Get guided through the process of bringing your own content from page to production to post to platform.
From Chaplin to the Duplass Brothers, the best way to kick off and sustain your acting career is to produce your own work. Don’t wait for the f*cking phone to ring or that special email to parachute into your inbox. Take control of your career and help break your own stereotype by producing your own content.
NOTE: you do not need to have a script written to join this class.
In the first class, you’ll talk about what you want to get out of your project. Your foot will constantly be on the pedal, so you’ll want to know exactly why you care about bringing your project to reality. Hone in on your goals and get the lowdown on the pros and cons of festivals.
Stephanie will guide you through breaking down a script in order to create a budget from it as well as creating a timeline for financing. Get tricks for how to work on a limited indie budget and tips on which tools to use for organizing production workflow.
Here’s where you’ll cover the massively important pre-production phase. Stephanie will show you what steps to take so that your project is strong and ready for the shoot dates. Learn what makes an effective logline and tagline. Find out what steps are needed to finance your project, and dive into the responsibilities (and fun!) of hiring your cast and crew.
Stephanie will also illuminate all those tricky things that can catch you off guard:
Come away with a clearer understanding of how pre-production should flow to set you up for successful filming days.
The class will focus on how to keep advancing your project forward through production. You’ll see how all the pre-production work is connected to the actual days of shooting. Stephanie will advise you on practical matters like
Post-production! Stephanie will walk the class through everything that’s involved in post workflow. Once you’ve got your footage, now what? Time to make decisions about music, licensing, color, sound design, and final delivery. Learn why hard drives are so important—how many you’ll need, and who will be in charge of them.
Stephanie will cover
You’ll also get a chance to ask questions, and you’ll leave the last class with a date to shoot your project. (!!!)
Want to take control of your career, or help break your own stereotype by producing your own content? Have an idea for a short film, sizzle, presentation, pilot, web series, music video, feature etc. and want to shoot it? If so, this class is designed just for you.
Any actor can join.
Since the class focus is on the nuts & bolts of producing your own work, you do not need to have a script written to join this class. You don’t even need to have an idea! (It will likely start coming to you anyway!) You can learn about producing your own work wherever you are at with your vision of becoming an actor-creator.
Learning about production will guide you into confidence to start writing, continue writing, finish a script, or just hustle into making it!
Stephanie will discuss the process of producing your own content from page to production to post to platform. Class will include:
At seventeen, Philadelphia native Stephanie Little moved to Los Angeles. She enrolled and spent several years studying at The Groundlings Theater and School. In conjunction with improv training, Stephanie attended private scene study with Howard Fine, Anthony Meindl, Lesley Kahn and a summer intensive program at The Royal Academy of Dramatic Art. While working commercially (Red Lobster, Chloraspetic, BMW, Oscar Mayer etc.) and in TV (The Neighbors, Law and Order, In Living Color etc.) she performed at the HBO workspace under the direction of Dan Fogelman (This Is Us, Cars, Danny Collins, Pitch etc). In 2008, a new set of opportunities brought Little to New York City, where she has studied with Anthony Abeson and Heidi Miami Marshall. Stephanie has written several features and her short film, stUck has screened at festivals including the New York International Film Festival, Brooklyn Short Film festival and Holly Shorts monthly screening series. The web-series she created and co-wrote, KILLING THE apologetic GIRL, circulated at festivals and won best pilot at the 2016 Dances With Films film festival in Los Angeles. In 2018, Stephanie finished filming the lead for two seasons in The Other F Word, an edgy dramatic comedy streaming on Amazon. She followed up with a supporting role with Melissa Leo in her film, Furlough and then as the wife of Christopher Stanley (Mad Men) in the Scott Adsit (30 Rock) directed digital series KICK starring James Pickens Jr. (Grey’s Anatomy) and Lucy Davis (The Office UK, Wonder Woman). Stephanie then produced another award winning project, the comedic short Someone You Know. She followed that up by writing and directing a second pilot, The Small which she shot in New York City. After several more festivals, Little produced the digital series, Other Plans with a cast which included Annette Benning, Tig Notaro, Gary Anthony Williams and Darlene Hunt. Two weeks after wrapping Other Plans, her third pilot, Coach Von Pidgeon was bought by Funny or Die as an original series where Little served as a show-runner, co-EP and director for eight episodes. Stephanie is currently in post-production for a short she shot starring Margaret Cho. In her downtime, she loves going to the batting cages and hanging out in her UWS neighborhood.
Stephanie is a powerhouse of talent and has a joyful passion for actors creating their own work…because she IS one. Her contagious enthusiasm and deep empathy creates confidence for any artist who is wondering if they can do it. She listens intently and gives amazing, sage advice. I know this to be true because she has guided ME on several projects that I have created.
As Mark Duplass so brilliantly points out in this SXSW speech, “The cavalry is NOT coming.”
What was a difficult challenge for you as an actor?
Figuring out my “type” but not allowing it to box me in…
What was a crazy or silly moment on set?
When acting alongside Oscar-winning Melissa Leo, and she told me not to listen to the director.
What is the most important quality or skill for an actor in the audition room?
To have fun.
What is the main thing you wish you knew then but that you only understand now?
To have fun. 🙂
What frustrates you as an actor in the current climate of filmmaking or of the business at large? How has this affected you directly?
How studios and networks toggle between trends for the sake of “optics” and not what’s best for the project.
What moment or experience as an artist do you feel most proud of?
Screen testing with Robert De Niro and holding my own with him.
Who do you really look up to in your field and why?
Any artist who really “puts the work in” (reading plays/scripts in their downtime, watching projects to grow/learn, keeping up with classes, writing or both etc.)…
We are all a WIP and have to continue to expand our creative horizons.
Why did you choose this class to teach?
I very much align with the “if your ship doesn’t come in, swim out to it”…mentality. While living in Los Angeles, I was in a dues paying film “co-op” group where each of the ten members paid $50 a month so after three months, we’d have $1,500. to shoot a short film (from a script one of us wrote)…it was this creative democracy and we would take turns in production roles – everything from holding the boom, to crafty to directing/producing. After our third film, we actually hired out and over the course of eight or so years, we shot about sixteen short films (thirteen/fourteen of which are unbearable but we GREW)…and soon went on to festivals etc. When I booked my first network role, the studio asked to see tape on me (ANY experience beyond my audition)…all I had were my clips from these self-produced projects and I was Ok’d by ABC. That’s just one of the upsides but this DIY filmmaking for actors is crucial so one can know how sets are run and the value of crew members and their contributions. It’s not easy but it’s opened my world and skillset exponentially and I’d love to share what I’ve learn these last few decades. Plus, it’s fucking fun and rewarding.
Full disclosure—please note that we do not guarantee that actors in these classes or workshops will be hired for any project that we might direct, produce, or cast. We do guarantee supportive honesty and open sharing of knowledge. We teach and coach because we enjoy supporting actors as they develop their process of working within the audition room. We seek to build their knowledge about the business of auditioning and creating your own work.