perfect logline ready to answer that question can help give you the best chance of seizing the opportunity when you are asked. Your logline is your most important asset. It's invaluable for keeping you focused on what makes your story unique and for always making sure that you nail the first impression when someone asks you about your work. Having the perfect elevator pitch ready to go can make or break you when the opportunity presents itself. Why do so many creatives struggle with coming up with that one-sentence? How do you get better at honing your logline? Stage 32 is here to help you. We have brought in Emmy-award winning producer Lane Shefter Bishop who has sold over 30 PROPERTIES in the last 6 years - all from pitching just a logline. Touted as “The Logline Whisperer”, Lane Shefter Bishop has the specific tools you need to help you know how to sell what you write! In this exclusive Stage 32 Webinar, Lane will give you insider information on how you can best position your project to sell your work to agents, editors, publishers and producers. Lane has successfully sold projects to various networks and studios, including NBC/Universal, ABC/Disney, CBS, Lifetime, Sony and 20th Century Fox. All of these projects have one thing in common – they began with a single sentence, a top-notch logline. After all, you can have the best material in the world but, if you get on the phone or in a room, you need to know how to sell it with your logline! Praise For Lane "Lane made loglines so simple. I'll be able to take the 3 tenents with me for every one of my projects moving forward. I struggled with loglines and this really helped clarify things for me." - Alan B.
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.
Have you ever wanted the inside scoop on what it’s really like to work in a TV writers’ room? Get full access through the eyes of a working television writer with over a decade of experience on some of your favorite TV franchises. Most writers experience initiation by fire when joining their first writers’ room. Since there’s no manual or list of rules to follow, navigating your way through your role can feel like a minefield. You might be afraid of talking too much and upsetting the room or too scared to speak up and be shut down. It’s not just about getting the staffing job, it’s about putting yourself in the best position to be a part of the team, impress the right people, and most importantly, keep your job. Stage 32 is here to give you an insider look at the inner workings of a television writers’ room in this exclusive webinar, hosted by CASTLE, CSI CYBER, and NCIS NOLA scribe Kate Sargeant. Kate has over 12 years of experience, working on some of the most recognizable television franchises, and was most recently staffed on the upcoming series OBLITERATED from the creator of COBRA KAI. she is here to share her mistakes and triumphs so that you can avoid her pitfalls and become a valuable staff writer. From breaking the story through the final mix and everything in between, Kate has you covered as she walks you through: What you’ll see on your first day The differences between working on a new show and an established one Navigating meetings What are the unwritten rules of the writers’ room Understanding how rooms break the story together The day-to-day writing process Learning how to take notes and handle rewrites Who the major players are What are the most common pitfalls Kate wants to unlock the secrets of these exclusive jobs as she provides the nuts and bolts of what your future will become when you’re staffed. Instead of entering the room scared that one wrong move will end your dream, why not set yourself up for success?
As an independent filmmaker, screening your project at a film festival may be the best opportunity to put your film (and yourself) on display. It remains a powerful platform for filmmakers of all levels to have their work seen. In fact you’d be hard-pressed to find a successful filmmaker working today who didn’t get their start at a festival. It’s where films get sold, where talent gets discovered, where reputations are crafted, where communities are built, and where the best networking can happen. And with the current movement away from the theatrical model and towards streaming, festivals can also often be the only possible way to physically show your film on the big screen to an audience during its life cycle. Yet despite festivals serving as a lifeblood of the film industry and a launching pad for so many, it’s still a relatively enigmatic and opaque landscape and a difficult one for even the savviest of filmmakers to navigate. Perhaps because festivals can feel so enigmatic, it’s common for filmmakers not to consider the workings of a festival or the rules and goals they operate under before submitting. After all, you already spent a huge chunk of time learning the rules and goals of filmmaking. You put in time, money and resources to make something good and that you’re proud of. Shouldn’t that be enough for a festival? Can’t they just say ‘yes’? Unfortunately, like with any aspect of this industry, there’s more to it. Programmers do a lot more than “find the best films” and they have to balance a lot more than simply choosing things because they’re “good”. To set yourself up for success, it’s time to better understand how festivals tick and what you can do while submitting, or even while making your film, to be better positioned for success and to hopefully get that long awaited acceptance letter. For nearly a decade Harrison Glaser has been immersed in the professional film industry working for Austin Film Festival and Stage 32. As Austin Film Festival’s Film Competition Director, he programmed the festival’s films for five years and discovered his passion for identifying deserving projects and championing exciting and unrecognized talent. During Harrison’s tenure as AFF’s Film Competition Director, over 100 films he programmed went on to secure distribution, six short films were later nominated for Oscars, and one that he qualified ultimately won the Academy Award. His work with Austin Film Festival and Stage 32 allows him to champion undiscovered storytellers and help them amplify their work. He also serves as a professional moderator for many different film related industry panels both online and offline. Through his many years leading AFF’s film selection and working closely with other film fests, he has become intimately familiar with the inner workings of larger festivals, as well as the common missteps many filmmakers make when working with them. He’s excited to share what he knows exclusively with the Stage 32 community. Harrison will pull back the curtains on how film festivals are organized and how they select films, and will give you tips and strategies to better position your film for success once it’s time to submit. He’ll begin by going over at the most basic level who festival programmers are and what drives them. He’ll then offer a bird’s eye view of how a festival’s selection process normally works, including who watches your film, how many times it’s usually watched, and whether it’s watched in its entirety. He’ll also give you a sense of how films are declined, shortlisted, or accepted. Next he will spend time discussing what programmers look for when evaluating films. He’ll go over what appropriate runtimes for both shorts and features are how programmers may react to specific themes and topics. He’ll also talk about festivals’ identities and audiences, premiere status requirements, and other content issues they consider. He’ll bring up copyright issues that sometimes come up as well as how to navigate submitting your film as a work-in-progress. Then Harrison will teach you tips for submitting your film, including how to navigate deadlines, how to work with FilmFreeway and other services, and what you need to have ready beyond just the film when submitting. He’ll also touch on press kits and cover letters. Harrison will delve into how to best communicate with festival programmers. He’ll talk about best practices, appropriate circumstances to reach out and situations when you should refrain from contacting them. He’ll also discuss what to do when you need to change your submission's Vimeo password and how to navigate updating your submitted cut. Finally, Harrison will explore the complicated, notorious world of fee waivers. Expect to leave with a comprehensive lay of the land of how festivals operate and a toolkit to better position your own projects for success on the festival circuit. Praise for Harrison's Stage 32 Webinar "Very informative and honest. Good coverage and great to hear form someone who knows." -Paula M. "Absolutely Great! It was really helpful to hear Harrison's insights & wisdom after having gone through the 2019 International Festival Season. I will definitely take all this with me into my next journey into the festival circuit!" -Becca G. "Excellent and insightful." -Elease P. "Super helpful in a LOT of ways! I will be sharing these insights with the production team of the short film I recently directed. We'll take many of these suggestions into account when we start hitting the submission circuit." -Peter M.