Blake Goza has spent the last seven years as the development executive for Ryan Reynolds’ production shingle, Dark Trick Films / TV, where he is in charge of new material acquisition and project development. Blake worked on such films as Buried, The Change Up, RIPD, and Deadpool, and now serves as the company’s VP, managing their first look TV deal at Universal Cable Productions. At the beginning of 2014, Blake took a sabbatical from Dark Trick to produce The Escort, with friend and writer Michael Doneger, which premiered at the LA Film Festival and was distributed by The Orchard. Goza graduated from the University of Southern California School of Theatre where he studied acting and playwriting as a National Merit Scholar. Full Bio »
Learn directly from the Director of Development for Ryan Reynolds' Dark Trick Films!
Creating an independent film from scratch is daunting, but immensely rewarding, and can be done with any level of resources. Films under $1MM are especially a sweet spot for many independent filmmakers but certainly come with their sets of challenges.
Stage 32 is excited to bring in the development executive for Ryan Reynold's production company Dark Trick Films & TV, Blake Goza, who has spent the last 7 years working projects such as Deadpool, Buried, The Change Up and RIPD.
Even though Blake works on some of the most popular films & television of today, it's his personal project - a film entitled Escort - which he made independently for under $1MM that fuels his passion for being a creative.
With this webinar, Blake will give you a producer’s perspective on building an independently financed movie, from start to finish, for under one million dollars. Using The Escort as a case study, he will walk you through each stage of the independent process: finding a script, packaging talent, determining a budget, acquiring financing, shooting, post production, and ultimately, distribution.
Blake will discuss process specifics, like his decision to attach a sales agent in the early stages of development; what financing options he prefers - the benefits and risks of private equity versus foreign pre-sales; what talent he chose to attach first – the argument for finding your director before making offers to actors; and how to build a release strategy for your film that allows for success as you define it – whether your goal is critical acclaim, commercial exposure, or financial reward, begin with the end in mind, and build a platform that allows you to achieve that goal.
If you’ve wanted to produce a film outside of the studio system on a responsible budget, then this class if for you!
Blake will go over very specific examples, resources and decisions he made with The Escort as a case study throughout the webinar.
Case Study: The Escort
Sales & Distribution
Q&A With Blake
Blake Goza (Judge)
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Not only are more and more film festivals accepting short films, but festivals dedicated to nothing but short films have become more popular than ever. Additionally, more managers, agents, and producers are looking to short films to find untapped talent and new ideas. So many successful filmmakers today, from Christopher Nolan to Damien Chazelle, have used short films as a calling card to showcase their skills and show the world that they were ready for the big time. But shooting a quality short film means raising some financing. And for many, this can be challenging. One thing that many creatives avoid when putting together a short film is everything that goes into the business end. From determining and compiling a true and realistic budget, to being able to tell your creative and financial story within a pitch deck, to thinking about a distribution strategy and recoupment plan well before shooting, there is so much to think about toward getting investors in your corner beyond the creative. Allow us to help you by showing you everything you need to know so that you can attract investors looking to get behind you, your unique vision and your work. ABOUT YOUR STAGE 32 EDUCATOR JT Molner knows a thing or two about raising funds for shorts and feature films. Although JT is a writer and director, he's been deep in the trenches in raising funds for his projects leaving no stoned unturned and nothing to chance. After raising financing for many successful shorts which caught the eyes of producers and talent, JT rolled up his sleeves and helped his producers raise financing for his first feature film, Outlaws and Angels, which was originally shot as a short film as proof of concept. The feature became an Official Selection at Sundance and was sold to Orion Films. He will teach you everything he's learned from his decade of raising financing for his short films and other projects. And, as an added Bonus you'll receive a pitch deck from JT's film OUTLAWS AND ANGELS which started as a short film proof of concept, and went on to be made as a feature, being selected as an Official Selection at Sundance and selling to Orion films! Holy clarity! I've made so many mistakes along the way. Every short film has seemed like a struggle not worth reliving and now I understand why. These wounds were self inflicted. Thank you, JT, for not only (kindly) setting things straight, but for opening my eyes. I can't wait to get started on my next project. - Manford C.
If you're an independent filmmaker, it's likely you don’t have all of the funds you need to begin or complete your production. In this scenario, you need a film financier to step in and invest equity. While the financier is often hands-off with the actual production, they do have a prominent position in the process. Their assets are your assets, and they need to be protected. Borrowing money is only one step in the process. Assuring your financier that their assets will be protected during the filmmaking and production process is another. If you’re ready to take your film to the next level but aren’t clear on what financiers expect as far as protection when you borrow, you may be at a disadvantage. Protecting money given to you by someone with a vested interest in your film is extremely important. It’s also good business practice. And going into a conversation knowing what they expect before they hand over any equity - can only work in your favor. Your future lender has expectations. Let's delve into how you can always meet those expectations. David Zannoni is an international business specialist for Fintage House in the US, Europe, Canada and Latin America territories. Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies. David negotiates agreements for films and television series and is involved in business development and relationship management globally on hundreds of productions. David is continuously present to make deals and speak at international film markets, festivals and conferences, including: the Cannes Film Festival, the European Film Market (EFM) in Berlin, the American Film Market (AFM), Ventana Sur, the Bogota Audiovisual Market (BAM), and the Toronto International Film Festival (TIFF), and travels regularly to the United States, the Netherlands, Europe, and all over Latin America. David will teach you how you can keep your financiers protected and explain the 6 different options you should take into consideration when you sit down with a financier for your own project. After explaining what the role of a financier on an independent film usually looks like, he will discuss security interests, completion bonds, escrow accounts, collection accounts, legal representation, and compliance, what each of these look like, and how you can use these to best protect your financier. There are variables for every filmmaking scenario, but David will leave you with a much clearer understanding the role of the financier and how you can keep them happy and safe so that they’ll want to work with you time and time again. Praise for David's Previous Stage 32 Webinars "David is incredible and lovely and clearly knows his stuff." - Cynthia P. "Eye-opening information. A no-brainer approach that wouldn't be so obvious to the uninitiated." - Gary O. "By far, the best class I've seen on the subject." Kirk K. "David is a fantastic teacher. And what a voice! I could listen to him all day. More importantly, I learned so very much!" - Isabella T.
Have you ever been asked, “what are the comps” for your project? Or, what’s the “this-meets-that”? Potential investors are always looking for the next big idea, and if your project aligns with past box office success in terms of story, genre, tone, budget, and more, you’ll be able to win those producers over. Having a Comps Report can provide real industry data to push your sales pitch over the top. Short for “comparable,” comps are films similar to your project that prove you have a viable idea to investors. So why can’t you pick a box office success as your comp and call it a day? Because it takes more than knowing titles. You need to understand different markets, different platforms, why those comparable films did well in some areas and not others, and more. An unrealistic report can even do more harm than good by driving away the people who could help your film produced. To walk you through creating your comp report is Bruce Nash, founder and President of Nash Information Services, LLC., the premier provider of movie industry data and research services, including comp analysis and international sales projects for feature films and real-time tracking of the industry through its OpusData service. Since its launch in 1997, Bruce and his team have served over 1,000 clients, with projects ranging from big-budget Hollywood hits to Oscar-winning dramas to low-budget films from first-time producers. In this webinar, Bruce Nash will teach you what quality analysis is, what comps are and how best to choose them, the four key questions to ask when compiling a comp report, and how to understand today’s market. Bruce will also include where you can find free online tools to help assemble your comp report. Don't miss this chance to learn from one of the best in the business.
Everyone wants to get into TV these days, and everyone IS getting into TV these days! With demand on the rise, so is independent TV production and savvy international co-productions. The field is opening up and it’s more than possible to create, sell and be profitable on your own independent TV series. However, there are some crucial things to understand about independent TV that differ from traditional TV models. One big difference is revenue sharing and how to track and distribute money that comes in. This is absolutely essential for any television producer who's working towards creating a profitable series. Understanding revenue sharing in independent TV production models is so important because there are multiple pieces that can confuse someone who has never had experience in independent production. Deal terms may be unclear, and sometimes even conflicting if you’re not careful and aware of all the varying pieces and players! Even though revenue comes later, you have to understand it and plan for how everything fall together from the start. This part of TV production can be overwhelming, but we’ve got just the person to give you the right guidance so you can walk into any TV production with confidence! David Zannoni is an international business specialist for Fintage House in the US, Europe, Canada and Latin America territories. Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies. David negotiates agreements for films and television series and is involved in business development and relationship management globally on hundreds of productions. David is continuously present to make deals and speak at international film markets, festivals and conferences, including: the Cannes Film Festival, the European Film Market (EFM) in Berlin, the American Film Market (AFM), Ventana Sur, the Bogota Audiovisual Market (BAM), and the Toronto International Film Festival (TIFF), and travels regularly to the United States, the Netherlands, Europe, and all over Latin America. In this webinar, David will show you how independent TV shows generate money and what you need to do to properly share revenues. He will break down TV production models, the financing and distribution of independent TV, and how revenues for TV productions are generated and shared. He’ll also teach you the stages of a TV project as it relates to financing, distribution, and revenue sharing, along with guild obligations and how to manage revenue sharing through Collection Account Management for TV projects. If you’ve got questions, David’s got answers! Knowledge is power, and this webinar will leave you ready and empowered to take on independent TV production! Praise for David's Previous Stage 32 Webinars "David is incredible and lovely and clearly knows his stuff." - Cynthia P. "Eye-opening information. A no-brainer approach that wouldn't be so obvious to the uninitiated." - Gary O. "By far, the best class I've seen on the subject." Kirk K. "David is a fantastic teacher. And what a voice! I could listen to him all day. More importantly, I learned so very much!" - Isabella T.
Staffing season is a high-intensity, high-stakes time. With more shows than ever looking for writers, the opportunities have never been greater, but that also means the competition has never been higher. To be considered to be part of a writing staff, you need to not only show your chops as a screenwriter, but display what you'll be like in the room. So how can you stand out to the executives and producers hiring and prove that you're going to be a team player, while bringing an original, independent voice to the table? To be staffed in the competitive world of TV writing, you must first understand what opens the door and what keeps you in the room. Your writing must not only be on point, but you have to also be able to display a comprehension of the art of the meeting. Executives and producers are going to meet dozens if not hundreds of writers. You have to learn how to connect with them, fill their needs, and make their jobs easy! In short, you and your writing need to be sharp, interesting and memorable. Over her very decorated and successful career as a development executive, Marla White has sat across more writers than she can remember. Marla was not only the development executive for Emmy-Award Winner Peter Tolan's Fedora Entertainment, but she's also worked with hundreds of writers who have sold pitches and shows to, and/or been staffed by, Fox, TNT, CBS, NBC and ABC and just about every premium cable channel and streaming platform you can name. Marla will discuss what executives are looking for in your writing. Whether "good" is good enough to get you in the room. Whether it's better for your work to be more memorable or sellable. She will take you through the thought process of what executives are looking for when you walk in the room. She'll discuss all aspects of a general meeting and a staffing meeting and arm you with all the tools necessary to be "good in the room" in all situations, each and every time. Plus, she'll also talk about "do's and don'ts" and how you can get invited back for the all important pitch meeting. This webinar provides pertinent and actionable information for every level of writer. If you're just starting out in your career, what you'll learn will not only prepare you for everything mentioned above, but for preparation when speaking with managers and agents. If you're a working writer on a show looking to move to a new show and need tips on playing the networking game and how to navigate the politics, this one is for you as well! This is some straight shooting, no B.S. information. I'm grateful that Marla pulled no punches and told it like it is. Next meeting I get, I'm owning it! - Samantha W.
As the Vice President of Three Point Capital, Viviana Zarragoitia is one of the most prolific financiers who routinely lend on tax incentives, both domestically and internationally, on independent films. She is aware of the rules and regulations of tax incentives in many jurisdictions, and have spoken on numerous panels about tax credits. In this exclusive webinar, Viviana will be teaching what producers should be aware of when working with tax incentives. Although there are minor details that change within each state/country, there are some overall issues that come up in each jurisdiction that producers should be aware of when taking advantage of tax incentives for their film/TV project. These include, but are not limited to, things such as: corporate structure of the company applying for the tax incentive, making sure that costs in-state are qualified spend, working with tax incentive offices during pre-production, production and post-production, submitting final costs in a timely fashion, working with production accountants/CPAs on tracking qualified spend, working with lenders and filing tax returns to claim the incentives.