Professional Documents
Culture Documents
By accepting a copy of this Business Plan, the recipient hereby agrees, among other things, to keep the
information contained herein and the existence of this Business Plan confidential and to restrict the use of
any information contained herein to those people within the recipient’s organization or its designated
representatives who have been informed of the confidential nature of such information and who need to
have such information in connection with the organization’s evaluation of Melpomene Pictures.
This Business Plan has been prepared by Melpomene Pictures on the basis of internally prepared
information, as well as information from public and private sources, including trade and statistical sources
commonly used in the industry. The Business Plan does not purport to contain all of the information that
may be required to evaluate all of the factors that would be relevant to a recipient in considering a
transaction with Melpomene Pictures. The Company makes no warranty or representation, express or
implied, as to the accuracy or completeness of either the material contained herein or any other written or
oral information provided by the Company to recipient, and no liability shall attach thereto.
Nothing contained in this Business Plan is, or should be relied on as, a promise or representation as to the
future performance of the company, its business sector, the state of public or private capital markets or the
economy in general. The projected financial information contained herein was prepared expressly for use
herein and is based upon the stated assumptions and the company’s analysis of information available at the
time that this Business Plan was prepared. There is no representation, warranty or other assurance that any
of the projections set forth herein will be realized. This Business Plan does not purport to contain all of the
information that may be required to evaluate Melpomene Pictures or its assign(s) and any recipient hereof
should conduct its own independent investigation and analysis of the business described herein; moreover
its recommended that any recipient should conduct its investigation with the assistance of their professional
advisors.
TABLE OF CONTENTS
1
An Overview……………………………………………………………......3
Strategic Plan Outline……………......…………………………………….4
Distribution
The Buyer…………………………………………………………………....8
Income Projections
Direct to Consumer Sales: Internet Sales of DVD’s
Direct to Consumer Sales: Pay-Per-View Internet
Direct to Consumer Sales: Pay-Per- View On-Demand
TV……………8
Video Store Chains: A Small Snapshot of a Larger
Picture…………....9
The Larger Picture: Worldwide Ancillary Markets
Direct to Consumer Sales: Selling from Magazine Advertisements
Added Profit Potential
Longevity of Product………………………………………………………11
Achieving Cult Film Status
Overnight Stars
Current Stars
The Power of the
Internet………………………………………………….12
The Production Phase
Scripts
Quality of the Movies We Will Produce
Marketing & Publicity
Sales Advantages
Marketing Artwork
Cross Promotions
Film Festivals ………………………………………………………..13
Theatrical Exhibition………………………………………………………14
Schedule of Events
Strategy and Long Term
Goal……………………………………………..15
5 Year
Outline…………………………………………………………….....16
Quick Recap
Distribution of Revenues &
Equity………………………………………..18
Overview of Start Up Expenses……………………………………………
19
Who is Melpomene
Pictures……………………………………………….20
Project
Synopses…………………………………………………………….21
Crew
Resumes................................................................................................2
2
7
MELPOMENE PICTURES
An Overview
3
However, with all of our success, talent, and hard work, we are still
playing in the minor leagues. It is very
difficult for a film shot for under 250k to
become a massive hit for one reason:
star power. Name actors drive the
budget of a film up in several ways:
their personal fee, which can be
exorbitant, as well as forcing the film to
become a signatory of the Screen
Actor's Guild and providing the "perks"
the Guild requires (trailers, hot meals,
etc). However, having name actors in
your film guarantees sales, especially to
foreign markets. Actors as diverse in
scope from Cuba Gooding, Jr to Jean
Claude Van Damme routinely earn their
films as much as 500% profit from
name recognition alone.
This is the ceiling that we have currently hit. As we grow and excel as
filmmakers and storytellers, we still do not have the funding to make a
film with name actors. Were we able to break through that and into a
budget range that allowed us to cast internationally recognizable stars,
then we could build on our growing fan base and break into markets
that have so far been closed off to us. In doing so, we would create
products with the potential of massive success both critically and
financially.
Company Goals
We are in business to produce and sell feature films based on specific
budgets ranging from $500,000.00 to $10,000,000.00 (U.S) in order to
minimize downside risk and maximize cost-to-profit ratios. Our strategy
is to capitalize on profitable ancillary markets such as DVD, TV, Cable,
satellite, internet, VOD (video on demand) and Video Streaming
(internet, cell phones, etc) where distribution avenues are virtually
unlimited in addition to traditional theatrical release. We intend to
utilize this “well oiled machine” as a platform to develop and create
“festival” quality films with “break out” potential.
4
STRATEGIC PLAN OUTLINE
There are very few legal investments that can experience such
5
phenomenal, immediate, and record setting revenues as the low
budget film. Consider PARANORMAL ACTIVITY, a movie shot entirely on
a home video camera with a reported shooting budget of $15,000 and
a return of over 6,000 times its investment just in the U.S alone. This is
an extreme example of a “break-out” film and should not be
considered the norm; however it makes a clear statement of the power
of its genre and, in this case, the power of the internet and word of
mouth.
It is actually the territories outside the U.S. that make up the majority
of a film’s revenue. Foreign countries buy large amounts of genre
movies because there are far fewer cultural norms to be translated.
This makes it more attractive to foreign buyers and easier for the
audience to follow the story without having to read subtitles.
COST-TO-REVENUE RESULTS
A case in point is the movie CABIN FEVER, released in the U.S. in the
fall of 2003. According to Moviemaker Magazine, Aug. 2003, the
filmmaker originally reported that his film was made for “about” $1
million. It sold for $3.5 million for U.S. theatrical rights. The film
grossed $21.2 million in the U.S. After it sold, the filmmaker reported
that it was produced for “much less than a million.” A popular estimate
is that the film was produced for under $300,000. It’s all about
perceived value.
6
The list on the following page demonstrates that low budget movies
can generate extremely high profits.
The reported budgets indicated on the list above may be inflated or understated by
studios as boasting or accounting tax shelters and therefore should only be viewed
as comparisons, all things being equal. Sources: Billboard Magazine, the-
numbers.com, crikey.com, boxofficemojo.com, Variety, The Hollywood Reporter and
The IMDb Pro.
The list below however points out that major studio pictures with much
higher budgets earn far less revenues for the investor. Note that the
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revenues are even lower considering that these are worldwide cost-to-
earnings ratios instead of the U.S earnings as in the chart above.
DISTRIBUTION
The Buyers
Most movies have hundreds and hundreds of buyers/distributors they
can sell to at the same time. There are over 144 countries and
numerous territories within these countries that license new movies
every year. They include DVD rental stores, retailers, Internet
streaming, satellite TV, closed-circuit TV, pay-per-view, cable TV,
closed-circuit in-room hotel TV, and VOD to name a few.
The downside risk is protected by the fact that there are so many
markets to sell to in so many different countries. Sales figures can
range as high $1,000,000 or as low as $3,000 for each country outside
the U.S buying a single low budget movie without star attachments.
With star attachments, these sales can reach as much as $5,000,000
for a non-studio backed film.
8
INCOME PROJECTIONS
9
ITV Marketer, an aggregator of interactive TV research statistics, found
that the total number of digital subscribers in the U.S. exceeded 33.7
million households by the end of 2003 alone. Current subscription
status in the US is 62.8 million.
Further they state that at the end of the first quarter there were 10.5
million digital cable subscribers and 15.5 million digital broadcast
satellite (DBS) subscribers. The combined run rate of programming for
the top cable and satellite companies was close to 200,000 per week.
The average license fee paid by larger DVD chains ranges from $4.00
to $15.00 per title with an average per title purchase of 5,000 units.
We have listed several of our buyers and the rates they currently pay
for indie titles:
***Denotes a rev share. The average per unit amount is based on rev share
projections over a six month period.
10
THE LARGER PICTURE
Longevity of Product
Profits of a movie can be generated for a substantial period of time.
11
The Hollywood Reporter noted that, of 253 low budget independently
produced B-pictures, their 10 year gross revenues generated about $9
million for each film.
Overnight Stars
One of the other factors unique to investments in the entertainment
industry is that unknown actors can and do get cast in other movies
that take off and thus they become overnight sensations. All of a
sudden, a film of unknown actors now has a star that can rocket sales
from curious audiences wanting to see what that celebrity has done in
the past.
In the 1980’s, there was a film produced titled TEEN WOLF featuring an
unknown actor in the lead. The small distributor decided to delay the
releasing of the film because of the success they anticipated of
another film that was going to be released by a major studio featuring
the same lead actor. Sure enough, their gamble was correct. Their lead
actor was then unknown Michael J. Fox starring in BACK TO THE
FUTURE.
12
Current Stars
While utilizing the above, we will also take into account established
actors and the power they have to push sales. This is only feasible on
the higher end of most of our productions as the cost for bringing on
name actors does raise the budget of a film, but this is worthwhile.
Established actors come with built in audiences and lend the film
prestige in the public's eye, especially when marketed against films
without such stars. There are also actors that have become particularly
valuable to foreign distributors even after their star has waned in the
US. Steven Segal, for instance, generates mild revenues domestically
but still draws in tens of millions of dollars abroad.
Scripts
We have a number of excellent scripts that are perfectly suited to be
produced within our budget requirements. They each have excellent
characters, structure, and a good amount of thrills necessary to stand
out in the marketplace. There is an ample supply of new scripts
generally available to producers every year should our need reach
beyond the in-house scripts already completed.
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best films coming out of Hollywood. Some of them are trying to jump
to the next higher position.
Marketing Artwork
A critical factor in the successful marketing of our finished movie will
be creating memorable movie poster key art. Our graphic designers
are thoroughly experienced in this area.
Cross Promotions
We will be including movie trailers at the beginning of our films as
commercial advertisements for our other films. Through this practice
we will build audience recognition and maximize public exposure.
Film Festivals
Getting a buzz going about a movie can also be achieved by entering
movies in film festivals. This buzz can create a bidding “war” among
distribution attendees. While film festivals are not necessary for our
distribution to succeed, they are an added advantage when it comes to
free publicity and can have the effect of greatly increasing our
distribution and revenues.
Theatrical Exhibition
While it is not our goal to produce solely for theatrical release, there
are sometimes great benefits in renting a theater and driving in
audiences for a few weekends. This is usually known as 4-Walling.
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create a buzz. If this can be done a few times over a weekend or two, it
can attract a distribution offer without ever approaching a distributor.
Distribution companies keep track of all box office sales numbers
regardless of whose picture it is and who put it on the screen. If one
picture does well on a small screen somewhere, the distribution
company makes an assumption, a projection that the same film will do
well on a larger number of screens and thus “picks it up”.
This strategy worked very well for first time producer Hecktor Barron
making a little film called LLOYD 1998. He selected a few theaters in
San Jose and began showing the film. Sure enough, one of the studios
recognized that there was an audience for the movie, bought it and
turned around selling it to HBO who ran it on and off for 3 years.
This is often a common practice of the studios with their own small
pictures. Fearful of taking a risk on spending millions for advertising,
they will “platform” a picture in one or two theaters in a given city. If it
is good, audiences recommend it to their friends and thus word-of-
mouth self perpetuates an increasing audience. Local newspaper, radio
and movie critics often also comment, helping to create free
advertising. This is similar to the marketing buzz generated by
PARANORMAL ACTIVITY by opening in a handful of cities only and thus
creating a demand for a wider release.
SCHEDULE OF EVENTS
15
Once complete funding is established and secured, we will initiate the
following steps:
* This process begins immediately upon locking the film and creating
solicitation screeners. It is during this time we begin to receive Purchase
Orders from the various buyers.
INDIVIDUAL PROJECTS
Investments can be made on a per film basis. We have shown how the
potential revenue streams for a single film can be quite large. As in
any industry, a single film carries a larger risk than investing in the
company as a whole. However, some films in our slate can be
produced for as little as $500,000, thus providing the potential of a
large return for smaller investments. These budgetary requirements
vary from project to project.
MELPOMENE PICTURES
Our plan for the company is as follows:
16
STAGE 1
Year 1
With a seed investment of $3 million, we lay the foundation and build
the engine that will drive our business. We will enter the marketplace
producing quality and marketable content. In the first year we will
develop and produce 2-3 films ranging from the $500,000.00 to
$1,000,000.00 range to maximize profitability. By the end of the first
year, our sales associates will begin soliciting two of the titles, which
will have been completed in their entirety.
Year 2
By the beginning of year two, the revenue stream will begin. Once this
process begins and we have established ourselves as a serious player
in the market, the engine will continue to turn without much effort.
This “basic formula” will keep the company in constant production with
an endless domestic DVD revenue stream while at the same creating a
library of films for foreign markets. Once we enter Year 2, “the
machine” will be in full operation and we will have produced as many
as six films. Three of these will already be generating a revenue
stream, the fourth will be in the solicitation process with an additional
two in some form of production by the end of year two.
Year 3
Upon entering Year 3, we will begin to acquire, develop, and produce a
minimum of two scripts with what we call “break-out” potential. These
projects will be directed toward film festival markets and theatrical
releases. The budgets will range from $1,000,000.00 to
$10,000,000.00. These films will fall into a similar pattern as far as
production value; however, the intention is to focus these projects for
festivals such as Sundance, Cannes, Tribeca, etc. with the hope of a
distribution purchase and/or limited theatrical release and is the
beginning of Stage 2.
STAGE 2
It is at this stage that we will establish the company as a serious player
in the industry all the while generating constant revenue from our
genre format. The advantage to this is that we are able to keep costs
low, so in the event a distribution deal is not secured we are able to
utilize our direct to video outlets as a means of recouping expenses.
Year 4
Providing revenue streams are strong, and Investor relations even
17
stronger, acquisitions is the next logical step. Direct to Video
distributors usually receive 35% but can command as much as 50%
after expenses when acquiring a film. This may seem high; however,
there are literally thousands of individuals and production companies
producing films. Many of these “producers” have no outlet for
distribution. We will be able to provide this outlet. By attending the
countless festivals and conventions and various markets such as AFM
and Milan, it is possible to acquire quality genre films at low or no out
of pocket cost to us.
Year 5
Going into the fifth year, Melpomene Pictures will have made a name
for itself and made its presence known on the international market,
developing a reputation for producing quality films that turn a profit.
A QUICK RECAP
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•Establish initial production entity, producing three to five lower
budget pictures per year.
•Develop and produce two “break-out” festival driven films per year.
2.All future profits will be paid out on a quarterly basis for the first
two years of the first revenues generated and thereafter on a
yearly basis.
Salaried Personnel
19
Office Space/Set Up
•Offices ($30K)
•Supplies ($8K)
Includes all office supplies for year
Production Slate
2 - 3 Films ($1.5M)
This amount is for 2-3 films. The budgets will vary from $500,000.00 to
$1,000,000.00.
***This amount leads us into year two with a revenue stream already
in place.
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From a creative standpoint, Hodson is an award winning fiction author.
He has co-written the cult sensation GEORGE’S INTERVENTION, and
wrote the feature film SECRET BIRTHDAY, currently in development
and slated to star Paul Walker (THE FAST AND THE FURIOUS) and Jon
Huertas (ABC’s CASTLE). He has also written and directed several
award winning short films, gaining an invaluable insight into virtually
all aspects of a film’s production.
The IMDB page for MICHELLE TOMLINSON lists over twenty credits to
her name. With her experience in all aspects of filmmaking, both in
front of and behind the camera, Tomlinson has developed a keen
sense for the ins and outs of film production. Her eye for the minutest
details in the production process has been honed working with such
respected directors as Kevin Tenney, and her sense for the unique
marketing needs associated with the film industry has been sharpened
through her internet chat show as well as her web series and countless
appearances at film festivals and conventions.
CURRENT PROJECTS
Below are the current projects we own and would initially consider for
development. They are presented in a tentative schedule as to when
they would be produced within the timeline of our initial business
proposal.
An estimated budget and genre is given for each project and a quick
synopsis follows.
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YEAR 1
VANDEZ ($500k)
Comedy / Action
Vandez is a slick hustler and ladies man. When he finds out his
absentee father died in the South, he heads down to collect some
money the man left in a safety deposit box. But his first day there he
gets involved with the wife of a local meth dealer, finds out he has a
brother he never knew about, and has to evade an angry husband
who’s followed him from New Jersey. All he wants is to get his money
and get out of town, but everyone keeps kicking his ass. A comedy in
the style of “Napoleon Dynamite,” “Raising Arizona,” and “Pineapple
Express.”
YEAR 2
AWAKEN ($500k)
Action / Thriller
Flyers for a local political race begin setting off normal citizens in a
sleepy American town and provoking them into acts of violence. As
things escalate it becomes evident that the town was a Cold War- era
22
test site for government experiments into mind control and the locals
are sleeper agents. Why are they being activated now? And why are
they killing one another? Can the mystery be solved before the entire
town is destroyed?
WHISPERS ($500k)
Horror
Stark’s wife passed away in childbirth. Ever since then he has been
plagued by whispers. The dead speak to him and they ask him to do
things for them. Only what they ask is getting too horrible to
comprehend. Do these whispers have something to do with the serial
killer stalking the streets? Or is Stark losing his mind?
23
YEAR 3
IN MORTIS ($500k)
Horror / Action
DAWN OF THE DEAD meets 300 and GLADIATOR. A group of Roman
soldiers are sent to bring provisions through enemy territory to a
Roman fort. They arrive to find the fort deserted but locked from the
inside. They make their way inside and begin to unravel the mystery of
the disappearance but, when night falls, armies of dead Gauls throw
themselves at the gate and something inside starts picking the
legionaries off one by one.
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Dr. Walcott has recently taken over at the Mesnik Psychiatric Hospital
after the previous doctor slit his own throat one night. Dr. Walcott gets
to know the patients and all their strange quirks, including the
nameless patient in room 312. A rash of suicides among the staff and
patients slowly points the finger at this odd patient and Dr. Walcott
learns the horrible truth behind his particular brand of mental illness:
it’s contagious.
YEAR 4
N’AWLINS ($500k)
Horror
An anthology film comprised of short horror films by directors Brad C.
Hodson, JT Seaton, and Alex Justinger. All the stories interweave with
one another and revolve around the legends and myths of New Orleans
and the South. Robert Johnson selling his soul at the crossroads, the
Voodoo Queen Marie Laveau, and a host of other tales make an
appearance.
DARLING ($500k)
Horror
Based on the novel by Brad C. Hodson. Dennis and Mike are both
dealing with Allison’s suicide when they move into Raynham Place. But
25
the apartment has a checkered past that neither of them could have
realized. The thing that sleeps beneath Raynham is waking and as it
thrashes in its sleep the walls between this world and the next come
crashing down. The dead walk the halls, shadows peel themselves
from corners, and things whisper to children from inside closets. Can
Mike and Dennis find how to stop this before they lose their minds?
YEAR 5
26
NINE DAYS ($1 mil)
Thriller
Chris Perkins has the perfect life... at least, until he wakes up in alley
having no memory of the last nine days. His girlfriend suddenly hates
him, he's lost his job, and, worst of all, his son is missing. Chris has to
play detective, piecing together where he's been and what's he's done
over the last nine days all while trying to find out who or what was
behind the mysterious bout of amnesia and the wreck that his life has
become.
27
CREW RESUMES
We have developed relationships with several talented and
experienced people who will helm the various upper level positions
needed to make a successful feature film. Each person considered
below is a multiple award winner with an impressive resume of quality
films under their belts. In addition, each of them can work fast and
efficiently, thus bringing down costs on the film.
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Producer
205-422-3543 (cell)
14437 Benefit St. Apt 6
Sherman Oaks, CA 91423
www.bradchodson.com
bradchodson@hotmail.com
______________________________________________________________________________________
SELECTED FILM WORK
29
LEGION (based on the novel by William Peter Blatty)
A YEAR WITHOUT A SUMMER
COMA
HAPPY NOWHERE SKETCH COMEDY
SELECTED LITERATURE
DARLING, an original novel, Bad Moon Books 2011
“Il Donnaiolo,” Werewolves and Shapeshifters, Black Dog &
Levanthal Aug 2010
"His Only Company, the Walls," Voices, Morrigan Books Sept
2008
"In The Halls of Elsinore," The Harrow Magazine, Harrow Press
July 2007
"Where the Carrion Gods Dance," Dred Magazine, Dred
Publications May 2007
"The Perfect Jackson," Home and Away, Not One of Us
Magazine March 2007
"Picked Last," Midnight Lullabies, Harrow Press Oct 2006
30
Festival
- #3 MOST INTERESTING PEOPLE UNDER THIRTY (2004), Birmingham
Magazine
- BEST LIVE SHOW (2004) for “Happy Nowhere Sketch Comedy,”
Birmingham Magazine
- BEST COMEDY SHOW (2004) for “Happy Nowhere Sketch Comedy,”
Birmingham Weekly
- BEST LIVE SHOW (2003) “Happy Nowhere Sketch Comedy,”
Birmingham Magazine
- BEST COMEDY SHOW (2003) for “Happy Nowhere Sketch Comedy,”
Birmingham Weekly
- #4 MOST INTERESTING PEOPLE UNDER THIRTY (2003), Birmingham
Magazine
31
Michelle Tomlinson
Production Resume
323.793.2042
themightymct@gmail.com
http://www.michelletomlinson.net
32
Deadlines for Shipping out Audition Material.
Banner Gwin
Banner.gwin@me.com
865.548.4467
416 S. Venice Blvd.
Venice, CA 90291
FEATURE FILM EDITORIAL___________________
OTHER________
Sydney Pollack Personal Assistant/Editor
Mirage Enterprises, CA
33
KIMBERLY AMATO
Production Resume
516.633.0170
kimberlyamato@gmail.com
http://www.kimberlyamato.com
Objective: Continue to create entertaining, innovative and lucrative Films
that cross several genres.
Education: John J. College of Criminal Justice, M.A. Forensic Psychology
Hofstra University, B.A. Psychology
Professional Experience:
Little Crown Productions
2009-Present
Freelance
2006-2009
34
Matthew Zettell
Director/Producer
DGA*
(Union & Non Union Projects - * Financial Core *)
(818) 681-0527 (cell)
e-mail: mzettell@gmail.com
www.mattzettell.com
35
EX. Prod: Mike Lynn, Lisa O’Neil
Director 2nd Unit/ 1st Assistant Director, HEAVANS FALL (Feature) Strata
Productions
Prod: Wade Danielson Dir: Terry Green
Cast: Timothy Hutton, David Strathairn, Bill Smitrovich, Leelee Sobieski
Director 2nd Unit/ 1st Assistant Director, THE BANK ROBBERY (Feature: HD
24p)
Sunwest Films Prod: Fabiana Cesa Dir: Gary McAuley
1st Assistant Director, THE KEY MAN (Feature: 35mm) Occupant Films
Cast: Hugo Weaving, Jack Davenport, Judi Greer, Brain Cox
1st Assistant Director, NICK @ NITE/ TV LAND (Promo) C2 Creative
36
1st Assistant Director, MONSTER MAN (Feature) Dream Entertainment
2nd Unit DP
Crazy Girls Undercover: 2nd Unit Dir. Rod Hardy
AWARDS & FESTIVALS for IN THE NAME OF THE SON, AFI thesis film
ASC Heritage Award, best cinematography – nomination, 2008
Winner USA film festival, best short narrative (Qualifies for the Academy of Motion Picture)
Official selection Cannes film festival, short film corner
Official selection Telluride Film Festival
Offical selection Santa Barbara International film festival
Offical selection Shanghai International film festival
37
Winner best student short film Cleveland International film festival
AMERICAN FILM INSTITUTE – BRIDGES / LARSON FOUNDATION AWARD
AFI - RICHARD P. ROGERS SPIRIT OF EXCELLENCE AWARD
EDUCATION
Masters degree: Cinematography. American Film Institute (AFI), Los Angeles, California 2007
Bachelor degree: Visual Media. American University (AU), Washington, D.C 2002
Diploma in Film Production. Prague Film School (FAMU), Prague, Czech Republic 2001
Tyler A. Earring
Editor / Assistant Editor
818.736.5053 (Home), 816.804.3013 (Cell), TylerEarring@gmail.com
Film/TV Experience
GEORGE’S INTERVENTION: Editor
DIR: J.T. Seaton; PROD: Brad Hodson
93 Minute Comedy/Horror - Cat Scare Films
Shot on XDCam and Finished HD
Edited on Final Cut Pro
11 WEEKS: Editor
29 Minute Drama – USC Thesis Film
Shot on 35mm and Finished on 35mm
Edited in PAL on Avid Media Composer
Shot in Hindi and Subtitled in English
38
Edited on Avid Symphony
Television/Promos/EPKs/Tributes
39
40
Tom Devlin [Special Makeup FX Artist]
1313FX
3080 W Valley Blvd.
Alhambra, CA 91803
(818)441-3797 [email: tom@1313fx.com]
41
Special Makeup Effects Lab Work [Lucky Cucumber LLC, Dir: Sam Maccarone, Prod: Preston
Lacy]
PLEDGE OF ALLEGIANCE
Key Special Makeup Effects [Cerebral Experiment, Dir: Eric Forsberg, Prod: Steven Hirsch]
GHOULDE CREEK
Key Special Makeup Effects [Breakout Entertainment, Dir: Lola Wallace, Prod: Sherri Strain]
EDGES OF DARKNESS
Key Special Makeup Effects [Zapruter Productions, Dir: Jason Horton, Prod: Stephen Kayo]
BLACK OPS
Key Special Makeup Effects [Rebel Film, Dir: Roel Reine, Prod: Ethan Wiley]
SUPERCROC
Special Makeup Effects Supervisor [The Asylum, Dir: Scott Harper, Prod: David Latt, David
Rimawi]
THE HITCHHIKER
Special Makeup Effects Supervisor [The Asylum, Dir: Leigh Scott, Prod: David Latt, David
Rimawi]
RAZOR
Special Makeup Effects Artist [Blue VooDoo, Dir: James Lay, Prod: Kenny Saylors]
FREAKSHOW
Key Special Makeup Effects [The Asylum, Dir: Drew Bell, Prod: David Latt, David Rimawi,
Sherri Strain]
CHICAGO MASSACRE: RICHARD SPECK
Special Makeup Effects Artist [Barnholtz Entertainment, Dir/Prod: Mike Feifer]
HALLOWEEN NIGHT
Special Makeup Effects Supervisor [The Asylum, Dir: Mark Atkins, Prod: David Latt, David
Rimawi,
Sherri Strain]
THE DEVIL’S DEN
Special Makeup Effects Artist [IDT Entertainment, Dir: Jeff Burr, Prod: Mitch Gould]
ED GEIN: BUTCHER OF PLAINFIELD
Key Special Makeup Effects [Barnholtz Entertainment, Dir/Prod: Mike Feifer]
THE SEASON
Key Special Makeup Effects [Vigilance Films, Dir/Prod: Adam Brooks]
LEGEND OF THE SANDSQUATCH
Key Special Makeup Effects [Waltzing Devil Productions, Dir: Lola Wallace]
BUTCHER HOUSE
Key Special Makeup Effects [Fat Kid Films, Dir: Chris Hutson, Prod: Marc Porterfield]
DEVIL GIRL
Prosthetics Designer [Monkey Man Films, Dir: Howie Askins, Prod: Tracy Wilcox]
NIGHT OF THE DEAD
Key Special Makeup Effects [Cerebral Experiment, Dir: Eric Forsberg, Prod: Karen Goodman]
THE OAKLEY SEVEN
Special Makeup Effects Supervisor [Blackbear Films, Dir: Adam Schlachter, Prod: Blacky
Bokich]
THE GAY BED AND BREAKFAST OF TERROR
Key Special Makeup Effects [Modean Productions, Dir: Jaymes Thompson, Prod: Sean Abley]
THE GRIM REAPER
Key Special Makeup Effects [MRG Entertainment, Dir/Prod: Mike Feifer]
POULTRYGEIST
Key Special Makeup Effects [Troma Entertainment, Dir/Prod: Lloyd Kaufman]
ARE YOU SCARED?
Key Special Makeup Effects [MRG Entertainment, Dir: Andy Hurst, Prod: Mike Feifer]
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THE BUTCHER
Key Special Makeup Effects [MRG Entertainment, Dir/Prod: Mike Feifer]
DIGILIS
Key Special Makeup Effects [I/O Cinematix, Dir: Peter Nelson, Prod: Jessica Green]
THE DOZEN
Key Special Makeup Effects [Fleur Films, Dir: Chad Rocco, Prod: Eric Connors]
TV: THE MOVIE
Special Makeup Effects Lab Work [CKRush Entertainment, Dir: Sam Maccarone, Prod:
Preston Lacy]
PLAN 10
Key Special Makeup Effects [Waltzing Devil Productions, Dir: Lola Wallace]
JOSHUA
Key Special Makeup Effects [Drexel Box Productions, Dir: Travis Betz, Prod: Jessica Petelle-
Slagle]
CRUDE AWAKENING
Key Special Makeup Effects [Dir: Michael Luceri]
LORDS OF DOGTOWN
Prosthetic Lab Work [Columbia Pictures, Dir: Catherine Hardwicke, Prod: John Linson]
THE STORYTELLER
Key Special Makeup Effects [Supernova LLC, Dir: Andrew Getty]
CSI MIAMI
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Cinema Makeup School: 2004-2005
Head Instructor for prosthetics and special make-up effects courses.
Electric Barbarella: 2003
Produced and applied foam latex bald caps for high fashion runway.
Nu-Products: 2002
Sculpting, molding and producing Halloween foam latex appliances.
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Timberly Matonic
I.A.T.S.E. Local 44
Affiliated Property Craftspersons
Burbank, CA
tmatonic@yahoo.com
http://www.imdb.com/name/nm2835998/
(818)823-8763
Education
2007
Los Angeles Recording School
Certificate of Sound Engineering
Certified Pro Tools 7x Operator
2001
Oakbridge Academy of Arts
Associate’s Degree majoring in Commercial Art/Photography
Artist of the Year 2001
Production Experience
2007-Present
Property and Art Department
“Itch” – Short Film
– Art Department
“The Mis-Adventures of McT & A: Episodes 2 & 3” – Web Series
– Art Department
“The Somnambulist” – Feature Film Reshoots
– Art Assistant
“The Flatstar” – Reality Series
– Art Department, Sign Maker
“Glory Days” – Feature Film
– Property Master, Graphic Artist
“Zombie Roadkill” – Web Series
– Property Master
“The Pathetically Cheap Adventures of Xtra-Man” – Feature Film
– Art Director, Graphic Artist, Props
“Federal Debt Relief” - Commercials
– Art Department, Set Dresser
“Bad Penny Amps” – Youtube Promo Spots
– Art Department
“Hesher” – Feature Film
– Assistant Props
“Sympathy for Delicious” – Feature Film
– Assistant Props
“He's Just Not That Into You” – TV Promo
– Property Master
“The Resistance” – Web Series
– Assistant Property Master
“Barry Munday” – Feature Film
– Props
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Sound Department
“Itch” – Short Film
– Boom Operator
“The Mis-Adventures of McT & A: Episodes 2 & 3” – Web Series
– Boom Operator
“The Venice Beach Hostel” – TV Pilot
– Utility Sound Technician
“The Awakening of Spring” – Short Film
– Utility Sound Technician
“Chuck” – TV Series
– Composer’s Assistant
“1505” – Short Film
– Utility Sound Technician
“The Dying Breed” – Short Film
– Utility Sound Technician
“Still the Drums” – Feature Film
– Utility Sound Technician
Performance
“Glory Days” – Feature Film
– Diner Patron, Concert Goer
“The Pathetically Cheap Adventures of Xtra-Man” – Feature Film
– Puppeteer
“Bad Penny Amps” – Youtube Promo Spots
– Female Lead
Camera
“The Venice Beach Hostel” – TV Pilot
– 2nd Assistant Camera
“Still the Drums” – Feature Film
−2nd Assistant Camera
−
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47
David Nicholson
AFTRA
Burbank, CA
mrdbrak@gmail.com
http://www.imdb.com/name/nm2159220
(205) 527-0541
Production Experience
2005-Present
Property and Art Department
“MANswers” – TV Series
– Art Department, Props
“Itch” – Short Film
– Art Department
“The Mis-Adventures of McT & A: Episodes 2 & 3” – Web Series
– Art Department
“The Flatstar” – Reality Series
– Art Director
“Glory Days” – Feature Film
– Production Designer
“Mother’s Little Helpers” – Feature Film
– On-Set Dresser
“Zombie Roadkill” – Web Series
– Armorer
“The Pathetically Cheap Adventures of Xtra-Man” – Feature Film
– Production Designer
“Bad Penny Amps” – Youtube Promo Spots
– Art Department
“Omar Saved From Cheating” – Short Film
– Set Dresser, Assistant Property Master
“Sympathy for Delicious” – Feature Film
– Props
“He's Just Not That Into You” – TV Promo
– Property Assistant
“Drowning” – Feature Film
– Art Director, Props, Set Dresser
“George’s Intervention” – Feature Film
– Production Designer
“Odd Squad” – Web Series
– Production Designer, Set Construction
“The Resistance” – Web Series
– Production Designer
“Against The Dark” – Feature Film Reshoots
– On-Set Dresser
“Whiteout” – Feature Film Reshoots
– On-Set Dresser
“Demption” – Short Film
– Property Master, On-Set Dresser
“Against The Dark” – Feature Film Reshoots
– On-Set Dresser
“Honeydrippers” – Feature Film
– Properties Construction
“20 Years After” – Feature Film
– Property Assistant
“When I Find The Ocean” – Feature Film
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– Property Assistant, Art Department Intern
Special Effects
“The Mis-Adventures of McT & A: Episodes 2 & 3” – Web Series
– Key Special Effects
“The Somnambulist” – Feature Film Reshoots
– Special Effects Assistant
“Glory Days” – Feature Film
– Green Screen Effects
“Funny Or Die: Heidi Montag Says No to Plastic” – Web Short
– Bubble Effects
“The Pathetically Cheap Adventures of X-tra Man” – Feature Film
– Key Special Effects, Miniatures
“Orgy of Blood” – Feature Film
– Green Screen Effects
“Odd Squad” – Web Series
– Key Special Effects
“The Resistance” – Web Series
– Key Special Effects
Costume
“The Pathetically Cheap Adventures of Xtra-Man” – Feature Film
– Provided Jewelry
“Bad Penny Amps” – Youtube Promo Spots
– Provided Principal Wardrobe
“George’s Intervention” – Feature Film
– Costumer
Performance
“If You’re So Smart” – Film
– Leprechaun
“Glory Days” – Feature Film
– Diner Patron, Concert Goer
“The Pathetically Cheap Adventures of Xtra-Man” – Feature Film
– Puppeteer
“The World’s Shortest Fairy Tale” – Short Film
– Bob
“Alcohol Killer” – Youtube Promo Spots
– Lucky Guy
“Bad Penny Amps” – Youtube Promo Spots
– Pantsless Musician
“Hunger” – Feature Film
•Scientist Body
“Rougge the Vampyre” – Short Film
– Man on Street
Production
“Itch” – Short Film
– Associate Producer
“The Mis-Adventures of McT & A: Episodes 2 & 3” – Web Series
– Associate Producer
“George’s Intervention” – Feature Film
– Producer
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Mary Harris
(910) 297-5355
maryteeter@hotmail.com
Film/Television
Vandez Assistant Director Happy Nowhere Productions
Pivot Writer/Producer Wadjet Productions
Eager Beavers Writer/Director/Producer Wadjet Productions
Finders Keepers Casting Assistant Less Famous Ent. Group
Love Thy Neighbor Camera Operator 12th Hour Productions
Mallbrats Writer/Producer Harris Girls Films
Theatre/Stage
The Year Without a Summer Casting Assistant Happy Nowhere Productions
Side Work Writer/Producer Whitmore-Lindley Theater,
CA
The Actor’s Nightmare Director Black Box Theatre, SC
Agamemnon Stage Manager Black Box Theatre, SC
Events
Varies Events Event Coordinator Warner Bros Special Events
E3 Convention 2009/2010 Asst Prod Coordinator Disney Interactive Media
Education
BA in Theatre Performance Cum Laude May 2001 Winthrop University
Training
Scene Study Larry Chance Expressions Unlimited
Casting Director Workshops Various The Network Studio
Commercial Acting Tyhm Kennedy The Talent Source
Auditioning Techniques Tyhm Kennedy The Talent Source
Shakespearean Workshop Marc Powers Johnson Theatre, SC
Modern Dance Marybeth Thompson Rock Hill, SC
Tap Dance/Jazz Sandra Neels Rock Hill, SC
Special Skills
Photography, Sewing, Stage combat, Stage makeup
References
Shannon Hunt Disney Interactive Media 310-968-8205
Ed Gallo Warner Bros Special Events 818-954-2652
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T. Alexander Justinger
13012 Riverside Dr #4 Sherman Oaks, CA 91423—
alex@brightheadproductions.com—(818) 458-2418
QUALIFICATIONS SUMMARY
EDUCATION
2002 - 2006
University of Alabama at Birmingham; Birmingham, Alabama
B.A. Communications Studies, Major: Mass Communications, Minor:
Film Studies
Agenda covers: Film, Journalism, Advertising, Broadcasting, Public
Relations, and Screenwriting
______________________________________________________________________________________
__
SELECTED PROJECTS
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Short Film, HD
- Gratuitous, 2004 – Digital Short Film - The Craving –
Short Film, HD
Won Cinematic Innovation Award, Sidewalk Film Festival
EXPERIENCE HIGHLIGHTS
Producer/Writer—Strong, LLC
2006-2007
Produced radio and television ads for markets across the U.S.
Coordinated and budgeted shoots for commercials and industrial
videos.
Wrote copy for automotive and retail clients
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PA for various commercial and industrial productions.
Typical internship reception duties; phones, tape runner, and
lunches.
Introduced to production coordination.
Hands on with Final Cut Studio and some Discrete / Inferno
training.
K. Siobhan Sullivan
13012 Riverside Dr #4 Sherman Oaks, CA 91423—
siobhan@brightheadproductions.com—(818) 207-2683
Education:
2002-2005
University of Alabama at Birmingham; Birmingham, Alabama
B.A. Communication Studies, Major: Mass Communications, Minor: English
Graduated with a 3.5 GPA
Agenda covered Film, Journalism, Advertising, Broadcasting, and Public Relations
Television/Film Experience:
Producer—Amanda’s Choice, 2009
Short film created in conjunction with the Office of Research Integrity
for educational use
Producer—Pretty Vacants, 2009
Feature Length Narrative, Running Time: 80 minutes
Producer—Urban Decay, 2009
Short film
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Producer—Hell is For Bastards, 2008
Short film
Won Audience Choice at the July 2008 Sidewalk Scramble; Birmingham, AL
Screened at the 2008 Sidewalk Film Festival; Birmingham, AL
Producer—A Perfect 10 Suicide, 2008
Short film
Won Audience Choice at the March 2008 Sidewalk Scramble; Birmingham,
AL
Producer—The Middle, 2008
Short film
Producer/Writer—Youth Violence “Inside The Skin”, 2007
Feature Length Narrative
Screened at The New York International Independent Film and
Video Festival, 2008
Used in violence prevention education by 120 organizations in
19 states and 5 countries
Producer—Amanda’s Dilemma/Whistle Blower/In The Lab, 2007
Short films created in conjunction with the Office of Research
Integrity for educational use
Producer—The Nurse, 2007
Short film
Screened at the 2009 Sidewalk Film Festival; Birmingham, AL
Producer—Les Jeune Mortes, 2007
Short Film
Won Audience Choice at the 2007 Winter Sidewalk Scramble; Birmingham,
AL
Production Assistant—Talladega Nights, Sony Pictures Entertainment, 2006
Feature Length Narrative
Producer—The Incredible Falling Apart Man, 2006
Short Film
Screened at:
The 2006 Sidewalk Film Festival; Birmingham, AL
Atlanta Horror Festival; Atlanta Georgia
Rhode Island International Horror Festival
A Night of Horror Film Festival; Sydney, Australia
Make-Up Artist—Rougge The Vampyre, 2006
Short Film
Advertising/Commercial Experience:
Media/Traffic Coordinator—Spot Runner, 2010 - Current
Efficiently coordinate and send all traffic instructions to National and Local Network and Cable TV
Create relationships with DG Fastchannel and other outlets for spot distribution to National and Local
Network and Cable TV
Advertising/Commercial Experience Cont.:
Implemented Nielsen Sigma tracking by encoding & checking spots for Quality Control.
Successfully research and prepare client presentations based on competitive spend and other reports.
Conduct audits for spot clearance via media post-log reports and Nielsen Sigma reports.
Handle online customer inquiries for advertising with Spot Runner.
Effectively perform work in depth in Strata, Final Cut Pro, Great Plains, Power Point, Word and
Excel
Production Director/Writer/Editor—Moore & Moore Advertising, 2007-2010
Produce and coordinate all advertising production for multiple TV markets
across the U.S.
Coordinate/send traffic instructions to media outlets
Write scripts for automotive and retail clients
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Producer/Editor—Bright Head Productions, 2006-Current
Produce and edit films/commercials/videos/graphics projects for various clients
for broadcast use
Complete list of works available upon request
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