So imagine finally having the opportunity to get your film out into the world. And then imagine that the opportunity starts slipping away when your distributor provides a master deliverables list of all the required assets needed to be delivered for the film to qualify for the distribution deal and you don’t possess many of them.
I’ve seen a film's distribution be delayed, or worse, lost entirely because the delivery list could not be “fulfilled” in a timely manner. You can protect yourself and your film from facing that issue by familiarizing yourself with what a typical film deliverables list looks like and understanding some of the pitfalls that can happen during the process so you can avoid them. And my new Stage 32 certification course, FINAL DELIVERY ELEMENTS OF A FEATURE FILM will help you do just that!
The oftentimes extremely long list of deliverables requirements can feel daunting, but I make it manageable by going over important practical information and advice that will help get you through this critical stage so you can see your film on big and small screens throughout the world. And, although one may think that delivery items should be addressed during the post-production phase, we’ll be reviewing legal documentation, post-production technical workflow considerations, and publicity materials that should be discussed and managed during your film's pre-production and shoot. Even the associated costs of final delivery should be factored into your film’s budget and discussed with financiers and partners prior to moving into the production phase. A little bit of logic and advanced preparation for this most critical step goes a long way to your film's success.
So kudos to Stage 32 Certification for providing this course. It will help set you up to be buttoned up so there are no surprises that will pop up when you get to the delivery stage of your feature film. And after making your movie, trust me, that can be the best feeling of all.
For nearly a decade the Stage 32 team has spoken with executives from over 100 film commissions, executives from streamers, various guilds and production companies, and film students and graduates - many saddled with enormous student loan debt. The Stage 32 Team discussed the changing environment of global production and expansion, the dearth of quality people to fill available jobs on set, and the overwhelming need to find skilled workers around the world available to work right now. The result of all these conversations has led us to the creation of Stage 32 Certification.
Stage 32 Certification courses are taught by highly experienced experts in their fields across the entertainment industry. This new certification program is available NOW, right here on Stage 32! Each course requires you to take a test at the end that you must pass in order to be entered into the Film Commission & Production Company Database. There are 2 types of certifications available including Individual Certifications - these are individual courses and focus on a particular skill set in which you will watch the course and be tested at the end in order to receive your certificate and Master Certifications - these are a group of courses that make up a master knowledge of a particular disciple. You will need to take all the courses in each Master Certification and pass a test in each course in order to be master certified.
Today we are excited to announce the launch of a brand new Stage 32 Master Certification, Feature Film Production Management in which Tatiana teaches about the final delivery elements of a feature film. This Master Certification is an 8 part course which includes:
When you become certified through Stage 32 Education you will:
And, because certification has been a dream of our Founder and CEO Richard "RB" Botto for over 7 years and we are invested in seeing you succeed, for a limited time we are offering you the following off our brand new Master Certification announced today:
To get certified in Feature Film Production Management, follow the steps below:
- Take 50% off Feature Film Production Management Master Certification - use code 24FFP50 click here and checkout
- Take 25% all Individual Certifications - use code24ICFFP50 click here and checkout
In addition to our Feature Film Production Management Master Certification, here are our other available Master Certifications currently available:
Production Accounting Master Certification
Line Producing Master Certification
Key Legal Agreements Master Certification
TV Production Management Master Certification
Script Supervising Master Certification
If you need help choosing which course is right for you, shoot us an email at edu@stage32.com! We'd love to know what you're working and help you get the resources that you need!
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
First, congratulations to all of you who have already participated in our monthly Introduce Yourself Weekend! Thousands of connections have been made between entertainment creatives and professionals from around the globe. Whether you are a long-time member or brand new to Stage 32, take a moment to pop over to the Introduce Yourself Lounge and say hello before the end of the weekend.
First up, in this video from Bloomberg Originals, you'll learn about the finances that go into marketing a project in hopes of winning an Academy Award. We know how much marketing can impact on who wins and loses at the Oscars. This video gives a behind-the-scenes look at what it really takes to bring home the gold in movie making.
Next up, in this video from Panavision, FERRARI cinematographer Erik Messerschmidt breaks down how he worked on this visceral racing film, pulling off incredible filmmaking techniques to create Michael Man's vision. In doing so, he also digs into the relationship between director and cinematographer as one of 'mentorship.'
Wishing you a very happy, healthy, & creative Sunday.
Cheers,
RB
Bloomberg Originals | How Money Changed America's Biggest Awards
Panavision | Cinematographer Erik Messerschmidt ASC On Making FERRARI With Director Michael Mann
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
But if you find yourself nodding off because your Android or iPhone is neither ringing nor having texts come in, it very likely could be due to the way that you’ve presented – or not presented – yourself online, hoping to get more work in your entertainment career. This, of course, extends to emails not coming in or private/direct messages across other applications.
I don’t need to get into that it’s a business and not a hobby and that’s why you’re on Stage 32 to begin with, right? Okay, good. So then do a self-audit and assess whether you’re presenting yourself like a business or a hobby or – gulp – a ghost.
In working with my clients and providing management and publicist-type services, I always stress the need to show people that you are busy. When someone sees how much you are always doing, they can only stand to conclude, “This person must be good (and/or doing something right). They sure seem to have a lot going on.”
For example, so much (I would argue, too much) emphasis is put on social media these days. But you still must have a website. And then you have to maintain it. That doesn’t just mean making sure it works, but that you’re adding content to it regularly. While the first thought would be the homepage, keep in mind other areas too.
For example, is there a Performance Résumé section on your website? If you never go and add your latest projects there, then the fact that you’re putting a new article on the homepage means you’re only doing half the work. After all, you know the people who have potential opportunities for you are going to look and see what you’ve done. Couple that with the, “What have you done (for me) lately” mantra, and you can see why it’s crucial to keep things up to date.
What about your photos and videos? When I’m talking to a potential new client, I always say that I will ensure that we put an emphasis on quality and quantity. Typically, the way to do that is to make sure you’re regularly adding to that inventory. At a time when it’s getting easier and easier to get great-quality images and video on your own, there’s almost no excuse for not keeping your multimedia current. The chief reason might be, “But I’m not getting any work.”
And the reason you’re not getting any work – or, as much as you might want to be – again can be a reflection of what you’re doing or not doing to project that first-class image that you want industry people to see.
Many times, people in positions like mine will say, “Send me some links to people whose website and social media you like.” If you do that exercise simply for your own benefit, you’ll have a target for where you’d like to get to. And then you start the work to get there.
As a national speaker, one of my talks is about promoting yourself and your brand on and offline and includes a recommendation that you have a branded email address. For example, john@JohnDoe.com seems more professional than johndoe@yahoo.com. Mind you, I’ve had people in the industry make their case to me about why they think it’s okay to not have a branded email address. I still submit that it can project the difference between hobbyist and full-timer.
The bigger picture here, though, is, CAN people get a hold of you? You’d be surprised at how many guys and gals establish a presence for themselves across several platforms yet make it top secret as to how to get a hold of them. And then they wonder why the phone isn’t ringing or the emails aren’t coming in.
Don’t overlook the mention of being spread across several platforms. Just because a new platform launches doesn’t mean you have to be on it. Does it make sense for your career? No? Then skip it.
But for those that you ARE on, what DO you have on there? Before you pat yourself on the back for getting your website updated, what about your page on Facebook? (Note that I’m not referring to your personal timeline.) I also have a weekly podcast and oftentimes will check the About tab on a guest’s Facebook page if their website doesn’t have enough information. If you aren’t giving regular attention there too, you run the risk of being asked something that is no longer accurate or just flat out is old news to you. And it’s not going to be a warm and fuzzy moment when you react to the host with, “Wow, I’m not sure where you’re getting that from.” Wrong answer.
Do you have someone else in the business who does what you do that you know, like, and trust? Ask them to give you a fair and honest assessment. Make sure it’s not someone who’s going to tell you what they think you want to hear. Or book a consultation with someone like me just to get a professional to review what you’re putting out there. Your investment will pay off when the phone does start to ring more, or the text messages and emails do start coming in a little more frequently.
As for the information you’re putting online, you not only want to feature your best work (note to self, change blog byline to Captain Obvious), but, do not try to misrepresent something with the hopes of fooling the reader. If you did background work on a show John Stamos starred in, don’t write, “Worked alongside John Stamos in (show name).” It’s like an independent recording artist saying that they, “Shared the stage with Luke Bryan,” when in reality, they played at 4pm, then three more acts came on after them (at 5, 6, and 7:00), and then Luke Bryan was the headliner at 8pm. If you’re going to tell me you shared the stage with him, it better be because you did a duet together.
If you’re just getting started out in the business, that’s okay, but resist the temptation to put the Public Figure heading on your Instagram account that has 147 followers.
At the same time, do take advantage of other bells and whistles that some of these platforms give you. Most, if not all, of them allow for a header image (a banner that goes across the top). Be consistent with your branding and use that, albeit sized accordingly for each platform’s recommendation dimensions, so that there’s a consistent look and feel across your various online destinations. And be sure to leverage the fields where you can put links! On Stage 32 you can put in your IMDB link, Facebook, Twitter, Instagram – heck, on my Stage 32 profile I even have a link to the blogs that I publish.
I get it. It’s a lot. But we are in the 21st century and it is the way that business is getting done, if not started. So set a recurring event on your smartphone’s calendar if need be, but put out there what casting directors, music supervisors, agents, and other entertainment industry professionals are looking for, in the way that they expect to see it.
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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In this blog, we will take a closer look at the four phases of script coverage, ensuring that screenwriters have a clear understanding of what they are paying for and the potential benefits it can bring to their scripts.
Many screenwriters question if script coverage is simply a luxury they can do without. The concern is valid: when funds are limited, every expense must be justified.
Script coverage, however, is not about lavishness but about professional growth and strategic investment. Imagine script coverage as a compass for a ship in uncharted waters. It offers guidance on where your script stands in a sea of countless others and highlights the direction in which to steer your story for a better chance of success.
The value is in the feedback, which has the potential to transform a script from good to exceptional. It’s about gaining a competitive edge in an industry where the difference between a script that gets picked up and one that doesn't may come down to the insights and polish that only a professional review can provide.
The myth suggests that screenplay coverage is an inside game, a gatekeeper's tool with little to no real benefit for the writer. This myth persists due to a lack of understanding about what coverage actually entails.
In reality, coverage is a critical analysis, often provided by industry professionals who understand what makes a screenplay marketable and successful. These insights are not just opinions but are grounded in industry trends and standards. Coverage gives writers a rare opportunity to see their work through the lens of someone who knows what producers and studios are looking for. It's a reality check that can confirm a script’s strengths and uncover weaknesses that a writer, no matter how skilled, might overlook. Debunking the myth is about recognizing the tangible benefits that come from an informed review, which goes far beyond what friends or colleagues might offer in casual feedback.
Script coverage serves as a bridge between the solitary act of writing and the collaborative process of filmmaking. For many writers, it's the first form of validation from someone within the industry. A strong coverage report can help a script stand out, allowing it to be recognized by agents, producers, and studio executives. Think of it as a professional endorsement; it signals that a script is not only complete but has been evaluated and deemed worthy of consideration.
The feedback from coverage can highlight a writer's unique voice and storytelling abilities, distinguishing the script in a crowded marketplace. Moreover, coverage often includes a logline and synopsis that can be used to catch an industry professional's attention, making it a practical tool for navigating the initial stages of getting a script noticed.
When considering script coverage, screenwriters must weigh the costs against the potential benefits. It's a financial decision, yes, but it's also an investment in one's craft. The immediate cost of coverage may seem daunting, but the benefits — a refined script, a deeper understanding of industry expectations, and improved chances of selling your screenplay — can far outweigh the initial expense. Coverage can provide a roadmap for revisions that elevate your script from amateur to professional grade.
Additionally, the feedback can save you from the greater cost of submitting an underdeveloped screenplay that fails to make an impression. When you factor in the competitive nature of the industry and the limited opportunities to make a first impression, the question becomes not whether you can afford script coverage, but whether you can afford to bypass the advantages it offers. It’s about investing in your future as a screenwriter.
Script analysis is the beating heart of the coverage process. This phase is where the script is dissected and digested down to its most intricate threads, revealing its strengths and weaknesses.
It's an in-depth evaluation of the script's structure, themes, characters, dialogue, pacing, and overall market potential. Imagine script analysis as a surgeon’s meticulous operation. It involves a step-by-step examination of your script, much like a surgeon would examine a patient. The surgeon looks at the whole body, just as the script analyst looks at the complete script. But they also look closer, examining individual organs—or in the case of a script, individual scenes, lines, or characters—to understand their function, their health, and their interconnections.
Their goal? To find what’s working well and what needs attention or improvement. The process of script analysis can be incredibly enlightening for new screenwriters. Have you ever gotten so close to your work that you lose perspective? Script analysis provides a fresh, professional perspective that can illuminate hidden issues or reinforce the strengths already present in your script.
By observing your script through a different lens, you gain a more holistic understanding of your work and its place in the wider storytelling landscape. You learn where your narrative thrills and where it falls flat, where your characters captivate, and where they leave readers indifferent. You see your plot's momentum, its high and low points, its twists and turns — as mapped by someone other than yourself. Moreover, the script analysis in coverage equips you with actionable insights.
It’s one thing to know your script has weaknesses – it's another to understand precisely what they are and how to address them. Does your main character lack depth? The analysis might suggest ways to enrich their backstory. Is your pacing too slow? The analysis could offer strategies to increase tension and maintain audience interest.
In essence, script analysis is more than just a critique; it's a roadmap to refining your narrative, polishing your storytelling skills, and enhancing the overall quality of your script. It's about bridging the gap between your vision and its execution, steering you towards a script that not only lives up to your imagination but also satisfies the expectations of industry professionals.
For new screenwriters, script analysis is an opportunity to grow and learn. It's a chance to view your work with critical eyes, accept constructive feedback, and use that feedback to improve your craft. Just like the compass for the ship, it points you in the right direction and helps you navigate the turbulent waters of screenwriting toward the shores of success.
Indeed, script analysis is not so much a service as it is an education, a vital step in the journey of becoming a skilled, knowledgeable, and confident screenwriter. It's about embracing the journey, the process, the learning – because only in doing so can we truly master our craft and tell stories that resonate, engage, and leave a lasting impact.
After script analysis, the consultation phase puts all those insights into perspective and offers tailored advice to help screenwriters enhance their craft and their scripts.
Think of consultation as a personalized coaching session.
It takes the broad strokes of analysis and zooms in, offering specific suggestions based on the strengths and weaknesses identified in your script. There’s immense value in getting professional feedback, but the real magic happens when that feedback is discussed, dissected, and applied in a meaningful way. That’s where consultation comes in.
Consultation helps new screenwriters in numerous ways:
In essence, consultation functions as a compass guiding you through the challenging terrain of script rewriting. It's an instrumental phase in transforming your script from a raw diamond to a polished gem.
Script grading, or script scoring, forms the final phase in the script coverage process. This phase involves assigning a grade or score to various elements of your script, such as premise, dialogue, character development, structure, and market potential. You can look at script grading as a teacher grading your paper - it’s a quantifiable measure of the strength of your script.
But why do numbers matter when it comes to storytelling? Well, just as grades do in school, scores in script grading serve as an objective benchmark. They help you gauge where you stand in comparison to industry standards. A high score signals that your script has reached a professional level of quality and is ready for the big leagues. On the other hand, a low score offers a clear indication that your script requires further development. The grading process also serves to stress-test your script against essential ‘industry must-haves.’
Are your characters well-fleshed out and relatable? Does your plot structure abide by the widely accepted three-act paradigm? Is the dialogue authentic and does it drive the story forward?
Gradings reflect how well your script meets these critical parameters. For new screenwriters, script grading can feel like a judgment – but it's more helpful to consider it as a diagnostic. It pinpoints the areas in your script that need attention, helping you focus your revision efforts where they're needed most.
Recommendations, on the other hand, are all about potential. A script recommendation is akin to a stamp of approval from the industry professional who reviewed your script. A recommendation implies that your script is ready to hit the market and would be a worthy contender for agents, producers, or studio executives to consider. A recommendation doesn’t just praise your script; it actively promotes it.
It's like a friend urging you to read a fantastic book they've just finished - they believe in the substance and are confident that you will appreciate it too. Similarly, when your script receives a recommendation, it means that its strengths have resonated with the reviewer and they believe it could have the same impact on other industry professionals. For new screenwriters, earning a recommendation can do wonders for their confidence. Seeing that a professional has faith in your script – enough to recommend it – can infuse you with a renewed sense of purpose and motivation. It affirms that you're on the right track and encourages you to push forward, despite any challenges or setbacks. Moreover, a recommendation can significantly increase your script’s visibility in the marketplace, making it more likely to catch the attention of those who can turn your screenplay into a film.
In conclusion, script grading and recommendations are vital cogs in the wheel of script coverage. They provide a quantifiable assessment of your script's strengths and weaknesses, offering an objective point of view that sheds light on your script's potential. Whether it's guiding your revision efforts or boosting your script's visibility, script grading and recommendations undoubtedly play a crucial role in helping new screenwriters carve their path in the world of screenwriting.
Script coverage is more than just a summary of your screenplay; it's a comprehensive critique that delves into every aspect of your writing. The analysis typically covers plot structure, character development, dialogue, pace, and genre-specific elements. Coverage providers assess the script's marketability, its potential audience, and how it stacks up against current industry trends. They also look at the screenplay's potential for adaptation into other media forms, such as television or even a novel.
This level of detail provides writers with a granular view of their work, pinpointing exactly what is working and what isn't. It's the kind of feedback that can be hard to come by elsewhere and is invaluable for writers aiming to perfect their craft. The nitty-gritty of script coverage equips writers with the specific, actionable advice they need to make informed revisions.
The crux of script coverage is not just to critique but to foster script improvement. Screenwriters can use detailed feedback to refine their stories, ensuring each scene, character arc, and line of dialogue serves the script's overall purpose. It's about translating criticism into creative fuel; each piece of coverage provides a stepping stone toward a more polished draft.
This is the phase where writers must be open to change and ready to challenge their work. By embracing an objective perspective, they gain the clarity needed to cut what's unnecessary and enhance what shines. Practical advice from coverage can lead to stronger openings, more engaging plot points, and more memorable characters.
Ultimately, it's the thoughtful application of this feedback that can turn a good script into a great one, significantly increasing the likelihood of it catching the eye of those who have the power to bring it to life.
After receiving script coverage, the next step is leveraging it to sell your screenplay. It's not just about having a polished script; it's about understanding how to present it. The insights gained from coverage can inform your pitch, making it more compelling to agents and producers. Use the positive aspects highlighted in the coverage to sell the strengths of your script, and address any weaknesses by showing how you've used the feedback to improve the work.
Coverage can also help you tailor your script to fit current market demands or even identify the right target audience or production company for your genre. It’s a tool for strategic positioning in a competitive market. Demonstrating that you have taken professional feedback seriously shows potential buyers that you are committed to excellence and open to collaboration, which are key qualities in the industry.
Constructive feedback from script coverage is a goldmine for screenwriters seeking to elevate their work and increase its marketability. This phase is about using the feedback strategically to reap greater rewards. Consider each piece of advice as a potential key to unlocking new doors in your script's journey from page to screen. It's about fine-tuning your screenplay based on the critique to make it more appealing to those who make the decisions.
If coverage highlights a standout character or a highly original plot twist, these can become selling points when pitching your script. Also, by demonstrating a willingness to revise and improve your screenplay, you show industry professionals that you're a serious writer who values their craft and is easy to work with. This reputation can open up opportunities beyond the current script, establishing relationships that could benefit your career for years to come. Leveraging feedback effectively can thus lead to greater rewards than you might initially imagine.
In the end, the doubts surrounding script coverage can be shattered by understanding its true function and potential impact on a screenwriter's career. Coverage is not just an expense; it's an investment in the betterment of your script and your skills as a writer. The final verdict is that script coverage is indeed worth the investment for those who are serious about pursuing a career in screenwriting.
It provides an invaluable perspective that can save time and heartache by pointing out issues before they become roadblocks to success. When used correctly, the insights gained from coverage can propel a screenplay from the slush pile to the shortlist. By giving you the tools to improve your work and make it resonate with industry professionals, script coverage ultimately empowers you to transform your screenplay into the best possible version of itself.
Understanding the value of script coverage is akin to recognizing a mentor who guides you toward your goals. It's a powerful ally for screenwriters, one that provides clear, actionable feedback and a path to professional refinement. Embracing coverage means embracing growth, and challenging oneself to push beyond creative boundaries and industry standards. It’s about aligning your vision with the practical demands of the market, ensuring your script not only tells a compelling story but does so in a way that resonates with audiences and decision-makers alike.
Coverage doesn't guarantee success, but it equips you with the knowledge and feedback necessary to improve your chances significantly. By accepting and utilizing this tool, you set the stage for a stronger screenplay and a more robust career. In this light, script coverage isn’t just helpful; it’s indispensable.
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
Stage 32 is a vibrant community of like-minded creatives, where ideas flow freely, and collaboration knows no bounds. Embarking on a feature film from inception to distribution, Stage 32 has been instrumental in fostering my growth as a filmmaker through the three different courses I took that honed my skills and gave me the knowledge to put into my filmmaking journey.
Participating in Aimee Schoof's producing lab was a game-changer in my journey towards bringing my film, the horror comedy, "Easter Bloody Easter" to life. Aimee's wealth of experience and insightful guidance equipped me with the tools and strategies necessary to navigate the complexities of production, from securing financing to assembling a talented cast and crew. Although I had been producing for many years and started my own company, WallyBird Productions, in 2018, I learned so much more. Her mentorship proved invaluable as I navigated the intricate web of logistics and creative decision-making, ultimately laying the groundwork for a successful production.
Heath Cullens' directing class provided me with a newfound perspective on visual storytelling, challenging me to push the boundaries of my creativity and craft a distinct vision for my film. Since I was working on my directorial debut, I took his class to further my knowledge of the best practices for directing actors and knowing how to communicate with my crew. He encouraged me to embrace experimentation, explore new techniques, and trust my instincts as a filmmaker. Through Heath's guidance, I honed my directorial skills and developed a cohesive vision that would shape the tone and aesthetic of the film.
In Michelle Alexandria's distribution class, I gained invaluable insights into the ever-evolving landscape of film distribution. Michelle's expertise shed light on the intricacies of marketing, promotion, and audience engagement, empowering me to navigate the competitive world of distribution with confidence and strategy. Her guidance proved instrumental in developing a comprehensive distribution plan for "Easter Bloody Easter," ensuring that the film would reach its intended audience and make a lasting impact in the industry.
Through these immersive learning experiences, I've gained insights and skills that have been instrumental in bringing my film to fruition. "Easter Bloody Easter" was a collaborative effort fueled by passion and dedication. From the initial concept to the final cut, every aspect of the filmmaking process was meticulously crafted to evoke thrills and laughter in equal measure! It's a testament to the power of storytelling and the unwavering commitment of a talented team.
As I reflect on the last few years making this film, I'm filled with gratitude for the opportunities I have learned from Stage 32, Aimee, Heath, and Michelle. Their guidance has not only shaped the trajectory of my career but enriched my journey as a filmmaker, empowering me to tell stories that resonate with audiences on a visceral level. Together, let's continue to push the boundaries of creativity, challenge the status quo, and inspire future generations of filmmakers to follow their dreams. I extend my heartfelt appreciation to Stage 32 for their unwavering support and guidance. As "Easter Bloody Easter" makes its debut, I invite you all to embark on a thrilling cinematic experience that promises to make you laugh, scream, and sing along! "Easter Bloody Easter," releases March 26 on VOD with our distribution partners Gravitas Ventures. You can even pre-order the film.
Let's all continue to inspire and empower aspiring filmmakers around the world together!
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
I am so incredibly pleased to introduce myself to you as the new Executive Liaison! I have already hit the ground running, and I am so excited to help our amazing staff bring even more fantastic mentors, educators, and execs to you guys, the Community! This team wakes up every day trying to provide the most positive and productive experience to each and every one of our members, and I want you to know that I share in that dedication.
I have been working with Stage 32 as an executive and educator for a decade now, starting with my first webinar back in 2014. Since then, I’ve provided services like pitch sessions, consultation calls, and more, and I have enjoyed every minute of it. I developed a great working relationship with RB and Amanda over those years, and when they asked me to join this top-notch staff as the Executive Liaison, needless to say, I jumped at the opportunity!
One of THE most exciting parts of this new job is being the host of the weekly Writers Room Webcasts. You have no idea how stoked I am! We’re going to have some fun in these coming weeks and months. We have so many excellent guests lined up, so please be ready to talk about writing, movies, TV, and all of the things we love to talk about. It’s who we are, right??
I’m a producer by trade, having worked as both a studio executive and an independent producer, while also working at times as a writer and a director. But producing is what I do, both on the creative development and physical production fronts. All in, I have been in film & television for nearly 30 years now, working in all types of genres and all kinds of budget ranges.
The first eight years were spent at Miramax/Dimension films starting in 1997, both in their New York office and beginning in 2003 in their Los Angeles offices. I became a production executive in 2000 on the Dimension Films side, working on such franchises as Halloween, Hellraiser, Scream, The Crow, Highlander, as well as appearing on Season 3 of Project Greenlight on Bravo, which documented the production of the film Feast. I even had the good fortune to work on early iterations of Dr. Strange and Werewolf By Night.
In 2005, I moved to a job at Sony Screen Gems on the Sony lot in Culver City, serving as their Senior Vice President of Production & Development. During my tenure at that company, I worked on successful sequels to Vacancy and 30 Days of Night, as well as a diverse slate of films including the remake of Straw Dogs, the Academy Award-nominated Country Strong, and the ensemble holiday comedy This Christmas.
After the Sony era, I co-founded a fully financed independent genre label called Revolver Picture Company (named after the seminal album by The Beatles) along with my business partner at the time, Kelly Wagner Osborne. Revolver produced four films in its four-year tenure: Haunt, with Jacki Weaver and Ione Skye, the award-winning Beneath with Jeff Fahey (both released by IFC Midnight in 2014); and The Devil’s Backbone, Texas, released by Fox Digital Studios in 2015. Revolver’s last feature, entitled Pet, starred Dominic Monaghan, Ksenia Solo, and Jeannette McCurdy and premiered at the SXSW Film Festival in 2016. It was released by Samuel Goldwyn Films in 2016. The company also co-financed and co-produced three seasons of the YouTube Red Original Series Fight of the Living Dead, a horror reality game show, and yes you read that correctly.
From 2017 - 2020, I was a freelance producer and worked on two seasons of the series The Real Bros of Simi Valley for Facebook Watch, as well as season one of the short-form series Mr. Mom for MGM and VUDU.
In 2021 and 2022, I served as the Head of Production for the feature startup studio/streaming platform CreatorPlus. CreatorPlus produced, financed, and released two features: Jane, starring Madelaine Petsch, Chloe Bailey, and Melissa Leo, and Diamond in the Rough, both released in 2022. I also had the privilege of executive producing a slate of five short films as part of CreatorPlus’ Flip the Script Short Film Program.
Most recently, I worked at Yale Entertainment as their Head of Production. While there, I produced four films – Bucky F*cking Dent, written, directed by, and starring David Duchovny; All You Need is Blood, with Mena Suvari; The Fog of War with John Cusack and Mira Sorvino; and Barron’s Cove, starring Garrett Hedlund, Stephen Lang, Brittany Snow, and Hamish Linklater.
I mentioned above about having worked as a writer and a director. I had the pleasure of doing so on three short films: Primrose Lane, Jezebel, and Spectres. Primrose played at festivals such as the Seattle International Film Festival and the Telluride Horror Show and won Honorable Mention at the Nashville Film Festival. Jezebel played the Telluride Horror Show as well and won Best Actress at NYC Fright Fest and Best Short Film at the Los Angeles Thriller Film Festival. Spectres had a successful festival run including stops at the Austin Under the Stars Festival (where it won Best Editing) and the Nightmares Film Festival. Jezebel premiered on Gunpowder + Sky’s ALTER channel on YouTube to amazing feedback and has nearly 3.5 million views and climbing.
But even after all these years, I’m not very far from that geeky kid waaaaaay back in the 1980s in suburban Maryland. My younger brother and I were just a couple of lucky dudes with a video camera, and we honed our craft creating slasher films and sci-fi epics in our backyard. Using skateboards as a dolly, keeping a boom box next to the camera mic to provide some kick-ass needle drops, we utilized all of the tricks of the trade. Now that I think about it, those movies are in my garage in a bin somewhere, might have to revisit!
Aside from my amazing children and loved ones, filmmaking is my biggest passion, my life’s work. Working with writers, directors, and so many other outstanding artisans in the process of creating provides me with so much joy, as well as a lot of stress, and at times even heartbreak. But in the end, it truly is all worth it. To work in and be a tiny, tiny footnote in this crazy business is something I take pride in. I hope to help you along in your own journey, and share some of your passion for the creative process as well. I look forward to the fun times ahead, and I hope you do as well!
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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I’m so excited to share that TOMORROW, Wednesday, March 13th, Stage 32 is hosting a FREE Webinar about How to Navigate the Cannes Film Festival Marche du Film! Stage 32 is proud to be the industry education workshop partner of the Cannes Film Festival Marché du Film for over eight years and we are excited to offer all badge holders the opportunity to experience Stage 32 education.
Together with the Marché we are excited to offer this exclusive FREE webinar to our Stage 32 community!
Whether you're going to Cannes or have ever been interested in attending the festival and market, this webinar will tell you all the ins and outs you need to know, taught by the Executive Director of the Marché du Film of the Festival de Cannes, Guillaume Esmiol!
In this webinar, we’re bringing in the Executive Director at Marché du Film of the Festival de Cannes, Guillaume Esmiol to talk about the festival and how to navigate it. The Cannes Film Festival can be overwhelming when you plan to attend for the first time. Over 12,000 film industry professionals head to Cannes each year to present and discover almost 4,000 films and projects in development at 33 screening venues.
Fuelled by this success, the Marché has expanded with the opening of the Riviera and Lérins exhibition halls, forming a hub around the world-famous Palais des Festivals and the Village International, the number one venue for promoting films from all over the world. As a leading global film industry organization, the Marché du Film takes a rigorous approach to adapting to the expectations of industry professionals worldwide and to emerging economic, technological, and creative film trends.
Even if you’re a veteran attendee, things are always changing at Cannes so it’s important you stay in the know. Now, you’ll get to hear straight from the source on how to make your Cannes experience work for you. You’ll walk away from this webinar able to arrive on the Croisette ready to make things happen!
Guillaume Esmiol is the Executive Director of the Marché du Film of the Festival de Cannes. Before assuming this role in 2023, Esmiol first joined the Marché in 2020 as Deputy Director, tasked with enhancing the film market's activities and operations. Esmiol also serves as the Co-Executive Director of Ventana Sur, Buenos Aires' leading LatAm audiovisual market, and the Director of Cinando, the premier online network and database for film industry professionals.
Before his current roles, Esmiol was the Chief Marketing Officer at the startup studio Wefound and was Innovation Director at TF1 group. There, he managed startup programs, supervised an investment fund, and led the development of new products and business ventures. He previously held several other key roles at TF1 Group, including Digital TV Project Manager, Innovation Project Manager, and Head of B2B Partnerships & Content Acquisition for TF1's digital activities.
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
Have you had a creative weekend so far? I have some content here for you that is sure to get the creative juices flowing, so grab your coffee, and let's dive in.
First up, in this video from Variety, infamous film composer John Williams breaks down how he has come up with some of the most iconic film scores of all time. Williams is one of those artists whose work you know, even if you don't know his name (but let's be honest, you know his name). From STAR WARS to JURASSIC PARK to HARRY POTTER... you're probably humming his work right now as you're reading this.
Next, in this video from Max, director Damien Chazelle of LA LA LAND and WHIPLASH digs into his path to getting his first film made, making his recent epic BABYLON, which movies always make him cry, and more. It's a fantastic interview on one of the most well-known and influential filmmakers today.
As always, here at Stage 32, we love to share stories and knowledge with our fellow film fans. Know someone who would love this content? Share it with them! Tag them below! You can keep up with all of our content by subscribing to the Stage 32 YouTube. For more inspirational, educational, and motivational content on all things entertainment industry, follow me on Instagram and Twitter @rbwalksintoabar.
Wishing you a very happy, healthy, & creative Sunday.
Cheers,
RB
Variety | John Williams Reveals How He Came Up With Cinemas Biggest Scores
Max | Talking Pictures Podcast With Damien Chazelle
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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I have to admit; that it took me a while to finally get to say I work in animation without people having blank stares on their faces in awkward silence. I actually prefer to say I do motion graphics, which is not such a broad term as animation, and now in the 2020s, the majority of people my age, and even a generation older would have heard this term before. So here is a brief, super simplified piece of history, followed by some practical advice to partner up with a great creative consultant who specializes in animation.
3D Animation
Animation basically started in the early 1800s as a novelty, way before cinema appeared in the scene, in the form of optical toys and early moving image experiments. It quickly evolved to experimental films in the 1920s with the advent of sound where some popular characters started taking shape.
This decade is where it split into two distinct branches: character or narrative-driven animation on one side, and graphic/abstract avant-garde art form which later spawned motion graphics aka, motion design in the other. Animation became super popular in the 30s and 40s with characters aimed at adults but which children immediately identified with and loved such as all the early Looney Tunes, the Disney classics, and more obscure jewels like Fleischer shorts, which were quite popular at the time. This became the point of no return in Western animation: Adults loved it, but kids did so more thus became the main market to aim for.
Motion Graphics
The second half of the 19th century meant an exponential increase in mainstream animation, with bigger budgets and more ambitious productions. Meanwhile, motion design was being used in a huge variety of applications, mostly in film opening titles, like the amazingly crafted Hitchcock films, by Saul Bass.
The 50s brought us very budget-efficient TV commercials with Hanna-Barbera’s stylish but limited animation, amazing design-driven title sequences for James Bond films, and the most beautiful and stylish Disney movie up to date: Sleeping Beauty with Eyvind Earle as main art director.
The 60s and 70s were kind of trying to rebel against the system but couldn’t really do it, with more experimental pieces like Yellow Submarine, Richard William’s unfinished masterpiece The Thief and The Cobbler.
Animated Character Design
The 80s were a very long toy commercial with an attached cartoon as the hook, of which I was an absolute victim of in my childhood. Also in this decade, MTV was born, with a rebellious bring-down-the-system attitude that worked great for a while, breeding really interesting experiments for animators and designers.
The 90’s one of my favorite decades for animation, brought us the subversive Nickelodeon with Fred Seibert as the visionary who promoted author-driven shorts that didn’t follow the rules and Liquid Television who shook the classical schemes of animation production at the time. For motion designers, it was a semi-good decade in film, but its maturity had yet to come a decade later with the advent of the personal computer.
Finally, Y2K came, and since neither the world nor the internet collapsed, we decided to make the most out of cheaper and more powerful personal computers by democratizing animation and motion design. And THIS was the decade where motion design flourished and reinvented itself with experimental pieces and renegade studios all over the world like Kansas City’s MK12, Brazil’s Lobo, UK’s Universal Everything among many others.
So this is where the motion graphics’ Big Bang basically started. With a few thousand dollars, any person had the potential to become a production house. We didn’t have fast internet yet, or THE INTERNET as we know it today, which was the biggest limitation at the time, but knowledge was being spread through forums and obscure sites like Justin Cone’s Tween which later evolved to Motionographer, still present today as the main hub for exposure and trend seeking.
Video Mapping
Now, bear with me a bit more. What does this have to do with film or commercial production? Well, pretty much everything. This is the way animation and motion graphics, two very close siblings who once parted ways, would eventually start to meet again; and in the meantime, they will meet their beloved cousin VFX, in an exciting family reunion. Oh and they will be greeting a newborn baby in the family: digital media.
So in short, the boundaries between these mediums is blurrier than ever, and this is an exciting opportunity to envision new animated applications directly either in live-action content or even as the content itself. From immersive storytelling experiences that mix VR, projection mapping, and sound design; full animated documentaries that explain mature and complex subjects; full digital productions where the use of real-time render engines optimize production and post-production; to motion graphics inside a series episode, that instead of just being a layer of decoration, take no active part in the progression of the drama.
The thing is, 2020 showed us that the world cannot live without animation or motion graphics and that these art forms are among the most resilient of them all, having even increased in the worst year in production the world has seen yet.
And though, this isn’t totally new as animated documentaries or motion graphics short films have been part of our culture for a while now, the increasing inclusion of animated elements not just as graphics but more as storytelling devices, a new universe of possibilities in production has been opened.
3D Animation
So when it’s time to look for the ideal creative partner that specializes in animated production, there are two routes to go: first, the ultra-specialized studio that is great at working with a specific industry or on a specific technique.
I would advise searching for this type of studio or individual when the production has a very clear and specific problem to solve, for example, if you need a digital animal to look realistic for some shots. And the second route is going for the versatile and multi-talented studio or individual, who is not only able to multi-task but also get involved in the creative strategy of the project and tailor a solution for the production’s needs, for example, if you need a partner to consult and propose a few routes to get what you want if your series needs a few animated sequences and you have a budget constraint.
Either way, look for quality studios with the right kind of experience, but mostly the right kind of collaborative and problem-solving attitude.
I myself, as a founder of a studio based in the US, can say that we have been working with international clients for the last 10 years with great success stories, not only in the results, but also financially, because of the currency exchange rates.
Besides, home offices being the norm now, and potentially staying for quite some time, we find it’s less noticeable than ever which location are you in if you can successfully set up at least a meeting a day and deliver quality work. For sure the US, Canada, the UK, and other countries that are great producers of content have great studios among their domestic creative ecosystem.
With vast experiences and household reputations and clients, the studio model tendencies are either to survive as gigantic companies of 100+ people, or fragment and go leaner, as medium to small-size studios are now switching to lightweight and more flexible schemes, making them easier to maneuver and switch directions in case the world surprises us with another unexpected turn of events.
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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Producer Seeks Murder Mystery Features With Unique Structure (0222)
Producer Seeks Sub-$5 Mil Budget Horror Features (0226)
Producer Seeks BIPOC Female-Driven Stories - Both Feature Film Scripts & TV Pilot Scripts (0233)
Producer Seeks Stories That Celebrate All Kinds of Families - Both Feature Film Scripts & TV Pilot Scripts (0236)
Producer Seeks Rom Com Feature Film Scripts With Witty Authentic Dialogue (0237)
Stage 32 Creators also had a whopping 157 Script Requests and 53 Meeting Requests! These requests come from top-tier companies including LBI Entertainment, The Cartel Management, Art/Work Entertainment, NV Films, Gold Circle Films, Phoenix Pictures and so many more! And, for members of the Writers' Room, there's a monthly PITCH TANK on the second Wednesday where members pitch to special guest executives for free. This month there were some great pitches delivered to Circle of Confusion's Zach Cox AND Angela Miller Lawrence had her script GUMBO TRIBE requested live on the webcast! Congrats, Angela!
The Stage 32 Team is blown away by all that you've done in the last four weeks and we can't wait to come back next month to see how much farther you've all come!
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
However, for entry-level screenwriters looking to break into the industry, the path to success can be filled with obstacles.
This comprehensive blog aims to shed light on the intrinsic connection between script coverage and screenwriting, emphasizing the vital role that script coverage plays in the development and refinement of screenplay manuscripts.
Aspiring screenwriters will gain a clear understanding of the importance of script coverage in the filmmaking industry, allowing them to navigate the process more effectively and increase their chances of achieving their dreams.
So, let's dive into the world of script coverage and discover how it can propel your screenwriting journey forward.
In the world of filmmaking, script coverage is an essential bridge between the raw potential of a screenplay and its realization on screen.
At its core, script coverage is a tool used to assess the quality and marketability of a screenplay.
It's a critical step where professionals read and evaluate your script, providing feedback that pinpoints both strengths and areas in need of improvement.
This process is invaluable for screenwriters, especially those just starting out.
It offers a glimpse into the industry's expectations and serves as a litmus test for the screenplay’s readiness for production.
By understanding and utilizing script coverage effectively, screenwriters can refine their work to meet the professional standards demanded by the industry, significantly enhancing their chances of success.
Script coverage is not merely a formality, but a pivotal phase within the filmmaking industry.
It functions as a gatekeeper, determining whether a script merits further consideration or needs more work before it can proceed.
Industry professionals rely on coverage to sift through the vast number of submissions, identifying those with substantial promise.
For producers and executives, the insights from script coverage can inform decisions on which projects to fund and develop.
This makes script coverage a significant factor in a screenplay's journey towards becoming a finished film.
Therefore, understanding the weight that script coverage carries inspires a more strategic approach to screenwriting.
Ultimately, it ensures when a script lands on an industry professional's desk, it is compelling, polished, and has the best chance of advancing to the next stage.
For those new to screenwriting, grasping the basics of script coverage is crucial.
At its simplest, script coverage is a summary and analysis of a screenplay by a reader, often provided for a fee by services or as part of a studio's assessment process.
The coverage report typically includes a logline, a synopsis, and a detailed commentary on various elements such as plot, character, dialogue, and structure.
It also usually concludes with a recommendation to pass, consider, or recommend the script for further development.
Understanding these components is the first step for entry-level screenwriters to make informed revisions to their scripts.
By learning to interpret and act on script coverage feedback, screenwriters can better align their work with industry standards and audience expectations, enhancing the screenplay’s potential to be noticed and produced.
Embracing script coverage as an integral part of the screenwriting process is a smart strategy for newcomers.
It's not just about receiving feedback; it's about actively using that feedback to polish and perfect your screenplay.
Think of script coverage as a mentor providing guidance on where your story shines and where it may fall flat.
By incorporating the insights from script coverage, you can preemptively tackle the issues that might prevent your script from resonating with its audience or impressing a producer.
Entry-level screenwriters should seek out coverage early and often, using it as a roadmap for revisions.
This proactive approach can elevate the quality of your script, ensuring that when it does reach the desks of decision-makers, it's been through a rigorous vetting process and is as strong as it can be.
Navigating the screenwriting landscape can be daunting for newcomers, but script coverage can be a powerful confidence booster.
Knowing that your script has been scrutinized by a professional reader and has survived the gauntlet of critical analysis can reinforce your belief in your work's potential.
Positive feedback highlights your strengths, affirming that you're on the right track, while constructive criticism provides clear direction for improvement.
Moreover, the process demystifies industry expectations, helping you gauge your progress against professional standards.
As you iteratively refine your screenplay based on coverage, you're not just improving your script; you're also honing your craft.
This iterative process can build your confidence, making you more resilient to the industry's inevitable rejections and better prepared for when opportunity knocks.
The industry is replete with stories of screenwriters who have turned script coverage into their secret weapon.
Take, for example, a screenplay that languished in a pile until coverage identified its unique voice and compelling storytelling.
Such feedback can lead to revisions that propel a script from the slush pile to the production slate.
There are also tales of screenwriters who, after multiple rounds of coverage and revision, finally struck a chord with the right people.
This not only led to successful films but also launched their careers.
These success stories underscore the transformative potential of script coverage.
They serve as powerful reminders for entry-level screenwriters that the right insight at the right time can make all the difference, turning an overlooked script into the next big hit.
Beginning screenwriters often encounter a host of challenges when seeking script coverage.
One major hurdle is the subjective nature of the industry.
What resonates with one reader may not impress another, leading to a mix of feedback that can be confusing.
Another issue is dealing with criticism.
It can be challenging to separate personal feelings from professional feedback, especially when it pertains to creative work.
Additionally, the cost of professional coverage services may be prohibitive for those just starting out.
And finally, there's the question of the next steps: even after receiving coverage, knowing how to effectively implement the advice and make the necessary adjustments can be daunting.
Understanding these obstacles is the first step in overcoming them and using script coverage to advance in the competitive field of screenwriting.
Tackling the challenges of script coverage calls for an assertive and optimistic mindset.
To overcome the subjectivity in feedback, screenwriters must learn to distill the notes into actionable insights, focusing on recurring themes that multiple readers identify.
Embracing criticism as a tool for growth rather than a personal affront is also vital; it's an opportunity to strengthen the script and your skills as a writer.
For those facing financial barriers, seeking out peer review groups or workshops can be a cost-effective alternative to professional coverage services.
And when it comes to implementing feedback, an assertive approach means setting clear goals for each revision and being open to experimenting with different solutions.
By adopting this positive and proactive attitude, entry-level screenwriters can navigate script coverage hurdles with resilience, paving the way for both personal and professional development.
Script coverage serves as a trusted advisor for film projects, guiding them through the labyrinth of industry standards and audience tastes.
It provides an objective assessment that highlights a script's potential and flags areas that may not align with what the market seeks.
By acting on the feedback provided by coverage, filmmakers and screenwriters can tailor their projects to better fit the cinematic landscape and appeal to both investors and viewers.
This external perspective is often the key to refining a script to the point where it not only meets but exceeds industry expectations.
As such, script coverage should be viewed not as a hurdle to be crossed, but as an experienced guide, offering wisdom that can help steer a screenplay toward success and recognition in a highly competitive field.
Achieving professional success in screenwriting often hinges on the ability to master the art of script coverage.
This means not only soliciting and receiving coverage but also understanding how to decipher and act on it.
Screenwriters who excel in this area treat coverage as a dialogue with the industry, learning to read between the lines and anticipate the needs and expectations of the market.
They refine their scripts based on constructive feedback, iterating until each element, from character development to dialogue, aligns with a high standard of storytelling.
By doing so, they signal to industry professionals that they are serious about their craft and open to collaboration.
Mastering script coverage is a dynamic skill that positions screenwriters for success by equipping them with the knowledge and adaptability required to thrive in the ever-evolving landscape of film.
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
Our Stage 32 Team has been working diligently to bring in as many new resources and opportunities as possible to enrich your experience here in our community!
At Stage 32 you have direct access to award-winning industry executives and professionals who’ve written, directed, produced, composed, developed, performed, and represented acclaimed projects such as THE KING’S SPEECH, LAST WEEK TONIGHT WITH JOHN OLIVER, CATASTROPHE, BREEDERS, ROSEANNE, A DIFFERENT WORLD, SAVED BY THE BELL, MARVEL’S MUTANT X, WIFE SWAP, SEX EDUCATION, JOYLAND, MRS HARRIS GOES TO PARIS, JOHN WICK, THE HUNGER GAMES, THE COLBERT REPORT, THE MIDDLE, THE CROODS: FAMILY TREE, LUTHER, and many others.
So without much further ado, let's roll out the red carpet and welcome some of the fantastic new people joining our Stage 32 Community this March!
Guillaume Esmiol is the Executive Director of the Marché du Film of the Festival de Cannes. Before assuming this role in 2023, Esmiol first joined the Marché in 2020 as Deputy Director, tasked with enhancing the film market's activities and operations. Esmiol also serves as the Co-Executive Director of Ventana Sur, Buenos Aires' leading LatAm audiovisual market, and the Director of Cinando, the premier online network and database for film industry professionals.
Before his current roles, Esmiol was the Chief Marketing Officer at the startup studio Wefound and was Innovation Director at TF1 group. There, he managed startup programs, supervised an investment fund, and led the development of new products and business ventures. He previously held several other key roles at TF1 Group, including Digital TV Project Manager, Innovation Project Manager, and Head of B2B Partnerships & Content Acquisition for TF1's digital activities.
You can still register for Guillaume’s webinar- How to Navigate the Cannes Film Festival Marche du Film
Gareth Ellis-Unwin is the CEO of the London-based Bedlam Film Productions. After 13 years as a 1st AD and Line Producer, racking up dozens of film and TV credits, Gareth decided to move into Producing and formed Bedlam Productions in 2006 with partner Simon Egan. In 2009, Gareth produced the British thriller EXAM, which was nominated for a BAFTA and won Spirit and Dinard awards. International recognition followed soon after with the record-breaking, critically acclaimed 2010 film THE KING’S SPEECH. It went on to become the highest-grossing British independent film of all time. It debuted at the Toronto International Film Festival where it took home the celebrated Audience Award before winning seven BAFTAs (including Best Film and Outstanding British Film) and four Academy awards, including Best Picture, presented to Gareth by Steven Spielberg. The film would eventually win more than 80 internationally recognized film awards and gross over $450m worldwide in theatrical receipts alone. He would go on to produce a further 6 feature films. Gareth has recently stepped down as Head of Film & Animation at Screenskills, the national charity in the UK for workforce development and those wishing to join the screen industries. Gareth led the delivery of the BFI Future Film Skills 10-point action plan and set the overall strategic direction for the Film Skills Fund. He was closely involved in the development of the COVID-19 Safe Return To Production guidance and has won PGGB awards for his career film, FIRST DAY; ON SET.
You can still register for Gareth’s webinar- Breakdown of a 3 Country Feature Film Co-Production - UK, French, Israeli Case Study
Alexandra Kundrat is a Producer and executive who served as the Manager of Development at Avalon Television, which produced LAST WEEK TONIGHT WITH JOHN OLIVER (HBO), CATASTROPHE (Amazon) starring Sharon Horgan and Rob Delaney, and BREEDERS (FX) starring Martin Freeman. During her tenure she worked across the series FLATBUSH MISDEMEANORS (Showtime), EVERYTHING’S GONNA BE OKAY (Freeform), and THE READ (Fuse) and pilots at FX, Fox, Freeform, and Max.
Previously, she spent time in representation at Grandview, where she gained insight into the feature business and honed her ability to find fresh, exciting voices, and at Creative Artists Agency in both the scripted and unscripted television departments. Her first job in entertainment was as an Associate Producer on the beloved HGTV franchise HOUSE HUNTERS. She was selected as an inaugural fellow for the Women In Film Business Fellowship.
You can meet with Alexandra about your Pilot here or your Feature here.
Clare Couchman is an Executive Producer based in London, UK. She worked on Season 4 of SEX EDUCATION for Eleven Film/Netflix, created and written by Laurie Nunn, and starring Gillian Anderson, Asa Butterfield, Ncuti Gatwa, Emma Mackey, and Aimee Lou Wood. The International Emmy and BAFTA-winning series received widespread critical and popular acclaim and was one of Netflix's most-watched and most successful original formats worldwide. Clare worked on the show from script editing Season to story producing Seasons 2 and 3 and executive producing Season 4. Each season, Clare ran the writers' rooms, found the writers, and guided them through the writing process, in close collaboration with showrunner Laurie Nunn, and working closely with the directors and producers (from pre-production through to post-production) to steer the show editorially, within budget and to schedule.
Before this, Clare was Development Executive at Balloon Entertainment, where she ran the company’s Comedy and Comedy-Drama slate. During this time, she script-edited Bryan Elsley’s Channel 4/Netflix series, KISS ME FIRST, and optioned and developed NEWARK, NEWARK, written by Nathan Foad, which was later commissioned and made by UKTV. Clare started her career working in production, working on shows including LUTHER and EPISODES, at the BBC, Big Talk, Hat Trick, and Lookout Point, before moving to The Agency, where she was an assistant, working with writers and directors.
*Clare is currently sold out, but keep an eye out for her availability to open up to discuss your Pilot here, Feature here, Pitch Deck/Bible Reviews, or Adaptation review.
Perry Dance is an accomplished television writer/producer known for his ability to craft stories across multiple genres. His list of credits encompasses writing for numerous sitcoms (ROSEANNE, A DIFFERENT WORLD, SAVED BY THE BELL), multiple animated series (MTV’s SPY GROOVE, STAR TRIP - his first pilot), and a syndicated comic-book adaptation (MARVEL’S MUTANT X). He is in the development and writing stages of two exciting series, a nostalgic reality series, one being a music-based scripted series. Additionally, he is excited about a collaboration with an Emmy-winning former colleague and close friend on their third project. Together, they are developing a biographical limited series based on a book that chronicles the life of a prominent political figure from her childhood.
A shift into reality TV further showcased his versatility, as he helped deliver back-to-back hits for over a decade (THE SIMPLE LIFE 2, JOE MILLIONAIRE, JENNY MCCARTHY'S DIRTY, SEXY, FUNNY, MTV'S MAKING THE BAND, THE RAP GAME, CHRISLEY KNOWS BEST, WIFE SWAP, PARIS IN LOVE). Among the accolades for his work are the WGA Award for “Top 100 Sitcoms of All Time,” as well as nominations for The Teen Choice Awards, The Humanitas Prize, and GLAAD.
You can receive premium notes from Perry about your comedy Pilot here or for a Career Development Call here.
Apoorva Charan is an LA-based Producer who was born in India, raised in Northern California, and started her career as a digital producer in Singapore. Her producorial feature debut, JOYLAND premiered at the Cannes Film Festival and won the Un Certain Regard Jury Prize, the Queer Palm, and Best International Film at the Independent Spirit Awards. The film was Pakistan's entry to the 95th Academy Awards, was the first film from Pakistan to make the shortlist, and has screened at festivals around the world including Sundance, TIFF, and BFI London Film Festival. She has also served on the jury for the Palm Springs Short Film Festival. Charan was a 2019 Project Involve Creative Producing fellow, a 2020 Film Independent Creative Producing Lab fellow, a 2021 Women in Film Emerging Producers fellow, a 2022 Sundance Creative Producing Lab fellow, a 2023 BAFTA Breakthrough, and has worked in development at Big Beach, Walt Disney Studios' live-action department and Blue Harp.
Charan has produced multiple award-winning short films including LONELY BLUE NIGHT which won the Audience Award for Best Short Film at AFI Fest 2020 and is available to stream on HBO Max, DISTANCE which won Film Pipeline's Best Film Award in 2020, and INTERIORS which premiered at TIFF.
You can meet with Apoorva about your First 10 Pages, Pilot here, Feature here, or Pitch Deck/Bible Reviews.
Alice Coulthard is Head of Development at Superbe Films. Working from London, Alice is the essence of the development process of all UK and international productions. The most recent feature film success for Alice and Superbe Films is MRS HARRIS GOES TO PARIS, made with EOne, Focus Features, and Universal, grossing over $30m worldwide.
Alice has been the lead on the evolution of several projects, such as THE CONDUCTOR, financed by Black Bear and directed by Michael Hoffman, and 100 DAYS, financed by Disney, and directed by Carlos Saldanha. Alice worked in development for Academy Award-winning director, Alfonso Cuaron at Esperanto Filmoj for several years, and developed the fantasy literature series QUEEN OF THE FIRE for Lone Wolf Pictures.
She holds a Masters degree in Creative Writing, with distinction from UEA. Her work was selected for Ink Festival 2020, shortlisted for the Blacklight Channel 4 competition, and for Thousand Films 2020. Prior to her career as a successful executive, Alice had extensive experience as an award-winning actress. She played roles in productions such as THE LAST SHIP and JOSEPHINE, in which she played the title role.
You can meet with Alice about your Pilot here or your Feature here.
Jorge Alfaro-Silva is a Los Angeles-based Film and TV producer and executive at 36 Chambers Action. Over the past few years, he held the position of Director of Development & Production at Lionsgate Motion Picture Group, the studio behind franchises like JOHN WICK and THE HUNGER GAMES, where he worked on their latest installments and developed and oversaw numerous other movies for the studio while continuing working with A-list creators, filmmakers, and talent, both local and international.
After years in the studio system, he decided to go on his own to create a company that give creatives a stronger voice in Hollywood. 36 Chambers Action is a company that is destined to be a one-stop shop for all action needs, becoming a hub for action that nurtures and creates the next generation of action filmmakers in the industry. Currently projects at specialty studios like Neon, SPC, Searchlight, and Focus, as well as streamers like Netflix and Amazon, and studios like Universal and Lionsgate. Jorge has served as a judge in various film festivals around the world such as the Los Angeles Latino International Film Festival (LALIFF), Columbia University Film Festival, Morelia International Film Festival, Guadalajara International Film Festival, and Morbido Film Fest. He has also served as a guest lecturer at UCLA, Biola University, and Columbia University. Throughout his career, Jorge has maintained relationships at Lionsgate, 87Eleven, Point Grey, Appian Way, and Lord-Miller, among many others.
You can meet with Jorge about your Pilot here, Feature here, Pitch Deck/Bible Reviews, or your Adaptation review.
Rich Dahm is an award-winning Comedy producer with over 30 years of experience in television and feature writing and production. He is also the co-founder of Gazebo Springs, a TV and feature film production company.
Dahm helped develop and served as Head Writer and Co-Executive Producer on Comedy Central’s daily news satire THE COLBERT REPORT, starring Stephen Colbert. During his eight-year tenure, Dahm won multiple awards, including six Emmys, two Peabodys, four Writers Guild Awards, and seven Producers Guild Awards. Dahm also served as Co-Executive Producer on four seasons of ABC-TV’s THE MIDDLE, created by DeAnn Heline and Eileen Heisler. Prior to that, Dahm wrote for shows as varied as HBO’s DENNIS MILLER LIVE and DA ALI G SHOW, USA Network’s THE WAR NEXT DOOR, and Noggin’s O’GRADY. Dahm has also written and developed sitcom pilots for Warner Brothers, CBS, Paramount, and Fox TV, sold screenplays to DreamWorks and Twentieth Century Fox, and done uncredited punch-ups on films like ICE AGE, TITAN AE, and MAFIA! Dahm most recently wrote on all 8 seasons of DreamWorks Animation’s THE CROODS: FAMILY TREE.
You can receive premium notes from Rich about your Pilot here, Feature here, or your First 10 Pages.
Ann Fishman is an attorney, screenwriter, director, and producer at Fishman Law PLLC and Night Dove Pictures. Ann recently completed CHRISTMAS OVERTIME, a holiday rom-com, which she produced, directed, and co-wrote. She has multiple projects in development. Ann wrote, produced, and co-directed MARRIAGE MATERIAL starring Saturday Night Live alum Victoria Jackson. She wrote, produced, and directed SWIPED, starring Noah Centineo, George Hamilton, and Kristen Johnson which streamed on Netflix.
Her law practice focuses on business, entertainment, and intellectual property law. As a seasoned producer and entertainment attorney, Ann has a deep understanding of all aspects of the entertainment industry. Ann is a member of the Florida, New York, New Jersey, Tennessee, and United States Supreme Court Bar.
Keep an eye out for Ann’s upcoming pitch session, which should be available for registration soon!
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
I hope that the last month has been joyful and productive for you all! Our Stage 32 Education Team has certainly been hard at work to bring incredible education opportunities and resources to this fantastic community.
This March, you'll have the chance to learn from knowledgeable industry executives, award-winning screenwriters, producers, directors, showrunners, and representatives. Impressive creative professionals who have worked on or represented such projects as TOY STORY, CHEAPER BY THE DOZEN, EVAN ALMIGHTY, GARFIELD, THE WITCHER, SUPERNATURAL, ARROW, EMPIRE, BABY DADDY, SYDNEY TO THE MAX, ARRIVAL, LIGHTS OUT, THE GIRL ON THE TRAIN, SNOW WHITE, JURASSIC WORD, PARKS & REC, COVENANT, GENIUS, THE KING’S SPEECH, ZAYTOUN, SMALLVILLE, SHADOWHUNTERS, THE MYSTERIOUS BENEDICT SOCIETY, and many others.
Don’t wait for all of the spots to fill up! Below is an exciting list of upcoming Stage 32 Education that is already available for you to register for!
Starting: Tuesday, March 5th
Instructor: Sam Sokolow
Over 90 information-packed minutes, you will learn the art and business of producing, and invaluable skills, critical for those who want to create or be a part of making movies, TV shows, and digital content. You will walk away from this webinar with a comprehensive understanding of producing, which will empower you to navigate the challenges and contribute effectively to the creation of compelling content in the entertainment industry. Whether you’re a veteran producer or looking to make your first project, this webinar is a must!
PLUS! You’ll receive exclusive handouts to help you become a better Producer. Downloads include- the pilot script to Sam’s Emmy-winning series GENIUS: EINSTEIN, a shopping agreement template, and an option/purchase agreement template.
Sam Sokolow is a 2-time Emmy nominated executive producer and Stage 32’s Director of Education. Sam has put almost 20 original shows on television, including the 20-time Emmy-nominated limited series GENIUS for National Geographic Channel and Disney+. The fourth season of GENIUS – GENIUS: MLK/X – will premiere on February 1, 2024. Sam is currently in development on several films and television series based on real people or true events from history.
Starting: Thursday, March 7th
Instructor: Alec Sokolow
In a jam-packed 90 minutes, you’ll learn how to approach your own screenwriting like a professional and how to get the most out of your time and talent. You will learn how, and why, you must create dynamic characters, a solid structure, and a story that can captivate audiences around the world. Whether you’re brand new to screenwriting and looking to learn the fundamentals or you’re a veteran screenwriter looking to further hone your craft from one of the most accomplished screenwriters in the industry, this webinar is a must.
PLUS! You'll receive exclusive handouts to help you hone your screenwriting craft.
Alec Sokolow is an Oscar-nominated screenwriter. In addition to Alec’s work on Pixar’s TOY STORY (which garnered him an Oscar nomination), Alec penned the hit films MONEY TALKS, CHEAPER BY THE DOZEN, EVAN ALMIGHTY, GARFIELD, and many other projects. His work has grabbed audiences globally and has netted over $2 billion in worldwide receipts.
Starting: Wednesday, March 13th
Instructor: Guillaume Esmiol
In this webinar, we’re bringing in the Executive Director at Marché du Film of the Festival de Cannes, Guillaume Esmiol to talk about the festival and how to navigate it. The Cannes Film Festival can be overwhelming when you plan to attend for the first time. Over 12,000 film industry professionals head to Cannes each year to present and discover almost 4,000 films and projects in development at 33 screening venues. Fuelled by this success, the Marché has expanded with the opening of the Riviera and Lérins exhibition halls, forming a hub around the world-famous Palais des Festivals and the Village International, the number one venue for promoting films from all over the world. As a leading global film industry organization, the Marché du Film takes a rigorous approach to adapting to the expectations of industry professionals worldwide and to emerging economic, technological, and creative film trends.
Even if you’re a veteran attendee, things are always changing at Cannes so it’s important you stay in the know. Now, you’ll get to hear straight from the source on how to make your Cannes experience work for you. You’ll walk away from this webinar able to arrive on the Croisette ready to make things happen!
Stage 32 is proud to be the industry education workshop partner of the Cannes Film Festival Marché du Film for over eight years and we are excited to offer all badge holders the opportunity to experience Stage 32 education. Together with the Marché we are excited to offer this exclusive webinar to our Stage 32 community!
Starting: Thursday, March 14th
Instructor: Gareth Ellis-Unwin
In this 90-minute webinar, Academy & BAFTA Award-winning Producer Gareth Ellis-Unwin will use his background as an experienced producer to showcase his approach to creating a successful international co-production.
Using his third feature film, the French-Israeli-UK co-production ZAYTOUN, as a case study, Gareth will break down each step of the process by which the co-production came to be, from conception through to its release strategy. Beginning with the genesis of the project and the initial development period, Gareth will then talk about the decision to co-produce, the opportunities and challenges this posed, and the process of selecting co-production partners. Moving on to cover the fundamentals of the project’s financing, Gareth will walk you through the finance plan, before providing a step-by-step look at how the pre-production, production, and post-production workflow on ZAYTOUN was managed as an international co-production. Finally, Gareth will reveal all that was involved after the film’s completion, explaining the project’s festival and release strategy and ending with his final reflections on the film as a whole.
At the end of this webinar you'll be able to see the inner workings of a French-Israeli-UK co-production and what it takes for a 3-country feature film project.
Gareth Ellis-Unwin is the CEO of the London-based Bedlam Film Productions. After 13 years as a 1st AD and Line Producer, racking up dozens of film and TV credits, Gareth decided to move into Producing and formed Bedlam Productions in 2006 with partner Simon Egan. In 2009, Gareth produced the British thriller EXAM, which was nominated for a BAFTA and won Spirit and Dinard awards. International recognition followed soon after with the record-breaking, critically acclaimed 2010 film THE KING’S SPEECH. It went on to become the highest-grossing British independent film of all time. It debuted at the Toronto International Film Festival where it took home the celebrated Audience Award before winning seven BAFTAs (including Best Film and Outstanding British Film) and four Academy awards, including Best Picture, presented to Gareth by Steven Spielberg. The film would eventually win more than 80 internationally recognized film awards and gross over $450m worldwide in theatrical receipts alone. He would go on to produce a further 6 feature films. Gareth has recently stepped down as Head of Film & Animation at Screenskills, the national charity in the UK for workforce development and those wishing to join the screen industries. Gareth led the delivery of the BFI Future Film Skills 10-point action plan and set the overall strategic direction for the Film Skills Fund. He was closely involved in the development of the COVID-19 Safe Return To Production guidance and has won PGGB awards for his career film, FIRST DAY; ON SET.
Starting: Thursday, March 28th
Instructor: Daniel R'bibo
In this exclusive webinar, you will learn how production insurance works and how it is procured for Domestic and International Film Productions. You’ll begin with a general overview of production insurance. He’ll explain the various insurances relating to production including production package, general and auto liability, workers compensation, errors and omissions (E&O). Next Daniel will delve into the world of Foreign Production Insurance and the coverages needed to specifically cover international risk and production activity. He’ll walk you through what you need to know before you get a quote. He will also show you how much to budget for your own production insurance. Finally, Daniel will provide case studies of real films’ insurance breakdowns for both International and Domestic Productions. He will spend time discussing both films made for under and over $5 million. Don't miss this opportunity to learn the essential elements of production insurance from an industry expert!
Daniel R'bibo is a Senior Vice President at Gallagher Entertainment Insurance Services. For over two decades, Daniel has provided insurance services for independent and studio projects that have premiered at Cannes, Sundance, Tribeca, TIFF, and more. He has worked on all lines of insurance ranging from Production Insurance policies to Financial and Cyber policies such as E&O, D&O, and Network/ Security & Privacy coverages. Daniel has been awarded the Power Broker Award in the Media & Entertainment Category four separate times by Risk & Insurance Magazine. Few people in the world know entertainment insurance better than Daniel.
Starting: Sunday, March 31st
Instructor: Todd Slavkin
In this exclusive Stage 32 class, embark on a transformative four-week journey into the heart of television drama directing. Throughout this course, you will delve deep into the essence of directing for scripted drama TV, covering every critical phase of the process. From securing your first directing assignment to the intricate analysis of the script, and navigating the challenges of pre-production, filming, and post-production, Todd will guide you through each step with precision and care. His nuanced approach ensures that you grasp not only the creative dimensions of directing but also the practicalities that are essential for success in this competitive field. Each session is designed to be interactive and engaging, featuring guest directors who have made significant marks in the industry. These seasoned professionals will share their personal journeys, enriching the course with their unique stories and invaluable tips for aspiring directors. Whether you're aiming to direct your first episode or looking to deepen your understanding of the craft, this course will open doors to new possibilities and elevate your creative potential.
Todd Slavkin is a multi-Emmy-nominated television writer, showrunner, and director. His collaboration with Darren Swimmer, his oldest friend and writing/producing partner, spans a diverse range of genres and includes contributions to several iconic television shows such as SMALLVILLE, SHADOWHUNTERS, and the Emmy-nominated THE MYSTERIOUS BENEDICT SOCIETY. Known primarily for his role as a showrunner, Todd's directorial prowess is evident in landmark episodes of SMALLVILLE, SHADOWHUNTERS, and DEFIANCE, showcasing his ability to captivate audiences and tell compelling stories.
Starting: Saturday, March 2nd
Instructor: David Chien
Over 8 intensive and interactive sessions, you will work in a virtual classroom setting as well as in one-on-one sessions with David Chien as he guides you through the process of writing your sci-fi pilot script. This lab will provide the structure you need to stay on track and make sure you have a completed draft of your pilot script at the end that has been vetted by an industry expert and that's ready to share with the marketplace. If you're looking to finally write that science-fiction pilot script for your TV series, this screenwriting lab is for you!
David Chien is a literary manager of almost 10 years who has set up multiple TV projects at different studios and worked with clients who have written on popular series like THE WITCHER, SUPERNATURAL, ARROW, and EMPIRE. David is not only a story expert who has helped his clients develop their series but is also acutely tuned into the current television market with a pulse on what is selling right now.
Starting: Saturday, March 2nd
Instructor: Eric Zimmerman
In this exclusive 8-part screenwriting lab, you will work one-on-one with a top multi-cam comedy writer to write your very own pilot episode for your multi-cam series. You will not only write your pilot episode but you will learn the fundamentals of writing a multi-cam series and how to create a successful series that can go on for multiple seasons. Over 8 interactive sessions, you will work in a virtual classroom setting and work one-on-one with Eric. He will break down the creative process of developing your multi-cam comedy series, covering all the crucial topics that will get you from your original concept to delivering a draft of your own multi-cam pilot. By the end of the screenwriting lab, you will have a completed draft of your multi-cam pilot script in hand that has been vetted by an industry professional and that will serve as an effective writing sample to help you find that rep, get staffed on a TV show or successfully sell your own comedy series!
Plus! You will have direct access to Eric by email to ask him for the duration of the lab any questions about your project, your craft, or your career.
Eric Zimmerman is a top television comedy writer who has written on all 100 episodes of Freeform’s multi-cam hit BABY DADDY. Eric most recently served as a Co-Executive Producer on Disney’s multi-cam SYDNEY TO THE MAX. He has also sold several multi-cam projects to Disney and Netflix, as well as worked on multi-cam network pilots. But most importantly, Eric wasn’t always a multi-cam writer. He got his start writing on single camera and animated series, including the Emmy-nominated DAN VS. But once he started writing multi-cams, he quickly fell in love with the genre. Eric's latest script just made the prestigious 2023 Black List which features the best unproduced screenplays of the year!
Starting: Saturday, March 9th
Instructor: Spencer Robinson
In just 5 sessions (which include 2 class settings on Zoom and 3 one-on-one Zooms with Spencer Robinson) you’ll learn how to create a captivating pitch deck and verbal presentation that stands out to buyers. This lab covers everything from designing a persuasive pitch deck to mastering your verbal pitch, avoiding common mistakes, and effectively using visuals. You’ll also gain insight into what producers look for and explore various avenues for selling your series.
In one-on-one virtual Zoom sessions, Spencer will provide you with feedback and coaching to refine your pitch, ensuring you're ready to impress industry buyers. This is a private lab and a safe space with like-minded creatives for you to be around. If you can't make a live Zoom class, don't worry! It will be recorded and you can watch it at your convenience, PLUS! You will have access to Spencer for the entire duration of the lab and you'll have a dedicated lounge to stay in touch with your classmates to ask questions.
Spencer Robinson is a manager at Art/Work Entertainment (whose clients include Eric Heisserer (ARRIVAL, LIGHTS OUT), Erin Cressida Wilson (THE GIRL ON THE TRAIN, SNOW WHITE), and Kelly Washington (JURASSIC WORD, PARKS & REC), among others). Spencer has nearly a decade of industry experience. Spencer's writing clients work in both features and television on broadcast, cable, and streaming platforms. He currently has a client writing on two Netflix series and another client who just sold a show to Amazon. He also reps a writer who currently has a project at Jason Bateman's Aggregate Films, which has a deal at Netflix. His on-camera clients have been in films with directors Quentin Tarantino, Steven Soderbergh, Clint Eastwood, Gore Verbinski, and more. In the TV world, his clients have been regular cast members on shows for Netflix, The CW, Cinemax, CBS, NBC, FX, Starz, Nickelodeon, EPIX, and TBS, to name a few.
Starting: Saturday, March 30th
Instructor: AZ Yeamen
In 16 weeks over this 14-session course with 2 creative weeks for your own writing, you will be using a proven technique designed for emerging writers to rise above the pack. You will learn functional skills to develop your craft with pacing, authentic storytelling, building your writing muscle, and the basics of screenwriting. You will learn not only the techniques to step ahead of the pack with your writing, but you will also be working on perfecting your own writing technique.
AZ Yeamen has sold nearly every script she's ever written. She has become the go-to for revisions, doctoring, whipping stories into shape, and pitch packages for Netflix, TVOne, Aspire TV, UMC Streaming, Bounce TV, and independent production companies. Most recently, she served as a Story Editor on COVENANT on AMC's ALLBLK.
AZ is passionate and focused, with a granite-hard work ethic. She focuses not only on pursuing and developing her career in script/story development but also on fostering exciting, new talent. Every day is an opportunity to do more, and learn more. She's an admitted lifelong student, an absorber of sights, sounds, and sensations that make her a natural-born writer. AZ brings heart, energy, and clarity of vision to story development and screenwriting projects. Her students have created concepts in class, outlined, drafted, written, rewritten, and sold projects to networks.
PLEASE NOTE: This course is limited to 10 people and will be booked on a first-come, first-served basis. The opportunity to work this closely and for this long with an expert in the field is incredibly unique and valuable. If you are interested, please book quickly. Once the spots are gone, they’re gone for good.
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
Getting your short script produced is the quickest way into the industry. Great short films captivate audiences with concise storytelling, compelling characters, and emotional resonance in a brief yet impactful narrative. Many famous writer/directors started with short films like Damien Chazelle with WHIPLASH, Wes Anderson with BOTTLE ROCKET, Taika Waititi with TWO CARS, ONE NIGHT, Christopher Nolan with DOODLEBUG, Jane Campion with PEEL, and Martin Scorsese with THE BIG SHAVE. The list goes on... and with this competition, we hope for the same success for you.
That is why our Grand Prize for this year's competition is your Short Screenplay PRODUCED for a GUARANTEED budget of $10,000!
In honor of screenwriters everywhere, Palm Springs Women in Film & Television (PSWIFT) has partnered with Stage 32 to launch our one-of-a-kind Short Script Competition open to filmmakers from all countries from around the world. The winning script will be produced by PSWIFT’s “Filmmakers Lab” for a guaranteed budget of $10,000.
Stage 32 is proud to present the 2nd Annual Palm Springs Women in Film & Television + Stage 32 Short Script Competition!
Our Grand Prize Winner will:
Palm Springs Women in Film & Television (PSWIFT) is a nonprofit organization, founded in 2001, dedicated to empowering, promoting, educating, and nurturing its members – both women and men – involved in the entertainment, communication, and media industries. PSWIFT is also focused on educating, inspiring, and bringing in more production work to the Coachella Valley. We welcome entries from filmmakers all over the world.
The PSWIFT + Stage 32 Short Script Competition gives you the opportunity to show your chops and shine by getting your script made, providing you access to some of the top executives in the business and exposure to film festivals and worldwide online crowds. This is access, opportunity, and exposure you won't find anywhere else!
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
Have you had a creative weekend so far? I have some content here for you that is sure to get the creative juices flowing, so grab your coffee, and let's dive in.
First up, in this video from StudioBinder, you'll get an overview of how to grab your script reader quickly so that they don't want to put your script down. You have such a short window to win over an executive, those early pages are crucial for making an impact. And while this video gives a great intro on the topic, it won't tell you if YOUR SCRIPT can hook your reader. For that, you can have a professional read the opening of your script (and further on if they like it!) with the First 10 Page Review and you can learn more about this topic from a studio professional who has actually worked on dozens of notable films through Stage 32 Education here.
Next up, in this video from Nur Niaz Films, you'll get a behind-the-scenes look at commercial filmmaking and producing. You might not have dreamt of growing up and becoming a commercial film director or producer, but many many industry creatives can support themselves and their passion projects by also working in the lucrative world of advertising. And for those just entering the production world, working on a commercial set is a great way to gain experience and connections, so it's definitely a part of the industry worth knowing and considering.
As always, here at Stage 32, we love to share stories and knowledge with our fellow film fans. Know someone who would love this content? Share it with them! Tag them below! You can keep up with all of our content by subscribing to the Stage 32 YouTube. For more inspirational, educational, and motivational content on all things entertainment industry, follow me on Instagram and Twitter @rbwalksintoabar.
Wishing you a very happy, healthy, & creative Sunday.
Cheers,
RB
StudioBinder | How To Hook Your Reader With Your Screenplay
Nur Niaz Films | Ian Pons Jewell On Commercial Filmmaking
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
Music is a universal language that touches our deepest feelings to bring up powerful emotions. As in the very life of our bodies, its most basic elements are tension and release, just like breathing and heartbeats. No wonder it’s so powerful!
In visual mediums, music is a partner. It can support and reinforce what you see, or it can be incongruously contrasting. Either way, it informs you how to feel about what you’re seeing. It’s used extensively as a bridge to transition between scenes. The tense sounds will cause you to anticipate what’s coming up, and the sweet music of release dissolves rigidity.
Film strives to engage the audience through its mighty arsenal of tools and techniques. Of these, music is one of the most powerful, compelling, and impacting elements in the gestalt. Whatever experience you may have in your life, there is a soundtrack to accompany it ...
These words are only symbols, twice removed from our experience of reality. Feelings are visceral, sourcing from our deep places within, and that's where all creatives seek to connect. When we close our eyes and listen to music that moves us, it penetrates beyond our conscious intellect, into the unconscious, where we really live and define the majority of our identity. Watching a compelling visual story or statement crafted by a skilled filmmaker, the sights and sounds combine to engage our feelings via these otherwise often inaccessible places inside ourselves.
Since the time long ago when music first coupled with film, sophistication has only increased. Composers, filmmakers, editors, and throngs of others continue to refine their crafts in every way, largely bolstered by advanced technology. The digital tools now available are mind-boggling. If the composer/arranger is sufficiently skilled, entire orchestras of complex, well-articulated musical soundtracks can be given birth from the composer’s apartment bedroom and masterfully interwoven into the visual and dialogue. This can result in a big-time feeling production, that not long ago, would have required dozens of live musicians and world-class big-room recording expertise with prohibitively expensive equipment.
Music libraries have also proliferated immensely, offering a vast range of pre-made “stock” and “production” material. Some are exceptionally well-organized and easy to navigate, enabling you to quickly zero in and reduce the potential selections to a manageable quantity for review. Yet, like film, music’s versatility can represent an incredible array of subtle, nuanced vibes that may or may not match well to achieve what you want with your visual. It’s a big job to find a great fit for affordable musical material.
If the budget supports it, this extensive research is done by a Music Supervisor, whether freelance or employee. But for the shoestring budgets (oh-so-many of us), it’s DIY much of the way. Music is mostly done in post-production, but be careful not to treat it as too much of an afterthought. Its effect on the overall perception of your film/TV/ad cannot be overstated.
It's like forming a band to play music: the right mix of chemistry is crucial, and can range from positive pure magic to awful, adversarial mismatching. If you’re lucky enough, you find artistic kindred spirits that blend beautifully at a soul level to bring the perfect music to your vision. Often best to achieve this nirvana is a collaboration of custom creation. It’s always best to involve the composer as early as possible, so they can feel your vision and progress to help manifest it with you.
Historically, most music for film and TV has been orchestral, but that has been changing for decades. There used to be more resistance to “selling out” to more blatantly commercial interests by big-name pop, rock, soul, country, and other artists, but not so much anymore. Now the lines have blurred or are even mostly non-existent. Being the most commercial, advertising has always used (or tried to use) every genre, whatever felt right to blend with the product image and increase brand appeal. Now movies, TV, Cable, and the Internet especially, use every kind of genre regularly—whatever works best to complement the overall production, execute the producer/director vision, and, of course, be affordable to the budget. The end goal is always the same: a unified package with a deep appeal to the audience's senses.
It seems that there are no new major musical genres yet to be invented. Like so many worldwide advancements, the creative emphasis in music has become a game of technical production. Balancing to maintain a sufficient degree of humanity with the ever-increasing wonders of digital technology has been the most modern approach. We must play well with the robots, as they’re not leaving anytime soon.
CGI is the visual counterpart. Computer-Generated Imagery also continues to advance and provide us with incredibly epic and otherwise visually amazing effects, all concocted in the box, just like the modern creation of so much music.
Even as the entertainment arts continue their unstoppable technological advance, the fundamentals never change. The human-centric foundation links current to past creators, even as technology and techniques advance through orders of magnitude unimaginably more complex and sophisticated. Each generation always builds on prior accomplishments, standing on the shoulders of giants. Yet history doesn't have a monopoly on groundbreaking art. Every day, creative people are building and growing new legacies with their innovation and inventiveness, morphing to modernize and stay relevant.
Who can say where we’re going next? Certainly, our crazier-than-usual current world conditions are impacting the prior semi-planned course. No matter what, we can always be sure that music will play a huge part in any production whose goal is to engage feelings.
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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Popular in texting are; LOL - laughing out loud, OMG - oh my g*d, IMHO - in my humble opinion, etc. Governments use acronyms: NASA, FBI, CIA, KGB, NSA (jokingly also known as the No Such Agency).
The military has TDY – Temporary Duty (for us it’s going on location), AAR – After Action Review (the Production Report), BDA – Battle Damage Assessment (Actualizing the Budget), and the well-known SNAFU – Situation Normal, All Fracked Up.
In production, there’s POV – Point of View, and MOS – Mit Out Sound (German for With Out Sound).
Here’s one most of us know too well: OBE - Overtaken By Events.
Let’s look at a special alphabet for media creators in Story, Character, Production, and Career.
Dry lakebed shoot
You’ve had a fantastic idea. You’re in the “Flow” and writing some amazing scenes and dialogue. It’s like you’re watching the movie that is your book or script and taking dictation. That’s the Art part. To keep your Art active, feed it greatness in art, music, literature, nature, spirituality, relationships, etc.
Lots of people have great ideas. Not many people can craft them into something the rest of us want to read or see. The art is easy if you are a natural artist. The craft is hard, no matter what.
Different genres have different forms. Writing prose is vastly different from writing a screenplay. The former does not require specific formatting; the latter demands it.
Marketability is another consideration. A story for children is vastly different – or certainly should be – from a dark noir drama.
Craft is necessary to keep your audience engaged, to move the story forward, and to create an engaging experience for them. This is where books, classes, groups, consultants, and coaches can help.
This is difficult for many of us: looking for an agent, or a publisher, pitching to companies, marketing, publicity, getting reviews, and entering contests and festivals.
What’s the best medium for your story: serial, novel, web series, feature, TV series, etc? What are the economics? Put your book up yourself or hire someone to navigate the labyrinth of self-publishing? Is the visual media version something you can shoot in your mom’s basement and upload or does it require Universal Studios’ huge Stage 12 and international theatre marketing?
Today’s technology allows millions more the opportunity to express themselves but often the financial rewards are small to non-existent. Even with a “real” publisher or distributor the writer or filmmaker is expected to do most of the promotion.
Seminars and books can help, as can bringing in someone to do the parts you can’t or don’t want to do. Always investigate before you buy as there are thousands out there offering to help make your book or film a success. Few actually do. Luckily, you're here on Stage 32 where they provide phenomenal education taught by knowledgable and experienced industry professionals.
Culver City new City Hall shoot
Sometimes you just want to tell a rollicking good story - Entertainment.
Sometimes you want to make your audience aware of some situation – Educate.
Sometimes you want more depth and wonder in your story to uplift your audience – Enlightenment.
Sometimes you want to express your own emotions, history, dreams, dilemmas, successes – Expression.
Most stories are a combination of the four E’s in different proportions. Finding the correct balance for yours is a challenge, made easier by knowing how all the parts can fit together to create the desired effect on your readers. A pie chart is an easy way to analyze stories.
Barbie is probably 60% Entertainment, 25% Education, and 15% Enlightenment. As the characters learn more about different situations some take higher perspectives and make positive changes. Some characters can’t seem to move out of their old paradigms. But the visuals all look great and many viewers are asking more questions about stereotypes and expectations.
The Oscar-winning 12 Years a Slave is probably 70% Education about slavery. 20% Enlightenment about the universal and timeless evils of slavery, though because of the topic the Enlightenment and Education went rather hand-in-hand. 5% Expression as it carried the emotions of the man who had the actual experience. 5% Entertainment. But really, it wasn’t meant to entertain, was it? It was designed to Educate and Enlighten and did that very well.
Documentaries tend to be mostly Educational. Of course, one must mention the mockumentary This Is Spinal Tap which unlike most documentaries was so very Entertaining. “Turn it up to eleven.”
Terrence Malick is said by some to be too personally Expressive in his films, but they are sweeping excursions through landscapes and emotions that many do find contain the other three Es.
Memoirs run the risk of being overly concentrated on personal Expression. Eat, Pray, Love teeters on the edge between personal indulgence and sometimes valuable insights.
Apply this formula to your stories and see if you are emphasizing what you hope to convey. Does your story have a good balance of the 4-Es?
It can also enhance your experience of others’ works.
Standing on the Arctic Ocean for an Arctic shoot
We must have Sympathy for or some identification with your characters. Or curiosity about them. Or perhaps the promise of validating our own prejudices. It’s the “Who cares?” question, the “What’s the hook?” question. There must be something engaging at the very beginning for us to buy the ticket and go on this ride.
You must put the characters into some kind of Danger: physical or emotional, real or imagined, from within or without, etc. Without danger there is no conflict, without conflict, there is no drama.
The three levels of the Dark Side are: Personal [your own flaws and phobias], Impersonal [nature, time, gravity], and Suprapersonal [the big baddies, evil empires, powerful antagonists, demons, etc.]
Have your protagonist up against at least two of these three levels.
There must be some kind of Salvation. Not always a happy Hollywood ending, but a satisfactory ending. Salvation can be a new awareness, a gained skill, a repaired relationship, a goal accomplished, or in the case of tragedies a vital lesson learned at great expense.
Be sure your SDS elements are compatible, complement each other, and provide the backbone for the character arc.
Filming on “America’s Army” TV series
Taking your characters on an arc up and/or down the three levels of Consciousness can provide dramatic shifts, propel the plot, and offer cautionary tales and/or inspiration to your audience.
Gangs, buddies, cults, clans, religious sects, political parties. Current political divides around the globe are fueled by tribalism, even in so-called developed countries. Vendettas, drug wars, religious conflict…all reflect people not thinking for themselves or beyond their own limited identity politics.
Cobra Kai, Gangs of New York
Positively - thinks for themselves. The loner, setting boundaries, free-thinking, rebellious. Negatively – narcissism, freedom without responsibility or consequences.
Oppenheimer, Wolf of Wall Street
Self-sacrifice, visionary, fully connected yet keep their own identity. Strives for the greater good for the greatest number.
Avatar, Lord of the Rings (Frodo and Gandalf)
On stage at Hyundai car shoot
Be prepared. We shot in the Arctic and learned beforehand that a thirty-minute camera battery runs out in seven minutes. We took four times as many batteries as we’d need in LA: extra baggage but absolutely essential.
Delivery time needs to be factored into budgeting. On commercials where the final “Go!” happens just before airdate, time is literally of-the-essence. There will be Rush Fees, there may be switch-outs because of availability, and there probably will be last-minute changes. All raise the cost.
Lots of producers like to schedule long pre-production times. It may cost more in personnel and offices but it can save a lot in the long run.
Always have Insurance. Or at least a 10-15% Contingency for things that absolutely will happen.
A colleague once saved lots of money by taking a closer look at the insurance for shipping an expensive piece of equipment back to New York. He saw the valuation rates were incorrect. It was supposed to be $100K but showed only $10K. While being loaded the crate toppled off the ramp and crashed. Fortunately, the revised insurance covered the damage.
On a car commercial for a major manufacturer, they wanted the picture car to move up an incline “as if by magic”. A Special Effects company could do it with a computer, specially-rigged gears, and a half-day build, and it would only cost ten grand. Our Key Grip said, “My crew can rig it with pulleys and ropes. We have that on hand and we’re already on the clock.” Keeping it simple saved $10,000.
Do you want the equipment to come from a rental house where you have a relationship and discount? Or do you just need it right away? Specify if something needs to be done a certain way or just needs to be done however, it can get done.
On a busy set, you need to switch your brain over to the topic with the first words.
Don’t start, “Amber says she can have it by Tuesday but not earlier but if we like she can call a sub-let and maybe we can have it Friday, but it’ll cost more.” What?!
Instead say, “About the dolly…[that shifts your brain into that category]. It’s not available Friday from XYZ but they’ll call to sublet if we want [time-line options], but it’ll cost more [budget concerns]. Or they can get it for us next Tuesday for the regular rate [there are your choices].”
Pamela presenting & book-signing at SXSW
Stay open-minded, and keep learning. Stay committed, yet flexible. Build the connections that make things happen in this industry. Give back and pay it forward.
Don’t do any job without “paper”: a Deal Memo or a longer Contract. As Hollywood mogul Samuel Goldwyn noted, “A verbal contract isn’t worth the paper it’s written on.”
Too many people have worked on projects without a Contract and ended up getting no returns for their efforts. Unfortunately, even with a Contract you won’t always get paid.
A free Option is not a real Option. Especially not an exclusive and/or open-ended free Option. Just don’t do it.
For writers, if possible get more than one-half of your fee upfront. And if possible get the balance before delivery. Check Writers Guild guidelines.
Familiarize yourself with Contracts. Many courses offer helpful insights.
Stage 32 offers a wide range of valuable webinars and classes to help one Prepare in many areas of creativity.
Networking and joining groups like Stage 32 helps place you in a Position where others can see your abilities and accomplishments.
Persist – As in Galaxy Quest, “Never give up! Never surrender!”
A colleague encourages people to take a 3-day break every six weeks. If you can get out of town, all the better. If not, create private time with no distractions.
Just as there are sound safety reasons for sufficient “turn-around” during production, we need to apply that to our personal lives as well.
Keep these Acronyms in mind as you create, craft, and market your stories. Your audience unconsciously expects them. Your potential publishers and producers consciously demand them.
And…we’d like to hear what you would add to this list, plus your experiences of those listed.
Wishing you all the very best with all your creative projects.
OUO – Onward! Upward! Outward!
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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As many of you know, one of my missions when I launched Stage 32 was to have the platform become the go-to destination for entertainment industry education around the world.
Over the last 13 years, Stage 32 has been bringing relevant, actionable, and timely entertainment industry education to creatives and professionals around the world. Our webinars, classes, and labs have been, and remain, taught by world-class educators who are working in the business right now.
As a result, Stage 32 has amassed the world’s largest entertainment industry education library with over 3,000 hours programmed and Stage 32 has been called the "Netflix of Entertainment Industry Education".
Mission accomplished.
But that doesn’t mean we’re done, not by a long shot.
Recently, expanding on what we’ve already built, and with the backing of dozens of film commissions, streamers, networks, production companies, and other industry organizations, we launched Stage 32 Certification to disrupt the old-guard film school model. The results have already been extraordinary.
Today, I want to introduce to you the new Stage 32 Education portal.
We’ve added new features, easier navigation, better search functionality, and (by popular, popular, I mean, popular demand) a completely enhanced checkout system (add as many items as you want as once…again, by popular demand), designed to help you find what you’re looking for in our vast, expansive library – whether craft or business education or both – with ease to make certain that you’re learning experience is clean, fast and effective.
Further, we’ve added collections (I’m partial to RB’s Top 10 myself), bundles, catalogues, trending subjects, and other features to make sure you’re getting a full and complete educational experience.
For those of you who might be new to Stage 32 Education, our education partners around the globe include Netflix, the Cannes Film Festival Marche du Film, the American Film Market, Canon, United Airlines, Variety, dozens of film commissions, and other film festivals and many more.
Additionally, Stage 32 Education has been prominently featured in such publications and networks as Deadline, Variety, The Hollywood Reporter, Indiewire, SCREEN, Forbes, Inc., Fast Company, The Atlantic, Entrepreneur, CNN, CNBC, FOX, and many more.
Stage 32 Education is also utilized by production companies, streamers, networks, studios, and development executives to train their staff as well as film commissions and other global organizations to train people in their respective regions.
In short, Stage 32 Education has played a huge part in our overall mission to democratize the global entertainment industry by leveling the playing field for all creatives and business professionals worldwide.
So, whether you’re looking to further your craft, start a new one, or learn more about producing, financing, distribution, or other film and television business-related topics, now is the time. Dive in, explore, and invest in yourself.
As usual, we will be building this library with over 100 new offerings throughout the year.
But, as always, if you don’t find what you are looking for, need suggestions, or have suggestions on what we can program, never hesitate to reach out to our Education Team at edu@stage32.com – They’re always there to help!
There’s much more to come. We’ll be adding new features along the way, but for now, please enjoy the library, and thank you for being a part of the Stage 32 Creative Army.
Cheers.
RB
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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You've made a short film. You've put in your time, effort, blood, sweat, tears, and perhaps even some serious money into your project. Your goal isn't only to get your film seen but to get it seen around the world and by people who can make a difference in your career.
Would being screened by an Oscar-qualifying film festival matter? How about having it screened for over 1,000 executives including managers, agents, producers, film financiers, and more? Look no further.
The most prestigious short film competition on the planet is back. For the 9th straight year, Stage 32 is looking for the best short films for our 9th Annual Short Film Program. For the last 8 years, we've screened our winning filmmaker's films at some of the most prestigious festivals around the world, and for our stable of 1,000+ Stage 32 executives, and this year will be no different.
Stage 32 is proud to present the 9th Annual Short Film Contest!
We welcome entries from filmmakers all over the world. Last year's contest produced entries from Stage 32 members in 40 countries and resulted in a curated program of 7 incredible and well-received short films made by filmmakers from 3 different countries.
Over the last 8 years, our winning filmmakers have gone on to be signed (UTA, Echo Lake, Verve, and more), financed, and produced. One of our winning screenwriters/directors even went on to have one of the biggest spec sales in recent years, with Warner Brothers winning a bidding war based on a short film!
The Stage 32 Short Film Contest gives you the opportunity to show your chops and shine by providing access to some of the top executives in the business and exposure to film festivals and worldwide online crowds. This is access, opportunity, and exposure you won't find anywhere else!
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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As creatives, I think many struggle with love in ways that are unique to our industry, especially when it comes to ourselves. We can take a lot of rejection over a prolonged period, so much so that we begin to believe that we and our work are, well, not so much – that is a harsh position to take with oneself. And as storytellers, especially writers, we spend a ton of time alone, which can amplify our struggles around love. Although as spinners of words, images, and sound, we really do need this alone time both to create and recharge, sometimes heal.
So, I want to share a story about a seemingly perfect date with a charming Greek gentleman, which took an unexpected turn and became a valuable lesson in alone time and self-love. Then, offer some practical advice on nurturing yourself.
Picture this: a captivating evening with a tall, dark Greek. It all seemed perfect until he dropped the one line that changed everything: I do not ever like to be alone, ever, not even for coffee.
The screeching halt in my head was deafening. What? Never? Even for someone tall, dark, and Greek, that was a deal-breaker. As I unraveled my unexpected reaction, I had a revelation about the profound importance of alone time and how much I cherished it.
Cherished moments of solitude are transformative. They let you reflect, grow, and embrace your freedom without judgment. Alone time is not a luxury; it is a necessity for becoming who you want to be, for allowing your creativity to flourish. The thought of being with someone who cannot be alone jeopardizes the time when I reflect and grow as a human, the time I chat to myself out loud or move silently through space, the time I walk around my place naked because it is so hot or dress like Nanook from the North because it is so cold, the time I can either dance or cry. While you can do all the above things with a partner, it is not the same as being in your singleness, your oneness. When you can honestly see who you are and figure out how to course-correct if needed. I did not consciously understand how vital “alone time” is until I saw the possibility of it no longer being available.
For a long time, I struggled with what self-love meant. Like many of us, I equated it with self-centeredness, selfishness, ego, and vanity, all of which have negative connotations that can bring on a negative self-image. However, self-love does not have to be narcissism; it can be self-care, self-directedness, self-compassion, and self-forgiveness. It is becoming your own best friend, companion, and playmate.
Use these inspiring quotes and actionable tips to nurture a positive relationship with yourself.
Take a moment for self-reflection and appreciate something wonderful about yourself.
Dedicate a day to self-care, doing things that bring you joy and relaxation.
Write down three things you love about yourself and your life.
Start your day with positive affirmations about love and kindness.
Set healthy boundaries in a relationship to ensure mutual respect and understanding.
Reflect on an experience that taught you a valuable lesson about love.
Take a nature walk, appreciating the beauty around you.
Engage in expressive arts, whether drawing, writing, or music, to express your feelings of love.
Create a playlist of songs that express feelings of love and share it with someone special.
Be the glue for the relationship you have with yourself, have a movie night, enjoying films that celebrate love.
Learn to love yourself and your company. Be with others because you want to, not need to, even for coffee. You do not depend on someone else for companionship. You already do that for yourself--this is powerful knowledge. So, embrace solitude, cherish self-love. Take time to reflect on your creative journey. How can you deepen your connection with yourself and your craft? Your story is yours, and the love within guides your creativity.
Available now Take a Shot at Happiness: How to Write, Direct & Produce the Life You Want. Voted “Best Personal Development Book of the Year 2024” by Best Holistic Life
Amazon l Barnes&Noble l GoodReads
Stage 32 Webinar with Maria On Demand: Seven Steps of Mindfulness for Creatives
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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The 96th annual Academy Awards are scheduled to air live on ABC on Sunday, March 10, from the Dolby Theatre in Los Angeles. Oscar nominations for Best Original Screenplay and Best Adapted Screenplay were announced on January 23.
Check out the trailers for the nominated scripts below and email success@stage32.com with the subject line "OSCARS 2024" to receive your free PDF downloads.
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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Have you had a creative weekend so far? I have some content here for you that is sure to get the creative juices flowing, so grab your coffee, and let's dive in.
First up, in this video from Vanity Fair, some of today's most well-known and critically-acclaimed stars answer viewers' burning questions. While entertaining, this video shows us both how unique and similar everyone's journey is to the top.
Next up, in this video from the Writers' Guild Foundation, you'll get an in-depth look into what it takes to be a showrunner through the eyes of John Hoffman. Hoffman is the man behind the hit mystery series, ONLY MURDERS IN THE BUILDING on Hulu, and gives a great look at being a showrunner and guidance on being a comedy writer.
As always, here at Stage 32, we love to share stories and knowledge with our fellow film fans. Know someone who would love this content? Share it with them! Tag them below! You can keep up with all of our content by subscribing to the Stage 32 YouTube. For more inspirational, educational, and motivational content on all things entertainment industry, follow me on Instagram and Twitter @rbwalksintoabar.
Wishing you a very happy, healthy, & creative Sunday.
Cheers,
RB
Vanity Fair | Do These Stars Remember Their First Audition
Writers' Guild Foundation | Interview With ONLY MURDERS IN THE BUILDING's John Hoffman
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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Johann Wolfgang von Goethe
Do you love what you’re doing? If you could change anything, from the tiniest wiggle to the largest adjustment, what would you do? Would you keep forging ahead for the dream du jour? Or would you modify, skew slightly left, and leave the beaten path entirely? What will it take for you to pursue your dream?
As a child, I dreamed of being an artist. If I couldn’t be an artist, I reasoned, I’d become a telephone operator (when there were such things). I understand there are people who know what they want to do, early and always. They’re determined and focused and never waver from the ultimate goal. Me? Well, I needed to wander a bit – ok, like 30 years or so – and experience all sorts of highs, lows, and in-betweens. Where would I find success? How could I be the DreamWeaver I once visualized for myself?
My past is so checkered it’s plaid; while I had tools for survival, I didn’t know what kind of life could be available to me. How could a high school dropout, former domestic violence victim, and Meth addict do anything big? My dreams were not supported. Lots of people told me I couldn’t do art and make a living. I believed them for a long time. I worked for many years as a telephone operator and customer service specialist. Then I realized no one else was going to fulfill my dream, so I better do it myself.
The hardest part of any journey is just getting started; mine felt like it took forever to begin. Every step seemed to create four more steps; for every easy pathway, there were three roadblocks. It was tough, I’m not gonna lie; single parenting as a full-time student on welfare is never easy. I learned that what I don’t know can throw a monkey wrench into my work in a heartbeat. I also had to learn how to ask better questions. With a lot of work, heartache, and fatigue, I did it.
What I didn’t do was make a plan. Silly me. I was pretty sure that graduating with an AA in Graphic Art was the goal. I have since learned that goals are and always will be ahead of me; now I see that how I achieve those goals is a choice I make. I’ve spent many days (and nights) circling drains and rattling chains, bound by the ideas of others. I’ve tried to half-ass my journey to make it easier – which I don’t recommend since it just makes it twice as hard in the long run. I’ve filled many journals (currently residing under my bed) with plans, maps, and goals. I consider myself a true DreamWeaver, since I’m working hard to create my own. Yes, I do have a plan now and I refer to it often. I also update it frequently because let’s be real: Life has curves and corners we never saw coming…
Conformity is delightful. Really! There are clear boundaries and mass routines that make existence easier. The flip side is that, sadly, there’s no room for out-of-box behavior. To remain flexible in a rigid world is a talent and a skill. It’s easy to build “What’s always been done” structures around us. Going rogue is a scary thing -- and I’m very much a fan of it. Sometimes, however, to live our lives fully we need to learn how to swing from vines; we do that by learning which vines are strong enough to hold us. We learn THAT from crashing to the ground…
Every day we create an existence, aiming for our best life. Still, we’re human and sometimes that means that we do, say, or think things that may not be to our immediate benefit. Sometimes we walk away from a job, relationship, or a situation and that leaves a mark. Sometimes we zig instead of zag, stand up when others are sitting down, and speak up in the face of silence. Sometimes there’s a high cost of living; sometimes there’s a huge reward. We’re following a path that we have complete dominion over, no matter what anyone else would have us believe. Life – like DreamWeaving – takes effort. Believe in the outcome. And remember: You are the only one who can fulfill your dream…
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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Career longevity of 30 years brings gifts. I have applied myself on many levels, from branding to marketing, to selling to learning how to finance, network, create marketing materials, and be authentic and truthful to my personal brand, mission and why. If you feel stagnant in your career, I am sharing some of my "go-to's" for the level-up process.
I did not invent the wheel. My knowledge has been attained through self-development, investing, and learning from the pros. There is power in surrounding yourself with those who have succeeded in their field. I have sat in rooms where Oscar-winning films were greenlit and projects came to life only to become Box Office record breakers. I ended up applying the life hacks below more during the pandemic. They enabled me to be more fulfilled in every area of my life.
I know that sounds old school, but thank you notes are some of the most valuable and long-term relationship-building tools you could ever use for yourself. I had on one of my podcasts this season mega-producer Vin Di Bona, from "America's Funniest Home Videos" and "Entertainment Tonight," and his beautiful wife, Erica Gerard De Bona. We met at the Italian Television Festival, where I sit on the Advisory Board. Destiny brought me to sit down with them.
I learned that Erica Girard wrote a book about the power of thank-you notes. She was a production executive and has used thank-you notes to build those long-lasting relationships. Back in the day, when we were selling movies, I used that hack, and it delivered. Big time. I was to get a film to sell. Back in the day, not many movies were produced, certainly not as many as they are today. And people were competing to get the rights to sell those movies. I sent the Producer a fax- I just wanted to acknowledge the lady representing the movie and thank her for coming in. I wished her all success from the bottom of my heart, even if it wasn't something that would eventually be represented and sold by us.
Because we approached the project with humanity, kindness, integrity, authenticity, and the thank you note, we ended up having a movie that everybody was bidding for.
Oprah said during Super Soul Sunday: One of the things that people need the most is to feel seen and understood.
That goes a long way, much more than any sales gimmick.
Do a 100-day gratitude challenge, where for 100 days straight, you will write three things you are grateful for. Gratitude is a form of prayer. And when you are thankful, you're basically acknowledging God, the universe, the higher power for the bountiful and the blessings that you get to have. And if you learn to appreciate the little things, the big things will also come to you.
I have been selling other people's projects and brands all my life. In 2021 I took some classes on how to have a concrete framework for successful pitching based on a combination of mindset and business tricks. I put together the perfect pitch masterclass with my proprietary technique that I ended up teaching at the Thessaloniki Animation Film Festival. Authentic non-robotic pitching will be needed more, as in today's world, people have ADD. There's so much information out there, so many people doing the selling, some of it a bit slimy, if you ask me, with buzzwords and false representations.
I believe that your pitch will pop pop when you get clear on your why, which is why you do what you do. Who are you? What do you represent? What are your values, and how do you want them to translate into your storytelling? Then your pitching will be so much clearer and will have more impact. But it does take skills. It does take practice.
Another is from this year's favorite book, "Hook Point" by Brendan Kane. Brendan Kane is somebody who did the branding and the imaging for Taylor Swift and a lot of celebrities. As for business and education in 2021. It applies to anybody, a filmmaker trying to sell a project in a room, a producer, a financier. How to stand out in a 30-second world is gold.
It stands for "IN REAL LIFE." I know everybody's talking about Metaverse and the virtual world, which I think will definitely be a future. But nothing beats actual human connections. I do not mean Zoom. Let's just get out of the house if we can, get a drink together, and look at each other In the eyes. There's nothing like the electricity and the energy exchanged between people getting to know one another, the body language. The most prominent relationships I've nurtured and shepherded for decades always brought a result somewhere in my life. Sometimes you do not know it. Sometimes you meet someone, and you think they're going to be financing a movie, but then they end up becoming your best friend. Sometimes you meet someone that it starts as a friendship, and then they end up helping you sell your project or introduce you to somebody who will give you leverage for your film. So make a point to reach out to people and ask them out.
It is vital. You need to just nurture our souls and heart by being in silence and not talking about business. Stop scrolling over Instagram and Facebook and look at what everybody is doing. If you just listen to your voice and take some time off to really ask yourself, what do I want? What do I want? And keep asking that question? What do I want? Because sometimes the first, Why do I want? Will get you the surface answers. Who do you want to be? What would you like to have more of?
If you can do it for a whole week, your life will change. I promise you.
During the last year, I have taken more courses and more educational things on things that have nothing to do with show business. I learned about YouTube, how to be in the quantum field, and much more. I just kept reading more books about screenwriting and producing, and I listened to people speak on virtual stages. Because nobody is truly a pro at something by staying stagnant. You always have to keep leveling up.
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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In this comprehensive guide, we will explore the various elements that are looked at during script analysis, from character development and conflict and story chronology to dialogue and theme. By understanding these elements and how they work together, aspiring screenwriters can gain the confidence and knowledge they need to create compelling and impactful scripts. So, whether you are new to screenwriting or just hesitant to seek script coverage, join us on this journey to unlock the secrets of script analysis and take your writing to the next level.
Script analysis is not just about critiquing; it's about comprehension. Having a deep understanding of script analysis enables you to dissect a screenplay beyond the surface level. It's about recognizing the intricate elements that interweave to craft a story that resonates with audiences. A well-analyzed script ensures that characters have depth, the plot is coherent, and the themes are meaningful. Without this insight, a screenplay might miss the mark, no matter how engaging the premise may be.
Moreover, script analysis is a fundamental tool for identifying the strengths and weaknesses in a story, which is essential for both rewriting and refining the script. For those who aim to excel in screenwriting, mastering script analysis is as vital as the writing itself. It's the groundwork that supports the entire structure of a screenplay.
A successful screenplay captivates its audience from the first page to the last. It's a harmonious blend of dynamic and vibrant characters, a well-structured plot, an engaging story world, earth-shattering and intimate moments, and witty dialogue that rings true. The success of a screenplay is often determined by its ability to evoke emotions and connect with viewers on a personal level. It should introduce conflict and tension that keeps readers engaged, with a pace that ensures the story unfolds naturally.
Originality in concept and execution also plays a significant role, setting the screenplay apart in a sea of clichés and predictable narratives. A successful script aligns with the vision of its potential director and producers, matching the market demands and audience expectations. Ultimately, a screenplay's success is measured by its impact: does it leave the audience thinking, feeling, and yearning for more?
Characters are the heart of any screenplay. They are the vessels through which your audience experiences the story. In script analysis, assessing character development is critical because viewers need to see characters evolve and face challenges.
Well-crafted characters have clear motivations, and distinct voices, and are grounded in reality, even in the most fantastical settings. They should be relatable and multifaceted, allowing the audience to form an emotional connection and invest in their journeys. A character's actions and decisions should be believable within the context of the story and drive the plot forward. When analyzing a script, consider whether the characters are active or passive. Are they shaping the story, or is the story shaping them? Strong, active characters tend to leave a lasting impression and contribute significantly to the success of a screenplay.
Understanding the role of conflict in screenwriting is paramount to the success of your narrative. Conflict, in its essence, is the engine that propels your story forward. It manifests itself as a clash of desires, values, or actions between your characters and serves as a fundamental element that shapes the course of your narrative.
Why is conflict so crucial? In short, conflict is what makes a story interesting and engaging. It sparks the curiosity of your viewers and keeps them hooked from beginning to end. Without it, the narrative may fail to maintain the audience's interest, ultimately falling flat no matter how well-developed your characters or themes may be.
Consider this: what would a mystery be without a perplexing riddle to solve, a romance without obstacles to love, or an adventure without hurdles to overcome? Conflict not only drives the plot but also deepens your characters. It forces them to face challenges, make difficult decisions, and ultimately grow or change. These transformations allow the audience to become emotionally invested in your characters, eagerly anticipating the resolution of their internal or external struggles. Conflict is what makes your characters real, relatable, and remarkable.
In script analysis, the strength and relevance of the conflict are assessed keenly. Are the conflicts genuine to your story and characters? Are they adequately resolved? Do they incite a strong emotional reaction from the audience? When applied effectively, conflict can create powerful moments of tension, suspense, and surprise that will leave your audience at the edge of their seats. It's the heart-thumping, tear-jerking, laughter-inducing element that makes stories memorable and impactful.
The Chronology (Story Structure, Plotting, Storyweaving, etc.) is the framework that holds your screenplay together. It dictates the flow and progression of your narrative, ensuring that each scene builds upon the last to create a cohesive story. A robust plot structure introduces the setting and characters, develops conflicts, and leads to a climax that is both satisfying and logical. It's not just about having a beginning, middle, and end; it's about crafting those parts in a way that feels fresh and compelling.
A well-structured plot has a rhythm that maintains audience engagement, with moments of tension and release that drive the story forward. In script analysis, evaluating the plot structure is critical because it can often predict the emotional impact of the screenplay on its audience. Without a solid structure, even the most unique characters or intriguing themes can fall flat.
The theme is the underlying message or the central idea that you want to convey through your screenplay. It's what your story is really about at its core, beyond the plot and characters. A strong theme can elevate your screenplay from being just a story to being a conversation piece that resonates with audiences long after they've left the theater.
When conducting script analysis, it's important to identify the theme and ensure that it's woven throughout the narrative in a subtle yet powerful way. The theme should not be preachy or overly obvious, but rather it should emerge naturally through the actions and growth of the characters. It's the thematic elements that often give stories their lasting impact and universal appeal. Scripts with a well-defined theme that aligns with the human experience can become timeless pieces that speak to audiences across different cultures and eras.
Achieving objectivity is a cornerstone in effective script analysis. It requires setting aside personal biases and preferences to evaluate a screenplay on its own merits. This means looking at the story from a neutral standpoint and judging it based on industry standards, audience expectations, and storytelling principles. To learn objectivity, it's important to develop a critical eye that can identify both the strengths and weaknesses in a piece of writing without emotional attachment.
One technique is to approach the script as if you're an audience member with no prior knowledge of the story. Ask yourself, does the script deliver a clear narrative? Are the characters compelling? Is the conflict clear to the audience? Is the theme impactful? By maintaining an objective perspective, you can provide constructive feedback that enhances the screenplay's potential rather than being swayed by personal taste.
An essential aspect of script analysis is the ability to discern a screenplay's strengths and weaknesses. Recognizing what works well in a script can be just as important as identifying areas that need improvement. A strength might be sharp dialogue that captures the characters' voices, a weakness could be a plot that loses momentum. The objective is not only to point out these aspects but to understand why they are effective or why they falter.
This understanding can guide the writer in amplifying the positives and addressing the negatives. To do this, one must ask critical questions: Does the plot twist add to the story? Do the character arcs conclude satisfactorily? Are there superfluous scenes? By recognizing these elements, the analysis can provide actionable insights that help refine and polish the screenplay to its best version.
Script coverage is an invaluable service in the filmmaking and screenwriting industry, providing a professional assessment of a screenplay's viability and quality. Its importance lies in the objective analysis it offers, which can pinpoint a script's potential to captivate audiences and attract production interest. Script coverage typically includes a synopsis of the plot, an evaluation of key elements like structure, characters, and dialogue, and an overall rating. This feedback can be crucial for writers to understand the industry's perspective on their work. It acts as a bridge between the creative vision of the writer and the market realities of the film industry. For producers and executives, script coverage helps to sift through the vast number of submissions to find those with the most promise. In essence, understanding and utilizing script coverage can be a key factor in getting a screenplay from the page to the screen.
For beginner screenwriters, the prospect of script coverage can be daunting. Sharing your work for critique is akin to exposing a part of yourself, which can naturally evoke fear. However, embracing script coverage is a crucial step in a writer's development. It's an opportunity to receive constructive feedback from industry professionals who can provide insights you may have overlooked. Rather than viewing script coverage as a hurdle, see it as a growth mechanism. It's a learning tool that can teach you about industry standards, audience expectations, and narrative effectiveness. To hurdle the fear, approach script coverage with an open mind and a focus on improvement. Remember, the goal of script coverage is not to discourage, but to help you refine your story and skills. By embracing this process, you arm yourself with knowledge and experience that can only strengthen your screenwriting prowess.
Script analysis is not a one-time task but a continuous process that contributes to the evolution of a screenwriter. It's a tool for lifetime learning and skill enhancement. By regularly analyzing your scripts, you can develop a keen eye for what makes a story work and what doesn't. This ongoing practice helps in fine-tuning dialogue, deepening character arcs, and sharpening plot points. Each script you write offers a new opportunity to apply what you've learned and push your storytelling abilities further. Embrace script analysis as part of your writing routine, and you'll find that with each revision, your scripts become more polished and compelling. Let script analysis be your guide to continuous improvement, ensuring that with every screenplay, you're not just writing, but mastering the craft of screenwriting.
Resilience and optimism are vital traits for screenwriters. The journey from concept to final draft is often long and filled with revisions, rejections, and self-doubt. However, it's the resilient writer who can take criticism constructively, learn from it, and return to the script with renewed energy. Optimism is the force that drives a writer's belief in their story and its potential to find a place in the hearts of audiences. These qualities do more than sustain you; they propel you forward. They encourage you to see each setback as a stepping stone to success.
In screenwriting, the power of resilience is in the ability to persevere, and the power of optimism is in the vision to see the possibilities that lie ahead.
Together, they form an unstoppable force that turns an aspiring writer into a master storyteller.
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
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As Deadline exclusively announced this weekend, we’ve officially selected the winner of our Empowering Women Script Competition in partnership with Catalyst Studios! Los Angeles filmmaker, Jacqueline Elyse Rosenthal has won for her fantastic feature film script, Backlog.
A first-of-its-kind screenwriting contest for feature films with a focus on social impact, the Empowering Women Script Competition brought forth some mind-blowing submissions from talented voices all over the world. It was a true honor to be a part of it!
L.A. filmmaker Jacqueline Elyse Rosenthal has won the first edition of Stage 32 and Catalyst Studios’ Empowering Women Script Competition for her social impact film Backlog.
Rosenthal will receive a $5,000 option and be eligible for up to $3 Million in financing for the film from Catalyst Studios.
She will also be mentored by outgoing Berlinale Managing Director Mariette Rissenbeek, who will be taking on some development and production projects following her departure from the festival at the end of this year’s edition.
The winning feature project expands Rosenthal’s award-winning 2023 short film of the same name, which won the Oscar-qualifying Cleveland International Film Festival and was also in the selection of the Emerging Filmmakers Showcase at the American Pavilion in last year.
Rosenthal is a recent graduate of USC’s Masters in Fine Arts in Film and Television Production. She is repped by 3 Arts Entertainment.
She was among 11 finalists selected from more than 1,000 scripts submitted to industry training platform Stage 32 & Catalyst Studios’ Empowering Women and Non-Binary Script Development Program from 37 countries.
“We are blown away by the incredible talent that came in from around the world from the Stage 32 community,” said Stage 32 Managing Director Amanda Toney.
“It was clear that Backlog is a story that needs to be told, and Catalyst Studios and their commitment to inspiring change in storytelling is the perfect partner for this.”
The Catalyst team will collaborate with Rosenthal on development, while Stage 32 will provide educational support for script development.
Logline: A young college sexual assault victim is silenced by her authorities, and after harrowing years spent reclaiming her life, she’s randomly chosen to be the key witness in the Senate Hearing to end the rape kit backlog. Can she find the strength to be the voice of hope for women globally? Inspired by a true story.
Jacqueline Elyse Rosenthal is a DGA Award-winning Director best known for her film BACKLOG (Winner, Cleveland International Film Festival - Oscar Qualifier, Cannes), a 2024 nominee for Best Drama Series by the Television Academy, and a writer whose Feature length script of the same name is in development as an official selection of Athena Film Festival's Writers Lab and a finalist for the Chinonye Chukwu Emerging Writer Award. Jacqueline, a recent Graduate of USC's Masters in Fine Arts in Film and Television Production (John Huston Scholar for Outstanding Directing), is gearing up for her next film, EUROPA, a sci-fi odyssey about humanity's relationship to the universe, that goes into production at Sony Studios this month. Repped by 3 Arts Entertainment.
Make sure you leave your words of congratulations for Jacqueline in the comments below!
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
“What happens when we go over time?” The room went quiet. The new sound operator repeated himself, “What happens when we go into overtime?” My crew smiled at me as I turned and replied, “We don’t.” I then continued answering and discussing other questions in the pre-pro meeting.
Let me preface this by saying this was not a studio film. This was an indie feature, titled Caralique, which I was the director/producer of. Crew averaging 30 people, cast 10 to 20. A 10-day shooting schedule. My past features have ranged from $30K to $600K, from 8 shoot days to 15 shoot days, from 15 to 35 crew, scripts from 70 to 100 pages, from 5 cast to 200 cast. Genres have been everything from inspirational, to horror, to rom-coms, to kids' films.
The main consistency has been that I’ve been director and producer on them all.
Photo by Angelica Reyn
My crew have for the most part remained the same, with changes occurring only due to a few members changing career paths over the years, or occasionally dates not working out.
Other than that, for every new project I call up the “film family”, tell them the dates and budget, they sign up, and then the pre-pro begins. That’s really the secret to how I’ve managed to direct 11 feature films over five years, my film family. Talented individuals who I’ve grown with, and who have grown with me. We have put in the work together to learn and elevate ourselves, making us a stronger team.
I only ever begin the process. Once the money is in the account, the team is immediately called and everything becomes a fun, collaboration. This allows us to build a trust. When I call, my film family does everything they can to make my project work, because they know what to expect. I plan around their needs, the who, what, and where, adjusting to make it work. I take the wheel of the ship and I begin navigating us from the beginning to the end of the process.
I consider running my set as if I'm the mother of the family. I want to make sure my family is fed, and watered, they’ve slept well, and are treated kindly. This is the top priority. They come first, followed by the film, and then myself. Safety, health, and mental welfare are the top priority for everyone. The first day on every one of my sets, my safety announcement always begins with “Remember people, we are not saving the world. We are just making a movie.” This translates to a fair salary that’s available in the budget, a fair 10 to 12-hour workday, and a 12-hour turnaround is necessary, in fact, it’s a must.
Once all logistics have been sorted for hiring, production simplicity is the key. Keep in mind I’m not trying to make a $50 million sci-fi film for $150K in a week. It’s not fair to make people begin with the impossible. Knowing the possible budget, a realistic fun project is chosen that will provide an enjoyable time for everyone. One that allows us all to elevate, earn, or both, is imperative.
Now, I’m not saying simplicity doesn’t cause any problems to arise during production. Yes, giving yourself and your team that proper pre-pro time helps sort out kinks, and yes, not giving yourself and your team unreasonable exceptions within real constraints such as budget, location, and time does make production easier. But as all projects do, we’ll have situations that occur on set, and issues that arise, but we deal with them, in a calm, organized manner. The dedication mixed with experience in my film family allows this to happen this way.
Photo by Angelica Reyn
Once I had a set designer come to me all worried, explaining that she couldn’t find the red button that was in the script for one of my scenes. I calmly said this was okay and “What have you got?” She said she had a blue one. I simply suggested that we change it in the scene. Just because it’s written in the script doesn’t always mean we can make the impossible happen in the moment. She was dumbfounded at the simple pivot. If we can’t do it, we alter it and fix it.
This is my philosophy for everything that takes place in pre-production, production, and post. We do the best we can, that’s all I can ask for myself and my team. I’ve been fortunate in all my work with producers that they trust my process and believe in my decisions. They help cover logistics and troubleshoot any problems that may or do occur. Every crew member working together as a cohesive unit enhances open communication and trust, making the project more enjoyable for everyone.
With my latest feature Caralique that wrapped in August 2021, I was working with a new Exec Producer who I had never worked with before. A mutual friend, who happened to be attached as a producer on the project, introduced us and that was it. I called up my film family and we got to work!
Being a new member coming into my film family and the environment I create on my sets, I felt that hearing a few words from that Exec Producer would help you visualize what it’s like being on one of my sets.
Photo by Angelica Reyn
DF: I was in Hallandale Beach, north of Miami, and came to write a screenplay. I determined after writing several screenplays about romance, comedy, and horror that I would write one just for children. I wanted to create a prodigy that would astound the fashion world with her talent. She would become the future of fashion. It took me some time to come up with her name but I wanted a French first name. While contemplating the theme it came to me that she would “Care a lick” about the poor and downtrodden; hence, I arrived at the name Caralique.
DF: Three words – “Elizabeth Blake-Thomas.” I was quite naïve in budgeting the movie. I wanted a blockbuster movie with all the bells and whistles for next to nothing. Elizabeth was perfect to make the movie with a realistic budget that achieved my expectations. She was extremely organized prior to and when filming occurred. We were averaging more than 8 pages of script filmed each day. Her tireless energy and her creative talents, along with the hard work and talents of our co-producer and fashion design expert, Lana Young, made this movie something quite special and, in the words of Elizabeth, “a fabulous, beautiful movie.”
DF: I have never been on a movie set before so I have little to compare it with, but I can safely say Elizabeth Blake-Thomas is a mighty fine Director. From the outset of when I first met her and she read the script the first time in early June 2021, she had a vision of each scene. She intuitively knew where I was going with the script and what our budget requirements were. During filming she extracted what she wanted from each scene, each syllable, and each actor. It was like an artist staring at a blank canvas posted on an easel and perceiving a finished painting. She is remarkable.
Photo by Abbie Georganna
DF: The team worked hard and diligently on every scene. I saw some of the work product on the monitors and it was quite impressive. Everyone did such a fine job to make this movie possible. I am so thankful for their efforts. I am anxious to see the finished product.
DF: It is not easy to make a movie. It is not just simply grabbing a camera, putting a person in front of and behind it, and shooting a scene. It takes immense planning with the budget in mind to get the most out of a film. This is where pre-production is so important. I can only equate this to my practice as a lawyer when I would spend so many hours getting ready for a trial that would greatly exceed the actual hours of trial time. The whole purpose is to make production (or the trial itself) flow effortlessly to the audience (or the jury).
Photo by Angelica Reyn
Each film offers me something new to learn. I also learn from other friends who are directors and look at their experiences. I make strong decisions on who I want to work with and what the film will look like. I look for red flags from producers even before we begin. If they talk about less than a 12-hour turnaround, regardless of being a union crew shoot or not, and I can sense their priority is not the crew, then I reconsider my choices. Without the crew I have nothing. So if I was to explain how I run my set, I’d use the words trust, respect, kindness, and compassion. If the people I work with lack those elements or don’t have trust in me, then I don’t work with them again.
When starting my next project, I live by this concept: Begin with a win. Why try to make something that’s already a loss?
If all of these get ticked with approval, then I can go ahead and make the film.
My actions speak louder than words. If you’ve not worked with me a second time, then there’s a reason. I walked away from a project that I was asked to produce. I initially brought my team in, but due to several issues, comments and bad behavior from the higher management, I pulled myself and my team. Life is too short to deal with that. Make decisions and go with your gut instinct. If there are issues at the beginning of a project, there will definitely be more issues over the next 6 to 8 months. Do you really want this in your life? On set, I enjoy working normal hours for normal periods of time. I don’t want to be tired or not fed well. I want to feel safe and happy, so why would I not want my crew to feel that?
When you run your sets with trust, respect, kindness, and compassion, you’ll form a solid film family in no time. And remember people, we are not saving the world. We are just making a movie.
Get even more great advice from Elizabeth on Running Efficient sets in this video!
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
One of the greatest things about being a writer is that there are so many tools out there designed to help us. The problem is, people don’t know they exist. When you’re a writer, you have to be a Jack (or Jill) of many trades and learn not just about writing, but about editing, and the business itself. It’s all part of honing our craft.
And while, at times, the task may seem daunting, I’ve discovered a lot of online resources that I’ve found to be invaluable.
This month, I wanted to take some time and share some of my research with you. Perhaps you’re hitting that point where your resolve about your New Year’s resolution is fading. Or perhaps you just need a little help getting organized, or finding the next step for your project.
Take a look at this list and I hope something here helps you.
And no, they didn’t ask me to lead off with them.
I joined Stage 32 in 2014. At the time, I was working on a web series and the show’s creator had discovered the site and suggested the entire team join. It seemed like a wonderful opportunity to network. As part of my degree involved social media, I was thrilled to discover that there was a social media site for creatives.
Granted, if you’re reading this post, chances are you’re aware of Stage 32 and the VAST amount of services it can offer a writer or anyone who wants to pursue a creative career.
For those of you who haven’t taken the time to explore this site, you really should. Even I have to admit I don’t take advantage of it as much as I should. You can find opportunities to pitch to people in the industry, get feedback for a script, potentially find a gig, and so much more.
If it weren’t for Stage 32, I would not be the screenwriter I am today. This site and its community have helped me grow as a writer.
I used this software first at a former job and after I left that company, I didn’t think of it for a while. A few weeks ago, I had one of my friends mention she created her writing schedule in Trello.
So what is Trello?
If you haven’t heard of the software, Trello is a tool where you can organize a team. For example, on my board with my writing schedule, my editor and I can update the status of a project and even store drafts of works in progress (and yes, all of my blog posts have cards on my board).
You have columns and columns have cards with more specific information. I have ones like: to outline, to edit, first draft, limbo (if I’ve sent something in and I’m waiting to hear back from a third party), ready to publish, and I have a card for upcoming projects that I’ll cycle into the other ones as I get closer to starting them. I feel the victory when I move something to the published category!
Confession time. I’m a bit scatterbrained and I have to work very hard to try and keep myself organized. And sometimes, I fail. But, I have Trello open in my browser at all times so I can keep an eye on that schedule and know when stuff is due.
On that note, Trello also has a calendar functionality. So if you’re working with a team, you can see when all the cards that are scheduled are due. That’s a feature I need to take advantage of more.
There are times when you are out and about and can’t access Photoshop. Or maybe, you don’t have Photoshop and have been looking for an alternative to help you design promotional graphics.
I was introduced to Canva while in college. I’ve used it a ton since then. It also has an app you can download so that you can design on the go (and save it right to your photos - or even upload it directly to social media).
There’s a free version and a paid version. Honestly, I’ve been great using the free version. There are some fun features in the pro version but for a writer who just wants social media graphics or other promotional materials, Canva is your best friend. Their tools help you get professional designs on the go.
It’s also easy to navigate and use so it’s great for people who aren’t design experts.
I’m bunching these together because they perform similar functions. If you can't afford Final Draft yet, there is also Celtx and WriterDuet, among others.
Some are available for free and have limitations in the free mode but it’s more than enough to get you going and to help you create ideas and let them go. Both also have online functionality that allows you to share the scripts and people can view them and even edit them without you having to print out pages or convert it to a PDF and send it over.
I guess it’s time for me to confess again. Coming up with character names is something I struggle with. Especially when it’s characters I’m really only using as a reference and they don’t have a lasting influence in a story.
I say that, but my mystery series character, Dr. Rosella Tassoni's name came from a name generator because I went fishing for something to speak to me.
These days, I have one of two go-to name generators. In fact, both are bookmarked in my browser.
I found this one completely by accident and I’m in love. It’s especially useful if you’re doing something in the sci-fi/fantasy genres but it has a lot of uses outside of that. It has names for towns, inns, businesses, and hundreds of other things.
This is one I go to for basic names but it also sometimes helps me flesh out a personality on the fly if I need enough depth to finish a scene.
I once had someone tell me that it’s worth giving every character in a script a name because it helps the actor feel a bit more connected to the production and the character, even if it's for one scene. To say nothing of the fact that it’s simply a better credit for them to have on their resume.
This is one I discovered recently and now I’m hooked. It’s a subscription-based writing program (think Microsoft Word but beefed up just for us, and our needs as working writers). Now, this one right now is just for novelists (though they hope to have a screenwriting side to it in the future).
It has a web version and a desktop application. You can go in and out of programs extremely quickly (without opening and closing documents). Like Scrivener, it allows you to throw your research into the “doc” along with your actual story. By saving to the cloud, it allows you to pick up from any computer (and tablets - the app for phones is expected later this year).
After I switched back to a PC, I missed some of the functionality Scrivener has on a Mac. When I discovered this, I found that I regain a lot of ease of use. Plus, when I get a new computer, I don’t have to worry about shifting a Scrivener document over (which is not the easiest process if you haven’t tried it).
I know it’s mostly screenwriters here at Stage 32, but I’ve seen a few novelists around or screenwriters who are thinking of making that jump. If you’re looking for a cheap, very useful software, Dabble may be the way to go. It’s a new program so seeing where it will end up will be an adventure.
One time on a project, someone wasted so much time and money on a fancy “productivity” software that we didn’t need. We could have used G Suite (Google’s apps that mimic Microsoft Office) for free and used that money somewhere else.
In a land where budgets can be virtually non-existent, utilizing free resources is a vital tool that filmmakers can and should use. I write my column for Stage 32 in Google Docs, the podcast I help produce works out of a Google Doc as well. It’s easy to keep track of things like submissions with their Google Sheets feature.
It gets better. On top of that, it is cloud-based and multiple people can be in a file at the same time working together. It’s so easy to get the team in the document and work together on something at the same time.
Work smarter, not harder, y’all.
There are a plethora of resources out there waiting for writers and filmmakers to take advantage of them. People have dedicated countless hours of their time to create them so that we can benefit. Sometimes, you have to find what works best for you through a bit of trial and era (luckily, most things have a free trial if they don’t have a free version).
Hopefully, you can benefit from my research and maybe there’s something here to help you get through either your current project or one down the road.
Happy writing!
Let's hear your thoughts in the comments below!
Got an idea for a post? Or have you collaborated with Stage 32 members to create a project? We'd love to hear about it. Email Emily at blog@stage32.com and let's get your post published!
Please help support your fellow Stage 32ers by sharing this on social. Check out the social media buttons at the top to share on Instagram @stage32 Twitter @stage32 Facebook @stage32 and LinkedIn @stage-32
First, congratulations to all of you who have already participated in our monthly Introduce Yourself Weekend! Thousands of connections have been made between entertainment creatives and professionals from around the globe. Whether you are a long-time member or brand new to Stage 32, take a moment to pop over to the Introduce Yourself Lounge and say hello before the end of the weekend.
First up, in this video from Letterboxd, Oscar winners Martin Scorsese and Leonardo DiCaprio give a look into the infamous director's "screenwriting room." During the production of Scoresese's films, he screens films that inspired his current project. Having worked on several productions together, the director and actor look back on years of cinematic references they've used, creating a list of movies that would excite any cinephile and show the importance of knowing your film history.
Next, in this video from FilmCourage, writer, author, and director Alan Watt talks about what he changed about his writing process that helped make him a 'success'. While many writers and gurus debate creativity vs. structure, Watt discusses the importance of both... but neither of them is what got him the career he was fighting for. To find success, Watt had to stop thinking about what would 'sell' and start thinking about writing the thing he'd be scared to show anyone.
As always, here at Stage 32, we love to share stories and knowledge with our fellow film fans. Know someone who would love this content? Share it with them! Tag them below! You can keep up with all of our content by subscribing to the Stage 32 YouTube. For more inspirational, educational, and motivational content on all things entertainment industry, follow me on Instagram and Twitter @rbwalksintoabar.
Wishing you a very happy, healthy, & creative Sunday.
Cheers,
RB
Letterboxd | In The Screening Room With Martin Scorsese And Leonardo DiCaprio
FilmCourage | I Wrote Stories For 10 Years. Here's What Changed Everything
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