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INVESTOR PRESENTATION OVERVIEW:
INVESTING IN MY FILM WILL CREATE A LEGACY LIKE NO OTHER OPPORTUNITY YOU HAVE. THERE IS NO OTHER INDUSTRY LIKE THE FILM INDUSTRY. JUST IN 2014, IT GENERATED OVER $31BILLION IN GROSS REVENUES.
IT FOLLOWS THEN, THAT REVENUES FROM FILMS STILL REMAIN RELATIVELY IMMUNE TO ECONOMIC DOWNTURNS. ALSO, THE FILM INDUSTRY IS IMPERVIOUS TO ISSUES OF LANGUAGE SINCE FILMS ARE EASILY TRANSLATED INTO HUNDREDS OF LANGUAGES. FINALLY, A FILM CAN BE HISTORICALLY PRESERVED THEREBY SERVING AS A TESTAMENTARY WORK OF ART THAT CAN CONTINUE TO PRODUCE REVENUE GENERATIONALLY.
INVESTMENT IN MY FILM, TRIALS BY DEADLY FIRE, IS A PROFITABLE
OPPORTUNITY, EVEN AS AN INDEPENDENT FILM PRODUCED ON A MICRO-BUDGET OF $3.4MILLION.
IT IS WELL DOCUMENTED THAT EVEN A MOVIE BUDGET OF $3.4MILLION,
OR LESS, CAN BRING TREMENDOUS RETURNS. BY WAY OF EXAMPLE, THE BLAIR WITCH PROJECT WAS MADE FOR $35,000 YET GROSSED MORE THAN $200MILLION AT THE BOX OFFICE. THE ABOVE NUMBERS DO NOT INCLUDE SALES FROM DVDS AND/OR TV. RISK / REWARD
OVER THE LAST 20 YEARS (1995 TO 2015), FILMS HAVE BEEN SHOWN TO BE RECESSION PROOF, INFLATION PROOF, AND FULL OF STAMINA. WHAT WAS EXPERIENCED BY RESISTANCE TO THE ECONOMIC CRISIS THAT BEGAN IN 2008 UP THROUGH THE PRESENT TIME OF SLOW RECOVERY ALSO POINTS TO THE MARKETABILITY OF FILMS.
RISK REGARDING MY FILM IS DEEMED MANAGEABLE BECAUSE THERE IS
NO UPSIDE LIMITATION, YET THE DOWNSIDE IS A KNOWN. IT IS TRUE THAT INVESTMENT IN ANY FILM HAS HIGH RISKS, HOWEVER, BECAUSE THE MARKET FOR FILMS WORLDWIDE REMAINS STRONG, CALCULATING THE WORST CASE SCENARIO FOR MY FILM WILL, STATISTICALLY SPEAKING, SUSTAIN AT LEAST THE PROBABILITY TO COVER THE COSTS OF MAKING THE FILM. CONSIDER FOR EXAMPLE THE INDUSTRY OF MANUFACTURING THAT REQUIRES SIGNIFICANT CAPITAL OUTLAY TO PRODUCE AN END PRODUCT THAT HAS A MEASURED SHELF LIFE, EXPENDS R&D COSTS CONTINUOUSLY FOR UPDATES, REQUIRES MAINTENANCE, AND HAS A LIMITED FUNCTION. COMPARE THIS TO THE CAPITAL REQUIREMENTS TO FUND A PRODUCT LIKE FILM WHICH USES THE LEAST AMOUNT OF CAPITAL INFUSION TO OBTAIN THE MOST SUBSTANTIAL RATE OF RETURN WITH NO DEFINED LIFE CYCLE, UNLIMITED FUNCTION, NO SHELF LIFE,
AND CAN BE STORED FOR USE INDEFINITELY. THIS SUPPORTS INVESTMENT LONGEVITY.
ANOTHER EXAMPLE OF UPSIDE POTENTIAL IS MY BIG FAT GREEK
WEDDING WHICH WAS PRODUCED FOR AROUND $1.5MILLION. IT WAS DONE AS AN INDEPENDENT FILM BECAUSE IT WAS TURNED DOWN BY ALL OF THE MAJOR STUDIOS FOR FINANCING. TODATE, THIS MOVIE HAS GENERATED OVER $360MILLION IN GROSS REVENUES. COMPARISON
HISTORICALLY, INVESTING IN REAL ESTATE VALUES HAS BEEN RECOGNIZED AS SUPERBLY SOUND AND LUCRATIVE, IN THE SENSE OF ITS INDESTRUCTIBILITY AND PERMANENCY. YET, IT IS NOT REPLENISHABLE, AND, WHEN THE REAL ESTATE MARKET GETS STAGNANT, LIKE IT HAS RECENTLY, THE RATE OF RETURN IS MUTED AND POSSIBLY REVERSED. WE RECOGNIZE THAT THE ASSET’S REVENUE LIFESPAN IS LONG, HOWEVER, DIGGING AND PLACING YOUR MONEY IN THE GROUND IS NOT THE ONLY ALTERNATIVE WHEN WANTING TO GENERATE LONG-TERM REVENUES.
SIMULARLY, INVESTMENTS IN THE SECURITIES MARKETS (STOCK MARKET) GIVES A CARTWHEELING SENSE OF DIRECTION TO YOUR INVESTMENTS. ONE DAY UP, THE NEXT DOWN, THE NEXT FLAT, AND THE NEXT PANIC WHICH TRANSLATES INTO: SELL, SELL, SELL. APPROXIMATELY 6 TO 7 YEARS AGO, THE MARKET DROPPED OVER 700 POINTS AND CAUSED SERIOUS FINANCIAL HARM TO THE SECURITIES MARKETS WHICH EVEN TO THIS DAY CONTINUES. THIS TYPE OF VOLATILITY DOES NOT ENGENDER FAITH IN THE OUTCOMES FOR FINANCIAL INSTRUMENTS. MOVIES, CONVERSELY, OVER THE SPAN OF THE LAST 20 YEARS CONTINUED TO DRAW LARGER GROUPS OF FANS TIME AND AGAIN.
MY FILM OFFERS A RETURN TO THE FUNDAMENTALS OF POPULAR THEME PRODUCTIONS. ASIDE FROM THE OBVIOUS REVENUE GENERATION FOR THE INVESTOR(S), MY FILM WILL PROVIDE THE CONSUMER WITH SOMETHING THEY CONSTANTLY SEEK: AN ADVENTURE, AN OUTLET FOR VISUALIZING THEIR FANTASIES, I. E., BEING HEROES TO SOMEONE AND VANQUISHING EVIL IN ANY FORM. FANS WANT TO ASSIMILATE A CONCEPT, TO LAUGH OR CRY WITH A CHARACTER, AND PERHAPS TO FALL IN LOVE WITH ONE. THE PUBLIC IN GENERAL WANTS ENTERTAINMENT THAT FULFILLS THEM. MY FILM WILL DELIVER ON THE OPPORTUNITY FOR CAPTURING AN EXTENDED LIFESPAN REVENUE CYCLE. KEYS
THE KEYS TO COMPLETING A PRODUCT LIKE THIS ONE AND OBTAINING OUTSTANDING RETURNS ARE THE FOLLOWING: (1) A GOOD STORY; (2) THE
TALENT ATTACHED TO THE FILM; AND (3) THE PRODUCTION TEAM’S ABILITY TO PRODUCE A COMMERCIALLY AND VISUALLY APPEALLING FILM.
MY FILM ENCOMPASSES THE ABOVE 3 KEYS, BUT, IN ADDITION PROVIDES
A NEW EXPERIENCE FOR OUR FAN BASE WHO ENCOUNTER LIFE EVENTS ON A DAILY BASIS THAT PRODUCE VERY REAL IMPACT AS TO THEIR CIRCUMSTANCES.
AMONGST THESE CIRCUMSTANCES ARE: LAW ENFORCEMENT IS BEING OVERWHELMED WITH PERSONAL ATTACKS
ON OFFICERS, EXCESSIVE ABUSE OF POWER, AND PESONAL HATRED SCHOOLS ARE NOT CONSIDERED SAFE FOR OUR CHILDREN SEXUAL ASSAULT ON EVERYONE IS ON THE RISE AUTHORITY FIGURES USE THEIR POSITION TO GAIN ILLICIT CONTROL
OVER THE PUBLIC AS SUCH, TICKET SALES REFLECT THAT THE PUBLIC TIRES OF THESE
OVER-THE-TOP REPRESENTATIONS ON FILM, VIZ-A-VIE, MOVIES THAT CATER TO THE DARK SIDE OF THE HUMAN CONDITION WITHOUT A THOUGHT TO THE CONSEQUENCES. VIOLENCE, LAWLESSNESS, AND SARCASTIC DEPICTIONS OF FAMILY VALUES ARE NOT NOW, NOR HAVE THESE EVER BEEN A VIRTUE. RESORTING TO GROTESQUE BEHAVIOR TO SERVE UP REVENGE IS NOT A BEAMING CHARACER TRAIT FOR ANYONE.
MY FILM PORTRAYS VERY HUMAN FRAILTIES FRAUGHT WITH
DIFFICULTIES THAT ARE OVERCOME THROUGH FAITH IN GOD, A DESIRE TO REMAIN TRUE TO ONESELF, AND ACCEPTANCE.
THE PUBLIC WANTS TO VIEW A FILM WHEREIN THEY CAN ASCERTAIN AND IDENTIFY THE DIFFERENCE BETWEEN HIGHER MORALS ENTERTAINMENT VERSUS ENCOURAGEMENT TO, FOR EXAMPLE, TAKE THE LAW INTO THEIR OWN HANDS. THERE IS A TIME AND A PLACE FOR EVERYTHING, BUT FAMILY FUN FILMS HAVE ALWAYS BEEN, ARE, AND ALWAYS WILL BE HIGHLY ENTERTAINING, PRODUCE GREAT BOX OFFICE REVENUE, AND AREN’T LACKING VENUES.
CASE IN POINT FOR 2014: OF THE TOP 9 GROSSING FILMS, 6 WERE FAITH-
BASED, GOD-THEMED STORIES. THESE 6 COLLECTIVLEY PRODUCED MORE THAN $420MILLION IN REVENUE. THIS IS AN AVERAGE OF $70MILLION PER MOVIE, EACH MOVIE, IN JUST ONE YEAR. TOGETHER THESE FILMS EARNED MORE THAN $1.9MILLION EVERY SINGLE DAY OF THE YEAR, NO EXCEPTIONS. WITH RESOUNDING CLARITY, THE YEAR 2014 WAS TAGGED AS THE YEAR OF “JESUS”. FOR THE YEAR 2015, THERE IS PROJECTED A 20% GROWTH INTERNALLY, AND POSSIBLY BIGGER WORLDWIDE PROFITS FOR ALL FILMS.
CONSIDER HOW THE MOVIES HOME ALONE AND HOME ALONE 2 WERE DISGUISED AS THE CRAZY ADVENTURES OF AN PRE-ADOLESCENT BUT TRULY REVOLVED AROUND THE CONCEPT THAT FAMILY AND TOGETHERNESS IS VITALLY IMPORTANT TO EVERYONE. THESE MOVIES CAN’T BE CONSIDERED OUTDATED VERSUS TODAY’S HIGH-TECH AGENDA PRODUCTIONS. THE REASON IS BECAUSE EVERY HOLIDAY HUNDREDS OF THOUSANDS OF FANS PAY TO SIT AND WATCH THESE MOVIES ON DVD, NETFLIX, OR CABLE, INCLUDING REGULAR TV. THIS IS NOT A PHENOMENA PARTICULAR TO THOSE MOVIES, IT IS THE PHENOMENA OF WHAT THE PUBLIC ENJOYS MOST: FAMILY MEMORABILITY. HOWEVER, MORE THAN THIS, THE PUBLIC PHENOMENA OF ATTACHMENT TO A MOVIE CENTERS ON THE KNOWN VARIABLE WHICH IS THE PUBLIC’S STRONG SET OF BELIEFS IN FAMILY.
RELIGIOUS, OR GOD-THEMED FILMS CONSISTENTLY EARN MORE MONEY
EVERY YEAR. IN 2013, FOX NEWS REPORTED THAT FOR THE FIRST TIME EVER, AT LEAST FOUR OF THE TOP 10 GROSSING MOVIES, DOMESTIC AND INTERNATIONAL, HAD A FAMILY ORIENTED THEME. THEREAFTER IN 2014, MOVIEGUIDE, A CHRISTIAN ADVOCACY GROUP, PUBLISHED A STUDY THAT FOUND THAT IN THE TOP 25 CATEGORIES OF BEST SELLING MOVIES, FAITH-BASED FILMS, OR FAMILY-FRIENDLY FILMS, AVERAGED $87MILLION AT THE BOX OFFICE, WHILE NON-CHRISTIAN THEMED FILMS AVERAGED $21.6MILLION. FILLING A VOID:
JOE BOYD, FOUNDER AND PRESIDENT OF REBEL PILGRIM PRODUCTIONS SAYS FAITH-BASED FILMS ARE THE HOT TICKET BECAUSE, “…IT’S AS SIMPLE AS GIVING THE PEOPLE WHAT THEY WANT”. IN GENERAL, AMERICANS WANT POSITIVE FAMILY VALUES PORTRAYED IN FILMS.
PEOPLE HAVE A HUNGER FOR WHAT IS REPRESENTED BY GOD AND DWELL ON THE FULLFILMENT THEY ANTICIPATE THEY WILL RECEIVE WHEN THEY BUY TICKETS TO VIEW FAITH-BASED FILMS. SOME IN THE GENERAL PUBLIC CRY OUT FOR HELP AND HOPE, SAYS TODD BURP, AUTHOR OF THE NO. 1 NEW YORK TIMES BEST SELLER, HEAVEN IS FOR REAL. THIS MOVIE HAS HAD PHENOMENAL SUCCESS AT THE BOX OFFICE. CONCLUSION:
WHETHER THE C.E.O. OF A MAJOR CORPORATION, OR A MINIMUM WAGE EARNER, AT THE END OF THE WEEK EVERYONE WANTS TO RELAX AND RECHARGE. YOU WANT TO FIGURATIVELY FLY OR TRAVEL TO FAR AWAY CITIES, OR TO SUPERSEDE AN ADVERSARY. YOU WANT TO STEEL YOURSELF AGAINST HORROR ON THE SCREEN. YOU WANT TO SEE A MOVIE THAT RENEWS YOUR FAITH IN YOURSELF AND HOW YOU LIVE YOUR LIFE IN THE FACE OF TERRIBLE EVENTS AROUND THE GLOBE. YOU WANT TO SEE GOD’S LOVE FOR
HUMANITY TRIUMPH OVER SATAN BECAUSE THIS IS A RELEVANT THEME WORLDWIDE.
NOTHING STANDS OUT MORE, OR HAS MORE IMPACT THAN WATCHING A FILM THAT GIVES YOU THIS FEELING OF PERSONAL, SPIRITUAL, AND MORAL SATISFACTION OF HAVING CONQUERED OVER EVIL.
THANK YOU VERY MUCH FOR YOUR TIME. CHRISTOPHER RAYMOND REFERENCES:www.the‐number.com/market;http://www.theguardian.com/film/2011/jun/14/us‐film‐industry‐growth‐forecast;http://www.homemediamagazine.com/studios/faith‐based‐content‐rise‐33079
TRIALS BY DEADLY FIRE, LLC
DEVELOPMENT MONEY EXECUTIVE SUMMARY
“TRIALS BY DEADLY FIRE”
A THEATRICAL-LENGTH MOTION PICTURE
Christopher Raymond Author: TRIALS BY DEADLY FIRE 12223 Veterans Memorial Drive Houston, TX 77067 (832) 763-7872 [email protected] www.christopherraymondproducer.com
THIS IS NOT A PROSPECTUS
CONFIDENTIAL
THIS INFORMATION DOES NOT AND CANNOT CONSTITUTE AN OFFER TO SELL ANY SECURITIES. THIS SUMMARY IS NOT AN OFFER TO SELL, NOR A SOLLICATION OF AN OFFER TO BUY, ANY SECURITIES TO ANY PERSON IN ANY JURISDICTION IN WHICH SUCH AN OFFER WOULD NOT BE IN COMPLIANCE WITH THE SECURITIES OR BLUE SKY LAWS OF SUCH JURISDICTION. ANY OFFER TO SELL ANY OF SUCH SECURITIES CAN ONLY BE MADE BY A PRIVATE PLACEMENT MEMORANDUM IN ACCORDANCE WITH APPLICABLE STATE AND FEDERAL SECURITIES LAWS.
IT IS FOR INFORMATION PURPOSES ONLY
FUNDING SUMMARY
This document is confidential, and the information contained herein is provided by the organizers of a soon-to-formed limited liability company to be named TRIALS BY DEADLY FIRE, LLC (“Company”), solely regarding the project film TRIALS BY DEADLY FIRE, a theatrical-length motion picture.
The contents of this document are proprietary to the proposed Company and are intended
only for the persons to whom it is transmitted. By accepting this document, the recipient agrees to maintain confidentiality and not reproduce or divulge any of its contents without the prior written consent of Christopher Raymond and Norman L. Chapa, or the proposed Company.
Recipients of this film proposal are not to infer, depend, or construe the contents of the document as investment, legal, or tax advice from either the preparers of this document, or the Company. Each recipient of this film proposal specifically understands and agrees that any estimates, projections, revenue models, forecasts or assumptions are by definition uncertain.
This film proposal contains forward-looking statements and is subject to risks, uncertainties, and assumptions. The Company’s actual operations and results thereof may differ materially from the forward-looking statements.
Market data and certain industry forecasts used throughout this film proposal were obtained from a variety of resources, including market research, publicly available information and industry publications. Industry publications generally state that the information contained therein has been obtained from sources believed to be reliable, but that the accuracy and completeness of such information is not guaranteed. Similarly, internal surveys, industry forecasts and market research, while believed to be reliable, have not been independently verified by the proposed Company, and no representations as to the accuracy of such information is being made.
Any use of a movie title and/or commercial products in these materials is for informational purposes and illustrative purposes only and without the permission of the owners and/or rights holders of the movies or the commercial products. Use of the movie titles and commercial products is not meant to suggest any endorsement, sponsorship or approval by the owners and/or rights holders. This film proposal contains projections of future financial performance. Such projections are based on numerous estimates and other assumptions about future events and circumstances, many of which will not be within the control of our proposed Company and its management. The Company’s management believes that such estimates and other assumptions are reasonable under the circumstances, but no representation, warranty or other assurance is given that such projections will be realized. There may be variances between such projections and actual events and results of such variations may be material. Unless otherwise indicated, this film proposal speaks as of the date hereof. Delivery of this film proposal shall not create any implication that there has been no change in the affairs of the proposed Company after it is formed.
THE PRODUCTION The Company intends to produce a high-quality, independently-financed, feature-length
motion picture suitable for theatrical distribution (the “Picture”). The anticipated production budget for the Picture is expected to be approximately $3 million to $3.5 million, depending on final filming locations, actors, director and other talent, and final filming locations. DEVELOPMENT ACTIVITIES
The Picture is currently at the development start-up phase. The Company will use the
development funds for usual and customary development expenses and intends to continue its development activities of the Picture immediately upon receipt of development monies. During development, use of funds will include, but not be limited to, engaging a screenwriter to revise the script, prepare the script breakdown, and prepare the final budget and necessary legal documents for obtaining of production financing for the Picture, determining talent to appear in, or others to render services for the Picture, location scouting, research, travel, and, for accounting and other legal fees, along with engaging other personnel and other activities necessary to obtain financing to produce the Picture. DEVELOPMENT FUNDING
The development funding will be used to develop the Picture to enable the Company to secure funding for the full production of the Picture from private investors, and/or from other companies.
The Company is seeking, through a development funding agreement, or an equity / financial investment, the amount of $136,000 to develop the Picture. Contributions are payable in cash at the point in time Investor’s make their commitment. In return, investors shall receive 100% return of their initial funding of $136,000 plus twenty (20%) percent of their monetary contribution (i.e., a total of $136,000 + $27,200 = $163,200) when the development phase ends. It is anticipated that the development phase will be not less than 90 days. This money shall be paid out of the production funding obtained for the Picture, when and if the Company receives its total production funding. OPTION: DEVELOPMENT AND PRODUCTION FUNDING
If investors choose to participate in funding the film’s development phase and the production and post-production phase for a total of $3.4 million, such investors would receive a portion of the Company’s share of net profits, resulting from the exploitation of the Picture in all media, world-wide, and forever, based upon a negotiated split.
By way of example, in the event the investors fund the full $3.4 million film’s budget, the
investors would first receive back a 20% return on the investors’ financing of the development phase of $136,000, then the remaining balance by way of the film’s net revenues, as accounted and expensed, and finally, also receive a negotiated split with the Company on all other net distributable profits thereafter.
LEGAL ADVISOR The Company’s Managing Members intend to hire entertainment attorney Austin Hill, ATXHill Management, as its legal advisor.
APPENDIX B TRIALS BY DEADLY FIRE
PROPOSAL SNYOPSIS
PRODUCTION EXECUTIVES
Screenplay, Writer, Executive Producer, Script, Proposal Consultant, Legal, etc… $336,000
Mitch Robbins, Director, pre‐production, development
Continuity treatment, re‐writes, production staff 216,543
Cast, rights, music, other talent, taxes (fringes) 912,139
ABOVE THE LINE EXPENSES 1,464,682
Production full operations, set design, other staff, etc. 324,700
Set design, etc… 122,072
Cameras, set operations 78,875
Visual effects, etc… 525,000
Post production sound 47,420
Transportation studio 14,404
Location expenses 126,260
Studio, production/post‐production office rental 36,040
Test and retakes 7,134
Publicity, marketing, distribution 5,000
Miscellaneous 3,000
Other professional services, accounting 40,500
Insurance 140,416
General overhead 20,306
Meals, etc…. 64,300
BELOW THE LINE EXPENSES 1,555,427
SUBTOTAL (pre‐contingency) 3,020,109
10% contingency 302,010
Total Budget $3,322,120
Copyright © 2015 All Rights Reserved
Norman L. Chapa Christopher Raymond
TRIALS BY DEADLY FIRE
A THEATRICAL-LENGTH MOTION PICTURE
WRITTEN BY CHRISTOPHER RAYMOND AND MARSHALL D. ROSS
Christopher Raymond - WGAe 12223 Veterans Memorial Drive Houston, TX 77067 (832) 763-7872 [email protected]
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TABLE OF CONTENTS
II. EXECUTIVE SUMMARY ……………………………………… 3
THE FILM ........................................................... 3
SYNOPSIS ……………………………………… 3
THE PRODUCTION TEAM …....................................................... 5
THE MANAGEMENT OF PROPOSED COMPANY................................ 6
THE COMPANY ……………………………………… 6
III. MARKETING FOR DISTRIBUTION SPECIFIC TO PRODUCT ………. 7
SECURING DISTRIBUTION ……………………………………… 7
IV. BUDGET CONSIDERATIONS ……………………….……… 8
V. THE PRODUCTION PROCESS ……………….……………… 9
INVESTMENT / FINANCING OPTIONS................................................... 9
SPECIFIC OPPORTUNITIES WITH TRIALS BY DEADLY FIRE ……… 10
VI. RISK MITIGATION ……………………….……… 11
INVESTOR OPPORTUNITY & FINANCIAL HIGHLIGHTS………. 11
VI. COMPARABLES (GENRE) ……………………….…………….. 11
VII. PERSPECTIVE FOR DIRECTOR/EXECUTIVE PRODUCER …………….. 12
VIII. GOALS OF PROPOSED COMPANY ………………….………….. 13
IX. KEYS TO SUCCESSFUL FILM ……………………………… 13
APPENDICES A. SCRIPT B. TOP SHEET C. BUDGET BREAKDOWN (ATL / BTL) D. FINANCIAL PROJECTIONS
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II. EXECUTIVE SUMMARY
TRIALS BY DEADLY FIRE, LLC will be formed as a limited liability company. Its office will be located in Houston, Texas. It will be formed to own, finance, produce, distribute, and exploit a film for production into a theatrical-length feature film. The projected film is a faith-based, but also in the horror genre, conservative and cautious film both in content and budget.
The Company seeks development funds of $136,000, which is 4% of $3,400,000, the total capital budget for this film project. The development funds are to secure services from, amongst others: executives, legal, director, production crew, actors, and other talent.
THE FILM
It begins with a well-established, and successful, self-made couple appreciative of God’s favor upon them. The husband is a real estate entrepreneur and his wife is in interior design. They become the targets of the ultimate evil stalking them, Satan, because of their love and adoration of God. Satan employs temptations designed to cause them to question their faith and doubt their beliefs after humanly tragedies confront them which can easily corrupt and destroy their minds, bodies, and spirit. Their roots grounded in their belief in God are shattered by this tremendous personal tragedy. Only the strongest will survive this initial test of their faith but only with a tenacious grasp on all things good, an unshakeable belief, and a firm reverence to God.
It is a true test of faith in core beliefs that demands the ultimate sacrifice to show that God is at the heart of their infinite love for Him.
SYNOPSIS We open with a scene in a church that sets the tone for the developing battle and ultimate confrontation between the leading characters. JAMES ROBERTS speaks with a pastor and recounts his blessings and his gratitude to God for them. He and ASHLEY ROBERTS have two children, ERIC and TERESA. They have high financial success, and maintain a strong faith with reverent respect for the blessings they have received. James’ blessings are shared with those around him. Ashley loves James beyond measure. Her own business thrives. The initial scenes indicate the depth of James’ roots in his beliefs that what he has accomplished in life is due to God’s favor upon him and his humble appreciation for it, yet he feels that his work in this regard is not enough. At this point, we also learn that James is going to be feted with a well-deserved award for business and humanitarianism. Meanwhile, God speaks to Satan as to James’ devotion and constant appreciation for the blessings bestowed. Satan detests James’ adoration of God and denounces him as to whether James’ loyalty to God would persevere should his humanly successes be not so abundant or lost. Satan obtains God’s authority to test James; however, he is not permitted to visit person harm on James.
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In a most horrible event of personal tragedy, the family’s children and nanny are killed in a vehicular accident literally before their eyes. James and Ashley are distraught to the point of no reason. Ashley’s conversion away from God begins almost immediately. Her core beliefs are torn apart. She believes God has abandoned them and shows her weakness in this. James’ beliefs are strong and he continues to speak about his blessings and the fact that he and Ashley must move on to the next level of their existence. Ashley screams at James to see the truth of the matter and accept that God has abandoned them. She abhors James’ reading of passages from the Bible. At this point, James seems to buckle under this onslaught. He shows weakness in his faith. But, somehow he manages to remain true to his belief that a heavenly reason and divine presence permeates throughout their trials and tribulations. We see that James’ businesses begin to fail around him. Ashley loses interest in their marriage. She meets a member of James’ office personnel, MARK SMITH, and they strike up a friendship that sends her spiraling into an affair, despite her matrimony to James. This is a pivotal point as Ashley’s personal values, financial stability, and belief in the sanctity of her marriage disintegrate. Then, on a terrible and eventful day a random bombing attack on the building James’ firm occupies occurs. His business is fatally destroyed. He is saved from personal destruction but many lives around him are lost. James manages to save others, including his personal assistant, OLIVIA JOHNSON, who secretly loves him but will not voice it out of respect for James as a married man.
Meanwhile, Satan’s many attempts to turn James away from God make him furious that James remains steadfast regardless that he is suffering tremendously. God has chosen to further grant Satan authority to destroy James’ life materially on earth. Yet, James suffers his one and only unsustainable feelings of abandonment and sense of self-pity. James doubts his worthiness in the eyes of the Lord and questions God’s plans. He goes through outrageous attacks from Satan, manifested in human form. He is confounded by what could be happening. However, he finds new strength and comfort in the warmth and loving tenderness of Olivia who has finally openly declared her emotions for James but refuses to proceed because James is still married. James confesses to her that Ashley is with someone else. After recovering from that near fatal random attack, James finds he must protect himself and Olivia from Satan who manifests physically and tries to finally destroy James and Olivia. It's clear that Satan cannot overcome James’ faith in God and so he resorts to violent attacks on James’ person. In a vividly climatic scene God rescues James and Olivia from Satan. James receives God’s favor for his undying devotion and love.
Meanwhile, Ashley’s life has degenerated to a complete loss of her self-esteem. She has lost her business and self-respect. Mark is no more than one of Satan’s demons who has worked at destroying her morally, financially, and spiritually. She has succumbed. She files for bankruptcy. Her divorce from James has propelled her towards ruination. She misses James and now recognizes her turning away from God was a terrible decision to make.
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James and Olivia begin life anew. They marry and have children. His business once again begins to thrive. James has triumphed over evil because he refused to allow worldly material things to fill a void reserved for God.
In the final scene to FADE OUT, it is Ashley, panhandling on the streets, homeless, destitute and alone that sends a powerful and heartfelt message that God does not abandon anyone but that those who choose not to believe will fall into despair and darkness.
THE PRODUCTION TEAM SCREENPLAY-WRITER Christopher Raymond is the author of the screenplay TRIALS BY DEADLY FIRE. He has
written other stories that are still in various stages of development. He is also one of two Managing Members of the proposed company TRIALS BY DEADLY FIRE, LLC. He has studied film, production, and writing in Pennsylvania at the famous Sun Center Studios. He has extensive background in pre-production, production, and post-production responsibilities. He also has extensive industry relationships across the USA with production studios, facilities, and has forged other vital partnerships with distributors in the industry.
EXECUTIVE PRODUCER In addition, Christopher Raymond, who is author of the screenplay TRIALS BY DEADLY
FIRE, will take on the role of Executive Producer of the film. Because Christopher Raymond has extensive background in pre-production, production, and post-production responsibilities he can leverage his extensive industry relationships across the USA to obtain the best rates, alliances and partnerships to create a focused synergy capable of producing a first rate full length feature film.
DIRECTOR / PRODUCER Mitch Robbins is the film’s director. He owns Topsecret Productions. He is a producer,
director, writer, editor, graphics artist, animator, digital effects artist, 1st AD, visual effects supervisor, and special effects supervisor.
He has been involved in all aspects of video, television, and motion picture production
for over 15 years. He has written, developed, produced, directed, and served in various other capacities in the production of many feature film and television projects. His eight years as producer, director, graphics artist, and chief editor for Daystar Television has given him the skills needed to provide quality production services that meet the independent filmmaker's goals, deadline, and budget. He understands script writing, coverage, film budgeting, producer services, director services, editing and post production, visual effects, or any combination. Mitch Robbins is capable of bringing together the best team and the right equipment to do the job. He has worked with many different production requirements.
CO-PRODUCER Chad Gundersen is the film’s co-producer. He has been a producer for more than 15 years. He has produced award-winning feature films like: Midnight Clear, The Secrets of Jonathan Sperry, Like Dandelion Dust, Unrequited, The Trial, and Christmas Snow, just to name
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a few. Chad Gunderson is currently producing the western Redemption in Santa Fe, New Mexico; however, he will have no scheduling conflicts with the proposed schedule for TRIALS BY DEADLY FIRE. In addition, he will also provide services as the Unit Production Manager. THE MANAGEMENT OF PROPOSED COMPANY: TRIALS BY DEADLY FIRE, LLC
The Company will be managed by Managing Members Christopher Raymond, and Norman L. Chapa. Together, they bring many decades of experience in business, finance, investments, film industry knowledge and contacts, including distribution channels relationships, with solid backgrounds in all of them. The members’ established and other relationships within the industry with entertainment veterans are crucial to assist them with the development, production, post-production, and distribution outlets or channels.
Christopher Raymond seeks to forge a stronger, more strategic partnership for the
purposes of not just finance but also for production. Our Company’s vision, long term plans, focus, and creative energy forms a great avenue for this synergy to flow with a strategic partner. This effort is illustrative of our commitment to develop a collaborative effort with the best and brightest that envision the film’s true potential.
Norman L. Chapa has extensive experience in the securities markets, has been an international business and financial consultant for more than 25 years, and has outstanding industry contacts. Norman L. Chapa served as the business and finance management consultant to a producer of two Spanish-language full length feature films starring the Almada brothers who have been two of Mexico’s top billing stars, and, a 3rd film starring Rafael Inclan, who has remained Mexico’s number one film comic for more than 30 years. In this capacity Norman L. Chapa was the finance manager for R-A-M films that scored big box office revenues in the USA with its Spanish-language film “El Puente”. Norman L. Chapa is the consultant to Christopher Raymond for TRIALS BY DEADLY FIRE and will execute responsibility at the management level in control over the Company, the film project budget, and other business matters related to the film. This is illustrative of Norman L. Chapa’s commitment to the project to exploit the film’s true potential.
Christopher Raymond and Norman L. Chapa know this is a time of great opportunity,
where doors and minds are open to new ways of doing business, or of making and exploiting movies. Indeed, for independents, entrepreneurs and foreign investors there has never been a better time, or one so full of opportunity. THE COMPANY
Christopher Raymond, and business and financial consultant Norman L. Chapa, will form
a single picture entity, a limited liability company, called TRIALS BY DEADLY FIRE, LLC as a startup enterprise with the purpose of owning, financing, producing, distributing, and exploiting a single feature length motion picture entitled TRIALS BY DEADLY FIRE.
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III. MARKETING FOR DISTRIBUTION SPECIFIC TO PROJECT We understand that the most important element in any commercial film project is to
recognize the target audience for which a film is being made. Our film, TRIALS BY DEADLY FIRE, is targeted towards the Christian movie fan base. This fan base is comprised of males and females within the largest age range of movie goers: the 18 - 55 year olds. Our basis for this is that our target audiences for our films are Christian moviegoers. It is a fact that Christianity is the world’s largest religion with about 2.2 billion followers. This means that around 33% of the world’s population is Christian. More emphatically, one in three people, on this earth, are Christians. In the United States of America, Christianity is the most popular religion with more than 73% of Americans polled identifying themselves as Christians. In Texas, half of the state is comprised of Christians and they also live in high density, mid-sized and larger cities.
It is also a fact that Christian themed movies are hot in Hollywood. 2014 has become
known as the year of “Jesus” in movies. Cable News Network said, on April 18, 2014, that the most talked-about person in Hollywood lately has been “Jesus Christ”. From "SON OF GOD " to “GOD'S NOT DEAD”, to “NOAH”, and to “HEAVEN IS REAL”, the box office has not stopped ringing its cash registers as a result of the popularity of films which are true Christian, faith-based themed films. Of course, “EXODUS, GODS, AND KINGS”, has exploded at the box office with Christian moviegoers.
This target audience is the source for our film’s income. All executive decisions made
will have this target audience as a cornerstone for thought. We do believe we have the opportunity to achieve fantastic revenue numbers given the expansive fan base.
In addition, audiences are becoming used to viewing more direct-to-DVD/BluRay media.
Years ago if a project went direct to home market it was assumed to be of a lower quality. As technology and tools have become more readily available to filmmakers the production quality and freedom to tell less studio friendly stories has led to a new understanding and acceptance of direct to home market films. SECURING DISTRIBUTION
The motion picture industry is highly competitive; with much of a film’s success directly
related to the skills of the distributor’s marketing strategy. The production team is committed to making the film an attractive product to theatrical, home video, and other ancillary and international markets. The Company intends to complete its negotiations with U.S. and/or foreign distributors before commencing pre-production. Our goal would be to secure some form of distribution deal prior to, or during production with companies like Rick Santorum’s EchoLight Studios, for example.
IV. BUDGET CONSIDERATIONS
The nice thing about TRIALS BY DEADLY FIRE is that it can be made on a relatively low
budget level. However, the scope of the film does not innately make it expensive at any rate. Generally speaking, the larger the budget we have, the greater the “production values” we’ll get,
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i.e., the film looks better, the sound feel richer, and the sets look more expansive. As such, though, it remains better to make this film a low-budget movie.
Casting will produce a potential list of A and B actors that we believe will have an impact
on the film’s success and gravitas. It is possible that other actors may be doing this film for the love of it, or for a very small stipend, to get the kinds of quality credits they want. Other hard costs include production liability insurance; any annual state taxes; annual accounting fees for K1 forms; payroll fees (as or where applicable); food for the crew; sound equipment; airfare (as applicable), as well as simulated CGI shoots; cameras; lighting equipment; festival application fees, etc.
Budget Targets: The following are the broad strokes for development and then shooting of the film that should give some ideas of the issues and implications of this budget level:
Development phase funds of $136,000 (4% of $3,400,000) which allows the Company to contract / retain the executive group, and other consultants, legal, and various other industry services with initial retainers. Thereafter the pre-production phase will make use of the remaining pre-production funds that will be held in reserve with the Company in an on deposit, on-demand amount for further or other development phase expenses to be incurred;
The remaining funding is for production and post- production costs, and it will be reserved for use until the production phase is begun;
All executives, crew, and cast will be retained; All vendors will be paid fully; Will include limited budget for festivals and awards campaign; Pre and post-production in professional facilities; Will necessitate best possible deals with vendors (including product placement)
There are several factors that are important to consider for controlling costs and we have
taken these into consideration. Because the creative team behind the project has extensive experience, the Company plans to utilize their contacts and resources available to produce the film and stay within budget and timelines. Also, by having independent status, the Company can reap the benefits available to independent productions, such as discounts in locations, while still allowing us to maintain the highest production values. This means the investors will benefit from a film that has the appearance of costing more than it actually does.
V. THE PRODUCTION PROCESS
The project film, TRIALS BY DEADLY FIRE, will be produced as an independent film.
When you talk about independent film, there is always more to the discussion than what meets the eye. It is little known that The Blair Witch Project, Insidious, Paranormal Activity, and The Rite, which are in the horror/thriller genre like ours, were all independent films.
More than half of the “Best Picture” Academy Award® winners since 1980 were
produced and distributed by independent, international distributors - typically all members of
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IFTA (International Film & Television Alliance). What made these films independent is that they were not financed through established studios but rather individually through equity and non-equity sources. Each one reflects the creativity that is the hallmark of the global independent film industry.
In our opinion, there are five key phases to producing a film: • Packaging: During this stage, the Company will “package” the film (i.e., attach production personnel and other talent). An initial marketing campaign is planned and prepped for launch. • Preproduction: During this period (the time frame prior to the start of production), we intend to open a small production office; hire crew; engage a locations scout to secure the locations where shooting will occur; secure rentals for camera and lighting packages; prepare shooting schedules, etc. At this same time, all actors are cast and finalized. Press releases are prepped and media contact lists are finalized. Schedules for table reads, rehearsals, and etc., will be established. • Production: The production period (between 42 to 49 days) will be the time that the principal photography will be shot. After this time, all of the scenes for the movie will be completed or “in the can”. At the end of principal photography we plan to launch an online marketing campaign. • Post-production: During the postproduction period (approximately six to eight months), the director and editor will select the best “takes” of the various scenes and edit those takes into an assembly of the entire film. Once the film has a “locked picture”, it moves into various departments for finalizing the feature film. Examples: music, visual effects, sound design, color correction and final sound mix. If production and post-production combined are capable of producing the finished product under budget, bonuses will be paid to the writer/producer Christopher Raymond and to the director Mitch Robbins. • Distribution: This encompasses all potential exploitation and sales of the film product. There will be a theatrical release (if marketing designed this way), DVD/Blu-ray sales and rentals, the various television outlets, soundtrack/merchandise sales, and identification of all other revenue sources
INVESTMENT / FINANCING AND SCHEDULE
I. Equity / Private / Financial Investment Investors will share in all net profits (after all
accounted expenses are paid). If there are no profits, the investment can be written off investor taxes over
time, as per each investor(s)’ personal tax situation. Investors will get K1 forms, promptly, in time for tax season. Investor(s) or Investor Group(s) will be listed in credits, press releases and
website as Associate Producers, however these credits are always subject to negotiations.
Investors are invited to all premieres, festivals and other special events. Investors will get a finished copy of the film on DVD. Investors may have “Walk-On Role”, non-speaking of course
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The development phase is anticipated to last not less than 90 days. Development funds investor(s) will receive back 100% of their development phase financing and earn a 20% interest rate on their money. If the investor or investor group financing the development funds is/are the same group financing the entire project, the development phase repayment will become part of a repayment schedule from revenues, as per this proposal.
After this, the Investor(s) and the Company will then split a negotiated amount of all and
any additional distributable net. The Company anticipates it will pay any income derived from the sales or licensing of TRIALS BY DEADLY FIRE in the following disbursement order:
II. Disbursement schedule: Any outstanding debts owed by the LLC are paid first. Any contractually bound residuals are paid next. The original investment (paid-in capital, in-kind services, other considerations) from
the Managing Members are paid next. Any contractually bound “deferred” payments are paid next. A “priority return” to the Investor(s) (the equivalent to 20% interest their original
investments) will be paid.
All additional money that comes in may be considered net profit (after expenses), and will be split with the group / pool of Investor(s)/financier(s), and to the Managing Members of the Company. Known as "points," this percentage will be divided according to contractual agreements. SPECIFIC OPPORTUNITIES WITH TRIALS BY DEADLY FIRE
It is known that the film and production industry is about a $31Billion dollar per year
business. $31Billion was the gross revenues for the year 2014. In 2013 revenues hit $20Billion. The U.S. Economic Census estimates that there are approximately 9,000 businesses that operate in this market. Average annual payrolls exceed $5 billion dollars among 84,000 employees. This trend is expected to continue as the cost of producing a film has decreased with newer computer and graphics technology the cost of the actual film production has decreased, actor’s salaries have increased making the film’s cost higher than in previous years). The industry has grown at an average annualized rate of 3.4%, which is in line with the growth of the U.S. economy.
With the film, TRIALS BY DEADLY FIRE, we have a particularly unique opportunity.
Based upon a micro-level budget of $3,400,000, and using best production practices, the finished product can sustain lower ratios of expenses vs. budget, and therefore innately foster higher rates of return than estimated. RISK MITIGATION
The business of producing and exploiting low-budget films is highly speculative, with
many risks uncommon to other businesses. The entire investment is at risk. No assurances can be given of the economic success of any motion picture. An investment in motion pictures can be lost completely. The revenues derived from production and distribution of a motion picture
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depends primarily on its acceptance by the public, which cannot be predicted or quantified. In addition, the competitive nature of the film industry, the possible box office failure of a motion picture, and the potential inability of a distributor to distribute the motion picture properly, collect distribution revenues, or remit funds properly to the producers, make the successful distribution of any motion picture subject to substantial risks. The commercial success of a motion picture also depends on general economic factors and other tangible and intangible factors, none of which can be predicted with any certainty.
Recipients of this business plan are urged to consult their own tax advisors with respect
to any federal, state and local tax matters. The final budget will be reviewed and finalized by the Management at TRIALS BY DEADLY FIRE, LLC before funds are released to the production company to insure that sufficient financing is available to complete the film. TRIALS BY DEADLY FIRE, LLC will provide oversight on every line item of the budget as well as approval of any contingency expenditure to ensure the film is completed on budget and on schedule, or, in the case of bonuses, completed under budget and on schedule. INVESTOR OPPORTUNITY & FINANCIAL HIGHLIGHTS
As revenue is captured and expenses are paid, the Investors and the Company will split a
negotiated net from what is considered distributable net. This split is a standard industry application, based upon 100% of the budget being financed as per the Company’s development, production, and post-production budget requirements.
Anticipated distributable net profits over time are conservatively estimated at
$11,700,000, or better, as per the Company’s projections, subject to risks, uncertainties, and assumptions. The Company’s actual operations and results thereof may differ materially from the forward-looking statements. VI. COMPARABLES (GENRE)
We feel the film FIREPROOF, as highlighted below, is comparable to TRIALS BY
DEADLY FIRE. Its budget is similar in size. We will most likely have a similar plan-wide distribution release.
FIREPROOF was released in 2008 through Samuel Goldwyn pictures. It was rated PG-
13, was a drama film with a budget of $500,000. It produced a box office bonanza of $33Million.
There is also the film COURAGEOUS, released in 2011 from Tristar Pictures, rated PG-13, styled as a drama which had a budget of $2Million, and it also produced box office revenue of $33 Million.
GOD'S NOT DEAD was released in 2014 by Freestyle pictures. It was rated PG-13, a
film drama with a budget of $2Million. Its box office revenues are $59 Million so far. SON OF GOD, released in 2014 by Fox pictures is rated PG-13. It is a drama with an
unknown budget that has box office revenue of $67Million.
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HEAVEN IS FOR REAL, released in 2014, from Tristar is rated PG-13. It is a drama with a budget of $12 Million but which grossed at the box office $59Million. The Blind Side, a 2009 Warner Bros. movie rated PG-13, is a drama with a budget of $29Million that grossed at the box office $309Million. Finally, PASSION OF THE CRIST, released in 2004 from New Market pictures, was rated PG-13, had a small budget of $30Million but blew up the box office with over $600Million. VII. PERSPECTIVE FROM EXECUTIVE PRODUCER
TRIALS BY DEADLY FIRE, written by Christopher Raymond, is perhaps one of his best
and most poignant important and personal films. The characters and their circumstances are very much like those of any successful family, or conversely, could genuinely reflect any level of financial successes or failures of any other family.
In reality, it is the primary struggle of any family, bonded through love, to overcome losses of such magnitude, losses so precious, while remaining intact in their love for one another and their reverence to God. Afterwards, they find themselves fighting the temptation to disavow their faith in God over being served dread and suffering by an extraordinary evil. Ultimately, the only way to save themselves is to accept what has been ordained and allow that to carry them forward into the future supported by their deep-seated faith in God as first and foremost in their lives. It is a telling story of personal strength, weakness in the face of dire circumstances, but ultimately the bittersweet triumph of the spirit over evil acknowledging its existence, and overcoming tragedy of gigantic proportions. It is a story grounded in faith and spirituality viz-a-vie modern day lifestyles and difficulties.
Christopher Raymond knows first-hand how that experience has the potential to change
not only one’s own life, but also how it affects a marriage. The challenge with turning any screenplay into film is how to make it cinematic, and to use the conventions and tools of filmmaking to distinguish the piece. There are three main things you can do in a movie: change locations, move the camera to direct the audience's eye, and edit to re-alter the natural course of time. Christopher Raymond believes that with TRIALS BY DEADLY FIRE, a good director will be able to do all three, while still preserving the essential dialogue, themes, characters and story that make the original screenplay capable of achieving tremendous success. In this film, we can move around more with the characters.
Casting will be spearheaded by Brock/Allen Casting, Toni Cobb Brock. We will support
them and other talent agents, as well as management companies, for help with casting. Once the production has nailed down our minimum financing threshold, we’ll be able to reconnect with agencies, as needed, and secure the appropriate actors, given their various schedules.
VIII. GOALS OF PROPOSED COMPANY: TRIALS BY DEADLY FIRE, LLC
TRIALS BY DEADLY FIRE, LLC is committed to creating and successfully producing
TRIALS BY DEADLY FIRE, a faith-based, horror film. The film is anticipated to begin production in early or middle summer of 2015, with anticipated release in Spring of 2016.
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IX. KEYS TO A SUCCESSFUL FILM The basic elements for a successful film project are what we have. We start with a great
story - and deliver it with conviction and a sound vision. We’ve got a well-crafted screenplay that has these vital elements which is a basis for all successful films. We know our target audience. We have marketable content aimed at our target audience. We are able to control costs and be realistic about the budget, be responsible with financing, and have diligent oversight. The required registration and applications for potential Texas production incentives will be filed with (1) the City of Houston Film Commission; and, (2) the state of Texas Film Commission’s Texas Moving Image Industry Incentive Program.
While there is no guarantee that our film will receive any abatements, or incentives, we feel these filings are necessary for recognition, compliance, and for continuity with our plan to promote and execute on our keys to a successful film.
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APPENDICES
APPENDIX C
TRIALS BY DEADLY FIRE
Research: 2 weeksPrep: 10 weeks
Locations: Houston, TX, other on-site studios, other cities Shoot: 7 weeksWrap: 6 weeksPost: 24 weeks
TOTAL: 49 weeksABOVE-THE-LINE:
Pre-Production and Development # UNIT PRICE TOTAL $ COST DEVELOPMENTChart Account PHASE
1000 RESEARCH $ - REQUIREMENT1030 Meetings (advisors, staff, airfare, hotels, etc.) 1 $ 4,800.00 4,800.00$ 1040 Misc research 1 $ 3,200.00 3,200.00$
TOTAL 8,000.00$
Production Staff # UNIT PRICE TOTAL $ COSTWRITER, DIRECTOR, PRODUCERS, CONSULTANT $ 1,463,682.46
2000 Christopher Raymond, Screenplay / Executive Producer 1 $ 155,000.00 25,000.00$ Mitch Robbins, Director, Production Set Design, Statt 1 $ 216,543.00 36,000.00$ ATXHill Management - Legal 1 $ 15,000.00 10,000.00$ Film Consultant to Christopher Raymond 1 $ 100,000.00 20,000.00$ Chad Gunderson, Co-Producer $ 55,000.00 6,000.00$
2010 Cast, other talent, rights, music $ 650,000.00 21,000.00$ TOTAL $ 1,191,543.00
2040 Salaries, FICA, Medicare, FUI, SUI, payroll tax 22.00% $ 262,139.46 3000 Expenses for Writer / Film Consultant2012 - Christopher Raymond Expenses 1 $ 5,000.00 5,000.00$ 2021 - Norman Chapa Expenses 1 $ 5,000.00 5,000.00$ 2099 TOTAL 1,463,682.46$
Rights, Music & Talent # UNIT PRICE TOTAL $ COST3000 Title Report (Thomson & Thomson) $ 1,000.00 1,000.00$ 3010 Miscellaneous3090 ARCHIVAL PHOTOGRAPHS & STILLS
Shipping/messenger3130 Stills duplication costs3140 Stills licensing3150 Miscellaneous3190 STOCK FOOTAGE & FILM CLIPS
Researcher fees (Outside contractor)3200 Preview tape fees3210 Shipping/messenger3220 Stock footage transfer costs3240 Miscellaneous3290 TALENT
Non-Union / Stipend Performers3300 Union & Guild Fees N/A
TOTALTOTAL ABOVE THE LINE 1,464,682.46$ 136,000.00$
BELOW-THE-LINE:# UNIT PRICE TOTAL $ COST
PRODUCTION $ 1,429,877.00
Screen play / Executive Producer: Christopher Raymond
Budget date: 05/17/2015
APPENDIX C
4000 Production Staff $ 100,000.00 5000 Production Operations $ 200,000.00
11000 Set Design, etc $ 122,072.00 Cameras and set operation $ 78,875.00 Visual effect, etc… $ 525,130.00 Post Production sound $ 47,420.00 Transporatation studio $ 14,404.00 Location expenses $ 130,000.00 Studio production/post production office rental $ 36,040.00 Tests and retakes $ 7,120.00 Publicity, marketing, distribution $ 5,000.00
4035 Miscellaneous $ 3,100.00 4060 Insurance $ 140,416.00
General Overhead $ 20,300.00 TOTAL $ 1,429,877.00
6000 TRAVEL EXPENSES6010 Airfare (see below)
Meals, snacks/craft services, location fees, permit allow $ 64,300.00 6040 Incidentals & gratuities 10 allow 250 $ 2,500.00 6050 Local Transportation/vehicle rental 50 days 125 $ 6,250.00 6060 Per Diem (includes travel days) $ -
- Prod/Writer 50 days 125 $ 6,250.00 6090 - Consultant/Line Supervisor 50 days 125 $ 6,250.00
TOTAL 85,550.00$
9300 PROFESSIONAL SERVICES $ 40,000.00 9310 Legal, CPA 1 allow $ 35,000.00
Bank Charges 1 allow $ 5,000.00
TOTAL 40,000.00$
TOTAL ABOVE THE LINE 1,464,682.46$
TOTAL BELOW THE LINE 1,555,427.00$ SUBTOTAL 3,020,109.46$
CONTINGENCY 10.0% 302,010.95$
GRAND TOTAL * 3,322,120.41$
GRAND TOTAL 3,322,120.41$ ASK FOR FUNDING OF 3,400,000.00$
APPENDIX D
TRIALSBYDEADLYFIRE (FEES ACCOUNTED) (FEES ACCOUNTED) 3 YEAR NET
YEAR 2018 FEES YEAR 2019 YEAR 2020 INCOME DISTRIBUTED
DOMESTIC THEATRICAL 37,000,000$ 18,500,000$ 9,250,000$
Box Office Gross 37,000,000$
Exhibitor Share (50%) 18,500,000$ 18,500,000$ 9,250,000$ 4,625,000$
GROSS FILM RENTAL 18,500,000$ 9,250,000$ 4,625,000$
Distribution Fee (35%)‐[best case scenario] 6,475,000$ 6,475,000$ 3,237,500$ 1,618,750$
P&A 925,000$ 925,000$ 462,500$ 231,250$
DOMESTIC THEATRICAL NET PROFIT 11,100,000$ 25,900,000$ 5,550,000$ 2,775,000$
DOMESTIC ANCILLARY SALES
Pay Cable (11%) 4,070,000$ 2,035,000$ 1,017,500$
Network TV Revenue (15%) 5,550,000$ 2,775,000$ 1,387,500$
Home Video Market (38%) 14,060,000$ 7,030,000$ 3,515,000$
GROSS ANCILLARY SALES 23,680,000$ 11,840,000$ 5,920,000$
Distribution Fee (35%) 8,288,000$ 8,288,000$ 4,144,000$ 2,072,000$
DOMESTIC ANCILLARY NET PROFIT 15,392,000$ 7,696,000$ 3,848,000$
FOREIGN THEATRICAL
Box Office Gross (62%) 22,940,000$ 11,470,000$ 5,735,000$
Exhibit Share (50%) 11,470,000$ 11,470,000$ 5,735,000$ 2,867,500$
Distribution Fee (40%) 4,588,000$ 4,588,000$ 2,294,000$ 1,147,000$
P&A (50%) 462,500$ 462,500$ 231,250$ 115,625$
FOREIGN THEATRICAL NET PROFIT 6,419,500$ 16,520,500$ 3,209,750$ 1,604,875$
FOREIGN ANCILLARY SALES
Pay Cable (8%) 1,835,200$ 917,600$ 458,800$
TV Revenue (50%) 917,600$ 458,800$ 229,400$
Home Video Market (40%) 734,080$ 367,040$ 183,520$
GROSS ANCILLARY SALES 3,486,880$ 1,743,440$ 871,720$
Distribution Fee (40%) 1,394,752$ 1,394,752$ 697,376$ 348,688$
FOREIGN ANCILLARY NET PROFIT 2,092,128$ 1,046,064$ 523,032$
APPENDIX D
REVENUE AND PROFITS
Total Worldwide Earnings 87,106,880$ 43,553,440$ 21,776,720$
Total Revenue After Fees 35,003,628$ 40% 17,501,814$ 8,750,907$
Minus Film Costs (Budget) 3,400,000$
Total Pre‐Tax Profit 31,603,628$ 37% 17,501,814$ 8,750,907$
Rate of Interest on Initial DevFunds 27,200$
Pre‐Tax Distributable Profits 31,576,428$ Split Profits 17,501,814$ 8,750,907$ 57,829,149$
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