An entertainment industry veteran, Brian has been working in the industry since 1999, and he has credits on 23 films and television series for major studios like Disney, Universal, Sony, and DreamWorks Animation. Brian has worked with some of the top story tellers in the animation industry, and has been studying the art and development of storytelling from within for nearly 20 years. While at DreamWorks Animation his work fell under the umbrella of the DreamWorks Education department and Brian taught classes to artists and other staff on story telling, Film Noir, and screenwriting. Brian has been a professional screenplay reader since 2006, and has written coverage for over 1,000 scripts and books for companies such as Walden Media and Scott Free Films. Scripts and books that Brian has read and covered include Twilight, Touristas, Nim’s Island, Hotel for Dogs, and Inkheart. Brian is a life-long fan of good stories and he’s spent years studying the techniques and principles of good storytelling. He believes that great cinema and great storytelling are inseparable. He studied animation and screenwriting at the University of Southern California, receiving an MFA from USC’s School of Cinematic Arts in 1999. With that knowledge and his appreciation of good stories, Brian gets real satisfaction in helping writers get the most out of their stories through their screenplays. Brian was born and raised on Cape Cod and currently lives in Los Angeles, California with his wife, three daughters, and two dogs. Full Bio »
After reading well over 1,000 screenplays over the course of my career, from both professionals and amateurs, I can tell you that I have a solid idea of what makes a good story. Also, as someone who has been a professional reader, I can show you through a reader’s eyes where a story becomes flawed, and how those stories can be improved to prevent you and your script from getting the dreaded PASS on coverage notes.
The Dirty Secret of Story Structure will take a meticulous look at the art of building dramatic structure within your story by learning how to do it in individual scenes.
Each and every scene in your script should serve as an opportunity to move the story forward. If it is not doing that, it’s not serving its correct purpose within the world of your story. Just as your overall screenplay has a beginning, a middle and an end, so too should each scene. Within each scene should be a character who wants something, and another character or entity that is trying to stop her.
Developing a structure within each scene to determine how those events transpire is just as important to telling your story as making sure the Act I to Act II transition happens somewhere between pages 25 and 30. However, the notion of dramatic structure has been misinterpreted for years.
Dramatic structure is not necessarily what you think it is, and when it is re-examined, the thought of fitting a story within the confines of dramatic structure becomes less daunting. This webinar will provide detailed examples on how to build solid dramatic structure within your scenes, as well as within your overall screenplay.
The secret: Most films are told in four acts, not three.
Break 3-act structure (and the Hero’s Journey) down to a scene-by scene level.
Break 3-act structure (and the Hero’s Journey) down to a scene-by scene level.
Applying technique - We'll go over how thinking of a screenplay in 4 acts rather than 3 can help you by:
Subtext in your dialogue and in your story can be the difference between a studio picking up your script or passing on it. Subtext adds layers to your story and depth to your characters. Mastering the art of subtext is not only preferable for writers, it is absolutely essential. The writers and creators of Film Noir were experts at the use of subtext because, due to the restrictions of the Production Code, their films could not have been made without it. The makers of Film Noir mastered the art of not saying what you’re trying to say, and saying it in a way that sounds like you’re saying something completely different. That subtext allowed the audience to fill in the blanks and become more active participants in the story, and that is why subtext is so important. It gets your audience more involved in the story. Film Noir and the Art of Subtext will show you how to apply the use of subtext in your own scripts in order to add that depth, further engage the audience and take your script to the next level by using examples from some of the great films of that style. After reading well over 1,000 screenplays over the course of my career, from both professionals and amateurs, I can tell you that I can recognize good subtext. Also, as someone who has been a professional reader, I can show you through a reader’s eyes where subtext is needed, and how subtext can be used to prevent you and your script from getting the dreaded PASS on coverage notes.
It is clear that this is the golden age of television with one incredible series after another coming out on cable, streaming and network. If you're interested in breaking into the world of television, there is one key position that you must know the ins and outs of in order to understand the set - a TV Executive. An TV Executive plays a huge role in a television production, serving as more than a key developer of story, but also a liaison between various departments on set. We've brought in veteran executive Stuart Arbury from Ramo Law (Ramo Law has worked on Netflix's Altered Carbon & Chef's Table, ABC's This Isn't Working, Hulu's Battleground and more). Stuart himself began his career at Captivate Entertainment, Dimension Films and Canvas Media Studios. Arbury was the on-set TV executive for MTV's Scream TV series for two seasons, which was based on the classic horror film franchise. In this webinar, Stuart will walk you through an explanation of the television eco-system and share war stories of his time during Scream. Having worked with various department heads, Stuart will also share tips on getting started in Hollywood on a television production. You will walk away with a clear understanding of a TV executive's role and how it relates to your part of the business, whether you're a writer, producer, director, actor or crew.
Just going to film school doesn’t prepare you for the endless obstacles you’ll face trying to make it as a filmmaker. You learn that pieces that come together to make a movie in school but this is the film industry and it's totally different. From studios to independents, your host Aaron Wolf has learned some secrets of the trade....come on the journey! You can’t find this stuff in school or in a book. You have to live it. And Aaron has. From being a student at NYU to being a part of The Groundlings, to working with FOX, Warner Bros. and Disney and dealing with film festivals and independent distributors, Aaron has seen it all in a short time. He wants to share the secrets with you. Just going to film school doesn’t prepare you for the endless obstacles you’ll face trying to make it as a filmmaker. Just getting a job in LA doesn’t prepare you. Creativity comes in many forms. One form is creatively navigating the business so that YOU can live your dreams. With his recent film, Restoring Tomorrow, being acquired by Seventh Art and featured in Variety, Aaron has learned through trial and error on how to make a living as a filmmaker. Join him in this exclusive Stage 32 webinar as he discusses what he's learned, and what you need to know for your own journey! Twitter: @TheAaronWolf Instagram: @TheAaronWolf Facebook: Aaron Wolf
4 part class taught by Stuart Arbury, Director of Development at Captivate Entertainment (Universal)!AVAILABLE ON DEMAND! The number one genre we hear most executives look for is horror. Horror written in any language can be easily enjoyed by any viewer from around the world. It's the most universally acceptable genre out there, and it's where filmmakers go to cut their teeth (Sam Raimi, James Gunn, Oliver Stone, Peter Jackson, Francis Ford Coppola, James Cameron, Zack Snyder, and Steven Spielberg all started in the horror genre). But writing a fresh, commercial, scary horror is getting harder as executives continue to see familiar tropes and generic set pieces. What a writer sees as a fresh idea, is one that an executive has probably seen in some variation many times over. Stage 32 Happy Writers is excited to bring you the previously-recorded 4 part class: How to Write a Unique, Commercial Horror Script taught by Stuart Arbury, Director of Development at Captivate Entertainment (Universal). From choosing a concept to picking an antagonist, from strengthening the emotional crescendo to amping up the scares in your project – Stuart covers all in this 4 part intensive class. **Plus! You'll get a copy of the HALLOWEEN script in your resources! Purchasing gives you access to the previously-recorded live class.Although Stuart is no longer handing out or reviewing the assignments, we still encourage all creatives to participate.
Taught by Director of Development at Supergravity Pictures, Mike Flavin, who's worked on films such as Sony/CBS's Faster with Dwayne Johnson and Billy Bob Thornton, and The Enivitable Defeat of Mister & Pete with Jennifer Hudson and Anthony Mackie which was screened at the White House. Hollywood has found itself looking inward at the plummeting returns from the "Blockbuster Months". Why did a relatively "starless" movie like Guardians of the Galaxy print money, while Tom Cruise's Edge of Tomorrow flopped? Why would seemingly well known Intellectual Property like Peabody and Sherman tank while another brand, Lego, do so well? (besides the world's obvious affinity for Chris Pratt!) The answer lies in one confirmed fact about the movie industry: you never, ever know what will be a hit and what won't. BUT, in saying that, there is a way in which you can give your project the absolute best chance of success by looking analytically at successful films from the past and implementing these dynamics into your project. If you've seen the film, Moneyball, you'll remember Jonah Hill's character found a way to statistically determine the best odds for his team's sucess. Our webinar host, Mike Flavin, has been able to analytically and statistically apply a method to do the same for a script or film - and he's found success as a Director of Development by doing just that. Join Mike as he teaches you his methodology to apply components in a script that make it more sellable. In this webinar, we will break down several successful movies in a number of genres and draw statistical conclusions on what made them so successful. It's the Moneyball-ization of Hollywood; let's play the house against itself!
We all know that America is bursting with talented filmmakers. Are you an independent filmmaker, cinema or digital media student, D-I-Y filmmaker or videographer? Do you have great ideas, a few skills and few filmmaking friends? Maybe you can shoot a short movie, but can you finance one, find an audience to watch it, or promote and sell it? Raindance Film Festival Founder and social media maverick Elliot Grove comes to New York to bring a fresh look at breaking into the film industry to get your movie made and seen by others. Elliot has produced over 700 short films, 6 features and trained thousands of new and emerging filmmakers around the world. Discover how to use the Raindance method and social media to build audiences, source financing and screen films. CHARGE YOUR SMARTPHONES! Join @stage32 and @RaindanceNYC and #IndieFilmNYC for this information-packed one-day seminar. DOORS OPEN at 9:15 am.