Stage 32’s Richard “RB” Botto On 5 Strategies For Successful Networking

… My overarching philosophy revolves around honesty, transparency, and authenticity. Understand and define your online brand. Especially in today’s world, your online persona carries weight, especially in our industry. For instance, if you’re consistently confrontational on social media, it can have consequences; I’ve witnessed people losing opportunities due to this. Your brand matters, and in an increasingly online world, people research you online. So, ensure your brand is aligned with who you are. This doesn’t mean you can’t express opinions, but choose your battles wisely. Constant combativeness can have repercussions that you might not even be aware of. It’s a great approach to navigating this landscape.

I had the pleasure to talk to Richard “RB” Botto. RB is the founder and CEO of Stage 32, the foremost entertainment industry social network and educational platform. Many influential people have lauded Stage 32 as the LinkedIn for the industry as well as the “World’s new film school” for Hollywood professionals. Stage 32 recently celebrated two significant milestones, amassing over 1 million members and over 3,000 hours of film and television industry education, by far the largest library in the world. Deeply invested in the welfare of the industry’s workforce, RB has been proactive in supporting professionals affected by the SAG/WGA strikes. He emphasizes the importance of continuous learning, networking, and skill enhancement, ensuring individuals are well-prepared and positioned for success once industry activities resume.

Yitzi: RB it’s a pleasure to reconnect with you. Before we delve deep, our readers would love to learn about your personal origin story. Could you share a bit about your childhood and upbringing?

Sure thing! I grew up in Brooklyn and spent a short while in Staten Island and Manhattan too. A true New Yorker, you know? My family was rooted in the pharmaceutical field — both my dad and brother were pharmacists involved in pharmaceutical advertising. But here’s the twist: I was all about the arts. Film, in particular, had my heart at a very young age, despite having no familial connection to it. I immersed myself in learning about it from when I was a kid, digesting all I could. Growing up in New York, pursuing a film career felt like something distant, not really something that happened to New Yorkers like me. My family, especially, didn’t see it that way. So, I got steered towards pharmacy school.

Interestingly, I always had a love for writing and such. I went to pharmacy school after working as an intern at 14 — yeah, I know, it was against the rules in New York, but who’s chasing me now, right? I knew the pharmacy game inside out. In high school, during my senior year, I even aced my brother’s fifth-year pharmacology test while en route to a Mets game — scored an 86! Everyone’s jaws dropped, and they were like, “You’re pharmacy-bound!” I might have ended up on that path, but as it often goes for people in this field, someone pushes you in a different direction, and becomes your champion. For me, it was this creative writing teacher at pharmacy school.

On day one, he walks in and lays it out — 25 years of teaching, only three A’s given. So, if you think you’re cruising, bail now. Most of the class bailed, like 90% of them, after the next class. Me? I stuck around. I wrote a few papers that he considered the best he’d seen in his 25 years there. He flat-out asked me, “Why the heck are you in pharmacy school?” I explained about my family’s pharmacy legacy, and he just tells me, “You need to chase your passion. What do you really want?” I’m like, “I want to be a filmmaker, dive into the film scene, and be a writer.” His response was a game-changer: “Go do it. And when you’re successful, buy your dad a pharmacy.” His confidence transformed everything. It was a pivotal moment.

Alright, quick rewind: entrepreneurship ran in my family. Post-college, I ran a couple of tech businesses. Then, I launched Razor magazine, a men’s magazine that took on heavyweights like GQ and Esquire. We consistently outsold them for about six or seven years. This stint opened doors, helping me build connections in the industry.

When Razor wrapped up, I shifted gears into producing and writing. But then came the dose of reality — I was known and respected for my magazine background, but the film industry was a whole different ball game. No one could see the jump from publishing and editing to producing and writing films. I had to earn my stripes, and honestly, I respect that. But that’s how I got my foot in the door. The first film I produced was Sam Levinson’s debut, “Another Happy Day,” which premiered at Sundance. That was the launch pad for my journey into the industry. From there, it’s been a non-stop ride.

Yitzi: You must have a wealth of captivating stories from your diverse career and interactions with fascinating people. It might be a challenge to narrow them down, but could you share perhaps one or two of the most interesting anecdotes from your journey?

One of my personal favorites involves my time running the magazine; it allowed me to connect with several individuals from the Sopranos cast. I formed friendships with the likes of Michael Imperiol and James Gandolfini. Sadly, we lost him later. Drea DeMateo and Steve Schirripa, who portrayed Bobby Bacala, also became close friends. Back then, we shared a publicist and spent a lot of time together.

When I relocated from New York to L.A., Steve, who had moved back and forth several times himself, became my guiding light. He emphasized the importance of understanding the industry’s nuances. During an L.A. event, he revealed to me, “You’re kind-hearted, but you’ve got to avoid being taken advantage of.” I told him that I was ready to learn. So, I proposed a plan: I’d accompany him on his flight back to New York and, for the next three weeks, I’d treat dinners for every New York-based actor, director, and producer. I sought their wisdom on navigating the entertainment landscape.

True to our agreement, we spent those weeks sharing meals and experiences. At the end of it, Steve asked me, “What have you learned?” My response encapsulated it: “In New York, if someone has a problem with you they confront you face-to-face, revealing the blade, claiming it’s not personal, and stab you in the chest. In L.A., they approach from behind, showering you with compliments, and then stab you in the back.” Granted, this was an extreme and broad way of putting it, but it clearly illustrated the lesson. His reply left an indelible mark: “Now you’re equipped to tackle L.A.” This seemingly straightforward insight became a crucial life lesson, offering insight into the harsh realities of the industry.

Indeed, it taught me that this field thrives on rejection and appeasement. It’s a realm where people often opt for pleasantries rather than direct criticism, perhaps to evade accountability or uncomfortable conversations about their dislike for your work. This realization hastened my understanding of how to navigate the complex world of entertainment. So that’s one great bar story I tell very often and share with people who I feel need it, you know, those who need to learn that lesson. I think a lot of people do. This is not an easy business to navigate. But understanding how to navigate gives you a competitive advantage. The more you understand how this industry operates, the gears of it, the better off you’re gonna be.

Yitzi: They say sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake you made when you were starting, either as an editor or when you started Stage 32? Could you share the lesson you learned from that?

This actually ties into the last answer. When I was starting as a writer, a well-known producer requested my work, and I was so excited. I mean, this was like, “Wow, this guy — this incredibly successful guy — wants to read me. An unknown”. This was a big deal and I was elated and terrified at the same time. I waited and waited and didn’t get a response. I started asking people, “How do I handle it? Email him every three weeks and all that,” and he would say, “I haven’t gotten to it yet.” Finally, one day he just wrote me and said, “Yeah, I did read it, but it’s not for me.” I was like, “Well, what the hell does that mean?” You know, I’m a New Yorker. We don’t deal in ambiguity. I mean, give me the response, right? Give me the details so I can learn. So I went to some friends, and they were like, “Ask him why and ask him to give you some reasons.” So I went back and I just said, “You know, I appreciate that. Could you give me something that might help me along the way?” And he’s like, “I’m just telling you it’s not for me.” I said, “I understand that.” We went back and forth like three times, him just very shortly and succinctly saying it’s not for me. Then finally, after the third time, he said, “Call me,” and gave me his number. So I called him, and he said, “Look, you seem like a really nice guy. Where are you from?” I said, “New York”. He said, “Ah, I get it. I’m gonna teach you a lesson about L.A. and this business. ‘Not for me’ in this industry means I probably liked it, but not enough to get involved in it. I don’t want to tell you why, because I don’t want to get into a conversation with you and fight you on various points.” I said to him, “How long have you been in this business?” He said, “Well, 30-something years.” I said, “When you were first starting out, would you tell somebody it wasn’t for them, or would you give them advice and help them out?” He said, “I would give them advice and help them out.” I said, “So what’s changed?” He was like, “Touche. Well, now you’ve changed my perspective on that too. Maybe I need to be a little more patient and a bit more understanding and remember that everybody has the best intentions at heart.” So I think we both learned a lesson. But it was kind of funny because, you know, I’m taking this guy to task, an Academy Award-nominated producer who had seen it all, and here’s this upstart kind of coming after him. But it was a really good lesson on both ends.

That’s the mission behind Stage 32, everyone is in this together. So, one thing we stress with the executives we work with at Stage 32 is that you’re going to encounter people you don’t know when you open that script or when you have a Zoom consultation with someone. Whether it’s their first script or they’ve achieved some level of success, you might be able to gauge a bit from the writing and the questions, but initially, you’re not going to know the creative’s journey. What we emphasize to all our executives is this: approach with empathy and an open mind. We strongly advise our executives not to dismiss projects with a simple “it’s not for me.” Instead, provide actionable advice — something they can take away. Our goal at Stage 32 is to create pathways where people usually see dead ends or obstacles. We want to clear those barriers and help them see the road ahead. These conversations greatly influenced the mission of Stage 32 even before its launch, because I had already had these experiences..

Yitzi: Can you tell us how it all began? How did the idea of Stage 32 come about? How did you bring it all together? When did this happen?

Well, the idea struck me back in 2009. Having previously run tech companies, I know that a broad-based idea, such as broad-based social media, usually finds its way into niche territories, like niche social media. And I believed we needed a film and television-based social media company and educational platform. I also knew it would be a massive undertaking. Honestly, I wasn’t eager to pursue it. I had the concept, but I was hesitant because I didn’t want it to overshadow my creative career?

But then, during the filming of “Another Happy Day” in Michigan, things changed. At the time, Michigan’s tax incentives were a big draw for filmmakers. We were shooting in a remote area with an incredible cast — Demi Moore, Ellen Barkin, Thomas Haden Church, Ezra Miller, Kate Bosworth, even George Kennedy in his final role. Our team was amazing, and on indie film sets like this, it’s like a summer camp; everyone hangs out together, even at 2 in the morning, chatting about everything from the shoot to the pool. It creates a feeling of long-lasting connection. However, when the Michigan incentives dried up, many from the film reached out to me, asking for help in LA. I realized that despite my willingness to recommend them, the industry’s tribal nature posed challenges. This was the driving force behind Stage 32 — connecting people, offering education, and providing access. That experience made me realize I had to launch this platform to offer a fair chance to people worldwide. And when I asked my industry creative and executive friends what they were getting out of Facebook, Twitter, LinkedIn and other broad-based platforms, the answer was almost always nothing. The platforms were too diluted and not focused strictly on entertainment. Everyone encouraged me to move forward and here we are, 1 million members and 3,000 hours of education later.

Yitzi: What’s the origin of the term “Stage 32”?

Oh, great question. Alright, so, I’m a big Orson Welles fan. Not just for his films, but the man, right? A lot of people don’t realize, time hasn’t been kind to Welles. He’s kind of seen these days as someone who was a tyrant, someone who couldn’t play the game, who fought back against the system. Some of those things are true, like fighting back against the system, but not in the way it is portrayed today. It’s very similar to what’s happening right now with the strikes, you know, the creatives are looking for what’s rightfully theirs, what they feel they deserve, including writing room minimums, residuals, and higher pay. Orson Welles just wanted a certain amount of creative control that he had with what they gave him with Citizen Kane, and then they took it away from him starting with his next film, The Magnificent Ambersons, which is insane. But the big thing was that a lot of people feel like he was sort of a dictator and a tyrant, and really the opposite is true. He was the ultimate collaborator. And in fact, if you read a bunch of these memoirs that are out there, especially from people who worked with him, you’ll see that he really, really wanted everyone to be involved. It was the exact opposite. And if you really look at Citizen Kane, what you see is that most of those actors in Citizen Kane came from his RKO radio shows. They had never acted on screen, but he believed enough in them to put them on screen. And of course, they were all fantastic.

So Welles was all about collaboration, and that’s what Stage 32 is all about as well. Citizen Kane was filmed on the old RKO lot on Stage 17, which today is Paramount Stage 32. So if you go to Paramount Stage 32 and you look by the front door of the stage, there’s a plaque which lists Citizen Kane as being filmed on that soundstage. And that’s where Stage 32 came from — in the spirit of true collaboration and finding your own tribe. So it’s a tribute to one the greatest minds the film industry has known and one of the true collaborators in the history of this medium.

Yitzi: How would you describe the distinct value proposition that Stage 32 offers to actors and creatives?

That’s a great question. The ability to connect with anyone in the world, the access to decision-makers, and the opportunity to learn from world-class educators who are currently active and in the trenches right now — these are things you won’t find elsewhere. It’s an open, welcoming, collaborative platform, giving you the freedom to utilize it as you wish. I like to say that you reap what you sow. If you put in the effort, you’ll establish meaningful connections and give yourself a competitive advantage. Then there’s the premium aspect through our education, development services, and other services we provide that allow you to invest in yourself and put you and your work in front of decision-makers. We take immense pride in creating an accessible gateway, enabling people to bypass the gatekeepers and gain insights from those currently immersed in the field. To me, that’s the epitome of value.”

Yitzi: With your unique perspective, you must have insights into what’s happening in Hollywood right now, particularly with the strike and all. Imagine you were the proverbial King of Hollywood. What changes are you pleased about that have occurred over the last five years? And if you could enact changes, what would you do going forward in the industry?

Certainly, paying everyone fairly is crucial. The ongoing fight for residuals and against AI exploitation are worthy causes. As for the industry itself, embracing democratization, leveling the playing field, and embracing globalization would be my focus. These trends are the way forward. They’re what make universal stories resonate across the world. We can observe this through the success of numerous foreign productions on streaming platforms — universal themes that are thriving. So, without a doubt, I wholeheartedly support the fight for the issues on the table.

Yitzi: This is our signature question. Your skill set involves bringing people together in an amazing network and helping them to network effectively. Could you share five tips for aspiring young creatives to successfully network, either digitally or in person? What are the key things one needs to do to network successfully, beyond just exchanging business cards or sending cold emails? How do you truly make successful connections?

1. That’s a great question. Really thought-provoking. What I would say isn’t just a tip, but it’s a crucial piece of advice. You have to ensure that your online persona aligns with your in-person persona. This is a significant blunder many make. In today’s world, everything happens online — we pitch, we hold meetings, we take interactive classes — the landscape has shifted entirely. Therefore, your online behavior must mirror your real-life interactions. That’s the very first thing. It’s more than just a tip; it’s a strategy for navigating the digital landscape and putting yourself in a position to be received and to win every day. Additionally, there are many introverts in our industry and specifically within Stage 32. We often hear from individuals who feel they don’t fit on social media or are grappling with impostor syndrome. I’m proud to say that we put a large emphasis on helping introverts succeed and feel comfortable within the platform. So, my first piece of advice is to ask questions. If you’re on Stage 32 and you have a receptive audience of people offering insights, don’t hesitate to engage and inquire.
2. Second, offer genuine compliments. People invest considerable effort in sharing their valuable content, whether it’s written or recorded. It’s surprising how many consumers benefit from this material without giving back. A simple thank you or an acknowledgment of the impact their content had on you can go a long way in establishing connections.
3. Another effective approach is sharing content. In our line of work, staying updated by reading industry news is imperative. Sharing content that resonates with you not only showcases your engagement but also sparks conversations.
4. The fourth suggestion involves highlighting individuals in the community who have influenced you. In a close-knit community like Stage 32, where everyone shares similar goals, connecting people is vital. Introducing someone who has impacted you and recommending others follow their work is a gift that strengthens relationships.
5. Lastly, we all have life and business experiences, including lessons from failures. Being transparent about both successes and setbacks humanizes your online presence. Many attempt to curate a perfect online image, but authenticity is what truly resonates. The most successful individuals on social media are those who are genuine, who share not only their triumphs but also the challenges they faced. Even when discussing success, those who truly understand what they’re doing delve into the lessons they learned during the journey.

My overarching philosophy revolves around honesty, transparency, and authenticity. Understand and define your online brand. Especially in today’s world, your online persona carries weight, especially in our industry. For instance, if you’re consistently confrontational on social media, it can have consequences; I’ve witnessed people losing opportunities due to this. Your brand matters, and in an increasingly online world, people research you online. So, ensure your brand is aligned with who you are. This doesn’t mean you can’t express opinions, but choose your battles wisely. Constant combativeness can have repercussions that you might not even be aware of. It’s a great approach to navigating this landscape.

Yitzi: Given your impactful work and the platform you’ve built, you hold significant influence, and countless individuals value your insights. If you could ignite an idea or catalyze a movement that would maximize goodness for the greatest number of people, what concept would you choose to champion? The potential of your idea to inspire is limitless.

That’s yet another fantastic question. I’d sincerely hope that Stage 32 aligns with that purpose because, in my eyes, Stage 32 embodies a movement. It stands as both a mission and a movement, unwavering since its inception. The entire team embodies this ethos, evident in our interactions and how we collectively tackle challenges on the platform. As I mentioned earlier, empathy underpins everything we do. So, if I were to impart one idea to all, particularly within this industry and beyond, it would be the belief that you absolutely can achieve your aspirations. It’s within your grasp. However, it necessitates dedication, a continuous pursuit of knowledge and self-improvement, and a substantial dose of discipline.

Observing successful individuals, you’ll notice common threads in their character, alongside other progressive and replicable traits. They engage in consistent rituals, both in the morning and evening. Of course, I don’t mean to imply one should rigidly follow every self-help book. Rather, the core idea is to identify what resonates with you and transform it into a repeatable practice. Make a commitment, persevere through challenges, and comprehend that progress occurs incrementally. While the phrase “1% better every day” may sound clichéd, it encapsulates the essence. When you retire for the night, can you affirm that you’ve strived for your goals or at least given your best effort? And then, rise the next day, emboldened to continue. This philosophy propels you forward, making anything achievable.

The paramount aspect I’d emphasize is that by embracing these principles, you gain a considerable edge over 99% of individuals pursuing similar paths. Regrettably, many fall short in these pursuits. Thus, the concept I’d propagate rests on these principles, encapsulating the potential for tremendous growth.

Yitzi: How can our readers keep up with your work online? How might they go about signing up for Stage 32? How can they continue to show their support for your efforts?

Certainly. To connect with me on Stage 32, simply visit stage32.com. You’ll receive an automated welcome message from me, and while the welcome message is automated, please know that all other interactions are directly from me. So, if you happen to come across my presence anywhere on the platform, rest assured it’s me personally engaging. Over the past 12 years, I’ve contributed to an extensive number of discussions on Stage 32 — totaling around 1.7 million posts. That’s my genuine input you’re seeing.

For other social media platforms, you can find me on Twitter and Instagram with the handle @RBWalksIntoABar. It’s a memorable and fitting handle. And speaking of branding, it’s a little piece of my personal brand.

On LinkedIn, you can locate me under my full name.

Yitzi: It’s so nice to meet you, my friend, and I wish you only continued success and blessings. I’m excited to share your story and this interview with the world.

Same to you, my friend. I’m grateful for the time and the interest and grateful for you.