NEXT LEVEL EDUCATION

Webinars • Classes • Podcasts • more...

Upcoming Education:

Avoiding Pitfalls for a 1st Time Director on a Low Budget (under $5MM)

31 May, Wednesday, 1:00 PM
Stage 32 Webinar Taught by: JT Mollner

Casting Director Tips: Acting For TV Without a Traditional Script

17 Jun, Saturday, 9:00 AM
Stage 32 Webinar Taught by: Mark J. Parker
Improv & Soft-Scripted Techniques

ON-DEMAND

27th On Stage With RB - September 2016

This month RB hosted talent manager, Joe Lorenzo and Stage 32 member Caytha Mentis! After their talk he opened it up to the Stage 32 community for questions: How have social media connections become part of the business today?  I hear from people that putting videos on YouTube is a way of showing that you cannot get any work. What are your views on this?  I am casting & filming an original screenplay of my own. Any advice on starting from ground zero? Do talent managers like Joe consider looking at reels if they have significant content as a cold query? Or does it have to be a workshop or referral? I have some major national commercials under my belt. One’s running right now during NFL but I don’t have a manager.  What is the difference between smart, focused networking, as oppose to blindly networking with everyone? Tips for getting started as a Freelance video Editor in Los Angeles when you have limited professional experience? I'm a non-millennial Aussie actress And built my audience on Instagram 23k. Periscope live stream 28 million hits (#1 Aussie globally) in prep for now - just launched the first ever travel host series created on an iPhone. Applying for 01 visa now I'm always building. What avenue would a foreign actress host take to break into usa market and get representation? My question is about ableism (discriminations of disabilities) in Hollywood, do you think it's getting better? I am disabled myself & wish to become a film director. My disability wouldn't limit me to do the job, so the question is more about awareness or even views about disabilities within Hollywood. Hello. I have a question regarding what goes on at the contract negotiating table. Are there certain terms & conditions that are iron clad and won't go forward without the show's creator's signature? If so, then what are the open-ended provisions that can go either way? Can you walk through the step-by-step success process goes as such: pitch, request a script, script gets interest, then comes the offer via contract? Then what? You bring your lawyer, they bring theirs and a contract gets signed? How would you suggest I use the Stage 32, your systems and services to develop a concept/story for film? I sometimes see assistants taking pitches on Stage 32... are they really worth pitching? As a screenwriter or novelist, how do you really break in without a manager or agent? It seems impossible to get unless you 'know' someone. Do you have to network in person? Screenwriting/copyright question. If someone collects a ton of information’s such as: conspiracy theories, mysteries, unexplained events, etc. from various websites and YouTube and then publishes a book, do I need approval from him to use the same material in my script since all the material or most of it is public information? How important is it for a screenwriter to stick to one genre? Especially when seeking an agent or manager. Do they just want to see a focus on 1 genre? Or do they want to see a rounding of other genres? I know you mentioned wrapping up the crowdsourcing book and have done some great panels at festivals. . . What should we expect next from RB? I didn’t know you’re a writer. Can you talk about your experience selling a script and what it’s been like? I have a question when I can get a job in the film industry I’m a student in college and I’m 29 years old?  Any advice to nervous ramblers for live networking events?  Why is age such an issue? No matter what newspaper one reads, a person's age is most always depicted - even though that has nothing to do with anything! In NZ ageism is a major issue. I’m producing live theater and looking to engage backers for the event. What methods would you use to engage backers and how do you keep from putting people off?  How does a writer get an actor and/or director attached to a project if you're not represented?

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26th On Stage With RB - July 2016

This month’s On Stage With RB had two very special guests, accomplished actor Zack Ward and digital media strategist, Jennifer Winberg who spent time speaking with RB over their particular areas of expertise! Jennifer Winberg: A digital media expert with over 10 years of branding and entertainment experience in digital strategy, social media, and integrated marketing. Recently, she launched the Digital Marketing Team for the Day and Date Film Division - Lionsgate Premiere. She's worked on a wide range of films from limited theatrical, VOD, Independent, and Home Entertainment releases. Jennifer has worked with mini and major studios such as: Disney, Fox, Sony, Lionsgate, and Gravitas Ventures. Zack Ward: An actor, director, writer and producer with 37 years in the industry. Launching his career with the role of Scut Farkus in the classic A Christmas Story, Zack's career spans the gamut of genres, from blockbusters like Transformers and Resident Evil: Apocalypse to edgy art films such asTrade and Oscar Winner Almost Famous to the slapstick action of Postal and the dark comedy cult hitTitus. Then, we went into a 2 hour Q&A session! “You hit a home run with this guest for any screenwriter out there who wants to go independent with a micro budget.”  “Stage 32 could be the format, the base, for the next generation, the X generation, the digital generation, etc. No more words. Everything is been said.” – Abraam Nissan Would the same advice Zack said about acting go to screenwriting as well? As in try to get your content filmed on your own instead of waiting for the phone to ring? – Do you think its ok for a beginner actor to submit for Union Roles? What about the risk of 'bad' branding as a writer. Meaning, can you get yourself 'out there' in the wrong way? On the topic of what Jennifer Winberg said about not networking with an agenda on your sleeve and building authentic community... what is the best way to meet and befriend real working professionals in Los Angeles and not have to go to agenda heavy "networking" events, where no one is actually working? Zack mentioned about you would be better to get actual experience and learning on a live set than spending tens of thousands of dollars....How is the best way to do that without experience In your experience, RB, how much do you typically budget for film composers these days? And how do you prefer to compensate them? Thanks much! How often is it appropriate to draw attention back to past projects on social media?  What is the difference between a script written in 5 - 7 days and that written in months? What are some common giveaways/red flags that a script hasn't been outlined well or given much pre-thought? ACTING - Is it a good thing to pigeon-hole yourself, with the content that you create and share? Many thanks!  How can creating a blog for actors help me in my career? How important are numbers when it comes to a blog? Twitter followers? FB likes? I am an actor and am new to screenwriting. I would like to get it made and be involved in it. As far as funding, do I try and find private investors or present the script to a studio. If you have a feature script and can pull a short out of it to get a film. Is it a good idea? Are there producers/investors looking for new material from unknowns and where do they hide? Is it a matter of consistently entering screenplay contests/festivals? Could creating a relationship with the assistants of literary agents and managers work for screenwriting? Or would it look like you are being a kiss ass? What advise do you have for finding a full-time job in the film industry?  On the question RB is answering... what is the right approach etiquette to talk to assistants? Why will they give you the time, when they are already swamped? I was an actor and writer in the business from 20 years ago. I have a $5 Mil faith-based script. My former agent is not returning my calls. What is the possibility of crowdfunding a feature is it even possible on a budget of 5 million? If you are starting out in the industry and you want to get access to film festivals to connect with influential people what is the best way? I received a script request from a producer this morning. Currently, I don't have representation. What's your advice on agents, managers, legal reps, etc if things move forward? Is it smart to put your script on Amazon for royalty payments? When does researching become to much research when writing? Any tips for approaching rewrites? Problems to look for in the first draft to address? Hello, RB. As a screenwriter I'm trying to build experience with becoming a scriptreader. Is there a direct way of becoming one, or is it mostly networking and word of mouth? Hi there, I have written a feature film script, I have a target audience, I'm shooting couple of scenes to make a teaser and start a crowd funding campaign. My question to you, based on your experience, am I going the right direction? I notice mistakes in movies ie. a deflated non-rebreather mask that should be full or equipment used. Is this a job? In the future, is there a possibility we could have the same type of connections with distributors as we do with production companies via Stage 32? i.e. as a screenwriter, if we have distributor relationships, screenplays can be written for their needs. From a Nigerian filmmaker to a Hollywood filmmaker any possibilities? If I add one-liner jokes and endless amounts of CG destruction will Holywood turn my movie into a mindless cinematic universe? I’m an actor who is trying to move to the "business" side of the entertainment industry. Any advice? I studied Theatre and minored in Marketing in college. Is it okay to share content from Stage 32 with twitter, facebook and Linked In even if it's not your original post? What are the top trades suggested? He may have mentioned and I missed - Laura          

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25th On Stage With RB - June 2016

The June 2016 On Stage With RB was one for the record books. RB spent 3 hours with the Stage 32 community and had on 2 special guests, first up was Development Executive Tiegen Kosiak (formerly of Zoe Saldana's production company, CineStar Pictures). T

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24th On Stage with RB - May 2016

This month’s On Stage With RB had a very special guest, Uma Incrocci. They talked about the SAG New Media and Ultra Low Budget contracts, best tips for actors to make a splash. Uma Incrocci, has worked in every area of the business from commercials to TV to web series to audiobooks. She worked extensively in regional and New York theater and co-produced/co-wrote the pilot Living in Captivity (official selection, NY Television Festival and LA’s Independent Television Festival). Now working out of LA, Uma’s TV credits include appearances on “How To Get Away With Murder,” “Jane The Virgin,” Hulu’s new show “The Path,” “Bored to Death,” “Louie,” “Pan Am,” “Lipstick Jungle,” and “Chappelle’s Show.” She’s also been in a wide variety of indie films as well the Jason Bateman comedy, “The Longest Week.” Then, we went into a 2 hour Q&A session!   The short film contract is also interesting. If the script is 30 pp or fewer and the budget is 50k or less a SAG actor like me can do a short film on a deferred payment basis. I am about to do a film for the fellow who was my DP on my short. In regards to emails, how can someone differentiate from a legit email to a spam email? Is it worth it to share ALL your credits on your resume when going in for the audition or just highlight the key ones? Hey new to Stage 32, I’m an aspiring screenwriter, thinking about becoming an aspiring actor as well. I've taken a little improv but my funds are a little low to continue. How do I continue my education on a severely limited budget? For someone hoping to go to Cannes for his first time, what is the best way to prepare for the visit? What's really the most important thing to achieve? Do you happen to know if the Cannes Film Festival accepts short films? Thank you! Love the "Control your own material" conversation! Can you talk more about the original programming interest in Cannes? Can you recommend a few film festivals to submit to for a foreign short film? Sony head is out, what is with all the studio heads leaving in 2016? Are set top boxes, like Sky Stream, ROKU, Apple TV, Fire, etc. helping or hurting the Hollywood industry? Why? What are your thoughts on STX’s long term viability as a studio? What is the relationship with Chinese Production Companies and Hollywood Producers and Executive Producers? Speaking of changing paradigms, what else besides TV emerging as a hot, major market now is happening in the world of filmmaking?  Any advice for someone who has worked more for "TV" and transitioning into film, and should they hold their credits high since TV and score for film is different. Regarding writing TV pilots; when giving a pitch, particularly on Stage32, should you offer if you have written not just a pilot but additional episodes for a first season or multiple seasons? Over the course of the last 20 years, I've built a relationship/friendship with a TV Director/Exe Producer. We've had 4 meetings over the past year. Three weeks ago he told me he sent my pilot project to a SVP of Scripted Programming at a major network. No word from him since. I emailed him last Wed and haven't heard back. What's my next move? What about the reality TV saturation? Is there still a viable market?  Do you have any advice for stuntmen looking to reach out beyond their region? I was a working crewmember years ago and went back to school to learn tech. But now I'm finding my previous crew work is not helping me get film work any longer. Should I give up on crew work and focus on my writing and producing?  What does the term IP mean? Can you break it down for us?  In prepping for the Austin Film Fest, what 3 things would you focus on leading up to it (besides entering the contests) if you were an as-of-yet unsigned writer? Hi There, I'm looking for a DP and stunt person on the Stage 32 app, but I'm having a difficult time finding them. I click the 'People' tab at the bottom and I only have the option of filtering between Everyone and My Network. I want to search for people not in my network, so I choose Everyone. But the list is huge. Am I searching wrong? Is there any way to add filters. IE: job description, years experience, and location (IE: states). Thanks!  Your thoughts on Facebook Live as a platform for your work? What are the best ways to network with independent financiers? Any events? Does Stage 32 have any special tools to help filmmakers promote their crowdfunded film? What words do you say to graciously NOT recommend someone who's work you do not yet want to endorse (or know you never want to endorse) when they ask for a recommendation to one of your big fish connections? I am moving soon to a new market and will be looking for a new agent. I know they are different everywhere. What are some basic red flags to look for when trying to get an agent? How can I make sure my script is ready to start entering into festivals and pitching to producers? Thoughts on how to diagnose & remedy the problem(s) with a structure that just isn't working in a screenplay? I just finish writing my first screenplay, what would be the best next step as far as casting, investors etc. on a limited non-budget? Do I need to copyright my screenplay? Do you have a character that you’ve written that just stays with you? How do you detach so you can move on to a new story?

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On Stage With RB - 23rd April 2016

This month’s On Stage With RB had two very special guests! Up first was John T. Trigonis, Indiegogo’s Head Film/Creative Campaign Strategist. He has mentored hundreds of filmmakers and other content creators worldwide to create compelling crowdfunding experiences that not only reach, but exceed their goals. Trigonis has literally written and rewritten the book on Crowdfunding for Filmmakers. Up second was Lane Shefter Bishop, a multi-award winning producer/director who has received numerous accolades for her work including an EMMY, six Telly Awards, a Videographer Award, three Communicator Awards, a Sherril C. Corwin Award, an Aurora Award, a Davey Award, a New York Festivals Award and the DGA Fellowship Award for Episodic Television. Currently, she is the CEO of Vast Entertainment, a book-to-screen adaptation company with numerous television and film projects in development at various networks and studios, including NBC/Universal, ABC/Disney, CBS, Lifetime, Sony and 20th Century Fox. Ms. Bishop is also a public speaker and author of Sell your Story in a Single Sentence; Advice from the Front Lines of Hollywood (pre-order here!). Then, RB opened up the floor for an interactive Q&A: Hello! I was asked to put together a "Producer's Package" for and Executive Producer who has an interest in my TV drama series. What are your insights on what needs to be included? Pilot episode is done already. Thank you. I’m an actor and was inspired by Brian Patacca’s blog Actors! It's Time To Quit Waiting Around For A Break. What is your take on his 3rd video “What's the value in actors creating their own content?”  Crowd funding now seems to require a degree of marketing acumen most filmmakers don't have. Do you have any advice on this? Do people help you fund your project because of you or because of the project it self? Is it wise to fund your own project? Does the age of the screenwriter or author affect your opinion? I have 15 chapters of a novel written. It's a psychological thriller and a true story. Should I go back and do like a synopsis of each chapters of what already written and treat as a proposal as long as it's under 100 pages?  Over the past couple of years I have been getting some acting jobs in my home state in order to prepare myself for making the big move to Los Angeles. However, I hear that Atlanta is now presenting more opportunities. What is the difference in the markets? I’m an actor based in Montreal, what are your suggested 3 best resources for an actor who is moving to LA? I love the new opening page to Stage 32 and the messaging behind it. You and your whole staff just seem to be relentlessly positive. But as a creative, how do you stay that way? Doesn't anything get you down in your creative pursuits? How do you stay motivated? You talk about doing it yourself then you talk about your manager, who does what and how do you get that manager? In the US, you have a manger and an agent... seems less so in the UK... more, just an agent... why's that? RB said he reads the trades every morning. Can he runs us through what sites we should be frequenting and his typical morning routine? Who is your favorite director online at 32 or elsewhere that has made an impact with his work that they have made? Great job you guys are doing!! I really enjoy it here!!! Keep up the great work. RB, I just wanted to say thank you for your responsiveness on my Stage 32 Happy Writers request. With the old regime, as you have stated it, I sent 3 emails over 3 months regarding my coverage notes. I never received a response. You answered me in 6 minutes. And then Erik followed up no more than 10 minutes later. An hour later, I had my coverage. I am incredibly impressed. So thank you. Hey, RB! If a potential manager has requested your script, and then asks what other scripts you have, but you have 1-2 uncompleted specs, how transparent should you be about this? Thanks! Kassandra from Spain! I am writing and would like a manager, do you have any advice? By the way, thanks to Stage32, I found out that a guy I attend church with was a Videographer! He's now involved in all of our online show productions. How do you compare to SLATED? With as busy as you seem, are you still available for acting gigs? I saw on the blog that you spoke at the Writers Guild last week on the subject of writers taking matters into their own hands and filming a short. I'm an actor who sometimes writes. I am more interested in being an actor than a writer. Should I film something to showcase my talents? Or will that seem desperate? So, once you have your proof of concept short, take us through the next steps. I recently pitched through the Stage 32 Happy Writers and received a script request from a manager who said the script wasn't right for him and offered some feedback. This is the first request I've had and I'm wondering how I should handle the rejection and the notes. You always seem so calm, cool and collected. Does anything ever phase you? I come from the business world and IP theft is a big concern. Listening to today's weibnar it sounds like that is different in the film industry? Is IP theft simply not a concern? Hi from Puerto Rico, I decided to write my short stories I made up over the years, is posting them in the logline part of stage32 a good way to get feedback on them? We've run two campaigns on Indiegogo two years ago, what's the chance community would support a third? What is the best way for a composer to use Stage 32? RB hypothetical: If you wanted to be a writer on HBO's Westworld, but didn't know anyone at HBO (or Universal) would you submit a writing sample, or try and find a way to become a writers assistant? Is HBO too high a goal for an unknown writer? How do you balance a day job with being a creative?  

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22nd On Stage With RB - March 2016

This month’s On Stage With RB was another jam-pack webinar with two very special guests!  Up first was Aimee Rivera, a creative executive from Cindy Cowan Entertainment which has produced multiple projects across many mediums. Previously, Aimee worked at Amazon Studios in feature development where she helped build their film department and develop upcoming projects on their slate. Up second was Heather Hale, an Independent Film and Television Director, Producer and Screenwriter and former IFTA liaison for the American Film Market. As a Director/Producer, she has cast commercials, industrials, infomercials, short films, pilot presentations, sizzle reels, Corporate training (DVDs and online) and over 50 hours of television which have won a couple Emmys, Tellys and Ace Awards as well as "Best New Series Pilot." Then, RB opened up the floor for an interactive Q&A: Hope that RB will discuss the future of the Happy Writers program. Thanks! Being new to the Stage 32 community, as a screenwriter, is there a "path" you suggest to take to make the most of it? Discussion group recommendations? Really want to know how to plug in effectively. I recently volunteered at a film festival. It's called Cinequest and it really helped me connect with other artists like myself as well as see some of the films being played. Do you encourage other actors like myself to volunteer or get involved in film festivals if opportunities open up? Does anyone care about documentaries anymore? How often should you update your headshots? Do you have experience when auditioning for single cam vs. multi-cam shows? Are short films still seen as calling card movies or is there a market developing for shorts? Which festivals are most likely for a first time submitter with a good 8-minute film to try? What is the difference between Markets and Festivals? Movies shot with new technology like Iphones and apps have had some success in festival circuits. Do you think that is a good way to show your talent or is it in fact, undermining the industry itself? Do the festivals have space for television or just film? Should TV writers stick to market only? 2nd time producer. 1st film screened at SXSW in 2013. My new film is in pre-production filming this summer and I’m struggling with clicking with my DP. I met someone here in Austin and they told me about Stage 32 and that I should go on your show to ask your advice. I’ve made a few shorts and I have a completed narrative feature film that has been in a few film festivals in the US. I’m the writer/producer/director. I’ll be in LA for a month working on a feature film as a DP. (I live in New Zealand). I would like to get more work in LA (as a DP or Director) While I’m in LA what can I do to improve my chances of getting more work in LA? Thanks Do you think there is a real market for new radio shows?

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21st On Stage With RB - February 2016

21st On Stage With RB – February 2016 This month’s On Stage With RB was jam-packed! We even carried the extra overflow onto Periscope so more creatives could tune in! Up first was producer David Harris, a producer who’s worked for Platinum Studios & Paramount. His film SECURITY (a $15M feature starring Antonia Banderas & Ben Kingsley) will be coming out this year and he has optioned and signed 2 writers through Stage 32 Happy Writers. Up second was David Paterson, award-winning writer/producer, award –winning writer/producer who wrote the Disney hit BRIDGE TO TERABITHIA and THE GREAT GILLY HOPKINS (2015 - Octavia Spencer, Kathy Bates, Glen Close), and who’s short films have played at over 100 film festivals. Plus he serves as an advisor to 4 major film festivals. After these 2 great interviews, RB opened up the floor for your questions for 2 hours!   Will you have to go to Los Angeles to network in the industry, or can it start where you are? If it can start where you are is there a time you have to go to Los Angeles to network? How do you format text messages in script? Currently I am working in Reality TV as an Assistant Editor. What can I do to transition into Movies and Scripted Show! How can we attach an A-list actor for a smaller role (that could be shot in a weekend) as part a larger feature film? Regarding shorts: What would you suggest for a writer that doesn't want to be a director to get his/hers scripts filmed? I am in the process of editing a short I have shot. The next step is writing a feature spec based on the short. What is the best way to market the spec based on what will be viewed in film festivals if it can generate enough interest. Is there an optimum length for a short film? For shorts, what is the rough relative cost of CGI, $/minute? Jeff What is the market like for shorts or features with Actors of color as leads, dealing with Latino, African American themes, etc.? Would you recommend trying to film guerilla just to get it done or go for permits if you’re filming your calling card. What is the responsibility of the executive producer? I’m on set a few times a month on day work, how often do you recommend updating your headshots? Any monologues you recommend that helped you with your range? Thoughts on Brie Larson winning best Actress? I produced, wrote, and directed a short and it went to three small film festivals and is being aired on online film channels. I am co- writing, producing and directing my first feature film. I work on a major studio and have SEEN many union workers and albeit they are very good I feel a lot of extra weight I can cut and not use them. I want to use up and coming non-union crew. What is your take on this? Any wisdom on writing the pilot for a potential television series? How self-contained should the pilot be? Do you need representation to get staffed (writing) on a tv show? Have you ever acted for single cam or multi cam television? Any advice for trying to break in for television? How can a screenwriter have an original voice yet keep the script within what a studio wants that may not be very original? Is age a major factor in being discovered for whatever the artistry, talent or skill a person desires? I direct in Russia and you mentioned Hitchcock. My favorite. What is your favorite directing choice of Hitchcock? If a director hasn't done their 6 months of planning prior to a crowdfunding launch, but has still managed to raise one third of their goal in the first week, is the campaign still at risk of failing? Any suggestions specifically for crowdfunding a musical theater project here in LA? I'm the writer/director and this is not with an established theater, btw. Hoping to have it at a nightclub as dinner theater Can you talk about the new SEC regulations that were passed for filmmakers to be able to raise equity funding online? Hi RB, I'm sure you've had this question many times and it goes back to the earlier question, what would you describe as effectively networking online? Your book? What is it going to be about? When?? Very interested in the business area of this industry. RB, how did you get started with your first writing...and looking back...if there was one thing you would do differently, what would that be? Do you suggest editing a script "down" from an R rated script to a PG-13 version, even if it goes against our writing style?    

ON-DEMAND

20th On Stage With RB – January 2016

20th On Stage With RB – January 2016 In what is widely considered one of the best On Stage With RB broadcasts, RB had on 2 incredible industry guests: Up first was Daniel Kendrick, manager and development executive at Chatrone (Robot Chicken, Spongebob Squarepants, Teenage Mutant Ninja Turtles, and The Lego Movie) who talked about Chatrone’s film The Book Of Life and it’s Golden Globe nomination. He also talked about great tips for animation creatives to get into the industry that apply to all disciplines. It’s a fun and must-watch interview! Then, up next RB had on producer Jason Mirch (Flight, The Help, Best Exotic Marigold Hotel). Jason talked about if you are an indie creative looking to take your material into your own hands and looking to make your own material, you need to be educated on your material, your budget and your market. He offered great advice and helpful tips to move your project along! Then, RB opened up the floor for an interactive Q&A: Ask who is better to pitch an animated script to? Disney or Pixar? How does someone figure out their budget and returns on investment? How do I know someone is "meaningful" for a project; are there signs for me to recognize early on? I'm from another country and got a job (not in the industry) in the US. Where to start if I want to be an actor and scriptwriter/songwriter in the US? Jason said film school won't teach you about the business end. Are their mentors or institutions out there who do teach the business end, like to be a line producer? How do you label your movie file when submitting it? Will RB be doing a crowdfunding panel at Tribeca this year like last year? In terms of contest feedback, what do contest readers look for the most when you send a resubmission? Overall improvement, or the writers immediate willingness to implement, without complaint or hesitation, the readers suggestions to improve the script? Are demo reels with an opening with your headshot not in style anymore? Should you just have a scene with your name on the scene for a few seconds? Demo styles have changed. As a composer starting out, what is the best approach to get work in Film/TV? For newbies to networking and the industry, what can they offer to others while networking? What are the best ways to make it a two-way street before you have a lot to offer? I understand that it needs to be only one sentence and no character names but what else is important about a log line. You mentioned you have your own a project you’re working on, can you tell us about it? Most of the emphasis in American Film is on LA and breaking into Hollywood. What do you know about interaction between American and International filmmaking? Do you think there is collaboration that can be considered a legitimate threat to the major studios? Is it worth it, in your opinion, to invest in foreign film as an alternative to breaking into the US market? Are contest readers more subjective or objective when it comes to particular genres? And if so, how should a screenwriter approach entering their work in contests? Not a question but a thank you for bringing these to us without it sounded fake. Thank you for being real. Now a question, are you looking at more improvements on Stage 32 this year or are you happy with what you see now? I've written a TV Bible for an animated series targeted at the 9-12 crowd. I've shown it to a couple industry professionals in Calgary, and they both said that I should shorten it to about 3-4 pages. In that case, should I make separate "Pitch version" of the bible that's cut down to a couple pages, while keeping my longer version for writing reference? I keep being told that I need to work in the industry before I can’t get a manager because I "don't know anyone yet." This doesn’t seem to make sense, can you offer advice? Any plans to update the Stage 32 app? Has there every been any success stories that have come from Stage 32? What words of encouragement do you offer absolute newbies? What would you warn against? What is your take on the content on studio vs. indie and TV shows these days? Could you recommend some good cameras to film with? I’m trying to invest in some film equipment. What are your thoughts on the Oscar nominations? What are your thoughts on web series? Will it help your career? What has been most rewarding since you started Stage 32? I just joined – a friend told me about it on Facebook and I’m hooked. I’m a little nervous to put my work up on my profile. Can you give me any advice? I sent a script to someone I want to co-produce with and it’s been a few months since I’ve heard anything does that mean that they’re not interested? Has there been a favorite discussion you’ve been involved in on Stage 32?

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19th On Stage with RB - December 2015

The 19th edition of the On Stage With RB online webcast was over 3 hours long…and it included a Santa hat and some incredible industry guests! Up first was filmmaker Jon Reiss who is an expert on marketing and distribution. RB and Jon go over how the distribution landscape has changed over the years. They then go over how to identify and engage your audience. They also take time to go over the various distribution options. Next, RB had on Patrick Raymond, creative executive at Mandalay Pictures who went over what exactly a creative executive does on a day to day basis. They talk about Patrick’s upcoming film that is going to Sundance THE BIRTH OF THE NATION, and what went along with getting it to that point. He goes over deconstructing scripts – what is he thinking by 10 pages? What is he thinking by 25 pages? They talk about how and why a creative executive might select a project to develop. He gives invaluable advice on the biggest mistakes writers make in scripts. Then, RB opened up the floor to a 2 hour long Q&A with the Stage 32 community including: Can we watch this webinar again from the Stage32 Website? Do you ever have webinars that are about ACTING? What's the best way to get an agent- specifically for a writer/director? Thanks! Could you speak to the absence of originality in Hollywood right now? A lot of people think that Hollywood is running out of original ideas (proved by the amount of sequels coming out this year: star wars, hunger games, mad max, star trek, terminator...) Do you see evidence of original scripts being successful? Any resources or ideas on how to promote filmmaking in the state of Michigan. Lots of talent here, but many left when our state film (tax) incentives got axed. What is the best way to promote the film industry here for those of us who are left? How frequently do you recommend keeping in touch with an audience via social media when releasing a film online? Do you think these techniques apply to television production as well as filmmaking? I have two questions: what is difference between crowdsourcing a film and crowdfunding a film. What is the best way to go about getting investors on board? Do you have any advice for a screenwriter looking to move into directing a first feature? I'm trying to find a study job in the film industry of Calgary, AB Canada. Just so I can live sustainably whilst developing my scripts and personal projects on the side. What kind of jobs would you recommend that I seek out? I think all of us will agree on one thing: you answered hundreds of questions so far and we’re all thankful for that. From time to time you didn’t know the answer to a specific question. I’d like to thank you even for not knowing the answer, because that motivated me to start searching for answers myself. Thank you again for the motivation and for sharing all the little secrets with us. Happy holidays to you and to every member of your team and don't ever stop doing this. Screenwriting Coach vs. Manager. As a new writer, which should I seek out first? When it comes to financing a film, are there funding cycles the Executive Producers allocate on a fiscal basis? He is asking if there are "cycles" like in TV. In TV, you submit pilots and such in January because that's when they're looking to buy. If I already have a pilot under consideration with a production company but nothing signed yet, is it worth mentioning that status in a new pitch to a manager/agent to build interest? How old are you guys? And is there a practical upper age limit for screenwriters? Is Amazon's screenwriters submission site for real? Has anything real ever come from it? I'm new to the area of screenplays and recently learned of the term "throughline." Can you please explain more on this? What are RB's thoughts on writers utilizing or creating their own streaming web television stations or webseries? How are you doing today? King Louie I saw on your social media that you saw HATEFUL EIGHT, what did you think? Hi RB, what do you look for in a project or script when you wear different hats, i.e. as an actor, writer, and producer? What is your personal process for rewriting? How do you go about figuring out what to tackle first? Have you ever considered making Stage 32 as management/agent type of agency? On the other side of the fence, I’m a director and struggle when my screenwriters give me too much exposition. I’d like your insight on how to approach rewrites with my screenwriter. I went to the National Association of Television Programming Executives Conference last year. In the panel discussions the Programming execs were bewildered by all of the different kinds of content and the fact that the length of each varied so completely. Instead of the traditional 22 minute/half hour and the 43 minute/hour programs webisodes engage audiences in 6 or 11 or any length of segments. Their biggest worry was how to monetize these new forms of content. Do you have ideas for how new comers can create income with their content? How do you balance social promotion without going over board? I get quickly bored and upset when I see someone posting daily about their book, script, etc. and tune out, but you do have to mention your project. How many times should you push something? I am starting a production company in Tampa and am in the middle of writing a business plan for it. What are your thoughts on how to grow and build a production company.? Did you do an episode of Criminal Minds - playing a medical examiner? Ruby Hi RB, How has your writing style changed from your first script to what you're working on now? What have you learned over the years in regards to screenwriting and how have you applied what you have learned to improve your screenplays? I just got back from the Bahamas Residency Program last week... a few days later I received an email that a Mentor wrote to loop me in with his Head of Production and we have a phone call scheduled for this Friday... I'm really nervous... I have no idea what to expect that they might want to discuss with me.... any ideas? Does you have any advice for screenwriters looking to transition into writing for television? If you have received several "passes" on your projects do you get on some insider industry list as someone to not take seriously? Do you know of any good film publicity firms in LA? I'm interested in working in film marketing campaigns while I continue to keep writing. Do you sleep?

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18th On Stage with RB - November 2015

The November 2015 edition of On Stage With RB was a 3-hour affair! Joining RB was Jaia Thomas, leading entertainment attorney who assists clients with transactional and intellectual property matters. She regularly counsels filmmakers and produ

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17th On Stage with RB - October 2015

The October 2015 edition of On Stage With RB was almost 3 hours jam-packed with incredible tips and advice! Up first was Jeff Kitchen. Jeff Kitchen has been one of the top screenwriting teachers in the film industry for twenty years, and is a sought-after script consultant. He worked as a dramaturg and taught playwriting in New York theater, and is the author of Writing a Great Movie: Key Tools for Successful Screenwriting. Jeff has taught development executives from all the major Hollywood studios and they consistently say that he teaches the most advanced development tools in the film industry. Jeff talks about sequence proposition plot pieces as it relates to an advanced screenwriter. He talks about how writers have a hard time getting down to the spine of the story and the importance of keeping out unnecessary elements. He talks about cause and effect and how you have to see the forest for the trees as it relates to your writing. RB Then opened up the floor to an interactive Q&A and took questions from the Stage 32 community including: Crazy formatting question: After scene heading showing day or night, should the following couple scene headings that are continuous be labeled "continuous" or "moments later." When do we use which. A small item that drives me crazy! - Screenwriting Question: Is it preferred to only have one antagonist in a story, or is it acceptable to have two, for instance, an "illness" and a "human" antagonist? The pros seem to give mixed info on this topic. Thank you so much!!! Does this method of working backward from 'cause' to 'effect' also work on rewrites? When was the last time a small indie film that cost less than 200K with no big stars was picked up by a major studio and opened in 3,000 movie theaters? And, the so-called “art theaters” don’t count. SAG has a list! How does an indie producer convince a major theater chain to show their unheard of movie without a ton of prints, PR and paid ads? What's the first step to making my first short film? What is your advice on selling screenplays? Hey RB, I'm prepping for the big Happy Writers TV pitch this Saturday... any tips for knocking a written pitch out of the park? The importance of subtext is usually missed, any thoughts? Would you consider connecting the Stage 32 shorts to the Atlanta Film Festival? Atlanta has the Best tax incentives for film. RB continuously mentions that stage 32 members should be active and contribute. What would be the best way to contribute, without starting a discussion just for the sake of it. Hi RB. I'm a writer that has a couple of screenplays that are through a few edits and I'm getting close to the stage where I'd like to send them to be read and evaluated or commented on. What are good services for that, as I know there are a lot of them advertised but like anything out there, some are better than others. How do you evaluate how good they are? What do you do to stay focused and motivated? How much do you think moving to California can improve getting more work in this industry? What makes a movie more likely to do better during a summer or winter season? What trades do you recommend reading? Which social networking video website on which an actor or director can place demo reels do you feel is best from a professional perspective? Is there a way to get people to look at your content on your profile page? We are planning on starting to shoot a character driven drama, budget $2million, about this time next year and will start assembling crew and casting actors very soon. How would you best recommend using Stage 32 in this process? The script was a finalist in a couple major screen writing competitions. Will Stage 32 be at the Austin Film Festival? I got a request from a big agency that was not only excited but said they look forward to reading the wrong draft. My hope is that the spirit of the movie bursts through and the exec asks for the polished version before passing it up the food chain. Your thoughts? Would you recommend posting a script on your stage 32 profile? How do you promote yourself as a writer? The industry is INDEED shifting, By the week almost. So, what’s up with SAG ultra low budget agreement? What film festivals have you attended? Is it a good idea to write a sequel to a film or just write the first to get it out there? How's "Crutch" progressing? On exposition. My opening image originally. revealed the antagonist setting up the inciting incident. Introducing the Protagonists was later as he reveals conflict and goal through discovery . I've changed it all to a O.S. Soliloquy flashbacks and Captions. Any suggestions. Any advice for being in a room? What is your favorite memory over the last four years of running Stage 32?

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16th On Stage with RB - September 2015

In the September 2015 edition of On Stage With RB, he talks about what’s in store for Stage 32 filmmakers at the 23rd Annual Raindance Film Festival, where we are featuring 6 Stage 32 filmmakers in a short film program. Then, he welcomes Paul Barry, an LA-based Australian actor, director, writer and acting teacher. Clients of Paul’s are repped by: CAA, UTA, Abrams Artists Agency, The Gersh Agency, ICM Partners, Paradigm, and managed by: United Management, Principal Entertainment, Brillstein Entertainment Partners, Untitled Management, having worked at: MGM, CBS, NBC, C20th Fox, MTV, ABC and more…. Paul has taught in the vicinity of three thousand actors over the past 19 years, in both Australia and America. Paul and RB talk about if you should you take free jobs to build your reel. Paul talks about why you shouldn’t put up a substandard reel because you’re trying to build an attractive product that will help you sell yourself. Always aim for quality and try not to be cheap. There are inexpensive affordable resources that are available to creatives, you just have to be willing to work for it. You have to have quality in the others that you collaborate with. Get your art out, if people criticize it, get more art out. Control what you can control. Paul gives you advice about being on social media as a creative and what you should focus on. Paul talks about building relationships through networking by: contact, content and commitment. Paul goes over what it’s like to be on the casting director side of the table. Take away advice: “Never draw attention to what you don’t have.” Then next up RB has on Scott Stoops, a manager at Benderspink who recently sold a pilot to CBS and was instrumental in signing the comic book publisher Aspen Comics. Scott reps a variety of emerging writers and filmmakers whose films have played in festivals across the world. He also represents several directors who have done short films that were turned into feature films. Scott has sold projects in both television and features. Prior to Benderspink Scott was with Paradigm in the Feature Literary Department. Scott talks about the importance of IP right now and public domain topics. Writing TV is much different is much different than feature writing so determine what genre do you want to write. For TV we’ve seen feature films turned into mini series and big IP shows are oozing into television. Scott talks about if someone with a TV concept should have a fully fleshed out series, or just a pilot with an idea. As a first time writer, having a script is enough to get signed, but if you are planning to go into a studios and networks, you should have a wealth of ideas. A page about 1st season, a page about 2nd season and beyond. They want to be able to see the show. Scott answers if you have a TV pilot concept, what should a writer have prepared. He answers how many scripts do you as a writer you need? Take away advice: “I work for you” Scott even took a couple of questions from the Stage 32 audience, including: I've written a full 90-mintue script, how would I go around this, as a lot of agencies don’t like unsolicited material? How important is a good pitch and being good in a room? Then for almost 2 hours, RB opened it up for an in depth Q&A from the audience including: What do you/most actors look for in a character role when reading a script. Do you decide by page 10, or do you need to see the entire arc? How important is it to have your IMDb profile up? Are you happy with how far S32 has progressed in just 4 years? What can a Director do for new talent on a film, (that he won't need to do for more seasoned talent), which will help them understand their character more, help them develop their role and feel confident on set with what they are bringing to the production? I'm brand new to the group and love what I see so far. I'm very passionate about filmmaking and have been doing it full time for over 2 years now. Business has slowed down and I'm trying to get more diverse. My experience is camera operator with some audio and lighting experience, what do you see the industry of commercial video production lacking? Etiquette question... if I am pitching something that already has a bit of interest in it (ie. a proposition of financing if a prominent director/actor is attached, do I bring that up if talking to a producer? I know there is no right or wrong (just consequences), but what do you think? When prepping for a Stage 32 pitch session, often an exec will say 'looking for the $$ - $$ range'. How do I figure out how much my spec would cost to make? What should you do when you sign with a manager that isn't a good fit? Other than whackin' 'em out? I was the assistant production coordinator for REVENGE that was filmed on your lot – I just wanted to say hello and thank you for Stage 32! Hope there’s still parties on the patio! Hi, I am an aspiring filmmaker located in the middle of the woods, two hours in each direction of a major city. I'm still young (20), and there isn't much of a film community where I live. What is your best advice to get started, and how I would proceed to major work? Is there a market for Ethnically diverse shows? I am currently writing a pilot for sitcom based on Indian family? How do I go about pitching it? Does completion of courses from different screenwriting schools carry more weight than another? When Scott talked about writing in one genre, is that a common rule for screenwriting, or just a specified preference for a writer to be credible? I know that everyone has their own methods, but I'd like to hear about your personal writing process RB and the steps you take as you develop a script. If you have a great theater show and you're looking for a booking manager for a particular venue to shop your show. Where would I look to find the best manager to present my product (show) to? In terms of working with Distribution Companies, should the filmmaker expect transparency from the distributors re their 'expenses'? As royalties tend to be a percentage to the filmmaker, minus their 'expenses'? I’ve worked on 12 features in production, and I want to move to the “A-list” – how do I attach an A-list actor or director involved in the next production I’m working on? First of all thanks for Stage 32. I don’t care for Facebook. I stumbled upon Stage 32 from Google! I’m an electrician by trade and I’m interested in getting into gaffing for film or TV sets – any advice? I’m based in Chicago. What are your thoughts about Howard Rodman becoming WGA West President? I was at the PGA mixer this week and saw the Women’s Impact Network, are you still working with the PGA? Should you include spec projects in progress on your IMDb profile or only projects in production? Is a writer, who has not sold the rights to his or her manuscript, always allowed on the set of a film or TV to give suggestions, make changes to the script, etc.? What’s a good way to become more creative? or what do you look to for inspiration and creative growth? Is the AFM pitching session worth pitching a script to? Is there such a thing as targeting too many different audiences on social media? What if your interests don't completely relate to one another? (ex.: film, positivity, composing, and anti-bullying).

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15th On Stage with RB - August 2015

The August 2015 edition of the On Stage With RB webcast was a smashing success with over 3 hours jam packed with information! RB's first guest Joe Bohn (1st AD) talks about how it's vital to behave on set in order to make for a positive on-set environment. He breaks down what, in fact a 1st AD does on set and that you have 2 bosses – a director and a producer. They discuss how everyone on set has an opinion, but it's how you phrase your communication that makes you a professional and helps you get called back for jobs. Joe talks about networking and why it's important to learn all the disciplines on set so you can understand each position and gives advice on the business now. Take away from Joe: "'No' should be in your vocabulary to a Director." After Joe's interview RB brought on James Kicklighter (Producer and Director) to chat about how networking is crucial to a creative. James talks about what to keep in mind when you're looking to submit your film into a film festival and how short films are a great proof of concept for your potential for a feature. James goes over longevity of your career in the industry – it's about treating each of your films as their own brands or products and what are the tangible steps that you are going to take to get there. Take away from James: "You don't want to spend $10k on a short film and have it sit on your hard drive." Then, for over 2 hours RB answered questions that came in from over 2,000 Stage 32 members from all over the world including: How do you get distribution for your TV show once you have your pilot done? For pitching a short film to a potential funder/sponsor, beside the logline or treatment would you recommend to sending, the approximate budget to the financier? Or would you keep the conversation open, by not sending the approximate budget you need? First of all, Stage 32 is an incredible resource. A friend on set just told me about it and I joined last week. I'm a director and I've have 4 features that I've done financed by Lifetime and TNT. I'm about to go off on my own independently and am starting a crowdfunding campaign. It's so different than what I'm used to Do you have any advice? Hi RB, I have a full length feature completed, its not the best quality. I am torn sending it out to producers as proof of concept or self-distributing it. What do you recommend? I'm a Meisner trained actor, who has done innumerable short, student and feature films and I've found that the films are often pretty awful and/or are never completed. Do you have any suggestions for vetting projects that are offered me? How do I avoid the landmines? I'm an LA based actor and I have a reoccurring role on an MTV show. I love acting, I love my work, but I definitely don't feel challenged. I feel pigeonholed, so how do you recommend I expand my creative scope? I have done 6 films – 2 have made the festival circuit, where I've had small rolls. Through my on set contacts I've been offered a lead role in an indie-it's my biggest role yet. Problem is, it involves nudity. The producers are tied in with Sundance, I know, because I've been there with them on one of the films I'm in. I'm struggling with the nudity part and the writer and director are not willing to budge. I'm at a crossroads and I don't know what I should do. A smallish film studio optioned one of my scripts and now CAA may have interest in the film, so what are the opportunities and what are the pitfalls? What is the max length of a short screenplay? I am a writer, age sixty-nine! I'm writing horror books… am I too old to interest film people in my writing? Hi there RB and Amanda. I'm a screenwriter in Canada and a regular attendee here. RB you mentioned to another writer that they should look at getting a manager before an agent. There's a lot of lounge discussions about the differences between managers and agents and how the lines between them are getting blurry, so I'd love to hear your take on the differences between them and how best to utilize them. I want to invite people to this site, but I am not going to send out an email blast. Is there a link that I can post that will somehow credit my invites sent if someone responds? Hilton from the Dallas- Ft. Worth Stage 32 group here. Thanks for you and your staff for the bling at our fourth Meet Up. We are 80 members now, working on 20 projects, and handed out 5 or more jobs at the last meeting. This program is great for networking and getting the acting community involved in more projects. We are proud to work with you in expanding the future for us all. The more the population of the world grows, the more performers will be needed. Remember this. How do you feel Netflix, Amazon, Hulu will change the traditional cable market? Question for filming commercials about do's and don'ts. What would you do when a client is interfering the process of creating the commercial? How polite should you be? I would like to know what to do as a foreigner, to get into the field in the states? I'm thinking of moving away from the Netherlands. But how should a person in my position should I do? I'm a director, but during my studies in Prague I have been doing a lots of project as an AD, and I started as a Jr. producer for a Dutch company mostly on music videos. As a Director I have created some commercials and corporate films. What is your take on the concept thrown out at the TCA by John Landgraf that there is too much good television and it's going to shrink in the near future? Hi great webinar, I have two comedy writers that have written great scripts that are similar. As the producer on the webseries how do I get the writers to work together and produce one script? I am a new screenwriter and also new to Stage 32. Is it possible for me to post like a short screenplay on the website for fellow screenwriters to comment on? Do you agree that an aspiring TV/screenwriter should stick to one genre and one medium or should you just do whatever comes to you? I made a short film and I sent it to some festivals. While I am waiting for answers from festivals, can I market my short film in Universities, colleges, etc.? I made the quarters in one contest with my first screenplay; however, it has not done much since. It did receive a comment by one judge that it moved forward based on story alone. Another of my screenplays received some very good hype by the So. Cal Screenwriting instructor; however, again, it has not received any advancement in contests. I'm extremely proud of these two but I'm not sure where to go from here. I also have three others in the works.

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14th On Stage with RB - July 2015

This over 3-hour edition of On Stage With RB is jam packed! RB has on 2 special guests – Jen Grisanti, story/script analyst and 12 year studio executive, as well as producer of over 25 films, Franco Sama!

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13th On Stage with RB - June 2015

On Stage Guest Bios and Q&A In this jam-packed over 3-hour On Stage With RB broadcast, RB had on 2 special guests! Timothy Andrew Edwards is one of the most diverse and accomplished Composers and Music Supervisors working in entertainment today. He has over 75 credits in Feature Film and Network Television, including two Emmy award-winning shows. Voting Member of the Recording Academy (Grammys). Expert contributor to the #1 selling book "Guerrilla Film Scoring"- endorsed by Yale, Columbia, Berklee College of Music, Cal Arts, Julliard, and many other top universities and music schools. Timothy and RB talked about what changes Timothy is seeing in the industry / new trends he’s encountering.They talk about what the composer-filmmaker relationship is like and how can you make it a good one. Timothy talked about how he got his start in the business and shared advice for filmmakers when it comes to the music in their films. Steve Desmond is a Professional Screenwriter and Filmmakerwho has written or developed projects with Imagine Entertainment, Level 1 Entertainment, The Walt Becker Company, DreamWorks Animation, and The Disney Channel.Herecently raised $30k on Kickstarter for a short film he directed from an initial raise of $16k. RB and Steve talked about what changes he is seeing in the industry / new trends he is encountering. They talked about the screenwriter- filmmaker relationship like and how to maximize it. And Steve shared some excelled advice on crowdfunding based on his own experience. After that RB opened up for almost 2 hours of Q&A including: How can I use Stage 32 like I would use twitter or Linkedin? What can I do on a daily basis to organically engage with my network? When is the APP going to be updated to Stage 32 3.0? My approach to networking isn’t working – should I improve my approach or just start over? I’ve sent my script unsolicited to 100 people in the industry, but haven’t gotten any feedback. What should I do? Do you think it’s possible for a non-English native speaker to write screenplays in English and be successful? I’m a cable television director in Canada wanting to move into features. I have been offered a co-directing job on a US/Canadaco-production. I’ve never co-directed before – have you had any experience with that on any of your projects? My feature was just screened at Cannes and I came back with a million sales agent business cards – so many it made my head spin. How do I weed through all these for what’s best for my film? I’m half through my first feature (small budget 15,000) and my secondary lead is not translating well on film. Do I cut her? Do I change the script? Open to anyone’s advice. SF Bay actor – is it imperative when you network as an actor that you have headshots and a resume? How important is having an acting agent when starting out? I’ve been acting for 12 years my acting day rate has risen considerably and I noticed I’m making it to the final call back but not booking the role. Should I be reducing my day rate? How can new actors deal with the frustration of roles not being the role that best gives them the opportunity to showcase the their full range in acting? (Roles that don’t challenge the actor) Have you ever thought of directing a film from within the Stage 32 screenwriter’s pool? What do you feel as a director with a few scripts is the first step toward getting noticed and getting funded? I’m not great at advertising myself. Most of what I have done is non-paying because of the lack of paying opportunities in this area. How do I get the attention of the right people? My last producing job was in 2012, should I still do a reel? I’ve heard that if you’re too professional in your crowdfunding video, people will assume you don’t need money. Too poor, they feel you haven’t earned the money. What’s the fine line? When writing a screenplay, do you write down the action beats first? Or the dialogue? Also, do you use the whole corkboard /index card method before starting your first draft? Is it possible to land an agent/manager in the US if I’m in the UK? Should we be picky or does it matter who reps a screenwriter? Are you ever worried about plagiarism when you have to put the concept of your project out there for crowdfunding? Are we going to be able to get your book through Stage 32? How can I send a message to my whole Meetup group at the same time? Do you agree that the term ‘contribution’ evokes a better engagement than the term ‘donation’? Is it better to post ALL of your work to the video/audio section of your profile, or just the works you are most proud of? I’ve had a couple of opportunities slip away from me due to the fact that I have no IMDB page. While I’ve had 4-5 scripts options, done books, I don’t really have anything IMDB worthy. Is there a way around this or am I screwed?

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12th On Stage with RB - April 2015

The First Anniversary of On Stage With RB was jam-packed with great information! RB spends some time talking about Stage 32’s recent happenings including speaking at LMU for an advance screening of Silicon Valley with HBO, Stage 32 being at the upcoming Cannes Film Festival and exciting Stage 32 meetups and blogs. He then opens up the floor to his 2 special guests for an insightful hour: Jon Sperry, world renowned voice acting and dialect coach joins RB and tells us a story about how ordering ice cream as a kid helped prepare him for his life as a voice dialect coach. You’ll have to watch to see! He talks about how it’s important to discuss the nuances of a craft in order to perfect it. He talks about working with Philip Seymor Hoffman, Harvey Keitel and Sofia Vergara and the globalization of entertainment industry. Regularity of your practice and opening up your mind is what helps make you successful. And, with anything, practice, practice, practice will be the only way you get better. Jake Detharidge, head of development at 3311 Productions talks about packaging television and features having recently sold 9 projects to television. He talks about the difference between when a project is packaged and when it’s just an “idea”.As an independent filmmaker if you want to go after financing, you need to have an entire game plan ready. If you are planning on going to studios, they will buy the idea and put their own people in place, including producers, directors and actors. “It’s an exciting time and opportunity exists everywhere.” Jake takes us from concept of a project to exposure and the opportunities that are available online.“Learn about the business. Read Deadline, read the Hollywood Reporter,” is a piece of advice he imparts, as well as to think about the target audience as you’re developing your project. With a global audience, there is a lower barrier of entry. You can choose your destiny - be in control, put in the time, be a collaborator, do research, get active. Q&A included: What if as a Producer you want to help a new Director step into the world of feature filmmaking? What is the best way to bridge coming from smaller projects to larger ones? I'm curious about how to apply this information to a reality series idea. What kind of 'bible' or materials are needed to 'pitch' or sell the reality series idea? And if you're outside of the industry, how do you get that idea in front of the people who can buy it? What is the best software for packaging? Is an MFA from a film school beneficial for a director who wants to direct feature films? Or should one put the money towards their own work and amp up their demo reel? What are the main crew needed to do a quality sizzle reel for a feature film idea (proof of concept)?? Do I need a management company as a writer pitching a screenplay? Are there more advantages to having a management company to aid my efforts in finding the right fit for my script? If, like me, you live in Wisconsin, and you have a world-class miniseries idea, how do you get your script read noticed without Hollywood connections? “Networking is 50% of your job, and if you’re not doing it you’re losing” How does a writer protect his script or pitch from plagiarism when having it read or pitched for consideration? Not a question but a comment.I've been on Stage 32 for 3 months now, and I'm so glad I found this site.I enjoy RB's webinars (and congrats on the anniversary) but I just want to pass on that what's best about this site is that as I connect and grow my network, I find it inspires me to work harder at my art and to learn and reach higher and farther, both in terms of the quality of my work, and the dedication.Thank you RB and everyone at S32. What advice would you give to someone who is just starting out with an end goal of working in the studio system?. How is it different from pursuing a career in the independent realm?. (I'm a composer, but feel free to speak generally). Where is a good place for a Producer to find other Producers to collaborate with for larger projects? What are some unique ideas you've heard of to promote a KickStarter campaign for a film? I’ve trued 2 Indiegogo raises and neither has hit their goal. When do I know it’s time to just give up? What is the best way to select a director and build a strong production team for your short film? I have no idea where to start. How will the new California tax incentives benefit filmmakers? “It's NEVER time to give up!” I have found that so many managers only want to sign clients with projects that they want to co produce and not necessarily be a manager of a screenwriter's career.How do we get around that? If I was hired by a producer to write a feature film, should I be obligated to ask him first to look at my other scripts to see if he is interested? or should I wait until we develop a relationship and finish the movie we are on before I ask him the question? Is it possible to get a network or studios attention on my mini-series by submitting a treatment or should it be in script format? After registering a screenplay with WGA or the copyright office, do you have to reregister it every time you make revisions? Can I pitch a shooting script to a management company or should I keep it strictly story and minimal shot information presented? I’m directing my first indie. I landed a great actress who’s been around a long time but she has so many demands – how do I deal with difficult talent? Everyone else is excited for the project. Rapid Fire Question: RB - The new Avengers movie comes out May 1st. Which of the Avengers do you find you most relate to?. Thoughts on Star Wars Episode 7? Best place you’ve ever travelled? What size shoe are you? Favorite script you’ve written? Which superhero do you relate to: 1.) Captain America, 2.) Hulk, 3.) Iron Man. Wellse or Hitchcock? Thoughts on Star Wars Episode 7? Favorite Combos flavor? (the snack treat you pick up at the gas station) Favorite place you’ve ever traveled? What size shoe are you? Are you married? If you had your chance to run into a field filled with flowers and daises or in a small house filled with 100 dogs, what would you do? Best piece of advice you’ve ever gotten? Can I get RB's autograph? Im a huge fan of his Kimite

ON-DEMAND

11th On Stage with RB - March 2015

RB walks through the Stage 32 meetups section, the new Stage 32 You Tube channel (http://www.youtube.com/stage32com), the March Stage 32 membership drive and much more! Guests: Omar Leyva Omar, who has over 50 credits between film and television, joins RB to talk about what it’s like being an actor. He talks about how he got started in the business, and how having mentors, surrounding yourself with people who are like-minded, and being a self-motivator are keys to being a successful creative. They also talk about how creatives always need support, especially when your family or community doesn’t necessarily support your chosen craft. How do you take rejection from others, and then turn it into a positive? Finally, Omar discusses how being who you are is the most important thing. Some quotes from Omar: “Failing to prepare is preparing to fail.” “You’re never a failure until you blame someone else.” Jairo Alvarado joins RB and talks about how he found a new filmmaker from Amsterdam on VIMEO named Mischa Rozema. As his manager, he developed a Kickstarter campaign to help Mischa develop a short film as proof of concept. Jairo discusses how the film industry is much less of a “trust me” business and has transitioned into a “show me” business. He talks about the evolution of DRIVE: how the film at its first pass had a higher budget and different actors, but at the second pass had a smaller budget & had Ryan Gosling attached. Jairo also explains how you rise above the noise as a writer, composer, editor, cinematographer and how aiming smaller can actually be of great benefit to you. Some quotes from Jairo: “If you’re a creative you can do it anywhere you want. You don’t have to be in LA anymore” “The smartest person in the room is the one that admits that they know what they don’t know” Q&A   I saw your Headshot Cafe interview with Ajay Jhaveri which took place about a year after the Stage32 was launched. You think it’s time for another one, a retrospective, maybe you could talk about future goals or direction in which site is headed... stuff like that. Can you talk a little about how last week's SEC decision has changed crowd-sourcing? Specifically, I'm interested in whether or not it has intellectual property repercussions, especially for writers. Thanks! Been making shorts for 5 years now, finished my 1st feature last year for 5k, and just finished a really good 15 min. short using Stage32 for post sound people (will be sharing) but besides festivals what should I do next for my carear as a writer/director?…(how to find money or Producers seems right to me?) What is the difference between crowdfunding and crowdsourcing? As a best-selling Author -- who sucks at Screenwriting -- what are some tips you can give about forming/finding the right people to network with? As a beginning writer, when you think you have a draft ready to be read by the pros, what do you recommend as the next real steps to follow? RB, I am really curious about how to obtain rights for copyrighted music for a short or indie feature film to submit for film festivals or post on the web. How do I go about obtaining rights for a song that I would like to have on my film? Stage 32 reminds me of the movie The Social Network? Do you find any similarities? What are your plans for the future of Stage 32? RB, how do you decide to not let fear, stress, and anxiety get to you? I’m shy at networking in real life, do you have any recommendations on how to overcome that? You always talk about watching independent films – from a director’s perspective I’m curious what types of framed shots draw you in? Does that impact you as a writer? What camera would you suggest to film with to maximize both quality and budget? I’ve been diagnosed with cancer and I’m on the other side of it, how do I get back to working and telling people about my absence without it sounding like a sob story? How many people, really, have the ability to say yes in this industry? Should the primary concern for a new writer be to first concentrate on evolving and improving your craft, developing a unique perception of your story and networking, then try to get noticed in this "show me" trend? Please talk a bit about meetups. I keep thinking we should have one in SW Florida, but really don't know what it is and how to run one. Please, what's the status of your crowdfunding/crowdsourcing book? RB you probably don't hear this enough but THANK YOU for creating S32.

ON-DEMAND

10th On Stage with RB - February 2015

In the February 2015 broadcast of On Stage With RB we were able to increase the number of viewers with our new system, and what a difference it made - there were some great questions! For over 2-1/2 hours RB had on 2 special guests, Tiffany Boyle, VP of Packaging & Sales at Ramo Law, and actor David Banks, who's appeared in numerous features and over 100 commercials. Once the floor opened up for questions, RB hit on everything from filmmaking, acting, distribution and more, and then finished with rapid-fire questions. Tiffany Boyle went over what a distributer does for a company like Ramo Law, and what they are looking at in terms of the marketability of a property from budgets ranging between $50,000 to $40 million. She talked about the chicken and egg scenario for a project - do you attach talent first, or do you need money first? Tiffany touched on what to expect from both domestic vs. foreign territories. And, importantly, she talked about why “wearing multiple hats" for all people involved with an independent production is needed to contribute to the success of a film. Most shockingly, Tiffany shared her very concrete opinions about theatrical release, and it's probably not what you think. She went over the film festival strategy a good option for a film. Actor David Banks talked a little bit about if it benefits a writer to take acting classes, or an actor taking writing classes. He lent advice for actors who are just starting out that you should work for free to start to build up your reel, but once you start to get established you should be compensated for what you are worth. He talked about how can you build up a cache by being reliable, showing up, and that you should never be a no-show. He talked about the importance of consuming yourself in the material and don't put it to the last minute. He talked about why it's good to get in good with 5-10 casting directors. He shared Bryan Cranston's best audition advice and how do you “work the room" so to speak, to make a Casting Director remember you. Q&A Are you wearing pants? What are you drinking? Any Oscar surprises? What Festivals are worth entering? Would you recommend putting your film out there on different medias if you have submitted to several festivals? What is the best resource for film festivals? What do you think of going to firms that facilitate private capital raises as a strategy to get financing for feature films in the 5-10 million range? My feature film coming in a 1.5 million raise, would you recommend Indiegogo? Do you believe the group, as part of, crowd funding could ultimately determine most of the films brought to theaters in the year? Hi! Why is the platform named "Stage 32"? Not "Stage 33", for example? What the motivated you started Stage32? Is there a way to stop receiving notifications once you've commented on a topic? I receive notifications weeks after I have commented, and it overloads my inbox with irrelevant messages. What are the best ways to start a new project in Stage32? I got new headshots last year since I changed my hairstyle and I chose a few brighter shirts than my last shoot to help me market myself as that type and some darker shirts for the tough guy roles. I have the headshots on my Stage32 profile and some on my other social media. However, I've heard that sometimes when casting directors see some of your different headshots, aside from the one that was submitted to them, it can make them unsure about you being a good fit for the role they were interested in booking you for. I feel that my headshots are not too drastically different to cause this problem, but I was curious if you have any advice regarding this issue to avoid that uncertainty on the casting side for future headshots and opportunities. Are old credits irrelevant? Can you recommend a writing coach you would recommend for an actor that is interested in starting writing? Is it smart as an actor to pay $1,000 for a workshop that might get me in front of a casting director? I'm a composer who promoted a score before final approval of a director. Did I dilute the value? I have plans to shoot a feature length documentary on a subject that I am passionate about, and a lot of people in the motorsport as well are just as passionate about, but it is not a very well known motorsport. How do I grow my audience and how do I arrange and produce it to make more people interested in my movie? What was it about CUT that attracted Stage 32 to distribute it as their first exclusive release? Is this indie film distribution option going to be permanent? From Ukraine, I cannot wait to see this American movie (CUT!), and I'm excited for the Q&A we don't get that here. Will this distribution be permanent of stage 32? How do you get manager, agent, - through contest, coverage, etc.? What are the keys to writing comedy for an international audience? I'm an actor 2 years in and I still struggle with my reactions. If you don't have a partner how can I practice this? When I send my headshots to a casting director how many should I send? I just had a 4-episode principle roll on EMPIRE. I'd like to expand my roll, how do I go about doing that? Where did you get your start? Netflix / HBO what is your opinion on their programming? What are the major features on how to use Stage 32? Will there be a dating section on Stage 32? How many people work at Stage 32? How do I make my film about a niche audience? How do I crowdsource? How can I make my feature less complex - producer from NZ, director from LA, lead actor is from the UK. Location is set in London. Post in Germany, and German sales agent. Is the EP the key piece to put this together? I'm from Vancouver should apply to jobs elsewhere that I see on Stage 32? Don't have a demo reel what can I do?

ON-DEMAND

9th On Stage with RB - January 2015

In this broadcast, for 3 hours RB went over site features and had on 2 special guests: Our first guest Rachel Chervin, (Development Department at Lorne Michael’s company, Broadway Video: Saturday Night Live, Portlandia) talked about using your resources in the best way to get the best result with targeting a production company you want to work with. She explains why it’s not a good idea to send the wrong script to the wrong production company (for example, a low-budget horror script to a mid-budget rom-com production company). She talks about why you shouldn’t go after “catching the wave” with copy-cat material. Finally, don’t get lost in the chatter and bring your own interpretation. Our second guest, Conrad Meridian Artists talks about how a boutique firm like Meridian has 70 clients between Canada and LA. He talks about the Canadian market as it relates to American talent and writers and how recently one of his clients was staffed BoJack Horseman. He’s seeing a trend of taking on former feature writers and bringing them into the TV world. He talks about the single most important thing a writer or filmmaker can do to stand out from the rest. He talks about the difference between spec or original pilots and what is best for a writer. He also talks about the importance of contests to find writers. Then, for close to 2 hours, RB answered questions about anything and everything about the industry: Why did Nightcrawler not receive any nominations? What do you think of the American Sniper controversy? Do you think a writer should have 10 scripts before they seek representation? How can you network on Stage 32 to help collaborate on a project? Should I post even if I may not be fully experienced? RB, do you read the books by the authors that don't write primarily in English? Do you think it is relevant for the Hollywood industry looking outside the English writing world? Have you read a Norwegian K.O. Knausgaard? Is it appropriate to query via social media? When is it appropriate to email executives/managers you don’t know but would like to meet and potentially work with? Is it frowned upon to invite them to a large live show you have coming up? Is it frowned upon to send them links to web series projects you created? The Indiewire article sparks this question. Women in the film biz...a future...advice for women writers, producers, directors? What do you think about Ted Hope going to Amazon? How can Stage 32 get itself added on external sites to the usual lineup of sharing sites? Many sites have the share icons (Twitter, Facebook, and LinkedIn). What would it take for Stage32 to get itself added to entertainment/film/tv/video sites? What TV shows are you looking forward to seeing this winter/spring? Would you prefer to watch blockbusters with CGI, glamour etc. or a tightly woven low budget piece? How would you advise working through anxiety when on a short timeline?(Context: I'm a composer). I’m a producer and have a killer dramedy project –would you say that a 1.5M budget is easier to fund than 5M? Have you heard of any new unique tax incentives? You mentioned the major screenwriting contests. For an upcoming writer with no prior productions under their belt, would you suggest a writer submit to many smaller contests for a better chance for their vision being brought to life, or go straight to the major competitions? What are producers looking for in the high-concept sci-fi space? Chicken & Egg: No money / No Actors attachment or No Actors / No Money. How do you get past this problem? How about from the filmmaking angle- approach the big festivals first? Or, go to the smaller festivals and build an audience while going broke? You write a blog every week, you answer every single member, you participate in threads, how do you have time to write your own material? What is your general opinion on studying film production at university or college? Do you see the film in Nabokov's Loughter in the Dark? Usually I write live-action. Now, I'm working on this idea for a animated show focused on comedy. Do you have any advice to me? I'm not an artist to develop visual concepts and fulfill a show bible. I like lo budget sci-fi, what are your thoughts on its marketability? Is there a cap on a spec screenplay, or is it at the discretion of the producer on how much he pays for one? What does RB think Edge of Tomorrow failed at the box office? What are your thoughts about the Oscars nominations? Remember, you can watch the webinar as often as you'd like. It's FREE! All we ask is that you remember to pay it forward and spread the word! Please share on Facebook, Twitter, LinkedIn, Pinterest, Instagram, etc.

ON-DEMAND

8th On Stage with RB - December 2014

The December 2014 On Stage with RB webinar broadcast was almost a 3-hour affair with 1,000 members tuning in! Stage 32 Founder & CEO, RB, had on 2 great guests, including literary manager Seth Nagel from Infiniti Management International and award-winning producer of over 20 films, Marty Lang. Seth went over what he’s seen over the years and on a day-to-day basis as a manager. He talked about his opinions on contests and why he signed the winner of our Search for New Blood contest. Marty went over incredible insights on resources filmmakers can use to help get their films made, and how to help crowdsource their projects to gain momentum. An if that wasn’t enough, RB had an epic Q&A session on questions such as: When it comes to crowd funding, when people donate and give you money or locations uses, what type of benefits are given back to the backer to make it worth their while to contribute to your project? Do you think it is ethical to launch multiple crowdfunding campaigns throughout many sites? What advice would you give an actor who is just starting out? This is a loyalty question to my agent; I’m on a lot of TV shows as a character, feature, or reoccurring roles. I love it but am interested in trying to break into features. Do I stay loyal to my agent and keep taking they roles they give me or break off and find feature roles my self. How can composers take advantage of crowdsourcing? As a composer, is it better to follow trends or to follow your gut, even though it might not be what’s popular? What was your favorite Christmas present? Do you have any expectations of the story making of the future? How do you think story telling will evolve? When a production company requests your script, the longer they have it does this mean they probably will not option it or they are still getting to it? Is it better to hear from them right away? If a writer is especially working on indie films and doesn’t have an agent, would you suggest an entertainment lawyer in lieu of an agent? I’m an older but beginning screenwriter. Do you have any advice for not only writing but beginning to network as a writer? Who’s the most important person at a production company? What is your experience with getting product placement to offset the production cost? I have a project that has a location in Europe. What is the best way to find a foreign agent for pre-sales and locations? What is the amount of money that can be made from independent movies? How do you think the Sony email hack will impact the business? What do you think about the future of short movies? Who buys and distributes them? Do you think an international view can be extended to real global understanding beyond the English speaking countries? What are the resources for finding distribution? Is there a list? I’m under the impression to get funding ne has to have a distribution deal in place. Is that correct? What would your advice be for me to further my acting career and not waste my time for when I’m on my trip to LA? As an actor, I’ve done a lot of background work. How do I take the next step to get into an agency and get principal roles? Also, should I include background work on my resume, or is that immediately a turn off? How does a writer know if their script is high concept? Can or will you name some of the best screenwriting contests? When a crowdfunding offers IMDB credit for donating, is that credible and does it do any good for your career in the business? How can actors best utilize Stage 32 t help our careers, and how can I contribute my knowledge and services to the Stage 32 community? How do you find a good script consultant? What are the benefits to putting your film into film festivals? How do you get an option agreement? Remember, you can watch the webinar as often as you'd like. It's FREE! All we ask is that you remember to pay it forward and spread the word! Please share on Facebook, Twitter, LinkedIn, Pinterest, etc.