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 »
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.
Q: What is the format of a webinar?
A: Stage 32 Next Level Webinars are typically 90-minute broadcasts that take place online using a designated software program from Stage 32.
Q: Do I have to be located in a specific location?
A: No, you can participate from the comfort of your own home using your personal computer! If you attend a live online webinar, you will be able to communicate directly with your instructor during the webinar.
Q: What are the system requirements?
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 10.8 (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 attend a live online webinar, you will be able to communicate directly with your instructor during the webinar. If you cannot attend a live webinar and 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 rewatch?
A: Yes! After the purchase of a live or On-Demand webinar, you will have on-demand access to the audio recording, which you can view as many times as you'd like for a whole year!
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.
Producer Development Exec Anna Henry joins our Panel as we listen and read your pitches live to help educate the Writers' Room screenwriters on what is and isn't working in their pitch.
You can join Daniel Kendrick, Manager and Development Executive at Chatrone (Golden Globe nominated animation feature film The Book of Life, with animated clients for SpongeBob SquarePants, The Lego Movie, Robot Chicken, Teenage Mutant Ninja Turtles) as he deconstructs PIXAR's Oscar-nominated script, Inside Out! As the second highest grossing PIXAR film ever made and Oscar nominee, what makes Inside Out resonate so deeply with audiences across the world? PIXAR, the world’s premiere animation studio, has yet again managed to produce a smash hit that makes everyone laugh and cry all the way from children to grown adults. Join your host, Daniel Kendrick as he delves deep to deconstruct the Inside Out script as part of the popular Stage 32 Next Level Education "Deconstructing the Script" series! You will learn the storytelling strategies and techniques PIXAR employs to produce hit after hit award-winning animated features. Daniel will go over the methods by which PIXAR tweaks traditional story structure to compose an enthralling character piece. You will understand the plot points and characterization that makes the fictional inhabitants of a mind in this script so appealing and endearing. You will also understand the visual and poetic appeal of Inside Out and its characters’ journeys. You will walk away with a solid understanding of all the elements that make Inside Out a successful script including: protagonist, plotlines, characters, dialogue & visuals, set ups & pay offs, animation and overall development. To find out more, click the "What You Will Learn" tab above!
Can you tell your whole story in just six sentences? This month, we're challenging you to use Pixar's dead-simple approach to outlining to breakdown your story or help you come up with something completely new!
Show, don't tell! We take a look at how screenwriters use silence in the horror film A QUIET PLACE, the caper film THE DEPARTED, the action-drama DRIVE, and the adventure of LORD OF THE RINGS.
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. WEEK #1 – Introduction, Pitch Docs, Character This week we will cover the syllabus, your instructor's background and experience, your goals for this eight-week lab and launch into a discussion on creating strong characters for your pilot. We will discuss the types of drama pilots and how they differ from network to network. We will go over how to create effective loglines and pitch documents. Then we will delve into character – what makes for strong characters and weak ones. The assignment for this week will be to create a pitch document and write a detailed description (around half a page) on each of your series regular characters. WEEK #2 – Pilot Outline and Series Bible This week we will break down pilot structure, plot and subplots. Pilot structure varies depending on the type of drama pilot (procedural or serial) and the network (broadcast, cable, streaming, digital, etc.) We will identify what kind of network to target for your story idea and structure the pilot accordingly. We will also discuss the function of your series bible and what it needs to include to support your pilot. The assignment for the week is to complete a pilot outline and start work on your bible. WEEK #3 – Pilot Outline (One on One Consultations – No Online Class) This week will consist of one-on-one consultations regarding pilot structure. Each writer will send in their pilot outline in advance and will have a 10-minute call to discuss what works and what doesn’t. The assignment for the week is to address any notes given on the outline before proceeding with next week’s class and to continue working on your series bible. WEEK #4– Scenes, Beats, Dialogue, This week we will address the qualities of effective (and ineffective) scenes, story beats, and dialogue. The assignment for the week will be to write three complete scenes from your outline: the teaser/opening scene, a scene with heavy dialogue, and a strong character scene. WEEK #5– Acts 1 and 2 We will discuss both the four-act and five-act structure. You will decide which works best for the pilot that you are developing. This week we will go over all the necessary story beats that exist in acts 1 and 2 of a drama pilot, including exposition, number of scenes per act, traditional page count, inciting incidents, acts 1 and 2 breaks, etc. The assignment this week will be to complete Acts 1 and 2 of your pilot. WEEK #6– Acts 3, 4 and 5 Similarly to last week, we will cover the necessary story beats that traditionally exist in acts 3 and 4 of a drama pilot. If your pilot structure has five or more, as some broadcast network shows do, there will be time allotted for further instruction on how to proceed. The assignment this week is to complete the first draft of the entire pilot and to turn in your series bible. WEEK #7–Consultation for Revision (No Online Class) This week will consist of one-on-one consultations. Please turn in your pilot at least 24 hours before your scheduled call, and each writer will have a 10-minute call to go over notes. Your assignment this week is to address any notes. WEEK #8– One-on-one Feedback and Polish (No Online Class) This week will consist of 10-minute one-on-one phone calls as well. Please submit your revised pilot at least 24 hours before your scheduled call. Final notes and next steps for your pilot will be given. Payment plans are available - please contact email@example.com for more information.