Tripper Clancy is a working writer that has found success in both film and, more recently, television. Earlier in his career, Tripper wrote the screenplay for the Kumail Nanjiani and Dave Bautista action comedy STUBER before deciding to make the switch to television. Since then, Tripper served as staff writer for the Netflix hit I AM NOT OKAY WITH THIS and VARSITY BLUES, a modern day reimagining of the original movie. Tripper also created and wrote the action-comedy series DIE HART, starring Kevin Hart and John Travolta. Tripper has found longevity and deeper success for his writing career by making the jump from film to television and will share exclusively with Stage 32 what goes into this transition. Full Bio »
It makes sense why more creatives than ever before want to make the jump from film to television, ESPECIALLY writers. As a TV writer you can dive into longer form storytelling and explore characters more fully. And with the massive popularity of streamers like Netflix and Hulu, your work can likely reach more people in the TV space. And that’s not to mention the fact that TV writing usually provides a much more stable and long-running form of income. All this to say: the pilgrimage from movie writing to TV writing is no longer uncommon and can be an exciting or lucrative development for any working writer. This a switch that is more than possible to undertake, but you need to know how best to accomplish it first.
The path from film writing to TV writing is absolutely doable, but that doesn’t mean the door is wide open. No matter who you are, breaking into television is no easy feat and your background in film can serve as an advantage OR disadvantage, depending on how you approach it. Instead of waiting for HBO or Netflix to roll out the red carpet for you, it’s important you tackle this transition with realistic expectations and an understanding of how best you can fit in.
Tripper Clancy is a working writer that has found success in both film and, more recently, television. Earlier in his career, Tripper wrote the screenplay for the Kumail Nanjiani and Dave Bautista action comedy STUBER before deciding to make the switch to television. Since then, Tripper served as staff writer for the Netflix hit I AM NOT OKAY WITH THIS and VARSITY BLUES, a modern day reimagining of the original movie. Tripper also created and wrote the action-comedy series DIE HART, starring Kevin Hart and John Travolta. Tripper has found longevity and deeper success for his writing career by making the jump from film to television and will share exclusively with Stage 32 what goes into this transition.
Tripper will teach you how you can expand your writing career by making the switch from film to television. He’ll go over his own journey from film to TV and then break down what writing for both features and TV actually looks like, including the advantages and disadvantages of each. He’ll discuss using your reps to make the jump and whether you can do so without a manager or agent and will give you advice on how you can sell your film experience to stand out when pursuing TV opportunities. Tripper will give you a sense of what expectations are realistic when making this shift and where you can expect to start out. He’ll discuss how you can find currency from your film background and what sort of unique challenges film writers might face in television. Expect to leave with a hopeful but realistic idea of what you need to do to find your next opportunity on a TV show.
Praise for Tripper's Stage 32 Webinar
"Tripper Clancy was an awesome presenter who cut to the chase in a clear, understandable webinar."
"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."
"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."
"Tripper was phenomenal. Within 1 hour he gave us a whole course in something I knew nothing about before. Another Stage 32 phenomenal webinar."
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 recording, which you can view as many times as you'd like for a whole year!
It’s no secret that television is a hot commodity right now. The “golden age of television” that began ten or so years ago has since exploded, and with new networks and streamers like Quibi, HBO Max, and Disney Plus coming into the fold, the volume of TV content has hit unprecedented levels. In fact over 500 scripted shows were broadcast or streamed in 2019 alone, more than any other year prior. And with more shows, there are more paths for writers to break in. After all, virtually all of these 500+ shows have their own writers' room. Yet even with this influx of opportunities, it’s still not exactly easy for new writers to land a job in this industry. Everyone’s path is different, but a tried and true route is to enter in as a writer’s room assistant and work your way up. Yet this, too, requires some wherewithal, skill and strategy. Being an assistant affords you the opportunity to learn first-hand how a writers' room works without the pressure of having to contribute to the same level as staff writers. It can be an incredibly valuable and educational step in your career. In fact, as your career advances, this experience will allow you to contribute more than just stories and ideas; you’ll now know how rooms operate, how things run smoothly, and how to keep workflow productive. Yet this journey is easier said than done. Getting into the room as an assistant is one thing, but holding your own, standing out, demonstrating your value, and carving a place for yourself and your future can be even more challenging. So how do people actually get the gig as an assistant in a writer’s room, and how do they find success and further opportunities in the process? Marcelena Campos Mayhorn is a former television assistant turned WGA writer, most recently staffed on the Netflix show SELENA: THE SERIES. The best part? Marcelena got her start outside of a major entertainment hub, working for the Austin Film Festival, before transitioning to working in television full time. She began her career as a line producer's assistant for Jerry Bruckheimer's CSI: CYBER on CBS, and went on to assist the writing for CBS's CRIMINAL MINDS, FOX's APB, and finally serving as the Writers' Room Assistant for Shonda Rhimes' STATION 19 on ABC. By moving up the ranks, Marcelena has gained a comprehensive understanding of the television writing landscape and how to be successful within it, and she’s excited to share what she knows with the Stage 32 community. Marcelena will give you the lowdown of how writers’ room assistants work, how to navigate these jobs, and ways to use them to get ahead in your own writing career. She will begin by explaining the four main types of TV assistants, including the Writer’s Production Assistant, the Script Coordinator, the Showrunner’s Assistant, and the Writers’ Room Assistant. She will illustrate what these roles do and what they look like day to day, including primary responsibilities and general expectations. She will then teach you about writers’ room etiquette, including unspoken rules, how the four main assistant roles work within the ecosystem, who is actually in the room when and when to speak up and when to blend in. She will go over what the standard rates are for these positions and go over the main benefits of each position, including some you might not have thought of before. Next, Marcelena will explain how to find and apply for these assistant roles, including tried and true routes, and other strategies that are always worth a try. She will teach you how best to shine in each of these four roles and will also propose two additional positions—researcher and personal assistant to a writer—you could also consider in working to break in. Marcelena will detail what the future of TV writing looks like post-pandemic, specifically for assistants, and go over whether it’s important to live in LA for these roles. Finally Marcelena will talk about how assistants have used these positions to take next steps in their careers and become staff writers in their own right. Breaking into television is always going to be hard, but Marcelena will provide you what you need to know to approach it through a tried and true path that may just give you a step up you’re looking for. Praise for Marcelena's Stage 32 Webinar "Marcelena was very informative and organized. She was also very thorough and informative when answering questions. One of the best hosts in a Stage 32 webinar that I have seen." -Eric Z. "Marcelena did such an excellent job describing the four roles and talking about the writer's room in general. Really enjoyed it and appreciate all of the information she shared." -Patricia W. "Marcelena was a great host, very informative without holding anything back." -Rebecca M. "Marcelena was a fantastic person to learn from. Thank you so much for having her lead this topic. I have so many notes. She's so gracious and I didn't realize how similar our life situations would be before joining this webinar, so it was a treat. She's wonderful." -Amelia S.
It might often be the first name listed on a movie’s end credits, but a Unit Production Manager isn’t exactly the most known or celebrated role on a film’s crew. However the UPM is one of the most critical and valued jobs throughout a movie’s journey. It’s the UPM that holds everything down, that keeps all of the parts moving and makes sure the business elements are taken care of so the director and other creatives have the support and the space they need to carry out their vision. The skills needed to carry out the responsibilities of a UPM are not only crucial, but can also be lucrative for someone looking to succeed within the film industry. Once you start listing it out, the jobs and expectations of a unit production manager are expansive and seemingly never ending: Building a production bible, creating a budget, drafting a schedule, hiring the team, working with unions, insurance, paperwork, payments, even feeding the cast and crew. To be a good UPM you kind of have to be good at everything. So where to start? What exactly does a UPM do and what separates a good UPM from a bad one? Rosi Acosta is a Unit Production Manager, DGA, who has worked on over 75 TV and Film projects and over 100 commercials. She is a valued name in Hollywood as a top UPM who's worked on films such as DRIVEN, SPEED KILLS, IMPRISONED and many more. With over three decades of experience, Rosi has worked internationally with production companies from the US, Europe, Russia and Latin America. Rosi began as a casting director 32 years ago in Puerto Rico working for director Marcos Zurinaga at Zaga Films where she became one of the top casting directors in the Island. After working as such for a few years, she wanted to expand her horizons in production moving on to work with the most important TV producer in the Island, Gabriel Suau, in Telemundo-Puerto Rico, where she worked for several years in various TV shows and telenovelas. Throughout her expansive career and extensive experience Rosi has become one of the most sought-after UPMs in the world. Rosi will delve into the nuts and bolts of the role of the unit production manager and all of the tasks and responsibilities that go along with it. She’ll begin by going over the production management process from a bird’s eye view, from development through production. Rosi will discuss the business elements behind filmmaking and the ways the UPM is responsible for finding the balance between the creative and the financial. She will go over the four major skills needed to be a great UPM as well as the tenuous relationship between the project’s script, budget, and shooting schedule. Rosi will then teach what goes into a production bible and how to create a script breakdown to prepare for production. She will then delve into creating production budgets as well as preliminary shooting schedules. A huge responsibility of the UPM is to plan for contingencies and the unexpected, and Rosi will offer tips and advice on how to make sure you’re covered for everything that might come your way and will illustrate this with examples from her own experiences. She will then teach you about working with the four major unions—SAG-AFTRA, DGA, IATSE, and WGA, and how to obtain insurance packages to cover your team and your production. Rosi will then discuss how hiring works on set, strategies to bring on the right team, and common pitfalls to avoid while doing so. Finally, Rosi will go over the common aspects that will make a movie expensive, and what warning signs to look for to prevent your project from going over budget. Consider this a definitive breakdown of what the underappreciated but critical unit production manager actually does. Plus! This is a bonus extended webinar with over 2 hours of information! Praise for Rosi's Webinar “Super informative; Rosi was very helpful.” -Adam G. “Rosi Acosta was awesome. She is a treasure of knowledge. I definitely got my money's worth.” -Lawrence W. “This was so helpful. I loved hearing from Rosi” -Dana B. “This felt like a Masterclass on the ins and outs of a UPM. I’m leaving this webinar knowing way more than I thought I would. Thanks!” -Jerry C.
In the first Executive Hour of 2021, we're bringing in Multi Emmy Award-winning filmmaker and author Shane Stanley! Shane has worked in almost every capacity on and off the set with hit shows like "SEINFELD" and producing films like Sony Pictures’ GRIDIRON GANG starring Dwayne Johnson. For three years, Shane was Vice President of Sheen/Michaels Ent. where he produced several motion pictures starring Marlon Brando, Mira Sorvino, Thomas Hayden Church, Donald Sutherland, Marisa Tomei, Sean Penn, and John Travolta. During the webcast we discuss Shane's time working on - and getting fired from - "SEINFELD", producing for Dwayne Johnson, developing features with Charlie Sheen, and much more!
Writing action isn't easy! It takes nuance and skill. We’ll break down the action on the page for the heavy-hitting JOHN WICK, the action-comedy THE NICE GUYS, and the slow-building action of HELL OR HIGH WATER.
Internet TV is not “TV light”, in fact it’s not TV at all. It’s a completely different sandbox than TV and while many of the rules of the game are the same, there are distinctly different rules you must know before you break them. In this informative and entertaining seminar, Digital Strategist and Web Series Launch Expert, Brian Rodda outlines the Top 5 things to consider while in pre-production for your digital series. Items to be discussed are: Appropriate length and form specific to different video distribution platforms (Youtube vs. Vimeo vs. Netlfix, etc…) casting/working with a Digital Influencer, expanding your world with Ancillary Content, Marketing Budgets, securing social media real estate and so much more! To read the Television Academy's interview with Brian click here!
In an industry built on storytelling there’s nothing more valuable than ideas. A good idea or good story can take you far in Hollywood, but it also makes you vulnerable. From Avatar to Empire, hundreds of films and television shows have been faced with infringement and idea theft lawsuits over the years. While the film and television industry can be an exciting and supportive place, this is not always the case and it’s more common than it should be for writers’ ideas or stories to be stolen. Without the proper protection and forethought, this can leave creatives at risk. As the saying goes, it’s a jungle out there, and the risk of having your ideas stolen is unfortunately always a possibility, as is the possibility of being accused of doing this yourself. It’s important to always be vigilant and aware of these dangers. Yet this does not mean it’s open season on creators. Whether you’re concerned about having your idea stolen or facing lawsuits of your own, there are important steps you must take to ensure you and your intellectual property remain protected. There will always be a risk of being taken advantage of, but better understanding the dangers as well as how to protect and copyright your work will put you in a much safer and more secure position. Jaia Thomas is an entertainment attorney with over ten years of legal experience who has brokered deals with companies like ABC, NBC, HBO, and Bravo and has been quoted as a legal expert in such publications as The New York Times, USA Today and ESPN. Jaia regularly assists clients with transactional and intellectual property matters and counsels filmmakers and producers on all aspects of film financing, production and distribution. She also regularly assists content creators with federal copyright registration and licensing and has had several works published in the American Bar Association, National Bar Association and multiple law journals. Through her many years specializing in federal copyright registration and licensing, Jaia has become an expert on how creators can keep their projects safe, and is ready to share what she knows exclusively with the Stage 32 community. Drawing from her many years of legal experience successfully assisting filmmakers with transactional and intellectual property matters Jaia will provide you with all the legal tools necessary to protect any and every type of script and screenplay. She will begin by discussing copyright registration. She’ll explain how to register a script with the US copyright office and explain the legal advantages of doing this. She’ll also debunk common misconceptions such as the “Poor Man’s Copyright”. Next she will explain what goes into Writers Guild registration. She’ll outline how to register a script, idea or outline with the Guild and explain the legal advantages and disadvantages of doing so. She’ll also delve into the key distinctions between registering with the US Copyright Office and Writers Guild. Jaia will then go over idea protection and theft. She’ll teach you how to protect a television show or reality show in its idea form and will outline the legal requirements for filing an idea theft claim in New York and California. She’ll even go through a case study of the seminal idea theft court case Desny V. Wilder from 1956. Finally Jaia will provide you with additional precautionary measures you can take in protecting yourself, including mobile apps, digital watermarks, confidentiality agreements and non-disclosure agreements. Expect to leave knowing exactly how to protect your current and future ideas, scripts and projects. Praise for Jaia's Stage 32 Webinar "Highly informative. Thank you Jaia Thomas!" -Patrick D. "Great webinar with invaluable tips and advice. Great presentation and presenter. Very pleased and satisfied." -Robert F