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Legal Disclaimer

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

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MELPOMENE PICTURES
An Overview

MELPOMENE PICTURES seeks to create films that are not only


financially viable with a high potential for profit, but also push the
boundaries of storytelling technique and filmmaking technology. We
aren't content to churn out cookie cutter formula films like our
competitors. We truly love filmmaking and have the burning desire to
make content that will both enlighten and entertain, content that will
be able to reach a mass audience without catering to the lowest
common denominator.

Bringing the innovation of low-budget independent filmmaking into a


larger and more well funded structure can push the envelope of what's
capable in film while keeping costs low and driving profits higher.

In addition, we want to create a breeding ground for the next


generation of filmmakers. The film industry is notoriously difficult to
break into and there are incredibly talented people in all aspects of the
process, from writing to directing, from acting to props and makeup,
that are fighting to find their way in. We will scout that talent and
develop it. We want to find the next Speilburg, Scorcese, and
Tarantino. We want to cast the next Brad Pitt, Scarlett Johannsen, and
Johnny Depp. We want to give these artists and craftsmen the
environment they need to flourish in. We can create a virtual Villa
Diodati where an entire generation of filmmakers can learn and grow,
making their dreams come true while giving something back to an
industry we love and creating wildly entertaining films and profitable
films in the process.

We have been involved in a slew of low-budget films. All have been


crowd pleasers, cult favorites, and multiple award winners. GEORGE'S
INTERVENTION, for instance, has won first prize at film festivals
domestically as well as in the UK and Germany and has garnered a
massive fan base. THE CELLAR DOOR was so popular that on the day
of it's release it became the most downloaded film on the internet,
surpassing big-budget studio films like THE BUCKET LIST released the
same day.

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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.

BUSINESS PLAN FOR PRODUCTION &


DISTRIBUTION

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.

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STRATEGIC PLAN OUTLINE

•Demonstrate with real examples how budgets below $10,000,000


generate cost-to-revenue multipliers often hundreds of times
beyond big budgeted studio pictures.

•Detail how typically the majority of revenues are seen within 16 to


24 months.

•Choose genres with broad appeal to virtually every country and


culture.

•Avoid competing with major studio strongholds while selling


directly to worldwide DVD, Cable, etc.

•Utilize this scenario as a platform to create “festival” quality and


“break-out” films within the same budget range.

THE INDUSTRY AT A GLANCE


The film industry investment is not necessarily one that requires huge
sums of capital to be profitable. This is why we have specifically
chosen to concentrate on lower budget genre films. There are of
course many genres, including romantic comedies, thrillers, dramas,
sci-fi and action-adventures.

While a mystery to some, the film business is essentially a


manufacturing business that relies on supply and demand. Small
budgeted genre movies, even with unknown actors and very little
marketing promotions, generate some of the healthiest revenues of
any films in the U.S. and abroad.

Quality movies produced on budgets below the $10,000,000 mark


have a very good potential of generating large revenues within 16 to
24 months regardless of whether they break out or not. Yet, genre
feature films still share the potential of a big budgeted picture to
indeed break-out, making millions in profit. At this level of budget it is
not as hard to recoup the investment since there are numerous
opportunities today to sell directly to consumers.

There are very few legal investments that can experience such

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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.

There is an undeniable worldwide psychological appeal to the “hard”


genres, like horror and action. They appeal to the most primal
emotions no matter what the country or culture. Audiences seek them
out for the same reason they like to strap themselves into a roller
coaster and plunge 10 stories in a matter of seconds.

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.

The explosion of the accelerating DVD and internet marketplaces helps


ensure the greatest profits with the lowest risk ever, even compared to
the boom of the home video VHS and Betamax market in the 1980’s.
With this growth comes a hunger for new genre release titles.

COST-TO-REVENUE RESULTS

It is important to premise all the following statistics by stating that the


production budgets that are reported in the media are seldom correct.
Perceived value is what allows producers to make money on movies
and thus producers project an image of value rather than revealing
actual expenses.

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.

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The list on the following page demonstrates that low budget movies
can generate extremely high profits.

17 LOWEST BUDGET GENRE MOVIES


REPORTING
Cost-To-Revenue Comparisons

MOVIE YEA DISTRIBUTO EST. US GROSS REVENUE


R R BUD MULTIPLIER
The Blair Witch 1999 Artisan $35,000 $140,000,00 4000 times
Project 0
Paranormal Activity 2009 Paramount $15,000.0 $100,000,00 6000 times
0 0
Napoleon Dynamite 2004 Fox Searchlight $500,000. $45,000,000 90 times
00
Eraserhead 1977 Independent $100,00 $7,000,000 70 times
The Evil Dead 1981 New Line $350,000 $2,400,000 7 times
Friday the 13th 1980 Paramount $700,000 $37,500,000 54 times
Halloween 1978 Compass Int’l $320,000 $55,000,000 172 times
Hellraiser 1987 New World $1,000,00 $14,600,000 15 times
0
The Howling 1981 Avco Embassy $1,000,00 $18,000,000 18 times
0
Mad Max 1980 American Int’l $350,000 $8,750,000 25 times
Night of the Living 1968 Walter Reade $114,000 $12,000,000 105 times
Dead
Open Water 2004 Lions Gate $30,000 $30,500,000 1017 times
Phantasm 1979 Avco Embassy $300,000 $12,000,000 40 times
Re-Animator 1985 Empire Pictures $900,000 $2,000,000 2 times
Saw 2004 Lions Gate $1,200,00 $55,200,000 46 times
0
Texas Chainsaw 1974 Bryanston Dist. $83,500 $30,900,000 370 times
Massacre
Wolf Creek 2005 Dimension $1,000,00 $16,200,000 16 times
0

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.

MOVIE TITLE EST. COST-TO-EARNINGS


BUDGET RATIO
Titanic $200,000,00 9.2 times
0
Pirates of the Caribbean $140,000,00 4.7 times
0
Spiderman $139,000,00 5.8 times
0
Harry Potter: Sorcerer’s $125,000,00 7.8 times
Stone 0
LOTR: Return of the King $94,000,000 12 times
Source : IMDb
Pro

Why do studios produce large budget movies if they earn less


compared to the cost of the investment? Simple; they operate under
the knowledge that through proper marketing they can create enough
excitement to generate a foreseeable and acceptable margin of
revenue regardless of how good the picture really is. On the other
hand, studios have an image to maintain. They do not want to produce
anything that is not prestigious. It would be the same as Jaguar
Automotive producing mopeds.

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.

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INCOME PROJECTIONS

Direct to Consumer Sales: Internet DVD Sales


The explosion of internet outlets for DVD sales in the last five years
have made the market even more viable than most brick and mortar
outlets. With sites like Amazon.com, genre films have returned their
investment through internet sales alone. Amazon also offers unique
ways to market films to consumers with its “Customers Who Purchased
This Also Bought” tags and banners.

Direct to Consumer Sales: Pay-Per- View Internet


The Internet is now fast enough to stream movies full screen right to
home computers and newer model televisions. According to a recent
finding by the Organization for Economic Cooperation and
Development, 19.6% of US users enjoy a high-speed connection. That
is a potential audience of over 112,362,568 people. As a sampling of
other countries, over 30% of consumers in Denmark have a broadband
connection.

There are several major contenders competing to stream feature films.


They include Netflix, Blockbuster Online, Hulu, and several overseas
companies. Technologies such as the I-Phone and the I-Pad are
allowing more and more people to stream video to them anywhere at
anytime and are preparing this aspect of the market for a new
explosion of revenue.

Each of these companies pay the filmmaker by different methods. Most


of them share the profits through pay-per-view or through premium
sales. Films on average can generate six figures through streaming
alone over the course of a year.

Direct to Consumer Sales: Pay-Per- View On-Demand TV


According to Forrester Magazine, U.S. video On-Demand jumped from
$1.54 billion in 2003 to $2.89 billion a year for 2004 and climbed to
6.39 billion by 2006.

According to Jupiter Research Corporation, first run movies on U.S. On-


Demand TV reached $280 million in 2006. Nielson ratings did not at
that time include DVR viewings in their ratings.

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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.

Video Store Chains: A Small Snapshot of a Larger Picture


According to the U.S. Bureau of Census, there are over 22,000
establishments in the U.S. alone dedicated to renting and selling home
video. This does not include drug and department stores.

Blockbuster Video now has over 9,000 stores in 25 countries, even


after their recent closings, and accounts for about 40% percent of the
home video rental market according to Ernest and Young. Hollywood
Video, the next largest chain, has close to 2,000 stores even with their
recent closings.

Typically, every 5 months a video store such as Blockbuster moves the


titles in their new section to the genre section and replaces them with
new titles. There are about 100 lower budget indie genre films on the
shelves in their new section at any given time. It is important to note
that larger chains license multiple copies of each title per store. It is
not unusual for them to buy 3 or 4 copies of even the smallest non-
studio titles.

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:

Buyer Current Per Unit Rate Average


Unit Purchase
Blockbuster Video $6.85 per unit 5500 units
Hollywood Video $5.00 per unit 7000 units ***
Movie Gallery $5.00 per unit 5000 units ***
Netflix $10.97 per unit 1000 units

***Denotes a rev share. The average per unit amount is based on rev share
projections over a six month period.

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THE LARGER PICTURE

Worldwide Ancillary Markets


Most of a movie’s revenues are not generated at the U.S. box office
where most people assume. Markets outside the U.S. account for about
56% of all media global revenues produced by English language
independent producers. The biggest buyers are Japan, Germany,
Austria, the U.K, Italy, France, Spain, Belgium, Mexico, Korea, Australia
and New Zealand. Latin America and China are also emerging as large
buyers and estimates could have these areas becoming a more
significant portion of the market, especially with streaming video, very
soon.

According to Video Software Dealers Association, Japan, the first


country to adopt DVD technology, spends an impressive $187.7 million
renting DVDs per year.
DIRECT-TO-CONSUMER SALES

Selling from Magazine Advertisements


As well as traditional marketing means, we are also pushing films to
various genre niche markets. These niche markets open the door to
different and additional sales opportunities that do not generally exist
for mainstream movies. Throughout the U.S. and the world,
newsstands generally carry about 7 to 10 magazine titles devoted to
horror films alone. Not only are these niche markets additional areas to
advertise, but we will also benefit from free publicity with the multi-
page articles they write on lower budget films.

The magazines include among others:


•Fangoria
•Rue Morgue
•National Lampoon
•Horror Fan
•Sci Fi Magazine
•Cinescape
•Famous Monsters
ADDED PROFIT POTENTIAL

Longevity of Product
Profits of a movie can be generated for a substantial period of time.

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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.

According to Investor’s Business Daily, Paul Kagan Associates, who are


considered the best source of accurate media research by the major
studios, found that by the turn of the millennium domestic home video
revenues reached 185% of the domestic theatrical market. It has now
far exceeded that projection.

Achieving Cult Film Status


One of the outstanding attributes of genre films is the potential for a
product to achieve cult status, which is something different from being
a break-out picture. A cult movie is a film that takes on an extended
life of its own because of intense interest by niche audiences. The
normal shelf life of a low budget film is about 5 years. However, the
cult film is one that achieves a shelf life sometimes beyond 20 years.
Films such as BLAZING SADDLES, SWINGERS and NIGHT OF THE LIVING
DEAD have earned this extra revenue-generating status. Cult films
have virtually all come from the freedom of producing lower budget
films outside the constraints of the major studio mentality. However,
studios seeing that they have sustained audiences will often pay
handsomely for remake rights.

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.

Realizing this, our concentration will also be to engage actors that we


believe have the best chances of being future celebrities. This is what
will separate us from the rest of low budget producers, who generally
do not take this into account.

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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.

The Power of the Internet


There is no question that the Internet has greatly assisted sales of
products to the tune of billions of dollars. Not only do we now have the
ability to sell directly to consumers, but we also have the advantage of
genre fans constructing their own web sites in tribute to the products
they love. This is free advertising and publicity for us.

THE PRODUCTION PHASE

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.

Quality of the Movies We Will Produce


It is our goal to produce and release movies that are superior in every
category to those competing at our same budget level in the same
genres. We care about the quality of the films beyond the assembly-
line mentality of our competitors. We have established a set of
guidelines that will ensure we produce a top quality product in respect
to the market.

Those behind the cameras are highly trained technicians and


craftsmen, many of whom have worked on some of the biggest and

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best films coming out of Hollywood. Some of them are trying to jump
to the next higher position.

MARKETING & PUBLICITY

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.

The festivals and markets include among others:

•Sundance Film Festival


•Slamdance Film Festival
•Cannes Festival and Market
•South by Southwest Film Festival
•American Film Market
•Berlin Film Market
•Milan Film Market

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.

Through multiple phone calls and legwork, resourceful filmmakers like


us routinely fill theaters with family, friends and associates to help

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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.

SWINGERS, an independently produced film by Jon Favreau, utilized


this same strategy. The end result was to sell the film (made for an
estimated $300,000) to Miramax for several million dollars. It launched
the careers of star Vince Vaughn and writer Jon Favreau, who has
recently directed the two IRON MAN films. Its director, Doug Liman, has
gone on to direct such films as THE BOURNE IDENTITY.

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.

With our company, there will be a number of determining factors as to


whether to attempt this with any of our slated films. Will it be
commercial enough? Often big budgeted movies with major stars
never get a theatrical release, because somehow they may not “feel”
like something meant for the big screen, yet on the small screen they
will do fine.

There is also an undeniable psychological value claiming a movie has


had a theatrical release, and 4-Walling qualifies as a release. As such,
it raises the perceived value of the picture.

SCHEDULE OF EVENTS

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Once complete funding is established and secured, we will initiate the
following steps:

•Company set up (legal, secure office space, supplies, etc) 4 to 6


weeks
•Polish literary properties (scripts for slate) 6 to 8
weeks
•Pre-production on first project 4 to 6
weeks
•Production 3 weeks
•Post-production 6 to 8
weeks
•Marketing and sales, primary source revenue generation 8
weeks
(Approx
)*

* 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.

STRATEGY AND LONG TERM GOAL

Our strategy is divided into two stages: Stage 1 “The Foundation”


(years 1 - 3) and Stage 2 “Power Player” (years 4 - 5). It is an
aggressive approach that will be tamed throughout the process.

Investments can be made in two ways. Either individual film can be


invested in (each film with its own LLC) as based on that film's budget
level, or the company as a whole can be invested in.

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:

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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.

This is an excellent way to generate revenue by acting solely as a


middleman and will eventually evolve into its own department. This
outlet will provide an additional revenue stream for the company with
minimal expense, potentially increasing our direct to video output from
five to as many as eight films per year since we will not be limited to
selling our own content.

By Year 4 we will have a solid library and stronger business relations


with wholesale buyers, having established ourselves as a leading
distribution entity in the direct to video market. We will have the ability
to sell in great quantity, lowering per unit cost while simultaneously
increasing profits through the sheer number of units and titles sold.
This distribution format has the potential to increase the revenue
stream enormously.

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.

This increased capital developed in Year 4 will allow Melpomene


Pictures to “Power Play” into the mainstream theatrical release world.
Although it is not our intention to finance risky, over priced projects, it
is our goal to develop and produce content with this same potential on
a smaller level combined with the possibility of securing mainstream
development deals.

A QUICK RECAP

With an initial start-up of $3 million and a 5 Year outlined plan, we will


accomplish the following:

18
•Establish initial production entity, producing three to five lower
budget pictures per year.

•Establish a constant revenue stream through both current and


untapped DVD sales outlets, both domestic and foreign.

•Develop and produce two “break-out” festival driven films per year.

•Acquire additional films, therefore increasing our cash flow and


building a substantial library.

Our overall goal is comprised of a solid, long term, well-developed


plan.

DISTRIBUTION OF REVENUES &


EQUITY

1.All deposited funds (cash investments) will be repaid first until


105% is met.

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.

The details of the Business Operating Agreement are open for


discussion.
OVERVIEW OF STARTUP EXPENSES

Startup 2 Year Guarantee ($3 million investment)

Salaried Personnel

•Head Of Production ($65K)

•Head of Development ($65K)

•Office Manager ($39K)

•Office Assistant ($30K)

19
Office Space/Set Up

•Offices ($30K)

•Office Equipment ($12K)


Includes furniture, computers, phones, etc

•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.

Total 1st Year Investment $1,749,000.00

2nd Year Reserve $1,251,000.00***

***This amount leads us into year two with a revenue stream already
in place.

WHO IS MELOPMENE PICTURES?


BRAD C. HODSON - HEAD OF DEVELOPMENT

With 7 years experience in film and television Post-Production, BRAD C.


HODSON has worked with companies as diverse as Technicolor, Walt
Disney Studios, and Paramount Pictures. Through this experience he
has developed an intimate understanding of a film’s workflow and
what’s necessary to acquire distribution. He has also produced several
short films and the feature film GEORGE’S INTERVENTION, providing
him with the experience necessary to see a film through pre-
production and production as well as post.

20
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.

As Head of Development, Hodson promises to find and nurture the


most creative projects with the greatest chance of earning a large
profit. His experience and contacts in the industry will help Melpomene
Pictures become a key player in the lower budget film market.

MICHELLE TOMLINSON - HEAD OF 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.

Googling Tomlinson’s name produces over sixty-thousand web pages.


Her fan base is loyal and growing at a rapid pace. As Head of
Production, Tomlinson instantly brings her fan base on board as an
audience to any film Melpomene Pictures produces. In addition, the
contacts and networking opportunities she can bring to bear will
smooth over many of the bumps and hurdles a film in production can
encounter.

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.

21
YEAR 1

THE STEPHEN KING BOOK CLUB ($1 mil)


Comedy / Horror
DESPERATE HOUSEWIVES meets FRIGHT NIGHT. A group of lonely and
bored housewives meet every Sunday afternoon to discuss the latest
horror novel they’ve read. Or that’s what they’re supposed to be doing.
Usually they just gossip about who in the neighborhood is sleeping with
who, or the recent rash of disappearances in their small town. And who
is that new neighbor that just moved in, the one that never comes out
during the day? Could he really be a vampire, or has boredom fried
their brains?

THE CELLAR DOOR 2: PREYMATES ($500K)


Horror / Thriller
In this sequel to the award-winning horror thriller THE CELLAR DOOR,
the nightmare continues for Rudy, a beautiful young woman who fell
prey to an innocent looking serial killer; Herman. She escapes, and he
is now a prisoner of a Mental Institution. Little does Rudy know, a
copycat killer is intent on finishing the job. As she escapes to the
mountains with the copycat killer hot on her trail, Herman falls deeper
and deeper into insanity. It is a bloody psychological thriller where
Rudy’s survival becomes the battleground between two sick minds.

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?

ODESSA ($2 Million)


Family Drama
Based on the multi-award winning short film starring the late Yolanda
King (Dr. Martin Luther King Jr's eldest daughter), ODESSA is a
touching, inspirational and spiritual family drama about forgiveness,
love and the courage to stand up for what is right. A 60’s period piece
ala the “bussing era,” ODESSA embraces the story of a young girl who
looks up to her family’s housekeeper, ODESSA, as they learn to battle
violence with peace together.

ITCH ($1 Million)


Horror / Thriller
An Itch can be described as anything from an irritating skin sensation
that causes you to scratch to a relentless desire or craving for
something. Adrian Kratz has the latter, an Itch to kill. With her partner
Ruby Swindel, they hunt, torture and kill whomever catches Adrian's
eye. Although a dysfunctional relationship to the outside, their desires
for the kill and each other causes the body count increase quickly. For
murderers who live constantly on the go, these two women have one
thing that makes them more frightening than the rest - intelligence. No
bodies are ever found. No trace evidence. The perfect crime by the
most dysfunctional duo.

THE STRAWBERRY HILL MYSTERY CLUB ($1 mil)


Comedy / Adventure
A group of child adventurers from the eighties (think “The Goonies”)
are all grown up and come back to their hometown when one of their
members commits suicide. Or did he? They begin to catch glimpses of
him wandering around town as they revisit their childhood haunts. As
they delve into his suicide, they find he was researching rumors of a
lost Viking ship that had sailed up river and vanished into the woods.
Sounds like it’s time for a new adventure…

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.

TOUCH ($2 Million )


Drama
Nora Castillo's lived her life depending on no one. Whether a soldier or
an investigator, she has the ability to disconnect and finish the job.
That is until Cinderella, or Sin as her pimps call her, becomes her next
case. Matching wits, fists and shots of alcohol for every mile of road
they drive, they will eventually have to trust one another to survive. A
task neither woman does easily.

WHAT HIDES BEHIND ($1 - 3 mil)


Horror
Daniel, a disgraced paparazzo with a knack for finding the dirt no one
else can, is hired by an aging actor to find the last remaining copy of a
controversial play from the fifties. Rumors swirl around the play,
stories of the only performance driving the audience mad and burning
down the theater it was staged in. As Daniel sets off on his search, he
learns of the playwright’s interest in the occult. To find the play, he’s
forced to peel back the layers of secrecy surrounding “What Hides
Behind.”

BLACK RIVER FALLS ($5 Million)


Family Drama
A coming of age story set against the hard scrabble world of
depression era Wisconsin. Twelve year old Buzz Johnson is looking for a
hero, someone he can look up to. He finds himself having to choose
between his tormented widowed father or the notorious gangster John
Dillinger. BLACK RIVER FALLS explores the healing power of love and
redemption and what it takes to be a hero.

LUNACY (working title) ($500k)


Horror

24
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

RENDERINGS ($2 Million)


Psychological Thriller
A supernatural thriller that takes place in the seedy underbelly of the
Los Angeles art world. An artist is haunted by the ghosts of murder
victims who compel her to render the ritualistic details of their murders
onto her canvases. Now the police believe she is the killer and worse,
the killer knows he has a witness. Who will get her first, the police, the
killer, or the dead?

SHORT FUSE ($500k – 1mil)


Action / Comedy
A throwback and spoof of over the top eighties action movies.
Detective Walters is a midget, but he prefers the term “small person.”
He’s also one of the most decorated officers on the police force,
though his dangerous and devil-may-care approach has left him
without a partner. But the chief forces Detective Natasha Dimitrov to
partner up with him and just in time: a terrorist cell is operating in the
neighborhood. They’re about to set off a notoriously short fuse.

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

LIFE ON THE 64 BUS ($3 – 10 mil)


Comedy / Drama
Based on the novel by Brad C. Hodson. When the man who will simply
be known as “Keats” has a breakdown and loses everything important
to him, he boards a plane for Rome. His first day there he gets his
wallet and passport stolen by a beautiful young girl on the 64 Bus.
Tracking her down, he soon falls in with a group of conmen and thieves
that live in the catacombs beneath Rome and make their living fleecing
tourists. The group is run by the mysterious Brit called “The Carny.”
The Carny has big plans for Keats. If only Keats knew what those plans
were…

BUFFALO SOLDIER ($3-10 mil)


Western
Benjamin Montgomery is a former corporal in the US Calvary and a
black soldier, a “Buffalo Soldier.” He’s gone AWOL and is being hunted
across the plains by a motley group of bounty hunters and outlaws led
by the mysterious Lakota Sioux Black Owl. Benjamin finds refuge in the
small town of Propriety, a haven for widows and orphans who have fled
from the plains wars. They care for him and nurse him back to health,
but Black Owl’s group is bearing down on them and could destroy
everything. To make matters worse, he has a reason for hunting
Benjamin, a damn good reason that yanks Benjamin from his sleep at
night ashamed of what he’s done.

BENJAMIN FRANKLIN AND THE CURIOUS CASE OF THE HELLFIRE


CLUB ($1-3 mil)
Comedy / Horror
Benjamin Franklin, founding father and inventor, was also a member of
the mysterious group of occultists known as the Hellfire Club. In this
film we take a humorous and horrific look at the club and why
Benjamin Franklin, Thomas Jefferson, and George Washington teamed
together to stop it. But were the Founding Fathers able to destroy the
club before they could call forth the demon they worshipped?

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.

Resumes can be found on following pages.

Brad C. Hodson – Writer /Director /

28
Producer
205-422-3543 (cell)
14437 Benefit St. Apt 6
Sherman Oaks, CA 91423
www.bradchodson.com
bradchodson@hotmail.com
______________________________________________________________________________________
SELECTED FILM WORK

SECRET BIRTHDAYS, TalntNMotion, Los Angeles


Current
Screenwriter

GUERILLA WARFARE, 1313FX, Los Angeles


Sept 2010
Screenwriter

LT’S THEORY OF PETS (based on a short story by Stephen King)


Sept 2010
Screenwriter / Director

VANDEZ (short film), Happy Nowhere Productions, Los Angeles


Nov 2009
Screenwriter/ Director

AWAKEN (short film), Happy Nowhere Productions, Los Angeles


July 2009
Screenwriter/Director/Producer

APPLY WITHIN, Areffi Productions July


2009
Screenwriter

GEORGE’S INTERVENTION, CatScare Films, Los Angeles


July 2008
Screenwriter/ Producer

CHRYSALIS, Happy Nowhere Productions, Los Angeles


July 2005
Screenwriter/Producer

TESTOSTERINO, Nowhere Productions, Los Angeles


Jan 2005
Screenwriter/Producer

SELECTED THEATER 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

AWARDS AND HONORS


- Shortlisted for the ERIC HOFFER AWARD (2010) for the short story
“Hester Kahn”
- BEST FILM (2010) for “George's Intervention,” Weekend of Fear in
Germany
- BEST HORROR FILM (2010) for “George’s Intervention,” Southern
Appalachian International Film
Festival
- ROSELLE LEWIS AWARD FOR SUPERIOR ACHEIVEMENT IN SHORT
FICTION for “Things
Unsaid”
- HONORABLE MENTION – KORNBLUH AWARD FOR ACHIEVMENT IN
NON-FICTION for
“Slaying Dragons: The Positive Effects of Violent Media on Children”
- Selected for the prestigious BORDERLANDS PRESS BOOTCAMP for
2010
- Recruited as a member of the exclusive DARK DELICACIES WRITER’S
GROUP (2009 – present)
- BEST SCREENPLAY – SHORT SUBJECT (2005) for “Chrysalis,” Sidewalk
Film Festival
- BEST COMEDIC SHORT and BEST SCREENPLAY – SHORT SUBJECT
(2005) for “Testosterino,”
Sidewalk Film Festival
- BEST COMEDIC SHORT (2004) for “Remember the Future,” Sidewalk
Film Festival
- BEST SCREENPLAY – SHORT SUBJECT (2004) for “Six of One, Half
Dozen the Other,” Sidewalk Film

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

Objective: Continue to create entertaining, innovative and lucrative Films


that cross several genres.
Education: Eastern New Mexico University, BFA Theatre Performance
Professional Experience:
Mighty McT Productions
2009-Present

•ITCH Executive Producer, Horror Short Film.


Actor, Recruited Cast and Crew, Coordinated Schedules, incl. Shoot
Dates and Call Sheets

•MIS-ADVENTURES OF MCT & A Executive Producer, Comedic/Spoof


Web Series.
Actor, Co-Creator, Recruited Cast and Crew, Coordinated Schedules,
Union Paperwork (SAG)
Freelance
2009-Present

•PATHETICALLY CHEAP ADVENTURES OF XTRA-MAN Associate


Producer, Comedic Feature Film
Actor, Recruited Additional Crew

•LOS ANGELES BOYS AND GIRLS CLUB FILM FESTIVAL Production


Consultant, Several Short Films
Recruited 20+ qualified Writers, Directors, Producers and Actors to
teach specific Classes to the Kids of the Club in order to help the kids
create their own Short Films.
Organized the Production of the Four Short Films by recruiting four
different sets of Crew including Directors, Lighting and Production
Assistants.
Included coordinating Schedules, Call Sheets, Organizing Paperwork
for Various Aspects of Production

•VARIOUS COMMERCIALS Production Assistant, Art Department (2004)


Duties included running Wardrobe and Props to and from each set,
painting and helping build sets and keeping track of receipts for the
Production Book.
Related Experience
2002-2005

•CASTING Various Television Commercials


Casting Assistant for Melissa Martin, Craig Colvin and Carolyne Barry.
Duties included Sorting Headshots, Scheduling Audition Times, Meeting

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___________________

“THE DEATH AND LIFE of CHARLIE ST. CLOUD” Universal Pictures


Assistant Editor Director: Burr Steers
Aug. 09 to CURRENT

“NAILED” Capitol Films


Assistant Editor Director: David O. Russell
Sept. 08 to CURRENT

“SEVENTEEN AGAIN” New Line Cinema


Assistant Editor Director: Burr Steers
Dec. 07 to Sept. 08

“THE EXPRESS” Universal Pictures


Apprentice Editor Director: Gary Fleder
March 07 to Dec. 07

“AUGUST RUSH” Warner Bros.


Editorial Assistant Director: Kirsten Sheridan
Feb. 06 to March 07

“YOU, ME AND DUPREE” Universal Pictures


Editorial Assistant Director: The Russos
Aug. 05 to Feb. 06

“THE INTERPRETER” Universal/Working Title


Editorial Assistant Director: Sydney Pollack
March 04 to March 05

“THE AVIATOR” Warner Bros/ Mirmax


Intern/Assistant Mr. Scorsese

OTHER________
Sydney Pollack Personal Assistant/Editor
Mirage Enterprises, CA

Martin Scorsese Personal Intern


CAPPA/ SIKELIA, NY

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

•ITCH Executive Producer, Horror Short Film.


Writer, Actor, Funded the Short, Website, Marketing

•MIS-ADVENTURES OF MCT & A Executive Producer, Comedic/Spoof


Web Series.
Writer, Actor, Funding, Marketing

Bridge and Tunnel Media, LLC


2010-Present

•ALMA PERDONADA Director of Multi-Media, Spanish Novella


Union Paperwork, Website Design

Freelance
2006-2009

•UNDER THE RAVEN’S WING Co-Producer Horror Feature Film


Website, Publicity, Acting, Marketing, Press Kits, Contracts
•MACY’S Production Assistant
Ran Wardrobe and Production needs to and from sets.
•CANON Production Assistant
Ran Wardrobe and Production needs to and from sets.
•PROTESTORS Production Assistant
Ran Wardrobe and Production needs to and from sets.

Lights Point Cinema


2006-2009

•FISTFUL OF SAND Producer, Writer


Contracts, Publicity, Acting
•DECEPTION Producer, Director, Writer
Contracts, Publicity, Acting

34
Matthew Zettell
Director/Producer
DGA*
(Union & Non Union Projects - * Financial Core *)
(818) 681-0527 (cell)
e-mail: mzettell@gmail.com
www.mattzettell.com

Matt Zettell is a Director/Producer/Co-founder of Six Sense Productions,


specializing in Feature Films and development.

Matt Zettell is a Director/Producer/Co-founder of Top Knot Productions


specializing Documentaries, Family Entertainment and Corporate Videos.
FILM - TELEVISION (selected credits 1997- 2010)

Director/Producer, THE CELLAR DOOR (Feature HD) Six Sense Productions


Prod: Hilary Six, Chris Nelson

Director, RESURRECTION COUNTY (Feature HD) 5 Star Productions


Ex. Prod: Mike Hart
Cast: Adam Huss, Robert Miano, Rus Blackwell

Director, STORYBOOK LIVE (Multi-camera TV) Storybook Productions


EX. Prod: Llyod Swartz

Director/Producer, TOTAL POP STAR (Multi Camera) Extraordinary Media


Group
EX. Prod: Andrew Van Slee CAST: Joey Lawrence, Deborah Gibson

Director/Producer, TEASE (Multi Camera) Seven Lights Ent.

Director/Series Producer, JOBZ 4 DOGZ (Kids Reality TV) Dream Big


Productions
EX. Prod: Brian Levine, Denise Gelfland

Director/Series Producer, AMAZING HEROES (Kids Reality TV) Dream Big


Productions
EX. Prod: Brian Levine, Denise Gelfland

Director/Series Producer, HOWZIT MADE (Multi-camera TV) Dream Big


Productions
EX. Prod: Brian Levine, Denise Gelfland

Director/Series Producer, CHATTER BUDDIES (Children/Family TV) Chatter


Buddies LLC
EX. Prod: Karen Hodges

Director/Producer, TREOS (Music Video) Triple Crown Records

Director, DECEIVERS (HD) Black Jewel Films

35
EX. Prod: Mike Lynn, Lisa O’Neil

Director/Producer, EARTHPARK (Corporate Video) Townsend Productions


Director/Producer, BLUE2GREENCAREERS (Corporate Webseries) Tellurian
Co-Director/Producer, ADAM & EVIL (Feature: HD) E Productions, LLC.
Dir: Andrew Van Slee

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

Director 2nd Unit/1st Assistant Director, DATING GAMES PEOPLE PLAY


(Feature)
Marc Entertainment Dir: Stefan Marc DP: Christos Bitsakos
Cast: Austin Peck, Andy Lauer, Kellie Perine

Director 2nd Unit/1st Assistant Director, GACY (Feature)


Rillington Productions Prod: Susan Rodgers Dir: Clive Saunders DP: Kristian
Bemier

Director 2nd Unit/1st Assistant Director, NET GAMES (Feature: HD 24p)


Cast: C. Thomas Howell, Joan Van Ark, Ed Begley Jr., Marina Sartis

Producer, JUNK DREAMS (Documentary) Top Knot Productions

Producer, CURRENT TV (Documentary Series) Six Sense Productions

Coordinating Producer, SAMUEL ADAMS (Commercial) TGC Enterprises

Coordinating Producer, PREGO (Commercial) TGC Enterprises

Unit Production Manager, ASYLUM OF THE DEAD (Feature: HD 24p) Mobius


Ent.
Prod: Matt McCombs Co-Prod: Scott Bendo Dir: Phil Jones LP: Bill Dion
Cast: Bruce Payne, Tiny Lister

Unit Production Manager, THE LAST DATE (Feature:35 mm) VisionBox

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

Dir: Bob Learner Prod: Sven Nebelung


Cast: Charles Kimbrough, Martin Mull, Annie Potts

36
1st Assistant Director, MONSTER MAN (Feature) Dream Entertainment

Dir: Michael Davis Prod: Larry Rattner DP: Matt Irving


Cast: Eric Jungmann, Justin Urich, Aimee Brooks

1st Assistant Director, A FORCE OF ONE (TV Series) R.G.I. Productions

Dir: Rodion Nahapetov LP: Natasha Shliapnikoff


Cast: Sean Young, Rodian Nahapetov

JASON RASWANT / CINEMATOGRAPHER

FEATURE FILMS & DIRECTORS


George’s Intervention: JT Seaton
Dark Room Theater: Benjamin Pollack

2nd Unit DP
Crazy Girls Undercover: 2nd Unit Dir. Rod Hardy

COMMERCIALS & DIRECTORS


Doritos collision spot: Jeff Sanders
NFL spot, 4 Chances: Jeff Sanders
Test prep network: Javier Colon Rios

SHORT FILMS & DIRECTORS


In the Name of the Son: Harun Mehmedinovic
Interrogation: Nathan Atkinson
A Brand New Life: Javier Colon Rios
The Gift: Nathan Atkinson
Proposal: Nathan Atkinson
The Touch: Maarit Nissila

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

IN THE NAME OF THE SON: Editor


26 Minute Drama – AFI Thesis Film
Shot on HD and Finished on 35mm
Edited on Avid Symphony
Shot in Bosnian and Subtitled in English
Has Won Over 30 International Awards

DE PURA CEPA: Editor


25 Minute Drama – AFI Thesis Film
Shot on 16mm and Finished on HD
Edited on Avid Symphony
Shot in Spanish and Subtitled in English

THE CLUB: Editor


25 Minute Comedy – Foxx Follies Films
Shot on HD and Finished on HD

38
Edited on Avid Symphony

SIDE EFFECT: Assistant Editor


13 Minute Horror – AFI Directing Workshop for Women Film
Synced, Organized and Labeled Dailies
Created Outputs to DVD and DVCam

Television/Promos/EPKs/Tributes

2010 LIFE ACHIEVEMENT AWARD FOR MIKE NICHOLS: Assistant


Editor
Digitized, Organized, and Uprezzed Clips for Montage.

WEATHER PROOF: Assistant Editor


1 Hour Multicam Series – The Weather Channel
Uprezzed AMA Files and DVCam Footage on Avid
Created Deliverables for Sound and Color

New Wave Entertainment: Lead Assistant Editor


Assisted on Behind-the-Scenes Material, EPKs and Promos for such
movies as
THE DARK KNIGHT, GET SMART, WANTED and many others.
Created Shot Logs and Music Cues, Digitized all formats from Mini
DV to
HDCam-SR in Both SD and HD Projects, Synced Multi-Cam Footage,
Created Outputs to DVD and Beta, Prepped for Finishing, etc.
Cut Promo for GHOSTBUSTERS 1 & 2 Blu-Ray and Gag Reel for GET
SMART

AFI TOP TEN AWARDS 2009: Assistant Editor


Digitized, Pulled, Labeled and Organized Clips for Montage

A TRIBUTE TO DARYL HANNAH: Assistant Editor


Digitized, Pulled, Labeled and Organized Clips for Montage

39
40
Tom Devlin [Special Makeup FX Artist]
1313FX
3080 W Valley Blvd.
Alhambra, CA 91803
(818)441-3797 [email: tom@1313fx.com]

Film and Television History:

TOM DEVLIN’S 1313FX: 2002-Present


SOMEONE’S AT THE DOOR
Key Special Makeup Effects [Mirage Pictures JR LTD/Crappy World Films, Dir: Chad Ferrin,
Prod: Sean
Cain, Noah Segan]
BARTOKULAR
Key Special Makeup Effects [60 Frames, Dir: Travis Betz, Prod: Jessica Petelle-Slagle, Aaron
Gaffey]
PUNCH
Key Special Makeup Effects [Punch Brand Films, Dir: Jay Cynik]
PLACEBO
Key Special Makeup Effects [Orange Bird Productions, Dir: Nick Slatkin, Prod: Randy Wayne,
Rob
Sanford, Danny Roth]
LILY’S TOMB
Key Special Makeup Effects [60 Frames, Dir: Travis Betz, Prod: Jessica Petelle-Slagle, Aaron
Gaffey]
THE LOST TRIBE
Special Makeup Effects Artist [Avatar Entertainment Group, Dir: Roel Reine, Prod: Mohit
Ramchandani]
JOURNEY TO THE CENTER OF THE EARTH
Key Makeup Artist [The Global Asylum, Dir: Scott Wheeler and Davy Jones, Prod: David Latt,
David
Rimawi]
BOWLING ALLEY
Key Special Makeup Effects [Potluck Productions, Dir: Stevo, Prod: Al Burke]
ZOMBIES OF MASS DESTRUCTION
Key Special Makeup Effects [Typecast Films, Dir: Kevin Hamedami, Prod: John Sinno]
BIOSLIME
Key Special Makeup Effects [Lechago Entertainment, Dir/Prod: John Lechago]
THE TREK
Key Special Makeup Effects [Waltzing Devil Productions, Dir: Lola Wallace]
NIGHT OF THE FLESH EATERS
Key Special Makeup Effects [Dir/Prod: JR McGarrity]
LO
Key Special Makeup Effects [Drexel Box Productions, Dir: Travis Betz, Prod: Jessica Petelle-
Slagle,
Aaron Gaffey]
THE PORTAL
Special Makeup Effects Supervisor [Rojak Films, Dir: Serge Rodnunsky, Prod: Gerald Wolff]
THE LIFE OF LUCKY CUCUMBER

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]

42
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]

Wayne Studios: 2005


Member of Effects Team. Credits include, but are not limited to the following:

CSI MIAMI

Make-Up Effects Laboratory: 2004


Member of Effects Team. Credits include, but are not limited to the following:

PIZZA HUT COMMERCIAL

Almost Human: 2004


Member of Effects Team. Credits include, but are not limited to the following:

BUFFY THE VAMPIRE SLAYER, ANGEL

W.M. Creations: 2001-2002


Member of Effects Team. Credits include, but are not limited to the following:
SCORPION KING, X-FILES: SEASON 8-9, THE TUXEDO, RED DRAGON,
DAREDEVIL, REIGN OF
FIRE, CSI MIAMI: SEASON 1, CLUB DREAD, PRESIDIO MED, CHARLIE’S
ANGELS 2,
TERMINATOR 3, THE HUNTED.

RELATED WORK HISTORY:


Rick Chou Studios: 2006-2007
Applied makeup FX for print advertisement photo shoots, including Universal Studios Orlando,
Halloween Horror Nights.

43
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.

44
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

45
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

Costume and Makeup


“Itch” – Short Film
– Provided Jewelry
“The Mis-Adventures of McT & A: Episodes 2 & 3” – Web Series
– Provided Jewelry
“The Somnambulist” – Feature Film Reshoots
– Wardrobe Stylist
“Glory Days” – Feature Film
– Provided Jewelry
“The World's Shortest Fairy Tale” – Short Film
– Provided Principal Wardrobe
“Alchohol Killer” – Youtube Promo Spots
– Makeup
“The Pathetically Cheap Adventures of Xtra-Man” – Feature Film
– Provided Jewelry
“Bad Penny Amps” – Youtube Promo Spots
– Provided Principal Wardrobe
“Barry Munday” – Feature Film
– Provided Jewelry

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

46
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

48
– 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

49
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

50
T. Alexander Justinger
13012 Riverside Dr #4 Sherman Oaks, CA 91423—
alex@brightheadproductions.com—(818) 458-2418
QUALIFICATIONS SUMMARY

Film and Television Productions: All-encompassing knowledge of film


production from pre to post. Experienced in coordinating production, using
production equipment, plotting set ups, and script breakdowns and analysis.
Carry a professional history in writing, directing, and editing all forms of
production.

Technical Proficiencies: Final Cut Pro, Soundtrack Pro, Motion 2, DVD


Studio Pro, Adobe After Effects, Logic, Photoshop, Final Draft 7, Microsoft
Office, Panasonic P2, HVX-200, HPX3000.

Strengths and Accomplishments: Enthusiastic and creative drive; always


willing to put in the long hours until the job is done. Passionate about
production work and always eager to learn more. Organized, focused,
efficient, and experienced in fast-paced environments. Served as both a
producer and editor of video and sound for both an ad firm and post house
for the past four years.

Administration and Communication: Administered a variety of projects


with working crew. Organized and lead productions under strict deadlines.
Carry strong communication skills with crew team and client.

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

Director / Writer / Editor Production Sound /


Sound Design
- Hell is For Bastards, 2008 – Short Film, HD - Interplanetary –
16mm Feature Film
Won Audience Choice at the July 2008 Sidewalk Scramble Won
Audience choice, Sidewalk Film Fest
- A Perfect 10 Suicide, 2008 – Short film, HD Won Audience
choice, WT Os Int. Film Fest
Won Audience Choice, March 2008 Sidewalk Scramble - The Nurse –

51
Short Film, HD
- Gratuitous, 2004 – Digital Short Film - The Craving –
Short Film, HD
Won Cinematic Innovation Award, Sidewalk Film Festival

Writer / Producer Production Assistant


- Cerebella, 2009 – Short Film, HD - Talladega
Nights: The Ballad of Ricky Bobby
Won Best Cinematography 2009 Sidewalk Film Festival Feature Film
Won Best Cinematography 2009 Nashville 48 Hour Film Comp. Helped with
set-ups and served as a runner
- Pretty Vacants, 2009 – Feature Film - Ambush
Makeover
Feature Length Narrative, Running Time: 80 minutes Worked on 4
episodes
- Les Jeune Mortes, 2007 – Short Film Got release forms
signed, tape logs, runner
Won Audience Choice at the 2007 Winter Sidewalk Scramble - Food
Network “Wild Game Cook-Off”
_________________________________________________________________________________________

EXPERIENCE HIGHLIGHTS

Producer/Editor/Writer—Bright Head Productions, LLC,


2006-Current
Produced, directed, edited, and shot several award-wining narrative video
projects.
Coordinated and organized commercials, short films, and feature films.

Produced and edited festival and concert promotions


Produced commercials and videos for viral marketing
Provided creative input and writing for marketing campaigns.

Audio Engineer/Producer/Editor—Atomic Pictures, 2007-


2010
Produced and coordinated audio and video advertising production
Worked with Soundtrack Pro, Final Cut Pro, Adobe After Effects, Photoshop,
Motion, some Logic
Wrote scripts for automotive and retail clients

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

Reception / PA / Coordination – Bottle Rocket Post


2005

52
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.

**References Available Upon Request

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

53
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

54
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

Graphic Artist Experience:


Graphic Artist—Computer & Graphics Support, 2007
Photo editing for modeling conventions

Other Notable Experience:


Office Administrator—Lovoy, Summerville & Shelton, 2005-2007
Use of Excel, Word, Word Perfect, MS Outlook, Quickbooks
Accounts Payable/Receivable
Prepare firm operations report
Prepare tax returns
Update and maintain company website
Office organization
Operations Supervisor—Washington Mutual Bank, 2000-2002
Handled branch audits and compliance issues
Dealt with customer problems
Managed nine employees

**References Available Upon Request

55

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