It's Introduce Yourself Weekend at Stage 32! Head over to the Introduce Yourself section of the Stage 32 Lounge and let everyone know who you are, what you're working on, your dreams and aspirations. And be sure to peruse other member's threads. You never know when you're going to make a connection that changes your life!
David is consultant for Fintage House and is the company's representative for the Americas. For Fintage David negotiates agreements for films and television series, and he is involved in business development and relationship management specifically in the US, Latin America and Spain. On behalf of Fintage House, David has given presentations, workshops and seminars at universities across the globe and at events such as the yearly conference of the National Association of Latino Independent Producers in the US (NALIP), the Winston Baker Film Finance Conferences, the Rio Film Market and the Bogota Audiovisual Market (BAM). David runs his consultancy business through Xaman Ha Consulting and Zannoni Media Advisors, and has been focusing particularly on international service providers in the film and TV industries, and film and TV productions in Latin America, amongst others. A Dutch-Italian citizen, David is fluent in English, Spanish, Dutch and Italian, and is basic in German. He has been living in Mexico for the last five years. As a film business specialist David is continuously present at international film markets, festivals and conferences, amongst others: 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, Spain, and all over Latin America. Full Bio »
There's no doubt Latin America has become a booming market for foreign productions. Some of the best films of recent years, including 3-time Oscar winner Roma and Cannes Film Festival Palm d'Or nominee Aquarius (produced by a Stage 32 member) all filmed in Latin America.
So, what makes this region so appealing for producers and filmmakers?
The Latin American film business has been growing for decades. Local and international distribution of Latin American films are on the rise. On the other hand, several countries have become attractive production and filming hubs because of their film and television infrastructures, talented cast and crew, and local incentives for productions.
Your host, David Zannoni, has over a decade of experience on hundreds of film and television projects specializing in Latin America. In this webinar we will give a global overview of the Latin American Film & TV Market, the several benefits it offers and the challenges producers may face.
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!
Producers of independent films and TV series deal with a multitude of parties on the production, financing as well as distribution sides. Many of those parties have a financial interest in the project and are entitled to a share of the revenues generated by domestic and international distribution of the film or series. In order to make the allocation and distribution of revenues manageable, it is important to design a Recoupment Schedule for your project. The Recoupment Schedule, also called “the waterfall”, combines all the single deal terms negotiated between the production and investors, financiers, talent, sales agents, co-producers, and service producers. Each project is unique, with its very own financing structure for example, and therefore there is no universal format for a Recoupment schedule. However, there are certain guidelines to consider when putting together a Recoupment Schedule for your project. Want to know more? Join our webinar and we will further discuss how to put together a Recoupment Schedule for your next project!
Nowadays many independent film and TV productions that have multiple parties involved are looking for the best way to recoup profits on a completed project. One of the best ways to assure the parties involved with your film (producers, investors, financiers, sales agents and talent) see their returns is to have a collection account in place. A collection account is an account in the name of a neutral third party who receives revenues generated by an independent film or TV project on behalf of the multiple beneficiaries from local distributors. This process is called collection account management and is an effective tool to guarantee that the beneficiaries receive their share of the revenues. The beneficiaries include producers, investors, financiers, sales agents and talent. Often times financiers, production partners and international sales agents put a collection account up as a requirement before even boarding project. During this webinar we will explain the functions and benefits of having a collection account in place for an independent film or TV project, how collection account management is set up and which parties should be involved in the entire process. We will further discuss the allocation and distribution of revenues, how to put together the Recoupment Schedule, and the importance of signing, or being a beneficiary to, the Collection Account Management Agreement.
Part 1 - Writing, Budgeting & Pre-Production How to write an effective short script The brainstorming process Utilizing real life experiences, what are memorable moments in your life that stick out to you? Moments in a friend’s life? Creating characters: What topics do you uniquely understand? What jobs have you held? What did your parents do for a living? Where did you grow up? Writing in proper format What is the difference between writing “is working” and “works” in a screenplay and why does verbiage matter when writing action? Should I put my WGA and copyright notices on the title page? The business of making a short film What do I need to do to protect myself? Creating an LLC and lawyering up for the right reasons. How much is this really going to cost? Evaluating SAG Short Film Agreements, cost of renting equipment, everything from lighting to locations, and looking forward to release and distributions, what are the costs beyond the actual production of a film? Logistically, how will I be able to execute all the elements? How do I handle room and board for out of town talent? Is there a local film commission I can work with, and if so, what exactly is their role in helping me execute my vision? Part 2 - Directing, Marketing & Distributing Your Film Preparing to direct and the production process What do I need to do before I get to set? What is the purpose of having location walkthroughs? When and how to I make the shot list and how many shots do I really need? How do I make my vision clear to crewmembers while still being collaborative in the process? How do I work with an actor for the first time? How much say should they have in the script and changing the character? Should I allow an actor to change my lines? How do I follow their emotional journey over the course of shooting a film that is totally out of order so it makes sense in the final product? When problems arise on set, how do I respond? What are best practices to maintaining authority without creating conflict? How do I ensure that everyone is getting the proper attention they need so I can avoid problems? What happens if I find out we didn’t shoot something we needed? How do I work with footage or sound that didn’t come out the way I expected? How long should my final product be so I can be successful at film festivals? Marketing your film What can I do to promote my film before we ever start filming? When is the appropriate time to start promoting? What kind of promotion looks and feels professional versus amateur? Is there such a thing as oversharing information on social networks? During production, how can I use my cast and crew to promote the project? What parameters should I set to not give away plot points? What is the role of a still photographer on set and how can I leverage the still photographer for publicity? How do I reach out to press outlets to promote my film? How do I find out what press outlets are the right ones for my film, and how do I even get a journalist interested in covering it? What makes an effective versus ineffective pitch letter? Releasing your film What makes an effective trailer? How can I best prepare and present the trailer and still photos for promotional purposes? Should I create a Facebook page for my film and a website and a Twitter and an Instagram, etc.? How do I get into Sundance? If I don’t get into Sundance, is my career finished? There are entirely too many film festivals, how do I begin to figure out which ones are good and which ones are bad? What are effective ways of meeting, then following up, with producers and gatekeepers that I meet at these events? What kind of communication does an executive find annoying? Should I sell my film or give it away for free? If I give it away for free, how will I be able to pay myself back? How do I quantify if my film was a success? How do I use the short film to get myself ready for my next project? What if the film didn’t come out the way I wanted, am I completely done as a filmmaker? How do I use the lessons I learned to make my next project better? Now that I’ve made my first short film and loved it, how do I make this my full time job and become a professional filmmaker?
Learn directly from Heather Hale, Independent Film and TV Producer and Director who is vetted to pitch projects to NBC Universal and whose 50 hours of television have won Emmys, Tellys and Ace Awards as well as "Best New Series Pilot"! Our industry has changed dramatically - and it continues to evolve. This webinar will help you strategize how to find the best points of entry for your projects in the overlapping but distinct media marketplaces. Learn time-proven techniques and new resources to proactively brainstorm the right attachments and elements for your project. Learn how to identify, research and prioritize a finely honed hit list of marquis-value actors appropriate for not only the roles – but your budget and genre; bankable, "gettable" directors that will do justice to your project's sensibilities; legitimate financiers and distributors proficient in your niche and the brands that are eager to hit your target demographics. Figure out how to track them all down, strategize the best approaches to get on their radars and develop the kind of materials and pitches they will most likely respond to. Heather uses in-the-trenches humor, candor and real world examples to illuminate the many paths to getting a project up onto the big (or little) screen.
I was born for this. Started on street corners tap dancing, doing comedy, telling stories & holding an audience until they pay me J A Masters Degree from USC Film School and three decades later there hasn’t been a day when I wasn’t writing, directing, producing or managing as an executive a feature film, television, documentary, live event and/or new media program. I’ve been blessed to learn from and collaborate with some of the luminaries of sports and entertainment producing and business management. For these efforts, I picked up a shelf full of awards & trophies, maintained an upward financial trajectory and learned to enjoy the ride. A few of the collaborations in my career include: Netflix, YouTube, NBC, CBS, ABC, Univision, HBO, Showtime, TNT, MTV, VH-1, Sony Pictures, Paramount Pictures, 20th Century Fox, Lionsgate Studios, Legendary Pictures, Blizzard Entertainment The Grateful Dead, Quincy Jones, Michael Jordan & David Falk, Phil Knight/NIKE, Magic Johnson, Peter Guber/Mandalay, Dr. Dre, Snoop & Eminem, Arthur Miller, Michael Bloomberg, Laurence Fishburne, the NFL, MLB and NBA, and most of the financing entities in Hollywood. I’ve established tax incentives that spark states into profitable production while structuring large scale financing. Easier said than done, trust me! Now, I’m thrilled to join with Stage 32 to talk about my journey and share my experiences from over the years. I love to give back to up and coming filmmakers and I’ll be holding an online Q&A to talk with you, the Stage 32 community, and tell you about the things I’ve learned along the way. If you’re in the middle of your filmmaking journey, now, no matter where you live in the world, I’ll be taking questions from you live, so ask away! So relax, this opportunity to not give up on your daydream just got a lot closer. Clint Eastwood, Kip & Kern Konwiser Kip & Virginia Madsen Kenny Ortega (director/choreographer), Jim Belushi, William Levy, Emilio Estefan Kip, Ron Shelton (director/writer), Pete Rose, Kurt Soderling (DP) Pre-production at Legendary Studios "The Konwiser Bros." Kern & Kip Konwiser
Learn directly from Rachel Chervin, former Development Department at Broadway Video (Saturday Night Live, Portlandia, Man Seeking Woman), Gersh Agency and Imagine Entertainment! A screenwriting journey of a thousand miles begins with a single page, to paraphrase an old saying. Well, more accurately, ten pages - that's the amount of space a typical writer has to grab the attention of the anonymous, overworked reader that picked their script off a pile for evaluation. If a writer's sample script is excellent enough, the pieces start to fall into place: an entire script read, the writer recommended, the agent's decision to represent, the long and fruitful thousand-mile career. None of it happens, though, if the script never makes it to the agent's desk. But who are these mysterious readers? Who decides which scripts go on to consideration or representation - and maybe one day fame and fortune - while others get a stone-cold pass? It's not exactly who you might think: while the agents and managers of Hollywood excel at their jobs, they only have so much time in the day and most of it is not spent seeking out new talent. That job falls to the Gatekeepers, the assistants and pro readers who tackle stacks of scripts every week hoping to find the diamond in the rough: a script they can confidently recommend. In this Stage 32 Next Level Webinar, host Rachel Chervin will bring you an insider's perspective on agency submissions and what you can do to maximize the impact of your writing on the unsung decision makers of Hollywood. Rachel will discuss fun and informative strategies for giving yourself the best chance possible to make a lasting impression on everyone who reads your script. There are so many ways that writers can take themselves out of the running with easily avoidable mistakes, but fortunately, there are just as many ways to stand out from the pack and deliver a calling card script that demands recognition. The key, besides great writing, is knowing the Gatekeepers' game plan - and then blowing it out of the water. Rachel Chervin has been on both the buying and selling sides of the business and has extensive experience with what industry executives are really looking for and the language they use to talk about scripts under consideration. She has worked in development for Broadway Video (Saturday Night Live, Portlandia, Man Seeking Woman) in both features and television, working to find and promote up-and-coming comedic voices in the industry. She has previously worked for several years at Imagine Entertainment and the Gersh Agency on several feature films including The Rite (2011) and Katy Perry: Part of Me (2012).