Killdeer project packet.

1. KILLDEER: A DOCUMENTARY FILM
B Y S EAN F LANA GAN
MAY 2010
BUSINESS PLAN

2. E XEC U TIVE S TA TEM EN T
WE ARE PROUD TO ANNOUNCE FISCAL SPONSORSHIP FROM:
EVERY AUTUMN A GROUP OF RETIRED BABY BOOMERS TRAVEL TO KILLDEER, NORTH
DAKOTA, ON A HUNTING TRIP DESIGNED TO BE AN ESCAPE FROM THEIR DAILY LIVES.
WHAT THEY OFTEN DON’T NOTICE IS THAT KILLDEER IS A TOWN BEING RAVAGED BY THE
OIL INDUSTRY, AND THE PANGS OF A BLEAK FUTURE AND DYING OLD WEST CULTURE.
I. THE PRODUCERS PRESENT “KILLDEER” A FEATURE DOCUMENTARY FILM FOR
THEATRICAL DISTRIBUTION. THE FILM BLENDS THE TECHNIQUES OF NARRATIVE
FILMMAKING WITH REAL WORLD CHARACTERS TO TELL THE STORY OF A GROUP OF
AGING SPORTSMEN, OIL MEN, COWBOYS AND INDIANS. WHILE TOPICAL AND FULL OF
UNIVERSAL THEMES, WE ARE ALSO TAPPING INTO NICHE MARKETS THAT HAVE GONE
WIDELY UNTOUCHED BY HOLLYWOOD.
II. THE PRODUCTION TEAM IS CURRENTLY SEEKING AN INVESTMENT OF TWO HUNDRED
THIRTY-FOUR THOUSAND DOLLARS ($234,000 USD) TO FUND THE ENTIRE FILM
PRODUCTION.
III. BECAUSE OF OUR SPONSORSHIP WITH NYFA, WE ARE ABLE TO GUARANTEE A 100%
TAX DEDUCTION FOR ANY DONATIONS THROUGH THIS NON-PROFIT ORGANIZATION.
NYFA IS ABLE TO PROVIDE ALL NECESSARY TAX FORMS AND INFORMATION TO THIS
MATTER ENSURING ACCURATE AND PROFESSIONAL HANDLING OF FUNDS.
IV. ANY INTEREST FOR INVESTMENT OUTSIDE OF THESE DONATIONS MAY BE HANDLED
SEPERATELY ON A CASE BY CASE BASIS, WITH APPROPRIATE CREDIT, POINTS ON THE
BACKEND OR RETURN ON INVESTMENT (ROI) TO BE CALCULATED AS NEEDED.
V. AS NORTH DAKOTA IS ONE OF THE FEW STATES THAT DOES NOT HAVE A SOLID FILM
COMMISSION OR INCENTIVES, WE ARE LOOKING AS GRANTS AND SPONSORSHIPS TO
OFFSET THIS FACTOR. THESE TACTICS WILL BE ADDRESSED LATER IN THE PLAN.
VI. OUR TEAM TAKES PRIDE IN IMPLIMENTING A NARRATIVE FILM TECHNIQUE, WHICH
MEANS AS OPPOSED TO MONTHS AND YEARS OF DOCUMENTARY SHOOTING, WE
HAVE CRAFTED A TIME SENSITIVE STORY THAT ALLOWS FOR A TIGHT AND INTENSE
SHOOTING SCHEDULE OF JUST A FEW WEEKS. THIS HELPS US TO ENSURE KEEPING ON
BUDGET, WITH OUR OWN TIME TABLES AND THE DELIVERY TO DISTRIBUTION.

3. A BO U T “K ILLDE ER ”
“KILLDEER” IS A NON-FICTION FILM THAT FINDS A GOOD DEAL OF ITS ROOTS IN THE
WESTERN FILM GENRE DESPITE ITS DOCUMENTARY NATURE. THE STRUCTURE OF OUR
STORY COULD BEST BE COMPARED TO A PEBBLE’S RIPPLE EFFECT INTO WATER.
THE STORY BEGINS WITH A GROUP OF HUNTERS REUNITING ON THE EDGE OF THE
BADLANDS, COMING FROM ALL CORNERS OF THE UNITED STATES, FOR A TWO WEEK LONG
HUNTING TRIP. THIS HAS BEEN AN ANNUAL CUSTOM THAT NOW SPANS THREE DECADES.
WITH THE LONG STANDING RELATIONSHIP TO THE PEOPLE AND LANDSCAPE OF
NORTH DAKOTA, THE HUNTERS ARE OUR PEBBLE BEING DROPPED INTO THE PLAINS. FROM
THERE THE MEN BEGIN TO INTERACT WITH THE TOWN OF KILLDEER AND ITS CITIZENS,
THROUGH SOCIAL VISITS AND INTERACTIONS AT THE ONLY RESTAURANT IN TOWN, THE
REGIONAL CASINO ON A NATIVE AMERICAN RESERVATION AND THROUGH THE PLAINS AS
THEY HUNT, FISH AND ENJOY THE SCENERY.

4. AS THEY VENTURE FURTHER OUT OF KILLDEER, OUR FILM BEGINS TO LOOK AT THE
MODERN LIFE OF THE NATIVE AMERICAN TRIBES AND THEIR EVOLUTION / INTERACTION
WITH THE LOCAL RESIDENTS AND THE HUNTERS THEMSELVES. THOUGH THE CONNOTATIONS
AND THE RELATIONSHIPS HAVE GREATLY EVOLVED, WE ARE ESSENTIALLY LOOKING AT THE
CURRENT EXISTENCE OF A LANDSCAPE DOMINATED BY COWBOYS AND INDIANS.
UNDERNEATH ALL OF THESE DYNAMICS LIES THE FINAL ARC OF OUR FILM: THE OIL
INDUSTRY. THE BAKKEN SHALE, THE LARGEST OIL DEPOSIT IN HISTORY, HAPPENS TO BE
SITTING UNDERNEATH THE BADLANDS AND IS JUST NOW BEGINNING TO BE TAPPED INTO,
THOUGH RARELY RELEASED INTO THE MARKET. WHILE MANY RESIDENTS HAVE COME INTO
A WINDFALL OF CASH FOR MINING RIGHTS, OTHERS HAVE LEFT THEIR CAREERS TO WORK
FOR THE OIL COMPANIES DRIVING THE TRUCKS FOR A VERY HIGH HOURLY RATE.
TOGETHER THESE ELEMENTS CREATE A
COMPLEX DYNAMIC OF STORIES AND
CHARACTERS FOR THE FILM. FOR MANY THE
REGION IS A SERENE PARADISE, ONE OF THE
LAST VESTIGES OF THE OLD WEST CULTURE,
FOR OTHERS IT’S THE GATEWAY TO A NEW BIG
BUSINESS. HALF OF THE TOWN HAS BECOME
RICH OVERNIGHT, WHILE OTHERS HAVE FOUND
NEW CAREER CALLINGS. OUR GOAL IS TO
REMAIN OBJECTIVE AS WE EXPLORE ALL OF
THESE DYNAMICS AND LET THE HUNTERS,
COWBOYS, INDIANS, OIL MEN AND
TOWNSPEOPLE SHARE THEIR STORIES WITH THE
WORLD, AS IT WILL BE THE FIRST OPPORTUNITY
FOR MANY OF THESE DEMOGRAPHICS TO FIND A
VOICE IN MAINSTREAM MEDIA WITHOUT BEING BLASTED BY LIBERALS OR CONSERVATIVES.

5. T HE T OW N OF K ILLDE ER
KILLDEER HAS A POPULATION OF 713 (LAST CENSUS). IN A REMOTE REGION OF NORTH
DAKOTA, IT LIES ON THE EDGE OF THE BADLANDS, A BEAUTIFUL NATURALLY GREEN AND
LUSH LANDSCAPE AKIN TO THE GRAND CANYON. SPRINKLED AMONGST THE HILLS ARE THE
REMAINS OF NATIVE AMERICAN TRIBES SUCH AS MANDAN, ARIKARA AND HIDATSA.
ONCE INSIDE THE TOWN OF
KILLDEER, WE EXAMINE THE CITIZENS
AND EVENTS THAT HAVE BEEN SHAPING
THEIR LIVES. MOST SIGNIFICANTLY, FOR
THE SECOND TIME IN THIRTY YEARS, THE
OIL INDUSTRY HAS COME TO DRILL IN
THEIR REGION. IN THE 1980’S THE ENTIRE
TOWN STRUCK A CASH MOUND WHEN OIL
WAS TAPPED, LEADING THEM TO SPEND IT
ALL ON EXTRAVAGANCES THEY HAD
NEVER THOUGHT THEY COULD AFFORD IN THEIR MODEST SETTING. WHEN THE BUSINESS
DECIDED TO TAKE A BREAK, THE ENTIRE TOWN WAS LEFT ABRUPTLY AND IN MAJOR DEBTS.
TWENTY YEARS LATER, THE OIL INDUSTRY IS BACK AND PAYING EXORBITANT AMOUNTS OF
MONEY TO DRILL ON PRIVATE LAND.
BEING AS REMOTE AS KILLDEER IS, WITH DRASTIC SEASONAL SHIFTS, THE
LIFESTYLE OF THE TOWN CAN ONLY BE DESCRIBED AS MAKESHIFT. WHILE SUMMERS
ALLOW FOR OUTDOOR ACTIVITIES LIKE SWIMMING, FISHING, HORSEBACK RIDING, HUNTING
AND SPORTS, THE WINTERS CAN REACH SEVENTY DEGREES BELOW ZERO. CHILDREN OFTEN
WON’T EVEN MAKE THE TREK TO SCHOOL BECAUSE ANY DIRECT EXPOSURE TO THE WINDS
AND COLD CAN BE PHYSICALLY PAINFUL.
IT IS ONE OF OUR MAJOR GOALS THAT WE BRING AS MUCH LOVE AND SUPPORT TO
THE TOWN OF KILLDEER AND THE SURROUNDING AREA AS IT IS BEEN SUPPORTIVE OF NOT
ONLY OUR PROJECT DEVELOPMENT, BUT THE HUNTERS FOR THE PAST THIRTY YEARS. ANY
BUDGETARY EXPENSES OR CREW NEEDS WE HAVE, WE ARE LOOKING TO BRING DIRECTLY TO
THE LOCAL BUSINESSES AND ECONOMY AS OUR WAY OF SAYING THANK YOU.

6. T HE N A TIVE A ME RIC AN S
ONE OF THE PREDOMINANT CULTURES TO THE MID-WEST IS THE REMAINING
PRESENCE FELT BY THE NATIVE AMERICAN POPULATION, IN THIS AREA THE MANDAN,
ARIKARA AND HIDATSA.
WHILE ITS BEEN SAID THAT SOME LOCALS AND NATIVES DON’T INTERACT OFTEN OR
DIRECTLY, OUR HUNTERS HAVE FORMED STRONG FRIENDSHIPS WITH EVERYONE WHO
CROSSES THEIR PATH, INCLUDING THE LATE AUGUST LITTLE SOLDER AND HIS FAMILY,
PROMIMINENT TRIBAL MEMBERS AND RODEO CHAMPIONS.
IT IS OF GREAT IMPORTANCE TO OUR PROJECT TO PROPERLY SHOWCASE THE
EVOLUTION OF NATIVE CULTURE AS IT IS THE ONE INDIGINOUS PEOPLE TO NORTH AMERICA
AND ONE THAT HAS RARELY BEEN SEEN IN HOLLYWOOD OR MAINSTREAM MEDIA. GONE
ARE THE OLD FASHION COWBOY & INDIAN MOVIES, BUT NO ONE HAS THOUGHT TO EXPLORE
WHAT MODERN TECHNOLOGY AND SOCIETY HAS DONE TO THE PRESERVATION OF THE
CUSTOMS, ART AND ORAL TRADITIONS OF THE TRIBES.
THIS INTERACTION WITH OUR HUNTERS RANGES FROM THE HUNTING / GAMING
BUREAU IN NEW TOWN TO THE RESIDENTS WHO ALLOW THE MEN TO HUNT THEIR LANDS
AND THE 4 BEARS INDIAN CASINO THAT BOASTS THE LARGEST SOCIAL GATHERING IN
VIRTUALLY A HUNDRED MILE RADIUS OF THE TOWN OF KILLDEER.
IN MARKETING AND HONORING THE FILM, AS WE WILL EXPLORE LATER ON, THERE
ARE SOME 4.5 MILLION NATIVE AMERICANS PER THE CENSUS WHO HAVE YET TO SEE A
FILM ACCURATELY DEPICT THE DAILY LIFE
AND STRUGGLES THEY FACE. THIS IS JUST ONE
OF MANY VALUABLE DEMOGRAPHICS OUR
FILM WANTS TO BOTH HONOR AND EMPHASIS
IN A BUSINESS SENSE, AS UNTAPPED MARKETS
ALLOW FOR A MAXIMUM POSSIBLE SUCCESS
FOR OUR FILM AND ITS INVESTORS AND
SPONSORS.

7. T HE O IL I NDU S TR Y
UNLIKE A TYPICAL DOCUMENTARY, IT IS NOT OUR INTENT TO DIRECTLY VILLAINIZE
THE OIL INDUSTRY. WHILE THE ENVIRONMENT AND BUSINESS PRACTICES SHOULD BE
EXAMINED, WE ALSO SEE MANY JOBS BEING PROVIDED TO A COMMUNITY LIVING BELOW
THE POVERTY LINE AND THE POTENTIAL FOR DOMESTIC OIL TO REPLACE DEPENDENCY ON
INTERNATIONAL RELATIONS AND POLITICS.
BECAUSE OF THIS STANCE WE HAVE GAINED UNPRECEDENTED ACCESS TO THE OIL
COMPANIES THROUGH CONTACT OIL EXECUTIVE RUSSELL WILLIAMS, WHO WILL BE
PUTTING US IN TOUCH WITH THOSE WORKING THE OIL FIELDS OF NORTH DAKOTA. WE WILL
BE GRANTED ACCESS TO INTERVIEW SUBJECTS AND THE RIGS THEMSELVES, WHICH HAS
NEVER BEEN TRULY ACCOMPLISHED BY FAR LEFT INDIVIDUALS LIKE MICHAEL MOORE.
THE FACTS AND INSIGHTS WE WILL BE OBTAINING FROM THESE SOURCES WILL ONLY
HELP TO FURTHER ILLUMINATE THE COMPLEXITY OF THE ISSUE AND ENABLE OUR
DOCUMENTARY TO CONTINUE TO STAND OUT AS THE LEADING SOURCE ON THIS ISSUE FOR
YEARS TO COME.

8. L O GIS TIC S O F F IL M ING
THE MEN GO HUNTING THE SAME TIME EVERY YEAR, ROUGHLY THE LAST TWO
WEEKS OF SEPTEMBER, LEADING THE CORE OF OUR FILMING TO BE SEPTEMBER 2010 TO
CORRESPOND WITH THEIR TRIP AND THE HUNTING SEASON IN NORTH DAKOTA.
THE HUNTERS STAY IN CABINS AT THE
EASTVIEW CAMPGROUNDS, OVERLOOKING
THE BADLANDS. UNLIKE SOME PREVIOUS
YEARS WHERE THE HUNTERS STAYED IN
INDIVIDUAL MOTEL ROOMS, THIS LODGE
PROVIDES THEM WITH COMMUNAL SPACE,
WHICH MAXIMIZES THE POTENTIAL FOR THEM
TO INTERACT WITH ONE ANOTHER AND SPEND
TIME DRINKING AND SHARING STORIES WITH US. IT WILL CUT COSTS OF OTHERWISE
INTERVIEWING EVERYONE SEPARATELY, BUT WILL PROVIDE FOR THE MOST INTRIGUING
STORIES AND CAMERA TIME. THE HUNTERS’ CABIN, THE GRAND VIEW, COMES WITH A
BBQ AND BALCONY OVER HANGING THE BADLANDS, WHERE SUNLIGHT EXPOSURES MAKE
FOR CAPTURING BEAUTIFUL SHOTS OF SCENERY AS THEY MOVE ABOUT, AS WELL AS
PROVIDE OTHER LAND AND BREATHTAKING SUNRISE /SUNSET INSERTS.
OUR FILM WILL BE SHOOTING ON A TIGHT
SCHEDULE, ALLOWING MAXIMUM IMPACT
OF OUR PROJECTED BUDGET. WE ARE
TREATING OUR DOCUMENTARY LIKE A
NARRATIVE FILM WHICH ENSURES IT WILL
BE COMPLETED ON TIME AND TO THEATRES
IN A TIMELY FASHION. WE ARE DOING SO IN
A VOTE OF CONFIDENCE TO THE POWER OF
OUR STORY, THAT UNLIKE OTHER

9. DOCUMENTARIES THAT SPEND MONTHS AND YEARS WAITING FOR STORY TO DEVELOP, WE
HAVE OBTAINED ACCESS TO ENOUGH MATERIAL AND SUBJECT MATTER TO CREAT A
POWERFUL STORY THAT ONLY DEMANDS A BRIEF INTENSIVE FILM SHOOT.
AS INSURANCE TO THIS PRACTICE WE WILL BE SHOOTING ON A COMBINATION OF
FILM AND DIGITAL, DEPENDING ON THE NATURE OF THE DAY’S SHOOT. WITH OUR SCENIC
LANDSCAPE AND BREATHTAKING VIEWS WE WILL BE FOCUSING ON FILM TO ENSURE THE
RICHEST COLOR AND QUALITY OF IMAGE AND TONE. FOR OUR INTERVIEW SEGMENTS WE
WILL BE SHOOTING IN DIGITAL, WHICH WILL ALLOW US INSTANT PLAYBACK AND
UNLIMITED TIME/ENERGY TO BE SPENT WITH OUR SUBJECTS, ENSURING OUR SUBJECTS WILL
BE ABLE TO SHARE WITH US ALL THE INFORMATION THEY ARE CAPABLE OF.
HELPING US WITH OUR FILM NEEDS IS THE SUPPORT OF CSC RENTALS, A FILM
RENTAL HOUSE WHERE OUR DP BILLY GREEN AND A LARGE PORTION OF OUR CREW
LEARNED THEIR CRAFT BEFORE GOING OUT AS FREELANCING PROFESSIONALS.

10. A BO U T O UR C R EW
OUR CREW PRIDES ITSELF IN BEING A TIGHT KNIT GROUP WHO HAS WORKED TOGETHER
OVER NUMEROUS PROJECTS, ANOTHER GUARANTEE FOR THE FIELD THAT WE WILL WORK
COOPERATIVELY AND CONSICELY WITHOUT ANY DELAYS IN SHOOTING.
WRITER / DIRECTOR – SEAN FLANAGAN
BORN AND RAISED IN MILLBROOK, NEW YORK, SEAN IS A
GRADUATE OF THE NEW SCHOOL WHERE HE STUDIED
CREATIVE WRITING AND FILM STUDIES. WHILE THERE HE
USED HIS TIME TO WORK WITH TIME OUT NEW Y ORK, RK
FILMS, HBO FILMS, NIELSEN’S MEDIA AND FOX NEWS AS
SUPPLEMENT TO HIS EDUCATION. SINCE GRADUATING, HE
HAS STRATEGICALLY WORKED ALL ASPECTS OF
PRODUCTION IN AN EFFORT TO BETTER UNDERSTAND AND
MASTER THE ENTIRE PROCESS OF FILM AND TV
PRODUCTION. WRITING, CASTING, LOCATIONS,
COORDINATING/MANAGING, DIRECTING AND POST PRODUCTION ARE ALL ASPECTS SEAN IS
WELL VERSED IN THANKS TO CAREFULLY SELECTED WORK WITH MTV, SPORTS
ILLUSTRATED, GANNETT NEWS, VOX3 FILMS AND VARIOUS INDEPENDENT FILM, TV AND
MULTI-MEDIA PROJECTS. SEAN HAS RECENTLY BEGUN WORKING ON THE 3-D
DOCUMENTARY “TRANSFIGURATIONS” WHICH STARS RENOWNED ARTIST ALEX GREY AND
HAS ATTRACTED INTEREST FROM TOP PRODUCERS. WITH TWO SCRIPTS IN DEVELOPMENT AT
SILVERLINE CINEMAS AND “KILLDEER,” A DOCUMENTARY BEING SHOPPED AROUND, THIS
HAS ALL LED SEAN TO A PLACE WHERE HE IS ABLE TO SPEARHEAD AN ENTIRE PRODUCTION
WITH THE FULL UNDERSTANDING OF THE HARD WORK AND PASSION THAT MUST COME FROM
EVERY DEPARTMENT.

11. PRODUCER - ISAAC BETANCOURT
BORN IN SAN PEDRO SULA, H ONDURAS RAISED
PARTIALLY IN SOUTH F LORIDA AND N EW YORK CITY,
ISAAC BETANCOURT-SABILLON IS A GRADUATE OF LONG
ISLAND U NIVERSITY WHERE HE RECIEVED HIS BA IN
M EDIA STUDIES/ BUSINESS. AS A YOUNG
PROFESSIONAL ISAAC WORKED IN I NFORMATION
T ECHNOLOGY IN M ARKETING & SALES FOR TWO OF THE
LARGEST IT COMPANIES IN THE WORLD, SYMANTEC
& DYNTEK C ORP. AS AN ACTOR ISAAC HAS WORKED ALONGSIDE NAMES LIKE UMA
T HURMAN, LUKE WILSON, EDDIE IZZARD, DENNIS FARINA, FRANK WHALEY, A NNA
F ARRIS AND PRODUCER/DIRECTOR IVAN REITMAN. H ONING IN ON HIS LOVE FOR FILM,
ISAAC CHANGED CAREER PATHS AND HIT THE GROUND RUNNING AS AN ASSISTANT
DIRECTOR & PRODUCER ON SEVERAL SHORT FILMS AND A CO- PRODUCER OF THE
F EATURE FILM "T HE F ESTIVAL OF LIGHT" STARRING AIDEN Q UINN. SINCE THEN HE HAS
WORKED AS A PRODUCTION C OORDINATOR FOR THE F EATURE "REMEMBER N AIXING."
ISAAC IS CURRENTLY WRITING HIS OWN FEATURE SCREENPLAY ALONG WITH WRITING A
SKETCH COMEDY TREATMENT FOR A PILOT WHILE CONTRIBUTING HIS TIME TO
"KILLDEER".
DIRECTOR OF PHOTOGRAPHY – BILLY GREEN
HAILING FROM LONG ISLAND AND COMING OUT OF SUNY
ALBANY WITH A DEGREE IN JOURNALISM AND MUSIC,
BILLY GREEN FOUND HIS CALLING IN FILM WORK AND
FOLLOWED FAMILY FOOTSTEPS INTO THE CAMERA
DEPARTMENT. HE WENT TO WORK FOR ARRI CSC
RENTALS WHERE HE WAS ABLE TO LEARN THE INS AND OUTS
OF THE FIELD. STRIKING OUT ONTO HIS OWN, BILLY
TRAVELED TO I NDIA TO PRODUCE AND DIRECT HIS OWN

12. FILM ENTITLED INDIA IN CRISIS. BEFORE LONG, BILLY WAS WORKING ON MUSIC VIDEOS,
RED CARPET EVENTS AND COMMERCIALS FOR CLIENTS SUCH AS GNARLS BARKLEY, CHRIS
DAUGHTRY, ALICIA KEYS, KELLY ROWLAND, RYAN SEACREST, CAM’RON, L’OREAL AND
MORE. A MAJOR STEP FORWARD CAME FOR BILLY WHEN HE SIGNED ON TO HELP PRODUCE
AND SERVE AS DP FOR A 3-D DOCUMENTARY FILM SHOOT SURROUNDING ALEX GREY AND
CRYSTAL METHOD. SINCE THEN BILLY HAS WORKED WITH AWARD WINNING
DOCUMENTARIAN MORGAN SPURLOCK (SUPER SIZE ME ) ON AN UPCOMING FILM PROJECT.
BILLY IS NOT ONLY A STEADICAM CERTIFIED OWNER AND OPERATOR BUT SKILLED IN ALL
ASPECTS OF SHOOTING INCLUDING A PADI CERTIFICATION FOR UNDERWATER OPERATING.
WHILE AT ARRI CSC, HE NOT ONLY STUDIED ALL ARRIFLEX CAMERAS, LENSES AND
ACCESSORIES, BUT ALL OF THE CAMERAS, ACCESSORIES, UNDERWATER HOUSINGS AND
LIGHTING SYSTEMS ON THE MARKET, PASSING THE LOCAL 600 EASTERN REGION
ASSISTANT ADMISSIONS TEST WITH A SCORE OF 90% AND A PLACEMENT OF 2ND OVERALL.
PHOTOGRAPHER – EDOUARD HR GLUCK
EDOUARD HR GLUCK IS A PHOTOGRAPHER WHO IS POISED TO
MAKE HIS FILM DEBUT ACTING IN P AUL GREENGRASS’ “GREEN
ZONE” IN 2010, WHICH CO-STARS MATT DAMON, GREG
KINNEAR AND AMY RYAN. AS A WORKING JOURNALIST HE
HAS TRAVELED AND MADE A NAME FOR HIMSELF BY GOING
INTO IRAQ TO DOCUMENT THE CURRENT CONFLICT.
EDOUARD’S IMAGES ARE FUELED BY THE SIMPLE PREMISE
THAT ALL THINGS ARE INDEED PHOTOGRAPHABLE, BUT
CAPTURING THEM WITH HEART…WILL YIELD EXTRAORDINARY RESULTS. HIS
PHOTOGRAPHS HAVE APPEARED IN PUBLICATIONS SUCH AS GQ MAGAZINE, TIME, STERN,
PDN ONLINE, THE WALL STREET JOURNAL, INTERNATIONAL HERALD TRIBUNE, GUARDIAN
UK, NEWSWEEK, USA TODAY, THE CHICAGO TRIBUNE AND ON AWARD WINNING
BROADCAST PROGRAMS INCLUDING CNN’S AMERICAN MORNING, ANDERSON COOPER
360,NEWSNIGHT WITH AARON BROWN, CBS SUNDAY MORNING NBC’S TODAY SHOW, AND
NIGHTLY NEWS WITH BRIAN WILLIAMS. HE HAS WORKED FOR THE NFL, THE HISTORY

13. CHANNEL, AND THE U.S. DEPARTMENT OF DEFENSE. HIS FIRST BOOK CONTRIBUTION IS TO
THE CONDE NAST PUBLICATIONS-GQ MAGAZINE PROJECT, “THIS IS OUR WAR: A SOLDIERS
PORTFOLIO”.
PRODUCTION MANAGER – MONICA VEGA
MONICA-TEZLA SOLIS VEGA-GORSUN BOASTS A BA IN
SPANISH WITH A CONCENTRATION IN GEOLOGY FROM
APPALACHIAN STATE UNIVERSITY AND A BFA IN
CINEMATOGRAPHY CANDIDATE FROM THE NORTH
CAROLINA SCHOOL OF THE ARTS. SHE HAS ALSO STUDIED
SPANISH LITERATURE IN SPAIN AND AT LA UNIVERSIDAD
NACIONAL EN HEREDIA, COSTA RICA. HER LOVE OF
DOCUMENTARIES AND CINEMA BEGAN WHEN SHE WAS AN
ELEMENTARY SCHOOL TEACHER, USING THESE MEDIUMS
TO REACH OUT TO HER STUDENTS TO HAVE A BETTER
UNDERSTANDING OF LATIN AMERICAN CULTURE. HER CREDITS INCLUDE SUCH FILMS AS
JUNEBUG, MICHAEL CLAYTON AND GRAVEDANCERS. CURRENTLY MRS. VEGA-GORSUN
RESIDES AND WORKS IN NEW YORK CITY AND HAS WORKED ON COMMERCIALS FOR CENSUS
2010, WENDY’S, MACY’S, AT&T, SESAME STREET, NEW YORK STOCK EXCHANGE AND MORE.
MONICA IS IN DEVELOPMENT FOR THREE OTHER FEATURE FILMS WHILE CONTRIBUTING TO
“KILLDEER.”
SUPPORT - PETER FRUCHTMAN
SUPPORTING OUR WORK AND TEAM IS INVESTOR
AND EXECUTIVE PRODUCER PETER FRUCHTMAN
OF DRO ENTERTAINMENT. THIS COMPANY HAS
FINANCED AND WORKED IN FILMS SUCH AS THE
UPCOMING “MACHETE ” BY ROBERT RODRIGUEZ,
“BLACK SWAN” BY DARREN ARONOFSKY AND
STARRING NATALIE PORTMAN, “HESHER” WITH JOSEPH GORDON-LEVITT AND
“EVERYTHING MUST GO” WITH WILL FERRELL.

14. A K ILLDE ER F IRS T L OO K B U DGE T
Project: “Killdeer”
Format: Arri 16SR3 Camera
Producer/Director: Sean Flanagan Prep: 21 Days
Producer: Isaac Betancourt Shoot: 18 Days (Over 3 wks)
Locations: New York, North Dakota Wrap:
Post: 42 Days
Budget Date: 3/20/2010 Total:
ABOVE THE LINE TOTAL BUDGET
1000 Pre-Production and Development 5,000
2000 Producing Staff 50,000
3000 Rights, Music and Talent 10,000
TOTAL ABOVE THE LINE (A) 65,000
BELOW THE LINE TOTAL BUDGET
4000 Crew & Personnel 55,000
5000 Production Expenses 20,000
6000 Travel and Related Expenses 20,000
7000 Post-Production 30,000
8000 Insurance 3,000
9000 Office & Administration Costs 1,000
10000 Other Required Item 3,000
SUBTOTAL 132,000
TOTAL BELOW THE LINE (B) 132,000
SUBTOTAL (ATL + BTL) 197,000
CONTINGENCY (10%) 19,700
FISCAL SPONSOR FEE (8.0%) 17,336
GRAND TOTAL 234,036

15. K ILLDE ER : E N TER IN G THE M A R KE T
DUE TO OUR PAST WORK IN THE FINACIAL AND MARKETING FIELDS, OUR TEAM HAS
WORKED ON THE FRUITION OF THE BUSINESS SIDE OF OUR FILM SIMULTANEOUSLY WITH THE
CREATIVE ELEMENTS, PUTTING US AHEAD OF THE CURVE IN THE DOCUMENTARY REALM. AS
YOU WILL SEE, THIS COMES TO INCLUDE LOOKS AT COMPARATIVE FILM RELEASES,
MARKETING, PRESS CONTACTS AND PROMOTIONAL TACTICS TO ENSURE THE FILM CATCHES
FIRE AND OFFERS A QUICK RETURN ON INVESTMENT AND PROFIT FOR ALL THOSE INVOLVED.
PRE -PR O MA Y 20 10 JUNE 20 10 JUL Y 20 10 AUG UST
4 W E EK S 4 W E EK S 4 W E EK S 2010
2 W E EK S
PR O DU CTI O N AUG UST 20 10 SEP TE MB ER 201 0 SEP TE MB ER 201 0
2 WEE KS 1 WEE K 3 WEE KS
PRE -PR O PRE -PR O PR O DU CTI O N
PO ST OC T OB ER 20 10 NO VEM BE R 201 0 DECE M BE R 2 010
PR O DU CTI O N 4 WEE KS 2 WEE KS MA RKE TIN G
PO ST PO ST BEG IN S
FOR OUR INVESTORS AND SPONSORS, THROUGH OUR VAST NETWORK OF CONTACTS WE HAVE
BEGUN AMASSING A LIST OF MEDIA SOURCES THAT ARE WILLING TO GIVE US TV, PRINT AND
WEB PROMOTIONS THAT WILL BE OUR FIRST
STEP TOWARDS GUARANTEEING A
PROFITABLE FILM AND THE WIDEST POSSIBLE
AUDIENCE FOR ITS THEATRICAL AND DVD
DISTRIBUTION. THAT ALLOWS SPONSORSHIP
TO BE PROMOTED THROUGH THE PRESS KITS,
WEBSITE AND THE FILM ITSELF AS IT TRAVELS
THE COUNTRY AND THE WORLD.

16. F IND ING O U R A UD IE NCE
“THEMATIC UNDEREXPOSURE” AS PREVIOUSLY NOTED, MANY OF THE THEMES AND
NARRATIVE ELEMENTS TO OUR STORY ARE ONES THAT ARE RARELY, IF EVER, SEEN ON FILM.
BY CAPTURING THE TRUE ESSENCE AND BEAUTY OF THESE INFLUENCES, AND PROPERLY
MARKETING AND REACHING OUT TO THE APPROPRIATE COMMUNITIES, WE WILL BE TAPPING
INTO A VAST NUMBER OF U.S. CITIZENS WHOM HAVE YET TO SEE A TRUE REFLECTION OF
THEMSELVES ON THE SILVER SCREEN.
ONE OF THE PRIMARY INTERESTS I HAVE IN MARKETING AND DISCUSSING THE FILM
IS THE HUMANIZATION OF THIS GROUP OF HUNTERS. NO MAINSTREAM FILM HAS EVER
NEUTRALLY APPROACHED THE SUBJECT MATTER. WHILE WE ARE NOT PUSHING ANY
AGENDA, WE ARE SHOWING A POSITIVE REINFORCEMENT OF THE PERSONAL REWARDS OF
HUNTING AND MEN WHO TAKE GREAT PRIDE IN THEIR GUNS AS WELL AS THEIR HUNTING
DOGS. WE’D LIKE TO FOCUS, HOWEVER, ON THE HUNTERS AND THEIR TRIP, RATHER THAN
ON GUNS AND POLITICAL POSITIONS.
THE NRA IS AN ORGANIZATION THAT BOASTS AN ACTIVE WEBSITE, REGIONAL
DINNERS AND EVENTS AND A REGULAR MAGAZINE PUBLICATION. TO HAVE THEM ON BOARD
WOULD MEAN A DIRECT TAP INTO MILLIONS OF HUNTERS WHO WOULD BE BROUGHT OUT TO
SEE THE DEPICTION OF HUNTING, THE SENSE OF COMRADERY IN THE MEN AND TO LEARN
ABOUT THEIR TACTICS ON HUNTING, DOG TRAINING AND MORE.
GROUP/ORGANIZATION: POPULATION THE FILM, OUTSIDE OF THE HUNTERS WHO
NATIONAL RIFLE 4,000,000 COME FROM AN ARRAY OF BACKGROUNDS,
ASSOCIATION CONSISTS OF REAL MIDDLE CLASS PEOPLE THAT
NORTH DAKOTA (STATE) 650,000 STRUGGLE WITH DAY TO DAY ISSUES, HAVE
SOUTH DAKOTA (STATE) 775,000 REAL LIMITATIONS AND PROBLEMS AND CAN
NATIVE AMERICANS 4,500,000 OFTEN BE CONTENT TO DO ALL THEIR SHOPPING
US CITIZENS 56,700,000 AT A WALMART AND NEVER LEAVE THEIR
(OVER AGE 45) SMALL TOWNS OR REGIONS TO EXPLORE
FARMS IN 2,000,000 INTERNATIONAL CULTURE. THAT IS TO SAY, IT
CONTINENTAL US CONSISTS OF “MIDDLE AMERICA”. A RELEVANT

17. EXAMPLE (ALBEIT A DIFFERENT MEDIUM): IT WAS THIS BASIC LOGIC THAT LED THE TV
SERIES “ROSEANNE” TO BECOME A HIT WITH 20 MILLION WEEKLY VIEWERS THAT JUST
WANTED TO SEE SOMEONE FACE THE PERSONAL AND CULTURAL ISSUES THAT THEY FOUND
THEMSELVES STRUGGLING WITH. AND TODAY, “ROSEANNE” STILL AIRS NIGHTLY ON TV
LAND, WHICH SHOWS HOW MANY AMERICANS STILL RELATE TO THE CHARACTERS OF THAT
SHOW. THE MARKET IS THERE FOR PEOPLE THAT FEEL UNREPRESENTED AND UNABLE TO
IDENTIFY WITH MEDIA CHARACTERS/PERSONALITIES .
IN THE END, ALL OF THESE NUMBERS CLEARLY ADD UP TO A LARGE PERCENTAGE,
PERHAPS OVERLAPPING, OF A POTENTIAL AUDIENCE THAT IS NOT TYPICALLY LOOKED AT IN
THE CONSIDERATION OF INDEPENDENT OR DOCUMENTARY FILM. TO ME, IT IS IMPORTANT
TO CLARIFY AND BRING EVERYONE TO THE SAME PAGE IN REALIZING THAT WE ARE
LOOKING TOWARDS A FILM WITH A NEW BROAD AUDIENCE OUTSIDE OF THE NY/LA
ATMOSPHERE THAT SO MANY SMALL FILMS LOOK TO FIND THEIR PROPELLENT FROM.
BY PROACTIVELY TARGETING THE MOST EXPLICIT DEMOGRAPHICS AND POPULUS OF
THE FILM, AND BY ALLOWING THE LARGER LIBERAL MESSAGE TO LURE IN WHAT COULD BE
CALLED THESE “BOUTIQUE CITY AUDIENCES,” I SEE NO WAY THAT THIS FILM WON’T BE A
BREAKOUT HIT ON AT LEAST THE BASIC LEVEL OF SUCCESS.
IF EVEN 1% OF THE POPULATION FIGURES MENTIONED ABOVE TURN OUT TO SEE
“KILLDEER” IT CAN SAFELY BE SAID WE COULD BE LOOKING AT 1,000,000 TICKET SALES OR
ROUGHLY 10 MILLION DOLLARS AT THE BOX OFFICE .

18. “BLOWING THE WHISTLE”
FIRST WE MAY LOOK AT THE NUMBERS OF DOCUMENTARIES WHICH SET OUT TO
“BLOW THE WHISTLE” ON ANY NUMBER OF POLITICAL, SOCIAL OR CULTURAL ISSUES. IN
THE PAST DECADE, NUMEROUS DOCUMENTARY FILMS HAVE BEEN RELEASED THAT HAVE
BROUGHT A LARGER CONFLICT/ISSUE TO THE MAINSTREAM ATTENTION. IN TURN, THEY
WERE WELCOMED WITH OPEN ARMS AND REPEATEDLY SHATTERED BOX OFFICE RECORDS
FOR THE DOCUMENTARY FIELD. WITH THE OIL INDUSTRY SUBJECT MATTER BEING BROUGHT
TO THE PUBLIC FORUM, WE RAISE THE POTENTIAL TO BECOME ONE OF THE NEXT FILMS IN
THIS SERIES OF MAINSTREAM SUCCESSES.
FILM BUDGET GROSS OUR PRODUCTION TEAM HAS COME
(WORLDWIDE)
TO BELIEVE THAT WE ARE TRULY
AN 1 MILLION 41.6 MILLION
INCONVENIENT STANDING AT THE THRESHOLD OF
TRUTH WHAT MIGHT BECOME AMERICA’S
FARENHEIT 9/11 6 MILLION 220 MILLION
ROGER & ME 160,000 5.6 MILLION NEXT GREAT CHALLENGE. WITH
RELIGULOUS 13 MILLION THIS AMOUNT OF OIL BEING TAPPED,
AND UNUSED AT THE MOMENT, WE ARE LEFT WONDERING WHAT THE REASONING IN
OVERSEAS CONFLICT MEANS WHEN WE COULD SUPPORT OURSELVES PEACEFULLY FOR
CENTURIES TO COME. IN A TIME OF PROVEN GLOBAL WARMING AND SEASONAL SHIFTS,
WHAT DOES RAVAGING OUR PLAINS MEAN FOR THE VERY FATE OF THE WORLD?
FILM BUDGET GROSS TO THE LEFT ARE COMPARABLE
FARGO 7 MILLION 60 M NARRATIVE FILMS TO LOOK AT THE
SMOKE SIGNALS 2 MILLION 6.8 M
A RIVER RUNS 60 M PRESENCE OF SIMILAR THEMES,
THROUGH IT CHARACTERS OR LOCALES IN
LEGENDS OF 30 MILLION 100 M
THE FALL MAINSTREAM HOLLYWOOD. NOT ALL
CITY SLICKERS 36 MILLION 125 M OF THESE ARE OBVIOUS
SEARCHING FOR 80,000 *
THE WRONG EYED COMPARISONS FOR WHAT THE FINAL
JESUS PRODUCT OF “KILLDEER” INTENDS TO
INTO THE WILD 15 MILLION 22 M
RESEMBLE. BUT IN LOOKING AT THIS

19. LIST IT BECOMES CLEAR THAT WE ARE TAPPING INTO AN UNDER- UTILIZED GENRE OF
CHARACTER AND STORY. THESE FICTIONAL STORIES HAVE ALL TURNED A PROFIT OR BEEN
WILD SUCCESSES.
WHETHER SHOCKED BY THE OIL INDUSTRY, REVOLTED BY THE GRAPHIC SKINNING
OF BIRDS, IN STITCHES OVER THE HUNTER’S DIRTY JOKES OR MOURNING THE DYING
CULTURAL TRENDS, OUR FILM IS GOING TO HAVE PEOPLE TALKING AND READING ABOUT IT
AND MOST IMPORTANTLY OF ALL – GOING TO SEE IT
RELEASING THE FILM: FESTIVALS, SCREENINGS AND BEYOND
THERE ARE SEVERAL SPECIFIC FESTIVALS THAT I AM INTERESTED IN PURSUING TO
ATTRACT A PARTICULAR AUDIENCE OF PROFESSIONALS IN RELATED FIELDS OR KEY EVENTS
THAT HELP LEAD TO A WIDER DISTRIBUTION OR AWARDS RECOGNITION.
! SUNDANCE –PLAYING TO THE SENSIBILITIES OF ROBERT REDFORD AND BOARD OF
SCREENERS, THE FILM SHOULD APPEAL TO THEIR INTERESTS.
! WOODSTOCK FILM FESTIVAL – A FESTIVAL THAT IS REGIONAL TO THE
HOMETOWN AND RESIDENCE OF MYSELF AS WELL AS MANY OF THE
HUNTERS/CHARACTERS INVOLVED IN THE FILM, THIS IS A PROJECT THAT SHOULD
PLAY TO THEIR SENSIBILITIES AND HAVE A HOME GROWN FEEL.
! SOUTH BY SOUTHWEST – AN AUSTIN, TEXAS FESTIVAL THAT OFTEN BRINGS LOTS
OF INTERNET AND COMMUNITY ATTENTION THROUGH DIGITAL AND NEW MEDIA
MEANS, ITS TEXAS LOCATION IS ONE THAT WILL ALSO BRING ATTENTION AND
APPEAL TO THE HUNTER POPULATION OF THE SW.
! JACKSON HOLE, WYOMING – A FESTIVAL THAT PRIMARILY FOCUSES ON
ELEMENTS AND THEMES THAT ARE REFLECTED WITHIN THE PROJECT. WHILE NOT A
TITLE HONORARIUM, IT IS AN ENTIRE FESTIVAL AND COMMUNITY THAT WOULD BE
EMBRACING THE SUBJECT MATTER AND IS A KNOWN PLACE FOR OUTLETS LIKE PBS
AND NATIONAL GEOGRAPHIC TO PULL MATERIAL

20. P RE SS & S PR EAD IN G T HE W OR D
WE WOULD LIKE TO INVITE ONE OR TWO JOURNALISTS, ALREADY KNOWN TO US,
ALONG ON THE TRIP WITH US TO WRITE ARTICLES FOCUSING ON NARRATIVE ASPECTS OF THE
FILM AND TOUCHING UPON THE PRODUCTION OF THE FILM THAT CAN BE RELEASED IN
CORRELATION TO PREMIERES OR FESTIVAL DEBUTS OF THE FILM.
MAGAZINE CIRCULATION
GQ 1.2 M
NATIONAL GEOGRAPHIC 8.5 M
ESQUIRE 750 K
MEN’S JOURNAL 700 K
OUTDOORS MAGAZINE 600 K
SMITHSONIAN MAGAZINE 2M
EW 1.725 M
TIME OUT NEW YORK 140 K
NORTH DAKOTA LIVING 165 K
POUGHKEEPSIE JOURNAL 50 K DAILY
NEWSPAPER
BISMARK NEWSPAPER 27K
NEW YORK POST 725 K
ASIDE FROM HARD PRESS IN THESE MAJOR OUTLETS, WE WILL BE ESTABLISHING A
WEBSITE AS SOON AS POSSIBLE TO CREATE A PRIMARY SOURCE FOR ANY FOLLOWING TO
KEEP UP TO DATE ON OUR PROGRESS, PRODUCTION, AND ANY RELEASES AND PROMOTIONAL
EVENTS THAT WILL KEEP THEM COMING BACK TO THE PROJECT.
SOCIAL AND VIRAL MARKETING WILL BE TAKEN, BUT AS THIS IS A FILM SKEWING
TOWARDS A MORE MATURE AUDIENCE, THE FOCUS IS LESS VITAL ON TOOLS SUCH AS
FACEBOOK, TWITTER AND MYSPACE THAT ATTRACTS TEENAGERS TOWARDS POPCORN
FARE. IN PLACE OF LARGE AND ACTIVE CAMPAIGNS, WE WILL CREATE BASIC FAN PAGES
AND A NETWORK OF FANS TO SEND DIRECT MESSAGES AND NOTES TO, WHICH WILL BE USED
TO BRING OUT THE CAST AND CREW’S PERSONAL SOCIAL NETWORKS AMONGST OTHERS.
BASIC MARKETING STRATEGY WILL BE APPLIED, SUCH AS WEB ANALYTICS, SOCIAL
RETARGETING, SEARCH ENGINE MARKETING, BANNER ADS AND MORE AS WE FINE TUNE
AND FOCUS ON THE HIGHEST RESPONSE DEMOGRAPHICS AND OUTLETS.

21. B R ING ING “K ILLDE ER ” T O T HE ATRE S
TO HELP TO PROJECT A FAIR COURSE OF THEATRICAL RELEASE FOR KILLDEER, WE
ARE GOING TO LOOK AT THE TRACK OF THE RECENT DOCUMENTARY “THE COVE,” WHICH
FEATURED A GROUP OF ACTIVISTS WHO TRAVELED TO A REGION IN ORDER TO BRING
ATTENTION TO THE MISTREATMENT OF DOLPHINS; A SIMILAR PATH AS OUR OWN FILM.
LAUNCH:
PREMIERING IN FOUR THEATRES, THE FILM USED THIS LIMITED RELEASE TO ALLOW
THE PRESS AND WORD OF MOUTH TO CATCH UP TO THE FILM’S TRUE RELEASE.
JULY 21ST 2009 4 THEATRES 57,640 US BOX OFFICE
RELEASE:
IN ITS SECOND WEEK, THE COVE OPENED TO ITS WIDEST RELEASE.
AUGUST 7TH 2009 56 THEATRES 151,106 B.O. 233,436 US TOTAL
THEATRICAL RUN:
FROM THIS POINT, THE FILM FOLLOWED A TYPICAL RELEASE PATTERN IN WHICH THE
PROGRESSION OF TIME SAW DWINDLING THEATRE NUMBERS AND RETURNS. UNLIKE MOST
FILMS HOWEVER, THE FILM HAS CONTINUED TO SCHEDULE SPORADIC SCREENINGS AND
EIGHT MONTHS LATER WAS STILL BRINGING IN TWO SCREENS PER WEEKEND.
MARCH 19TH 2010 2 THEATRES 1,001 BOX OFFICE 869,730 US
(AFTER 34 WEEKS) TOTALAND
CONCLUSION:
THE COVE USED THIS FORMULA IN THE US TO BRING IT TO ACADEMY AWARD
WINNING STATUS FOR BEST DOCUMENTARY, AS WELL AS BRANCHING OUT INTO NUMEROUS
INTERNATIONAL MARKETS WHERE IT WAS EQUALLY EMBRACED BY CRITICS AND
AUDIENCES. KILLDEER MAY LOOK TO DO THE SAME FOR ITS EXPLORATION OF THE OIL
INDUSTRY AS WELL AS EXAMINATION OF HUNTING, BOTH OF WHICH ARE UNIVERSAL ISSUES
AND PRACTICES.
BY BUILDING UP THE PRESS AND ATTENTION THROUGH THE VARIOUS FESTIVALS
AND PRESS OUTLETS AS YOU WILL SEE IN THE FOLLOWING PAGES, WE WOULD LOOK TO
MOVE TOWARDS A THEATRICAL RELEASE TARGETED AT THE MARKETS POISED FOR THE BEST
RECEPTION OF THE SUBJECT MATTER.
AS TIME PROGRESSES, WE WOULD PULL BACK TO THE MARKETS IN WHICH THE FILM
PERFORMED BEST, LIKELY TO BE THE REGIONS WITH DIRECT CONNECTIONS TO THE FILM;
NORTH DAKOTA AND THE MIDWEST AS WELL AS NEW YORK WHERE MANY OF THE
CHARACTERS ARE COMING FROM AND OUR PRESS PRESENCE WILL BE THE STRONGEST.
WITH NUMBERS SIMILAR TO THE COVE, WE WOULD ALREADY BE LOOKING AT A
SUBSTANTIAL SUCCESS FOR THE FILM, OUTSIDE OF OTHER MARKETS AND A DVD PUSH.

22. MAX IM IZ ING R EV EN UE IN TAR GE T LOC ATION S
I WOULD ALSO LIKE TO EXPLORE OUTSIDE OF ANY DISTRIBUTION, WITH EVENT
SCREENINGS IN TARGETS AREAS THAT PLAY TO THE STRENGTHS OF THE FILM.
THE HUDSON VALLEY, NEW YORK. AS SEEN IN THE CHARACTER LIST, A
MAJORITY OF THE HUNTERS (AS WELL AS THE DIRECTOR) ARE FROM THE HUDSON VALLEY
, A LARGE ARTS AND RECREATIONAL REGION OF UPSTATE NEW YORK. BECAUSE OF OUR
RELATIONSHIP WITH THE PRESS IN THE AREA, WE CAN GUARANTEE AN AMPLE AMOUNT OF
PRESS COVERAGE IF A FILM MADE BY AND STARRING LIFELONG RESIDENTS WERE TO PLAY
LOCALLY. THE AREA ALSO BOASTS FOUR INDEPENDENTLY OWNED MOVIE HOUSES WHERE
MUTUALLY BENEFICIAL DEALS CAN BE ARRANGED. WITH WORD OF MOUTH AND LOTS OF
FREE PRESS, SELLING OUT SCREENINGS SHOULD COME EASY TO THE AREA.
NORTH AND SOUTH DAKOTA. KILLDEER FOR EXAMPLE IS A TOWN WITH
ABSOLUTELY NO RECREATIONAL ACTIVITY. THEY BOAST ONE RESTAURANT AND BAR AND
NO RECREATION. THEY ARE ALSO THE LARGEST TOWN IN A 30 MILE RADIUS. IT IS NOT
UNCOMMON TO DRIVE UP TO AN HOUR TO THE NEAREST RETAIL STORE, MOVIE THEATRE,
MUSEUM, ETC. WHILE ARRANGING SPECIAL EVENT SCREENINGS WOULD ALSO SERVE AS A
NICE THANK YOU TO THE TOWN FOR HOSTING OUR PRODUCTION, THEY ARE A LARGE GROUP
OF PEOPLE WHO DON’T HAVE MANY OPTIONS FOR ENTERTAINMENT. USING TOURISM
GRANTS ALREADY IN PLACE, WE WOULD ALIGN WITH THE LOCAL RESTAURANT TO CREATE
AN OUTDOOR SUMMER SCREENING OF THE FILM AS LONG AS ENTERTAINMENT (MUSIC,
RAFFLES, FOOD & DRINK) THAT WOULD BRING OUT THE WHOLE COMMUNITY.
NRA BENEFITS AND EVENTS, NATIONWIDE. WITH SUPPORT OF THE NRA FOR
THE POSITIVE DEPICTION OF HUNTERS AND THEIR GENERAL CAUSE, IT IS NOT HARD TO
EXTEND THE RELATIONSHIP TO COORDINATING EVENTS WITH ONE ANOTHER. NATIONALLY,
THE NRA FREQUENTLY HOSTS EVENTS AND DINNERS FOR “MEMBERS AND F RIENDS,”
WHICH IS BASICALLY GATHERING A DEMOGRAPHIC FOR US TO CAPITALIZE ON. THE FILM, OR
EXCERPTS, CAN BE PLAYED OR SCHEDULED TO CORRESPOND WITH THESE EVENTS SO THAT
BOTH TEAMS CAN PIGGYBACK ON THE AUDIENCE GATHERING AS WELL AS ADVERTISING. AS
YOU MAY PROBABLY GUESS, WHETHER SUPPORTERS OR OPPOSERS OF THE NRA COME OUT,
EITHER WAY, ATTENTION WILL CERTAINLY BE DRAWN TO THE FILM.

23. “A GA IN S T THE D YING O F T H E L IG HT ”
A C OF F EE T ABL E B O O K
FROM THE CONCEPTION OF THIS PROJECT IT HAS REMAINED A GOAL OF THE
PRODUCTION TO CREATE A COMPANION COFFEE TABLE BOOK CONSISTING OF FINE ART
PHOTOGRAPHY FOCUSING PRIMARILY ON THE THEMES OF THE NARRATIVE STORY. WHILE
ACKNOWLEDGING THE PRODUCTION, THE GOAL IS FOR THE BOOK TO STAND ON ITS OWN.
SOME WORK OF EDOUARD HR GLUCK:
BY FURTHER EXPLORING THE THEMES AND TAKING THEM TO A HIGHER LEVEL THAN
THAT OF BASIC PRODUCTION STILLS AND PROMOTIONAL MATERIALS, THE BOOK WILL BE
ABLE TO HAVE A LONGER SHELF LIFE THAN THAT OF A MARKETING CAMPAIGN OR
THEATRICAL RELEASE OF A FILM, AND THEREFORE MAY BROADEN THE APPEAL TO THE FINE
ARTS COMMUNITY. IN DOING SO, AND KEEPING THE LINE BETWEEN BOOK AND FILM
TANGIBLE, THIS IS A TOOL THAT CAN GENERALLY SERVE THE PRODUCTION AS FURTHER
MARKETING AND A MEANS TO HOOK AUDIENCES INTO INVESTIGATING THE FILM ONCE IT
SETTLES INTO ITS DVD LIFECYCLE, ENSURING PURCHASES FOR YEARS TO COME.

24. “T H IS S ID E OF H EA V EN ”
A K ILLDE ER S OU ND TRAC K
MUSIC IS ALWAYS AN IMPORTANT PART TO ANY FILM AND NARRATIVE. THIS FILM IS
NO DIFFERENT, AND IT WILL BE USED IN THE FILM IN A NATURALISTIC WAY AND KEPT AS A
TOOL TO FURTHER DRIVE HOME THE THEMES BEING EXPLORED.
BELOW IS A LIST OF MUSIC THAT HAS BEEN VITAL IN THE INSPIRATION AND
EVOLUTION OF THE FILM TO THIS POINT. IT IS OUR GOAL TO CREATE A BROAD AND
APPEALING SOUNDTRACK THAT MAY BE USED AS ANOTHER TOOL TO THE MARKETING AND
PROMOTION OF THE FILM. WHERE MORE FAMOUS (AND THUS POTENTIALLY COSTLY) SONGS
ARE LISTED BELOW, I AM EXPLORING THE OPTION OF OBTAINING THE MUCH CHEAPER
RIGHTS TO RECORD COVER SONGS. REMOVING THE AUTO TUNED AND OVERLY POLISHED
RECORDINGS OF WELL KNOWN ARTISTS AND GOING WITH RAW TALENT, WILL GIVE THE
ACTUAL RECORDINGS A MORE NATURALISTIC SOUND AND FIT WITH THE AESTHETICS OF THE
PLAINS.
BOB DYLAN “TIMES THEY ARE A-CHANGIN” (TRAILER & PROMOTIONAL SONG)
RAY LAMONTAGNE “TRULY, MADLY, DEEPLY” (THEME SCORE)
ROCKET SUMMER “SKIES SO BLUE”
JOHN DENVER “COUNTRY ROAD”
ELO “MR. BLUE SKY”
LOUDON WAINWRIGHT “MEN” AND “A FATHER AND A SON”
JOHNNY CASH “IF WE NEVER MEET AGAIN” AND
“WHERE WE’LL NEVER GROW OLD”
EASTMOUNTAINSOUTH “SHOW ME THE RIVER” AND “FATHER”
NICK DRAKE“TIME HAS TOLD ME”
AIMEE MANN “LOST IN SPACE”
ASIDE FROM POPULAR MUSIC, WE ARE LOOKING INTO OPTIONS REGARDING A THEME
SCORE FOR THE FILM, WHICH DUE TO THE CHARACTER INVOLVEMENT OF PHILLIP ROELLER
MAY COME FROM THE INTERNATIONALLY TOURING BAND, “HOPEWELL”.
WE ALSO WANT TO CONSIDER AUTHENTIC NATIVE AMERICAN MUSIC AS WELL AS
ANY LOCAL KILLDEER RESIDENTS WHO ARE PERFORMERS.

25. F INAL T H OU GH TS
AS THE DOCUMENTARY FIELD REQUIRES, WE HAVE ASSEMBLED A TEAM WHOSE
PASSION AND BELIEF IN THE PROJECT HAS SURPRASSED ANY EXPECTATIONS, EVEN AT SUCH
AN EARLY STAGE IN THE GAME. PART OF THIS COMES FROM ASSEMBLING A CREW WHO HAS
ALL WORKED TOGETHER IN THE PAST ON NUMEROUS FILMS, WHICH CREATES A SENSE OF
TRUST AND COMRADERY IN THE TEAM THAT CAN CARRY AN INDIE MOVIE TO GREATNESS.
AT THIS POINT IN TIME WE HAVE TESTED OUR STORY TO AMAZING RESULTS. WE
HAVE OPEN DOORS AND THE SUPPORT OF GREG RHEM, MANAGER OF HBO DOCUMENTARY
ACQUISITIONS AS WELL AS ACQUISTIONS AT SUNDANCE CABLE CHANNEL. MATT DAMON
HAS ALSO EXPRESSED INTEREST IN THE PROJECT AND WILL BE FOLLOWED UP WITH AS THE
PROJECT SECURES ENOUGH FUNDING TO MOVE TO A SOLID PRE-PRODUCTION STATUS.
WHILE A NON-FICTION FILM THAT DEALS WITH MANY IMPORTANT ISSUES AND CULTURES, I,
AS WRITER/DIRECTOR CANNOT HELP BUT LOOK BEYOND THE STATISTICS OF THE
DOCUMENTARY FILM AND SEE POTENTIAL IT PLAYING TO THE STRENGTHS OF A
TRADITIONAL INDEPENDENT FILM. IT’S BUDGET FALLS IN A VERY MODEST REALM, FOR
DOCUMENTARY OR NARRATIVE, BUT IT’S STORY AND APPEAL COVERS A FANBASE OF TENS
OF MILLIONS OF PEOPLE THAT ARE RARELY TAPPED INTO. WHEREAS MANY
DOCUMENTARIES ONLY PLAY TO SPECFIC SOCIAL MINORITIES, WE ARE PLAYING INTO
NICHES THAT DEFY RACE, CLASS OR RELIGION AND SPEAKING TOWARDS NATURE, SPORT
AND AMERICAN CULTURE AT LARGE.
NOT ONLY THIS, BUT IN A POLITICALLY AND ECONOMICALLY TENSE NATION, WE ARE
CONFIDENT THAT IF OUR FILM IS THE SOURCE TO BRING THIS SUBJECT MATTER TO LIGHT,
WE WILL BE THE LEADING AND DEFINING SOURCE OF A NEW DEBATE IN AMERICA, WHICH
WILL FURTHER GUARANTEE THE NAME AND SHELF LIFE OF OUR PRODUCT, ENSURING A
MAJOR FINANCIAL SUCCESS FOR ANY COMPANY OR INVESTOR INVOLVED