Danny Manus is an in-demand script consultant and CEO of No BullScript Consulting (www.nobullscript.net), and was ranked in the Top 15 “Cream of the Crop” Script Consultants by Creative Screenwriting Magazine. He is the author of No BS for Screenwriters: Advice from the Executive Perspective and has taught seminars and workshops across the country at events and venues including Austin Film Festival, Great American Pitchfest, Screenwriting Expo, ShowBiz Expo, Santa Fe Screenwriting Conference, Willamette Writers Conference in Portland, Las Vegas Writers Conference, The Writers Store, Writers League of Texas in Austin, Vancouver Pitchmart, Scriptwriters Network, Sherwood Oaks College, etc., and to groups in LA, NY, Chicago, Dallas, Idaho, Iowa, Florida, etc. He’s appeared on the Film Courage radio show, Triggerstreet’s Script Reporter podcast and the On the Page podcast. Danny was the Director of Development for Clifford Werber Productions (A CINDERELLA STORY) where he sold the family adventure project “To Oz” to United Artists, and was instrumental in developing numerous projects including SYDNEY WHITE starring Amanda Bynes and the dark comedy JUST ADD WATER, starring Dylan Walsh, Jonah Hill, Justin Long, Melissa McCarthy and Danny DeVito. He continues to work with the company as a producer on several projects. Before launching No BullScript, Danny also worked as a script analyst for companies such as ScriptShark and Script Coach. Previously, Daniel was a Development Consultant for Eclectic Pictures (LOVELACE), which has a deal with Millennium Films, and the Director of Development for Sandstorm Films, run by writer/director J.S. Cardone, which had a first look deal at Sony Screen Gems and a development deal with Top Cow Comics. He was instrumental in developing a number of films for the company including THE COVENANT, 8MM2 and SNIPER 3. Danny also interned at Columbia Tri-Star in the Television Development department and at 20th Century Fox in Feature Casting. Danny has taken over 3000 pitches, written over 230 articles on screenwriting for numerous websites and publications including Business of Show Institute and Script Magazine, and has been a judge for the PAGE Awards four years running. He is currently working on his next book. Raised on Long Island, NY, in an amusingly dysfunctional household, Danny holds a B.S. degree in Television with a concentration in Screenwriting from Ithaca College. You can follow him on Twitter @Dannymanus. Full Bio »
Learn directly from Danny Manus, an in-demand script consultant and CEO of No BullScript Consulting. He will cover the 10 lessons you can learn from one of the best films of 2014.
Everyone wants to write that Academy Award-winning original screenplay, right?
The best ways to learn how to write great scripts of that caliber is to READ great scripts of that caliber, study those movies, and learn the lessons these projects can teach.
Nominated for 5 Oscars, one of the most acclaimed films of 2013 is HER, written and directed by Spike Jonze, who has already won the Golden Globe and WGA Award for Best Original Screenplay, and is a frontrunner for the Academy Award.
In this Webinar, we will go deeper into many different aspects of the film and I will break down the script and go through 10 lessons you can learn from one of the best, most original films of the year that will help you improve your own writing and scripts, no matter what genre you write.
Note: If you haven’t seen the movie already, there will be spoilers throughout the class.
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.
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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.
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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!
"The presentation today by Danny Manus was excellent and very valuable!!! Glad to see this info will continue to be available and all the rest that you do is fantastic for all of us working on all levels." - Stevanne Auerbach
"I’ve been to a lot of script doctors with a lot of scripts and by far, Danny Manus is the best! He has a real command of the requirements of the craft and the needs of a script, regardless of genre, without injecting sophomoric, antiquated or clichéd opinions. You can’t go wrong with him!" - Kevin Grevioux, Screenwriter of I, Frankenstein and Underworld
"Danny was an invaluable asset and collaborator in both the production and creative elements of the films we produced. His knowledge was critical to the development of our scripts and his original ideas and approaches were a major factor in our development and decision making process. I have only the greatest respect for his talents, which is why I continue you to work with him on my own material." - J.S. Cardone, Screenwriter/Director (Prom Night, The Covenant, Stepfather, The Forsaken, etc)
"Danny’s got some of the best story instincts around and the enviable ability to enhance every script he works on. As an exec, he knows the business, the players and the marketplace and is able to bring this knowledge to his work as a script consultant. We’ve worked on many projects together and he’s still the person I ask for story and casting input." - Clifford Werber, Producer (Cinderella Story, Sydney White, Just Add Water)
"Danny’s worked with studios and independents and knows how to handle writers at every level. He loves discovering and working with new writers and making their material shine as best it can… He cuts through the crap and at the end of the day, any writer or producer would be lucky to have him in their corner." - Scott Einbinder, Producer, (Killer Joe, Bad Country, The Covenant, Sniper 2 & 3)
"My comedy spec was a perennial quarter finalist screenplay until it landed with Danny Manus. Over several drafts and pages of notes, he managed to turn it into a true contender. His knowledge of the craft, experience in the industry, and attention to details can ready any screenplay for today’s market. I’m proud to say that my script is now making its rounds through Hollywood’s elite!" - Richard Dane Scott, Screenwriter (My Dog the Champion, My BFF)
"Wow, GREAT notes! Absolutely everything you say makes sense. This is literally my first draft and normally I wouldn’t let anyone see anything at this early stage, but I know there’s potential, and coming to you was the smartest thing I could have done – a huge help. THANK YOU!!!" - Margaret Riseley, Optioned Screenwriter of "Kissing Dynamite" and ScreenwritingU 2013 Most Recommend Writers
You’ve heard the phrase “the content gold rush” get bandied about much these days, but as it relates to TV, it’s never been more true. Drama television is at it's peak with such iconic shows like OZARK, KILLING EVE, BETTER CALL SAUL, THIS IS US, THE HANDMAID'S TALE, MR. ROBOT, STRANGER THINGS, BLACK MIRROR, BIG LITTLE LIES and so much more. With the influx of networks and streaming platforms either moving into or expanding their original content libraries, the demand for dramatic TV ideas and pilots has never been greater. Thanks to streamers such as Netflix, Amazon Prime, Hulu, Disney+, HBO Max and others, over 600 shows were greenlit last year and some industry experts are predicting we may see as many as 1,000 television shows greenlit per year by 2025. But not only is the quantity increasing, so is the quality, as companies are funneling an unprecedented amount of money, resources, marketing and talent into their shows. And the impact of COVID-19 is even having an impact that could benefit writers all over the world as many shows are planning to implement virtual writer’s rooms. In short, there has never been a better time to write for TV. Now it’s just a matter of breaking in. The opportunities are plentiful and the prospects have never been more exciting, but if you want to write dramatic television you need to prove that you have the chops, and to do that, you better come armed with a great pilot script sample. Something that shows that you have what it takes; something that shows that you understand the structure and craft that goes into a good teleplay; and something that shows off your own unique voice and sensibility. This is your calling card, your way in, the piece of material that will fire you off the launch pad. The intention of this lab is to help you create that piece of material that stands out, gets you the right meetings, and, ultimately, gets you representation, meetings with decision-makers, and/or a coveted seat in a writer’s room. Spencer Robinson is a literary and talent manager at Art/Work Entertainment who's been in the industry for over twenty years. His clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few. His writing clients work in both features and television on broadcast, cable, and streaming platforms. He currently has a client writing on two Netflix series, and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Aggregate Films, which has a deal at Netflix. Spencer has taught numerous webinars, classes and writing labs for Stage 32 and remains one of our most popular and in demand educators. In this lab, he will be working directly with you in a class setting and also during one-on-one sessions with the goal of helping you write a fantastic, market-ready pilot. To do so, Spencer will guide you through picking a concept, creating engaging characters, perfecting your structure, constructing an outline and, finally, writing your pilot. If you already have a concept or even a completed pilot, Spencer will use the same tools to help you hone and sharpen your material. WHAT TO EXPECT By the end of this 8-week writing lab, you will have a completed drama television pilot script ready to be shown to reps, development execs and other executives and professionals. Sessions will vary between 2-hour group settings and personal one-on-one Skype meetings with Spencer. You will be held accountable to take the lessons from each week and move your work forward. Plus, to keep you motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the writing process. To see the full writing lab schedule, see below under "What You Will Learn". PLEASE NOTE: This exclusive Stage 32 lab is limited to 10 writers and will be booked on a first come, first served basis. The opportunity to work this closely and for this long with an executive and an expert in the field is an incredibly unique and valuable opportunity. If you are interested, please do book quickly. Once the spots are gone, they’re gone for good. Payment plans are available - please contact Amanda at firstname.lastname@example.org for more information This lab is limited to 10 people ***only 1 spot remains*** This lab is designed for beginner and intermediate screenwriters looking to build a pilot from scratch or expand on an existing idea or polish an existing pilot. Praise from Spencer's previous Stage 32 webinars: "Spencer will get those who are ready on their way to a kickass first draft that you can send for coverage, which is what I did. 2 Considers and I'm in rewrites now to move that needle. This was my first ever TV pilot!" - Erika N. "Spencer was amazing!" - Summer K. "Enjoyed the class. Spencer was a good teacher and I appreciated his insight!" - Stephen C. "Had a great time learning and progressing my knowledge of the craft of writing and working directly with a mentor who is a professional in the industry. Spencer was fantastic to be taught by! Thank you!" - Natalie A. "Spencer's teaching style is the best! His patience and easygoing approach is ideal and unique to him. Kudos to Stage 32 and to Spencer!" - Armando O.
3-part previously recorded online class taught by Regina Lee, Producer and Former Studio Executive who’s developed and/or supervised movies and TV shows set up at Universal Pictures, 20th Century Fox, New Regency Productions, New Line Cinema, Summit Entertainment, MRC Film, HBO Series, Starz, CBS, The CW, Sony TV, and Paramount TV! As you break into writing professionally, the one thing you’ll always need to do is to hook your reader from the get-go, within the first 5 pages of your project. Whether you’re submitting your script to a screenwriting contest, a manager, an agent, a non-writing producer, a series showrunner/producer, a financier, a star, or a director, you have to get through your reader’s initial skepticism and earn every single page that is read. In fact, first impressions are cemented when reading page 1. And that goes for all scripts, whether you’re a beginner trying to place in your first contest, or you’re a professional, with scripts sold to major studios and networks. It’s a challenge that never goes away. Stage 32 is excited to bring you the previously-recorded 3 part class: How To Hook Your Reader In Only 5 Pages, taught by producer and former studio executive Regina Lee! In this class, Regina covers what executives are looking for, the typical paradigms for a script’s opening, what an opening must deliver, and how you can give executives what they want to see. You will leave this class with a solid understanding of how to get your reader hooked in only 5 pages or less! Purchasing gives you access to the previously-recorded live class. Although Regina is no longer reviewing the assignments, we still encourage all listeners to participate. Testimonials: "Thanks for a wonderful class! Your efforts have been amazing." -Heather F. "Great class, very helpful and useful information." -John R. "Thank you for a great class filled with valuable info. I think the way you delivered the info seemed fresh and insightful. A few different slants to the way I see the same material made a difference. The point about ‘clean writing’ really resonated with me. I appreciate your ‘personal’ content in what to expect, your encouragement, etc. Thank you so very much." -Lynne L. "I've just watched the recording in the UK and I have to say the content was brilliant! I learnt so much in that 2 hours, especially knowing you are the real deal. It makes the information so much more valuable to me." -David E. "It was a great educational experience taking your class!" -Heather P. "Regina offers great insight, [this class] instantly made me a better writer.” - David L. "I just re-wrote my first five pages based on this class and Regina's incredibly insightful feedback, and wow! What a difference it made. This class is a "must take" Stage 32'ers!" - Shari F.
The entertainment industry is constantly evolving and changing, and given the state of the business and external factors that have impacted the ecosystem, that statement is more true than ever. So how do we continue to package and sell projects in the time of quarantine (and beyond)? Despite what some may thing, studio and development executives are reading material and distributors are watching films to possibly acquire during this time as they are not inundated with meetings in their office. Now is the time to take advantage of these open and willing eyes to push your projects and connect with industry executives to package and sell your projects from the development stage to distribution. When packaging, producers, filmmakers and financiers often desire to immediately approach A-list names and talent to better sell their projects. But it's difficult to get the attention of most A-list talent when there are no other significant attachments and/or financing. But that doesn't mean all is lost. Quite the contrary. There are other paths to explore including who else you can approach for attachments and/or financing to bring value to assure you have the most sellable and attractive package possible. Since joining Ramo Law in 2009, Tiffany Boyle has leveraged her business-oriented sales and packaging skills to bring hundreds of films and documentaries to fruition. Tiffany connects filmmakers with producers, co-producers, executive producers, co-finance partners, distributors, agencies and other industry representatives. Since 2018 alone, Tiffany has optimized clients’ financial and business positions in more than 35 films and documentaries. Through her critical review of content and strategic use of Ramo Law resources, Tiffany creates successful content packaging that bridges the needs of both client and industry demands. In addition to all these skills, recently, Tiffany served as a Co-Executive Producer and brought in financing for films SOMETHING ELSE (Tribeca 2019) and ARKANSAS starring Liam Hemsworth and Vince Vaughn. She led the sales and packaging for TRAGEDY GIRLS (SXSW 2017) and FREAKS (Toronto IFF 2018), she brought foreign financing to ASHES IN THE SNOW (Los Angeles FF 2018) starring Bel Powley, and she sold an autobiography to Hulu for development into a limited television series. Tiffany will provide you with the pertinent and actionable information you need to package a project in the current environment. She will begin by discussing the packaging and sales world before COVID-19, what is happening right now and what can be expected once we're in the clear. She will discuss packaging and selling of all budget levels and dive deep into the world of attachments including landing valuable producers, directors, actors, and even financiers. From there, Tiffany will tell you how to build your relationships to help enhance and accelerate your path to getting your project packaged and sold. She will discuss sales and the current state of the marketplace. And finally, Tiffany will even include some outside the box methods and resources toward packaging and selling your project outside the traditional model. "Let's do a deep dive into everything happening right now and what to expect down the road so you can take action. We will focus on who to approach first for attachments and how to build the project from there in order to make it the most sellable and attractive package it can be." - Tiffany Boyle
For many years in the industry, there were only three types of scripts that a working film or TV writer would ever be asked to write: a feature-length script, an hour-long TV script or a half-hour TV script. But with the addition of Quibi as a major driver of content and a serious player in the entertainment space, more and more writers are finding themselves working in a newer, short-format style of writing. In this webinar, Tripper Clancy, who has sold two shows to Quibi, will discuss how a Quibi show is made: from conception, to pitch, to writing, and ultimately to production. It’s not rocket science, but it’s definitely unlike anything else in the TV landscape right now and it's something you should learn to have another tool to be armed with. If you’ve got your sights set on becoming a working screenwriter in the industry, you may already know exactly what you want to write. Perhaps you want to be staffed on a particular HBO show. Or you have the perfect pitch for Netflix. Or you wrote a feature script that Blumhouse would love. Well, one of the things you’ll learn is that the secret to making a living as a writer is being open-minded about who pays your bills. And in TV, that means that a pitch that you knew was perfect for Amazon may actually end up at Quibi. And suddenly you’ll find yourself wondering how the hell you’re go tell a story that you imagined in one format in an entirely different, much shorter manner. When that moment happens, you need to understand how to be flexible with your story, and how you can adapt it to Quibi’s format. Tripper Clancy is a screenwriter who dabbles in TV and film, comedy and drama. His credits include STUBER for 20th Century Fox, I AM NOT OKAY WITH THIS for Netflix, and two new shows for Quibi: DIE HART, an action-comedy starring Kevin Hart and John Travolta, as well as VARSITY BLUES, a modern day reimagining of the original movie. Tripper has carved out a successful career as a writer and has entered into short form storytelling with Quibi as a medium. Exclusively for Stage 32 Tripper will give you insight on how to write for a short streamer like Quibi. Tripper will go over a general overview of writing the the film and TV industry, including how to break in and the roles managers, agents and attorneys play in your journey. You'll get an understanding of specs vs. OWA (open writing assignments), how to pitch and how to get staffed. After you have a clear understanding of the general landscape, Tripper will dive into the similarities and differences between Quibi and traditional TV. You will know the length of time per episode, number of episodes and how they roll the episodes to the public. You'll get to learn the SVOD model and the pros and cons of writing for a streamer like Quibi vs. broadcast/streamers. Tripper will teach you how to approach pitching a Quibi show, how to develop the concept and what to pitch in the meeting. Finally, Tripper will teach you how to write for a Quibi show using case studies of his two Quibi shows: FRIDAY NIGHT LIGHTS and DIE HART with Kevin Hart. You will walk away with a clear understanding of the short form storytelling eco-system for a short streamer like Quibi. Praise for Tripper's Stage 32 Webinar "Tripper Clancy was an awesome presenter who cut to the chase in a clear, understandable webinar. I am writing a lot of short form, and until now, nobody was sponsoring presentations on anything but Quibi's business prospects until now. Thank you for getting ahead of the curve." -Mark D. "Tripper's webinar was terrific - he's a great conversationalist and his open, candid, honest, accessible and very knowledgeable presentation & Q&A were very empowering." -Fran B. "Tripper was really engaging. The conversational tone was enjoyable. Sometimes a seminar can feel like a stranger reading me their powerpoint, just slower than I would read it myself. That wasn't the case here." -Nicholas G. "Tripper was phenomenal. Within 1 hour he gave us a whole course in something I knew nothing about before, but feel I have the tools to apply to write for Quibi. Another Stage 32 phenomenal webinar." -Ricki L.
In this Executive Hour we welcome the President of Amasia Entertainment, producer Bradley Gallo. Bradley is a co-founder and the President of Film & Television at Amasia Entertainment. He has over 20 years of media and entertainment industry experience including film, television, commercials and journalism.Amasia recently acquired the rights to and will be producing the beloved GREEN HORNET AND KATO franchise, set up at Universal, and will also be producing the highly anticipated DARK SHADOWS: REINCARNATION sequel series. Bradley also produced John Patrick Shanley’s upcoming WILD MOUNTAIN THYME starring Emily Blunt, Jamie Dornan, Jon Hamm and Christopher Walken, the 2019 Sundance and SXSW selection THEM THAT FOLLOW starring Jim Gaffigan, MR. RIGHT starring Sam Rockwell and Anna Kendrick, and THE CALL starring Halle Berry and Abigail Breslin.During the webcast, Bradley's talks about his career at Amasia, what he looks for when developing new material and working with screenwriters, how he takes a project from script to screen, what types of scripts and projects he thinks will be in demand once this quarantine is over, and so much more!
Your host, Wes Ambrecht, has helped sell projects to FX, HBO and Amazon and previously worked with Gersh! So you’ve finished your pilot, congratulations! The first step is out of the way. Now, it’s time to get things into shape. Very rarely does a first draft come out like a golden egg. In fact, by the time you actually see something on TV, it’s probably been through upwards of twenty drafts. From initial notes and revisions to producer notes, studio notes, network notes and maybe even a note or two from an actor who thinks there’s a better way to word that one line. In this webinar, Wes Ambrecht will walk you through the process of getting your pilot to a place where it’s ready to be looked at by representation and producers. A writer, producer and former development exec, Wes has been on both sides of the table. This class will offer an unabashed look at the development process and help students see their pilot not just for its story but also its component parts.