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Heart of a woman
Heart of a woman
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Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
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Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
Heart of a woman
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Heart of a woman

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Tag: Three diverse individuals, one male, one female and one who’s wrestling with the decision, are working in the sex industry to survive, while they struggle physically, emotionally and spiritually …

Tag: Three diverse individuals, one male, one female and one who’s wrestling with the decision, are working in the sex industry to survive, while they struggle physically, emotionally and spiritually to find understanding and legitimacy in a morally corrupt world that takes no prisoners.

TERRI is a professional ‘pleasure-giver’ in the erotic industry. As an educated transgender, she attempts to further her options by applying for various jobs outside of the venue of erotic professional, yet seems to hit roadblocks at every turn and around every corner due to prejudice against her life-style choice and powerful personality. Undeterred, she persists with a passion in every avenue of her life – and this includes how she interfaces with new clients seeking forbidden pleasure.

Terri lives with the very attractive DERRICK – a young man possessed with dreams of superstardom as an actor in Hollywood. Dedicated to his craft, Derrick supplements his dreary acting revenue by offering sexual services, sometimes involving acting out bizarre fantasies; one such fantasy includes the play-hostage scenario for a kinky married couple who are extremely pleased with Derrick’s esoteric skills, augmented by a believability that even Derrick finds disturbing.

Into the lives of Terri and Derrick, steps PAMELA – a displaced and emotionally battered young woman of 24 years old; Pamela is both alcoholic and drug-addicted, not to mention a victim of sublime and insidious abuse levied upon her by life in general, but more specifically by her sadistic pimp, DAWN. Dawn has done her best to subjugate Pamela by means of abuse, but on one bizarre night when both Dawn and Pamela suffer a catastrophic automobile accident, Pamela flees the infernal grasp of her malicious pimp.

Pamela finds refuge with a reluctant Terri, and a pragmatically compassionate Derrick, as the young girl tries to find stability in her life. Terri has very little patience with Pamela’s addictions, but becomes more sympathetic as time wears on, recognizing that Pamela has been dealt a bad hand in life, and truly needs protection. Derrick, for his part, tries to support the young girl in his own inimitable way.

But tragedy sometimes is the destiny to some poor souls, for Pamela, even in her ongoing efforts to escape Dawn’s witchery against her in trying to corral her former employee back into the fold is doomed to an inevitable end that has no resolution. In a final dramatic confrontation with Dawn, where Pamela comes close to killing her pimp, the young girl goes off on an erratic binge of drugs and alcohol. These excesses land her in the hospital, where she dies from overdose complications.

Terri, experiencing unfamiliar – and surprising grief – never fully recovers from Pamela’s death, yet resolves to move on, realizing, as does Derrick, that some poor souls can never be saved, even with the best of intentions in place.

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  • 1. A Motion Picture
  • 2. Important This document is purely informational and is by no means a solicitation for funds. Figures represented here are for illustration purposes only. Please read and understand the separate Subscription Agreement before communicating your interest to invest.
  • 3. i Table Of Contents Page Introduction 1 Production Personnel 2 Proposed Cast 5-15 Project Summary 16 Synopsis 17 Letters of Interest 18-19 Financial Requirements 20 Overview 20 Budget Top sheet 21 Projected Returns 22 Industry Analysis 22 Market Analysis 23 Distribution Overview 24-25 Historical Domestic Theatrical Revenues 26 TV & Video Distribution Outlook 27 Recoupment & Distribution of Profits 28 Additional Investor Benefits 29 Conclusion 30 Contact Info 31
  • 4. 1 Introduction The Heart of a Woman offers an opportunity to not only produce the next sleeper art- house/niche-specific film hit, but also to reap significant financial rewards by doing so. While all motion picture investments are high risk by nature, The Heart of a Woman represents a lower level of risk than the typical independent film project due to its low budget and targeted audience appeal. The film will be financed through a Limited Liability Company which provides for the return of 110 percent (110%) of the Investors’ contributions before any profit participation, or General Partner’s shares are paid. By utilizing the production staff’s combined years of experience and contacts in the low budget filmmaking industry, and production crews working for little or reduced compensation, the relatively small budget will yield far greater production values. Coupled with a screenplay specifically designed to be produced on a very low budget while retaining market appeal, The Heart of a Woman will rival films produced for many times our budget of only $3.1M. The recent explosion of the popularity and legitimacy of “independent films” has allowed many films produced on similar (and even lower) budgets to succeed while multi-million dollar studio films fail. It has become clear in this age of the independent film that quality; an original, interesting story, told in a stylish entertaining manner, will find an audience. With such a small initial investment, relatively modest returns will generate significant profits. With the ever increasing number of movie screens in the U.S., and with the ever expanding ancillary markets of DVD, cable TV, pay-per-view, video-on demand, the internet, and international distribution, along with sustained critical acclaim for independent film as a genre, the opportunities for a film like The Heart of a Woman have never been better. While The Heart of a Woman will capitalize on all the above, it adds the benefits of a story in the art-house genre. Genre-specific venue has traditionally maintained a large following which has shown a willingness to accept small independent films outside the Hollywood mainstream. The Heart of a Woman is designed to target this audience while its comedic & “urban” story elements broaden its market appeal. As you will see in the following pages, The Heart of a Woman is a favorable film investment opportunity due to a high quality, exciting screenplay; a strong, experienced production staff; high quality production values achieved at low cost; financial structure favoring the investors; market atmosphere amenable to low budget independent films and the possibility of a high return on investment.
  • 5. 2 Production Personnel We are very excited about the team that we have assembled to bring The Heart of a Woman to the screen. They are dedicated and passionate film professionals with years of experience in the field of independent cinema. KEITH HOLLAND, Director/Cinematographer (www.keithholland.com) Keith Holland brings over twenty years of experience to this project with over twenty feature films under his belt and more than half that many commercials, both nationally and internationally. He has worked with such prominent talent as Jeff Fahey, Shannon Tweed, Diane Ladd, Joss Ackland and Corey Haim, and his 2004 film, Ordinary Madness, won the 2004 Best Thriller Award at the New York Film Festival. TONI NEWMAN, Producer/Screenwriter (www.tonidnewman.com) Toni Newman is a 1985 graduate of Wake Forest University with a Bachelor of Arts degree in Sociology. She is currently studying law with plans of becoming a lawyer defending the Transgenders and their rights. For the last twenty years, Toni has been making Male-to-Female (MTF) transformation. For ten years, she worked as a professional mistress with a female mistress and male master. They were known as THE EROTIC PROFESSIONALS with celebrity clients. Together with her business partner, Alton Willoughby, Toni has written a teleplay and screenplay about the trio's escapades as escorts – The Heart of a Woman. It would be her greatest wish to be the first African American Transgender to have her script made successfully into a feature film. Toni is the author of the celebrated memoir based on her life, I RISE – THE TRANSFORMATION OF TONI NEWMAN. ALTON DEMORE – Producer/ Screenwriter (www.altondemore.com) Alton is president of SPI Productions, LLC which is a entertainment and production company based in Los Angeles. He co-wrote The Heart of a Woman. He is an actor, following a successful career as a professional model. Alton’s other achievements include the successful completion of a blockbuster science fiction screenplay, to be introduced into the marketplace sometime in early 2013. Notable to Alton was his career in club promotion while in both San Diego and here in Los Angeles; he is also an accomplished dancer and choreographer. GEORGE P. SAUNDERS – Head Writer (www.georgepsaunders.blogspot.com George Saunders is also an alumni of NYU as well as The Juilliard School in New York. He has written, directed and/or produced over 20 films, which have received distribution through HBO Original Pictures, the Lifetime Channel, and various domestic video and DVD outlets, including Blockbuster Video. As an actor, he is a Broadway veteran, and has enjoyed a career in television and film for over 20 years. He was also the writer of the award winning documentary series, MILITARY FILMS, distributed through Trans
  • 6. 3 World Entertainment, wherein he worked closely with the Department of Defense, the Navy Seals, Marines, Army and Naval forces at large. He is also a published author of seven novels now out in worldwide distribution. GARY THOULOUIS - Executive Producer (www.orangepeelpr.com) Gary Thoulouis is the managing director of Orange Peel SL, an international business development consultancy based in Barcelona, Spain that specialises in acquiring funds through sponsorship, donations, grants, investments and sales. JAY GIRA – Executive Producer (www.formtheoryproductions.com) Jay Gira was born and raised outside Detroit, Michigan and became inspired to pursue the art of filmmaking while documenting a personal journey down in Boliva shortly after high school. Upon returning back to the states he enrolled in the prestigious University of Michigan - Ann Arbor where he studied cinema and mentored under Lawrence Kasdan (The Big Chill) and Bruce Joel Rubin (Jacobs Ladder). His thesis film, a Kurt Vonnegut adaptation, won best picture at the university and went on to win several festival awards at the student level. After graduation he was immediately recruited by a young new media production company called Zoom Culture and relocated to the research triangle of North Carolina. After raising several million dollars in seed money the company fully launched and Gira was transferred to Hollywood, California to head productions for the west coast office. Within three months he helped Zoom Culture partner with the Los Angeles film school and worked along side Tom Mount (head of RKO Studios) and Kevin Foxe (Blair Witch) developing new media projects for television and the web. Out of the LA office one project titled "Hip Hop Nation" was eventually picked up and aired on NBC nationally in over 150 markets around the country. After the dot.com 1.0 bubble burst, Gira decided to leave Zoom Culture in order to strengthen his craft in filmmaking by 1st Assistant Directing nine feature films of various genres. Several of the films have went on to gain world wide theatrical distribution (20th Century Fox) and open high profile film festivals (Tribeca, Berlin). -
  • 7. 4 DEA VISE – Casting Director (www.imdb.com) Dea has assisted in the casting process to a dozen feature films and television series for the better part of a decade. She led casting for the celebrated television series, AMERICA’S MOST WANTED, and was intrinsic to the highly-successful Will Smith blockbuster science fiction film, I, ROBOT. She is well-respected in casting circles, and has access to virtually all A-List talent in both Los Angeles and New York. EARL MINFIELD – Writer (www.imdb.com) Earl was a Bartender at Studio 54 in the 80s. He and Aaron Sorkin were bartenders at New York's Palace Theater. He grew up in the Haight Ashbury section of San Francisco. He is a former member of The Alvin Ailey Dance Company. In 1990 he was Grand Champion on the Game Show "Jackpot!" with Geoff Edwards. KAYO ANDERSON - Publicist Kayo is a well known and respected publicist, and has numerous film and television credits to a list of other ancillary achievements.
  • 8. 5 The Cast No single element of a film has a greater bearing on its success than the actors in the lead roles. However, for a film of such a modest budget, “A-level” stars are neither possible nor necessary. The producers plan to cast an actor with a familiar face from a past television series or movies in the critical and lead roles of TERRI, PAMELA and DERRICK. While a cast of this nature might not take the box office by storm in a typical Hollywood blockbuster, it should be more than adequate to support a film which need recoup only a $3.1M budget before turning to profit. The following are name actors officially signed on to the project. This list is by no means definitive, and is subject to change, at producer discretion. Please see next page for bio breakdowns:
  • 9. 6 Angelica Ross ROLE: TERRI Angelica has starred in a few roles of late, and is largely known for her work in the world of music composition. Transgender Actress Angelica Ross studied theater at Florida Atlantic University. Her one woman show, "From Where You Are" has allowed her to travel all over the United States. . Angelica Ross is a Singer/Songwriter/Storyteller who plays the guitar and piano and has 4 wonderful original songs now available onhttp://www.reverbnation.com/angelicaross . Several of her original songs will be included in the movie. Angelica Ross talks about her journey from smart accelerated student, to the hard life on the streets, to rebuilding herself from ground up, building a business, and falling in love as a black transgender . Her main message is that from wherever you are, no matter what it looks like, if you stay open, and grateful, and present for whatever the time or lesson is, then you will gain the courage, power & knowledge to withstand and overcome anything, to become anything. This is the central theme of the Memoir I Rise-The Transformation of Toni Newman and Film Erotic Professionals that you can overcome obstacles no matter how insurmountable they may be. Credit List: www.imdb.com
  • 10. 7 Rachel Sterling ROLE: PAMELA Rachel Sterling can be seen on the big screen in the New Line Cinema's The Wedding Crasher's with Vince Vaughn and Owen Wilson, as well as Stacy on NBC's hit show Las Vegas and Summer on UPN's one on one. 2006 has already become a busy year for this versatile actress with several independent films already underway. Rachel will also be launching her own rock & roll cabaret act the " Sugar Blush Beauties" while participating in an untitled special project that is currently being developed. Not long after coming to Hollywood as a swimsuit/lingerie model in 2000, Rachel started taking acting classes at the Piero Dusa Conservatory. Shortly thereafter, her acting career started to take off. On her first audition she landed to roll of Cherry in the film Tomcats. F. Gary Gray cast Rachel as Assia in the film A Man Apart with Vin Diesel. For her role, Rachel trained with choreographer Travis Pain and an Argentine tango instructor. The MTV generation got hooked on Rachel in the Shaggy video "Hey, Sexy Lady." Highly acclaimed video director Dave Meyers went on to cast Rachel in several music videos including: Kid Rock's 'American Bad Ass," and "Feel Like Making Love," Ja Rule's "Between Me and You," Velvet Revolver's "Slither and Dirty Little Thing," and No Doubt's "Hey Baby." Dr.
  • 11. 8 Dre took notice of Rachel's dance style when he asked her to choreograph a dance number for the Source Awards, based on her performance in his music video "The Next Episode." Rachel used her dancing skills again to choreograph a sexy cheer routine for the "Back in the Mud" video for Bubba Sparxxx. it was no surprise when "The Pussycat Dolls" featured Rachel on a seven month run as their burlesque starlet. Rachel and the Dolls performed several shows at the Viper Room (with Scarlet Johanson, Fergie and Carmen Electra), VH1's Diva Live, and MTV's Rock the Vote. Rachel also represented the Dolls as a celebrity model for the Rock & Republic runway show during fashion week in Los Angeles. It was on the set of George Michael's music video "Freek" that Rachel found her way into print work again. There, Rachel caught the eye of famed photographer Ellen Von Unwerth, who was so taken with Rachel that she was inspired to shoot a lingerie book. Since then Rachel has again and again graced the pages of Maxim, Stuff, Italian Vogue, FHM and others in both the U.S. and overseas making her an international sensation. Many fans remember Rachel from the Comedy Central series The Man Show with Jimmy Kimmel. She recently teamed up with Comedy Central again for a two season recurring role as Madam Carmel on Reno 911! Although her family is deeply rooted in Texas, this exotic mix of Apache, Mexican and Korean calls Los Angeles her home. Rachel lives with her dog Zoe who has quite a modeling career of her own! Rachel and Zoe find time to give back to the community through charity work and fund raising. Credit list: www.imdb.com
  • 12. 9 Daniel Sobieray ROLE: DERRICK Daniel Sobieray is a California native, born in Newport Beach, California. Daniel is now based in Los Angeles. Daniel grew up in Colorado and was very active in sports from an early age. After excepting a scholarship to Michigan for Ice Hockey he graduated with a B.A in Finance. Then Daniel was asked by a top modeling agency to model for many well know designers in Europe and was a regular on the runway from 2006-2009. In 2010 Daniel was asked to be in the popular day time soap All My Children. Now you can see him in many t.v shows and feature films. Credit list: www.imdb.com
  • 13. 10 Elizabeth Rohm ROLE: SASHA Elisabeth was born in Germany to American Writer Lisa Loverde and Eberhard Röhm, a partner at the law firm of Duane Morris LLP New York. They relocated to New York City near Elisabeth's first birthday. An equestrian enthusiast, Elisabeth began competing professionally at the age of 5. She cultivated southern roots at St. Andrews Sewanee, a boarding school in Tennessee, later achieving an A average majoring in European History (specifically related to the Second World War) with minors in theater and writing at Sarah Lawrence College. Her first break in television came in a contracted role on One Life to Live, then starring opposite Kyle Maclachlan in the Invisible Man pilot. Next, she worked in England as a regular on the BBC series Eureka Street, followed shortly by her recurring role on the American series Angel. She was soon performing simultaneously on Angel, and starring along side Stanley Tucci on TNT's first serialized drama BULL. Elisabeth went on to star as Serena Southerlyn for five years on Law & Order, winning two SAG awards with her ensemble cast.
  • 14. 11 Elisabeth began dividing her time between television and film, performing with Dylan McDermott and Michael Vartan on Big Shots as well as taking a regular role on ABC's Heroes while completing five features. She starred with Angelica and Danny Huston in Bernard Rose's The Kreutzer Sonata, with Kyra Sedgwick and Vincent D'Onofrio in Chlorine, with James Caan in Minkow, the Joel Silver produced thriller Transit opposite Jim Caviezel and James Frain, and John Singleton's Abduction, with Taylor Lautner, Sigourney Weaver and Alfred Molina. Living in both New York and California, as well as holding dual citizenship in the United States and the EEC allows Elisabeth to pursue diverse feature film work throughout the US and Europe. Having recently lost her mother to health issues, Elisabeth has become an advocate for health, engaging in serious workouts at Circuit Works, the circuit training gym she opened in Brentwood, California. The highlight of her life, daughter Easton August Anthony is Elisabeth's main priority. Though it is always challenging to be a working mom, Elisabeth bridges the gap between motherhood and her professional career working with her daughter on behalf of Juno Baby, a line of children's educational products, focusing their energies on making the world a happier, more literate place. Inheriting the writing urge from her mother, Elisabeth's first novel Nerissa was published in 2009 and is the story of a young painter laboring under sexism in the art world at the turn of the century. Her second novel Desire, due to be released in 2011, is set in New Orleans and centers on an unlikely friendship between a seven-year-old girl and a thirty-year-old Haitian woman. Always an advocate for human rights, health and education, Elisabeth gives time to many causes. While on Law & Order Elisabeth found time to serve as a board member of her alma matter Sarah Lawrence. She soon began working on behalf of the Red Cross as both an ambassador and a trained emergency volunteer, visiting troops and providing aid as far away as Asia. She was honored as an advocate of the Red Cross for creating the Hometown Heroes campaign, featuring a multitude of volunteers, including Julianne Moore and Jamie Lee Curtis. Elisabeth also works with Step Up Women's Network - an after school program
  • 15. 12 for inner city girls in LA, and MakeTheConnection.org, bringing attention to the connection between cervical cancer and HPV. She joined the Humane Society and Purina to encourage animal rescue and fostering, as she has done with the animals that enrich her own life, as well as supporting Global Green, The March of Dimes, and Refugees International. Elisabeth has also moved into producing, with several projects in development including reality television, scripted television and features. See credits on: www.imdb.com
  • 16. 13 Leslie Jones ROLE: DAWN “I’ve always been crazy. I never knew I was funny. I just thought I was insane.” Leslie’s first time on stage was at Colorado State. The school paper was at her performance. She won the “Funniest Person on Campus” and thought she was going to become a star. Leslie returned to Los Angeles and got up at the World Famous Comedy Store and bombed like a 747. Next stop: Outside where she threw up. “You’re throwing up those bad ass jokes,” the host told her. Unfazed by this experience, Leslie opened up for Jamie Foxx and the DJ scratched a song through her whole set. As she watched Jamie, she realized, she didn’t have anything to talk about except going to Church and her uncle who stuttered. The audience booed her. Her friends were ready to fight the audience.
  • 17. 14 Leslie vowed she would never step on stage again until she was ready, but it hurt her more not to go up than to go up. While attending college, she’d been a cook, waitress, cashier, justice of the peace (Sworn in as the assistant to the judge, she married people who got Annulments) sold perfume, conducted surveys and answered phones as a receptionist and was even an interpreter who could not speak another language. None of it worked. Comedy was calling out to her! By day Leslie worked at UPS, by night she performed at the comedy spots around Los Angeles “You’d better not call my line with an attitude. I’d send your package to Cairo!” With her theatre background at CSU coupled with her natural talents and her love of performing, Leslie started getting opportunities to appear in various features, commercials, and television sitcoms some of which are, In the House, Coach, Snap Judgment, For the Love of the Game, Malcolm and Eddie, and Girlfriends. “When I started out, I just wanted to go into a club and hold my own. There were only a few women out. I wanted to be that one woman who would come out and everyone would love. I was part of the Grunt crew. I tried to go up everywhere and we were horrible. When I was coming up, Guy Torre would have to see you 3 times before you could get up at the Comedy Store. He wanted you to rip too.” Finally Leslie made it to “Just for Laughs Montreal Comedy Festival” and landed a role in Martin Lawrence’s comedy, National Security. From Comedy Central’s Premium Blend to a regular on BET’s The Way We Do It, she’s performed during the Aspen Comedy Festival, and won the national and regional Bacardi By Night Comedy Tour. She’s been featured on Comedy Central’s Laffapalooza – Urban Comedy Arts Festival. Last month, Leslie completed yet another movie for Coke Daniels, Gangsta Rap, and, on July 4, 2006, Master P’s Repos debuted on DVD. Leslie performs her wild and crazy standup for comedy clubs and television audiences both nationwide and internationally with
  • 18. 15 appearances on Showtime at the Apollo, BET’s Comicview, the international hot television show Comedy Factor and HBO’s Def Comedy Jam 2006. VIBE magazine featured her with a five-page article and photo spread. Her extensive physical training in collegiate basketball, running, swimming and volleyball play major roles in Leslie’s comedy antics. Credits on: www.imdb.com
  • 19. 16 Project Summary The Heart of a Woman is based on Toni Newman’s transformational novel and her life, I RISE.
  • 20. 17 Story Synopsis Tag: Three diverse individuals, one male, one female and one who’s wrestling with the decision, are working in the sex industry to survive, while they struggle physically, emotionally and spiritually to find understanding and legitimacy in a morally corrupt world that takes no prisoners. TERRI is a professional ‘pleasure-giver’ in the erotic industry. As an educated transgender, she attempts to further her options by applying for various jobs outside of the venue of erotic professional, yet seems to hit roadblocks at every turn and around every corner due to prejudice against her life-style choice and powerful personality. Undeterred, she persists with a passion in every avenue of her life – and this includes how she interfaces with new clients seeking forbidden pleasure. Terri lives with the very attractive DERRICK – a young man possessed with dreams of superstardom as an actor in Hollywood. Dedicated to his craft, Derrick supplements his dreary acting revenue by offering sexual services, sometimes involving acting out bizarre fantasies; one such fantasy includes the play-hostage scenario for a kinky married couple who are extremely pleased with Derrick’s esoteric skills, augmented by a believability that even Derrick finds disturbing. Into the lives of Terri and Derrick, steps PAMELA – a displaced and emotionally battered young woman of 24 years old; Pamela is both alcoholic and drug-addicted, not to mention a victim of sublime and insidious abuse levied upon her by life in general, but more specifically by her sadistic pimp, DAWN. Dawn has done her best to subjugate Pamela by means of abuse, but on one bizarre night when both Dawn and Pamela suffer a catastrophic automobile accident, Pamela flees the infernal grasp of her malicious pimp. Pamela finds refuge with a reluctant Terri, and a pragmatically compassionate Derrick, as the young girl tries to find stability in her life. Terri has very little patience with Pamela’s addictions, but becomes more sympathetic as time wears on, recognizing that Pamela has been dealt a bad hand in life, and truly needs protection. Derrick, for his part, tries to support the young girl in his own inimitable way. But tragedy sometimes is the destiny to some poor souls, for Pamela, even in her ongoing efforts to escape Dawn’s witchery against her in trying to corral her former employee back into the fold is doomed to an inevitable end that has no resolution. In a final dramatic confrontation with Dawn, where Pamela comes close to killing her pimp, the young girl goes off on an erratic binge of drugs and alcohol. These excesses land her in the hospital, where she dies from overdose complications. Terri, experiencing unfamiliar – and surprising grief – never fully recovers from Pamela’s death, yet resolves to move on, realizing, as does Derrick, that some poor souls can never be saved, even with the best of intentions in place.
  • 21. 18 LETTERS OF INTEREST 6380 Wilshire Blvd. Suite 1115 Los Angeles, California 90048 July 19, 2012 Re: Letter of Interest (for distribution of feature film “Heart of a Woman”) Toni Newman SPI Productions spiproductions@yahoo.com Dear Ms. Newman, Per our discussions, and review of your film synopsis as well as the list of attached actors with LOIs, we would be very interested in talking with you about distribution rights for “Heart of a Woman.” Of course for any final Distribution Agreement, we would need to see the final cut of the film and you would have to deliver all elements to us having passed all necessary quality control reports for sound, picture, etc. Congratulations on the many attached actors and crew and we look forward to seeing “Heart of a Woman” when complete. It sounds like a very marketable film! Sincerely, Brandon C. Miller V.P. Acquisitions Celebrity Home Entertainment 6380 Wilshire Blvd. Suite 1115 Los Angeles, CA 90048 Tel: 323-655-0303 ex 12 brandon@celebrityhe.com
  • 22. 19 “THE HEART OF A WOMAN” – KEITH HOLLAND - Director KEITH HOLLAND 11563 NEBRASKA AVE. #3 LOS ANGELES. CA. 90025 (213) 369 2512 To Whom It May Concern: This letter is to confirm my attachment as Director for the feature film project currently entitled “THE HEART OF A WOMAN”, based on the book “I RISE” written by Toni Newman. I selected this project as I believe it is very commercial, not only as a heartfelt and moving drama that will appeal strongly to the enormous LBGT demographic, but also as a “triumph of the spirit” story that will capture audiences and win hearts at the box office as well. It is ideal for a low budget independent production that should have no trouble making a profit. I have over 20 years experience in film production and am confident that I can bring this movie in on time, on budget and on track to be very successful. I have contributed to the writing of the current draft of the script and will also help with the production of the movie. Sincerely Keith Holland
  • 23. 20 FINANCIAL REQUIREMENT Overview Through careful budgeting, pre-planning and negotiating, we have been able to budget The Heart of a Woman at approximately $3.1M, thus maximizing the film’s profit potential and significantly decreasing the financial risks involved. The Managing Members and their associates each have over ten years of experience in all aspects of the production of low budget films. Over that time they have amassed numerous professional contacts, enabling them to negotiate extremely favorable deals for production equipment, services, and personnel. The greatest cost savings can be attributed to the fact that the cast will be working under the SAG Low Budget Agreement (created to allow SAG actors to work on low budget films). This will allow the casting of recognizable actors with some market appeal, while maintaining a cast budget of far less than the millions of typical of a Hollywood production. Additionally, the entire crew will be working for below typical studio salaries. It is safe to say that were we paying typical studio wages, the budget would jump to over ten million dollars. Further cost savings will come from the use of new High Definition digital cinema cameras and editing systems. Camera technology similar to that used to photograph such Hollywood blockbusters as “Star Wars: Episode Two”, and “Collateral” is now available at consumer prices. Films photographed in this manner can be edited on fast personal computers and output to full quality DVD’s and higher resolution systems for digital theatrical projection. These digital images can even be transferred to motion picture film for traditional theatrical release. Finally, the production will be rigorously planned and organized to enable a two week shooting schedule, as compared to schedules of twelve weeks or longer common to studio productions. Given the nature of the story and the fact that a vast majority of the scenes take place in easily obtained common urban exteriors, the film offers few logistical problems such as the building of complex sets. The Heart of a Woman team requires $3.1M in order to bring the film to fruition.
  • 24. 21 The Heart of a Woman budget total: $3,157,908 SEE ATTACHMENT A
  • 25. 22 Projected Returns Industry Analysis The film industry is in the midst of a record growth period. As audiences’ appetite for visual entertainment has increased, the number of screens showing feature films in the U.S. has more than doubled from 17,590 in 1980 to 36,594 in 2004. the number of feature films released theatrically has grown over 156%, from 191 in 1980 to 483 in 2004. Retail ticket sales have grown from $3.4 billion in 1982 to over $6.9 billion in 1998 to $9.54 billion in 2004, an increase of 200%. And, importantly for lower budget films, the number of digital projection screens increased 80% in just one year, from 2003 to 2004, and the trend continues to pick up speed. Even more profound growth has occurred in the ancillary markets, those secondary markets which traditionally follow a movie's initial theatrical release. Sales of prerecorded videotapes for example, has skyrocketed from 242 million units in 1990 to 710 units in 1998. The latest consumer video product, DVD, has become the fastest selling new entertainment format of all time, and provides a burgeoning new market. At the same time, cable television has grown in leaps and bounds; from HBO and just a few additional channels in the 70's and 80's, to the 500 channels of some modern digital cable systems. This growth has led to a fundamental restructuring of the economics of the film business, and the potential for internet distribution may further expand the opportunities in just the next few years. In 1980, revenues derived from a film's theatrical distribution accounted for 75% of the total revenue performance, with the remaining ancillary markets contributing only one quarter of total revenues and home video accounting for only 1%. Today, however, the revenue picture has completely changed. the contribution from theatrical performance has shrunk to only 32%, and home video now contributes over 46% of total revenues. This is not to say a theatrical release is unimportant. A successful theatrical release is excellent advertising for the other markets and most certainly has a positive effect on the revenues earned in these markets. Above all, it adds prestige and audience awareness to the film. However, it has become less integral and in some cases, unnecessary for an independent film’s financial success. * Figures obtained from the Motion Picture Association of America. ** Figures obtained from the Hollywood Reporter.
  • 26. 23 Market Analysis In the wake of the economic realignment reshaping the film industry, an equally important resurgence of independent filmmaking has occurred. Independent producers and distributors have been an important part of the film business since the day Chaplin, Pickford and Fairbanks founded United Artists. Such independents have traditionally provided an alternative environment for creative filmmaking, helped cultivate new talent for the "Studio System" and encouraged maverick entrepreneurs to create new studios and compete with the established Hollywood system. Not unlike the studios, the independents produce a wide range of filmic genres. From the success of such independents as the FULL MONTY and SWINGERS, to the phenomenal critical and financial success of THE BLAIR WITCH PROJECT and SIDEWAYS, producers have successfully exploited opportunities outside the studios. Today, the opportunities have increased. The current re-emergence of independent production has been strengthened by the following factors: a) the expanding need for original feature films to fill the growing number of distribution outlets, from theaters to home video to the ever expanding cable and satellite TV markets both here and abroad. b) The increasing number of independent distribution companies employing targeted marketing efforts to reach specialized audience segments. c) The critical attention paid to original independent films by the nation's film reviewers. Perhaps the most important factor contributing to the growth of the "indies" is that they offer counter-programming to the Hollywood studios. More and more, the studios concentrate on producing mass market fare, aiming for the lowest common denominator while the independents have carved out a niche looking to a more discriminating primary audience.
  • 27. 24 Distribution Overview The primary source of revenue for independent feature films is derived from the license fees of exhibition rights. License fees for the international arena are typically sold at one of several “markets”: the American Film Market held each year in October in Santa Monica, CA., the Cannes Film Festival & Market held in May in Cannes, France, and the prestigious Sundance Film Festival held each February in Park City, UT. The rights may be sold to a single distributor for a flat fee, or individually to exhibitors in each country, usually through a Foreign Sales Agent who retains a small percentage. The latter is usually the more profitable avenue unless the film has an extremely high profile. The actual box office/sales in the individual territories is earned by the local exhibitors in each country and usually does not affect the film’s gross income. Domestic television and video sales can be handled through direct contact with the broadcast & cable networks and home video distributors or at one of the above mentioned markets. Television outlets include the broadcast networks and syndicators and the premium cable networks (HBO, Showtime, CineMax, The Movie Channel, etc.) who frequently broadcast independent films during non-prime time hours. A new forum for independent films is represented by several rapidly growing cable channels specializing in independent films and niche markets. Channels like Bravo, The Independent Film Channel, and The Sundance Channel provide exposure and revenue for smaller films. In the case of The Heart of a Woman, The final venue, of course, is domestic theatrical release. Many low budget films earn healthy profits without ever receiving a theatrical release in the U.S. This has been largely due to the major studios dominance in this arena. However in recent years, as the number of movie screens around the country has exploded and independent films have gained critical and popular respectability, the likelihood of a limited theatrical run has increased. Each of the major studios and independent distributors has an extensive U.S. distribution network.
  • 28. 25 This distribution capability entails an extremely high fixed cost, but virtually no variable cost. In other words, while the studios each spend well over $10 million per year on distribution offices and personnel, there are relatively low additional costs associated with the distribution of one or two extra films each year. Accordingly, the studios are always on the lookout for quality films which have been financed independently, for which they might provide distribution. 1 ($7,032,915 x 50% [Allowance] x 50% [Distributor's Percentage]) 2 Figures from BoxOfficeMojo.com 3 ($30,610,863 x 100% [Allowance] x 50% [Distributor's Percentage])
  • 29. 26 Domestic Theatrical Revenues When banks need to appraise a property value for assessing a mortgage, they search for a property of comparable value. Similarly, the film industry's modus operandi for appraising a proposed film's potential “Distributor's Gross” is by matching the proposed film with an actual released film that has the following comparable elements: Theme, Writer/Director, Cast, Setting and Budget. Traditionally, in the world of independent films, distributors and exhibitors (theater chains) split the box office receipts on a 50/50 basis. This is negotiated, but for purposes of these comparisons, we will assume that the distributor’s gross is equal to 50% of the box office. Movies already released that fall under the category of genre-driven fare such as The Heart of A Woman Boys Don't Cry (1999) Budget: $2M (estimated) Opening Wknd: $73.7K (USA) Gross: $11.5M (USA) more » Genre: Crime / Drama / Romance more » Transamerica (2005) Budget: $1M (estimated) Opening Wknd: $46.9K (USA) Gross: $12.9M (Worldwide) more » Genre: Adventure / Comedy / Drama more » The Full Monty (1997) Budget: $3.5M (estimated) Opening Wknd: $244K (USA) Gross: $257M (Worldwide) more » Genre: Comedy / Drama / Music more » Awards: Won Oscar. Another 34 wins & 26 nominations more » User Ratings: 7.2 (52,862 votes) more »
  • 30. 27 RECOUPMENT & DISTRIBUTION OF PROFITS The Producers intend to raise the approximately $3.1M* needed to produce The Heart of a Woman, a feature length color motion picture through the formation of a Limited Liability Company. The investors shall represent the non-voting Financial Members and Toni Newman and Alton Denmore shall represent the Managing Members. The Financial Members shall provide the entire financial contribution and shall receive 50% of the net profits of the partnership. The Managing Members shall render the services customarily rendered by motion picture producers. Unlike many film investments, The Heart of a Woman puts the investors in the first position for returns. The Financial Members shall recoup 110% of their initial investment prior to the payment of any profit participation. After the return of 110% of the investors’ original investment, profits shall be split 50/50 between the Managing Members and the Financial Members. Any third party profit participation shall be borne out of the Managing Members’ shares. The Financial Members’ liability shall be limited to their financial contribution. The Managing Members shall bear all further risk. The minimum investment shall be $150,000.00. However the Managing Members reserves the right to accept lesser investments at their sole discretion. Investments will be deposited in a special bank account. The company must be fully capitalized within 18 months of the deposit of the first Financial Member’s investment or the funds shall be returned to the investors. This date may be revised by the mutual consent of the Managing Members and a majority of the Financial Members. All investors please understand the risks involved. The film industry is unpredictable and volatile. It is possible that your entire investment could be lost. This is an informational packet only and is not an offering to sell or solicit. Please read and understand the Limited Liability Company Agreement before investing. The Limited Liability Company is a carefully structured private placement investment, it is not a public offering. * This amount is the budget of the film.
  • 31. 28 Additional Investor Benefits * * * INVESTOR RETURNS: FOR EVERY $150,000 UNIT INVESTOR RECEIVES 2.5 POINTS FROM MOVIE AND 2.5 POINTS FROM BOOK, I RISE. TOTAL OF 20 UNITS * * * In addition to the obvious financial opportunities, the Financial Members will be welcome to visit the set during Principal Photography (by appointment only, please). All Financial Members will be invited to attend a Private Screening & Reception with the Cast & Crew prior to the Public Premiere. Financial Members will receive a newsletter updating them on the progress of the production. All Financial Members will receive a shared “Special Thanks” screen credit. Any Financial Member who contributes at least 25% of the film’s total budget shall receive the shared screen credit of “Executive Producer”. In the event that a single investor or group of investors wishes to finance the entire film, the producers will consider renegotiating the investment structure to suit.
  • 32. 29 Conclusion In the wake of the economic realignment reshaping the film industry, an equally important resurgence of independent filmmaking has occurred. Independent producers and distributors have been an important part of the film business since the day Chaplin, Pickford and Fairbanks founded United Artists. Such independents have traditionally provided an alternative environment for creative filmmaking, helped cultivate new talent for the "Studio System" and encouraged maverick entrepreneurs to create new studios and compete with the established Hollywood system. Not unlike the studios, the independents produce a wide range of filmic genres. From the success of such independents as SWINGERS and SIDEWAYS, to the phenomenal critical and financial success of MY BIG FAT GREEK WEDDING and THE BLAIR WITCH PROJECT, producers have successfully exploited opportunities outside the studios. Today, the opportunities have increased. These opportunities exist for The Heart of a Woman as well, and we are excited by the prospects that lie ahead. Join us in our endeavor to bring this exciting project to the screen.
  • 33. 30 Contact Information Gary Thoulouis Business Development Consultant Orange Peel SL gary.thoulouis (skype) +34 617 229 454 (mobile) gary.thoulouis@orangepeelpr.com www.orangepeelpr.com

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