FEARLESS HEART
Film Prospectus
Prepared by Producers
Marlene Mendoza
Gilt Entertainment, LLC
http://pro.imdb.com/company/co0307975/
Rob Walker
Canyon Pictures, LLC
http://pro.imdb.com/name/nm0908148/
FEARLESS HEART
Business Plan
I. Executive Summary
II. Market Overview
a. The Major Studios
b. The Independents
c. Movie-Going Public
III. Marketing
a. Publicity & Advertising
b. Suggested Distribution Plan
IV. Crew & Cast
a. Producers and Director
b. Cast
V. Project Status
Timeline
VI. Financial Considerations
a. Summary
b. Budget (Top Sheet)
c. Initial Funds & Fees
d. Fiscal Control
e. Investor’s Protection
f. Overall Share of Profits
I. EXECUTIVE SUMMARY
“FEARLESS HEART” is an independent film project that has the potential
for significant return on investment.
Synopsis:
Logline: Fearless Heart is filled with charming, believable characters and is a
reminder of the dark days of the Great Depression in America while celebrating the
courage and strength of the human spirit in times of adversity and hardship.
Heartwarming bravery and determination under the most adverse conditions offer
hope, entertainment and encouragement to the reader.
Synopsis:
Robert, Ellen and Stephen Blair are a small family living in the slums of New York
City during the Great Depression in 1930. Robert works on the docks as a day
worker, praying each morning that there will be a few dollars to bring home to his
family. Robert frequently notices a black limousine as he walks to and from the
docks and is curious about its presence in his downtrodden neighborhood.
Robert returns to work after Christmas and learns the company has closed their
office at that location. He returns home to break the news to his family and embark
on a quest to find more work. As he leaves the building, the black limousine he has
seen on previous occasion stops in front of him.
Molly Fulton and her chauffeur Walter Monroe exit the limo. Molly offers Robert a
job on her estate making $3 a day. He eagerly accepts this generous offer, in
shock that this opportunity literally fell into his lap.
Walter picks Robert up each morning and brings him home each night but Robert
is concerned that the estate is more than an hour out of the city and this long
commute concerns him regarding the generosity of transportation being provided
him to and from the estate each day. A snowstorm strands Walter in the Blair
apartment and he reports back to Molly regarding the living conditions of the
family. Molly is a generous and kind employer and is deeply concerned regarding
their hardships. She offers Ellen a position as house manager for Fulton Manor
and requests that the family move into the manor. They accept her offer.
The small family settles in quickly and Molly thrives with their presence. She and
Stephen develop a fast friendship and when he contracts pneumonia shortly after
arriving at the manor, he makes a slow but certain recovery thanks to excellent
medical care provided by Molly’s physician and a local woman with the reputation
of a healer.
On a trip to the village near the manor after Stephen recovers, Dooble Howell, a
young man with a disability, is hired to help on the estate so that Robert can work
in the Fulton Engine Company owned by Molly. In the spring, Ellen discovers that
she’s pregnant and Patty Darby is hired to help with the cleaning and cooking at
the home. Dooble and Pattie fall in love and are married in the manor at
Thanksgiving.
The day after Christmas, Ellen gives birth to a little girl and at Stephen’s
suggestion she is named Molly Elizabeth, after Molly Fulton.
In February, Molly suffers a minor heart attack and Robert learns that she is his
biological mother. She was forced by her father to give Robert up for adoption
when Robert’s father was killed in a riverboat accident before he and Molly were
married. Molly had been searching for Robert since his birth in a home for unwed
mothers. Robert is shocked but understands what happened when his mother
explains to him after her return from the hospital. He also understands her
acceptance of his family and her love of the children. He is able to visit his father’s
grave and have closure regarding his personal history. Molly adopts Robert so that
the whole family can have the Fulton name as they are rightly entitled.
This action socio-drama film has wide appeal to audiences that can relate to
today’s economic environment. The script sets up a visually charged atmosphere,
and the characters have engaging roles, that combined with well-developed
marketing, and distribution revenue strategies give this production the foundation it
needs to achieve both critical acclaim and financial success.
The primary source of financing for motion pictures comes from the major
studios. The studio’s costs for producing and marketing films have grown
tremendously over the past few years, with an average cost north of $90
million in 2006. The studios are criticized, however, for lack of originality in
their choice of films, often focusing more on “star power” than on elements
that are of primary interest to audiences, such as plot. They also often times
neglect the public interest in edgier subject matter.
A successful independent film will generally include a strong focus on plot
and push the envelope with material that satisfies the millions of movie
goers that are neglected by their boring choices given on Friday nights at
the studio driven Cineplex around the world. Although independent films
tend to be risky in nature, a long history of independent film successes
achieving extremely attractive returns on investment continues to stimulate
the interest of the investment community. It has also stimulated a large
change in the studio world when it comes to picking up or buying these
independent gems they just won’t make. They are afraid to take chances in
production but are quick to buy up quality independents that come to the
market, especially when “star power” is involved.
Primary, secondary, and tertiary target audiences have been identified,
along with the corresponding market approaches. The bankable elements of
the film include its named cast, true historical value, stylistic vision,
passionate director of and the fact that it was written by the little boy who
lived the story. This will reach a large age range of the targeted public, and
a solid, easy identifiable plot for audiences worldwide.
Moreover, in addition to proactively working toward securing a favorable
agreement with a traditional distributor, an alternative, proven distribution
strategy has been developed that ensures U.S. theatrical distribution. Given
the challenges associated with securing distribution, this alternative strategy
greatly reduces the risk involved in investing in this production.
In addition to anticipated revenues from domestic and foreign theatrical,
television, cable, and video/DVD distribution, a variety of ancillary revenue
streams are in development. These streams include revenues from a
soundtrack, product placement, and a ‘making-of’ that has the potential for a
series for additional television revenue. Ancillary revenues will be pursued
both online and off as part of a larger marketing strategy as the film nears
theatrical release.
“FEARLESS HEART” production team is comprised of a number of creative
and business professionals with significant motion picture experience. All
potential contributors to the project will be screened for their ability to
deliver services in a timely and cost effective manner.
Under a California Limited Liability Corporation, a total of $5,282,330. U.S.
is being sought for purposes of this production. This amount covers the
actual production costs of the film, limited marketing and publicity, and the
initial phase of an alternative distribution strategy.
BUDGET SUMMARY
*The numbers are approximations and the budget can be brought down if
need be, but as of now these are the numbers to make the highest quality
movie with the best talent possible. The costs also include P&A.
II. MARKET OVERVIEW
a. The Major Studios
The primary source of motion picture financing in the United States comes
from the major studios. The studios have tremendous power in terms of
financing, distribution, and access to star talent. There are six major studios
known as the "Big 6". Sony Pictures Paramount Pictures (Viacom - which
bought Dream Works in February 2006) Universal Studios (NBC Universal
Studios) Buena Vista (The Walt Disney Company) Warner Brothers (Time
Warner) 20th Century Fox (News Corporation)
These major studios comprise over 90% of total domestic box offices grosses,
but Independent films have proven they can now compete with them in the
market. The additional bonus to that is they are looking to acquire these
independent films to buy or license to sell and market as their own. Either
way, the independent is being sold and making money.
INDUSTRY STATISTICS
03’ 04’ 05’ 06’
U.S. Box Office (Billions) 9.49 9.54 8.99 9.49
Worldwide Box Office (Billions) 20.39 25.19 23.27 25.82
U.S. Admissions (Billions) 1.57 1.54 1.40 1.45
Admissions per Capita 5.4 5.2 4.7 4.8
Number of New Film Released U.S. 459 474 535 599
2006 Admission / Attendance Comparison (Millions)
Movies 1,448.5
Theme Parks 341.0
Sports 136.9
Source: MPAA.ORG (2006)
BOX OFFICE
After a dip in 2005, the U.S. box office climbed up 5.5% to reach $9.49 billion
2006. Global box office reached an all-time high with $25.82 billion in 2006,
compared to $25.27 billion in 2005, an 11% increase.
ADMISSIONS
U.S. theater admissions grew 3.3% to 1.45 billion tickets, ending a 3 - year
downward trend. In 2006, the average price of a movie ticket in the U.S. rose
to $6.55, a 2.2% increase over 2005.
SCREENS
The number of theatrical screens is leveling off after reaching their peak in
2000 (37,396). In 2002, the number of screens decreased by 4% to 35,280.
While theater screens declined, the number of digital screens increased.
The FUTURE OF EXHIBITION, digital screens, increased to 124 in 2002. This
is a 933% increase from 1999.
ECONOMICS
Consistent with 2005, PG and PG-13 films accounted for 85% of top 20 films.
The total number of films released continued to increase in 2006 with 607
films released. This is an 11% increase over 2005's 549 films.
The average cost to make and market a major studio film was $100.3 million
in 2006. This includes $65.8 million in negative costs and $34.5 in marketing
costs. Prices for ‘studio economics’ include production costs, studio overhead,
and capitalized interest. Due to changes in financial reporting regulations,
abandoned project costs are no longer allowed to be included in studio
overhead, and are no longer a part of total negative costs. These costs are
now reported losses and in theory come out of the company’s profits and
cannot be represented in this industry standard model.
b. The Independents
In its broadest sense, the term ‘independent’ refers to any feature production
that is not made by one of the major studios. However, more accurately, an
independent filmmaker is one who has an idea for a film (or obtains the rights
to an existing literary property), raises the funds with which to make the film,
maintains substantial creative control throughout the making of the film, and
ultimately arranges for marketing and distribution. Independent films not only
differ from the major motion picture in terms of process, but also in budget
size, with budgets for independents typically running in the low millions or
hundreds of thousands of dollars. The only overhead they foster is during and
part of the life of production of a film and a minimal period during distribution
when necessary. This is where millions of dollars are saved.
Generally, once an independent film is completed, theatrical distribution is
sought via traditional channels. For the independent filmmaker, this usually
involves submitting the film to prominent film festivals like Sundance and film
markets such as Cannes where distributors have the opportunity to view and
possibly “pick up” the films. In some cases, the independent filmmaker will
distribute direct to theaters and also direct to the video market.
Given the hurdles in securing funds to produce independent films, as well as
the challenges in locking down distribution once the film is made, independent
films tend to be risky in nature. However, there is a long history of ‘indie’
successes that continues to stimulate the interest of the investment
community. Most recently success can be found within the ‘Iron Man’
Franchise. Despite its large budget, the monies were independently raised.
Independent films have returned in U.S. theatrical profits alone anywhere from
14 to 4000 times their cost, in some cases only within a few months of their
release dates.
c. Movie-Going Public
With the motion picture industry releasing an average of three major films per
week, the competition for audience share is fierce. Attracting more people to
theaters requires a thorough understanding of the consumer’s decisionmaking process.
Research conducted in the summer of 2006 found that people went to the
movies in the theater more frequently over the prior 12 months than in 2005.
Likewise, the proportion of people who never go to the movies dropped in
2006. African-Americans have the highest admissions per moviegoer with 9.0
movie per year. According to a recent survey conducted by the Artist Rights
Foundation in Los Angeles, 92% of people interviewed, regard watching films
as their # 1 pastime.
MOVIE-GOER SURVEY:
Monthly Activity % of Population
Go to Theater at Least 1 x 82%
Go to Theater at Least 3 x 30%
Go to Theater at Least 5 x 8%
Rent Video/DVD at Least 1 x 87%
Rent Video/DVD at Least 3 x 65%
Rent Video/DVD at Least 5 x 49%
Source: Artist Rights Foundation Survey
Fifty-six percent of the filmgoers who see a movie at least once per month
usually go to the theater in the first week of a movie’s run. In addition, 94% of
moviegoers head to the theater with a specific film in mind. The study also
found that almost half of all moviegoers are influenced to see a movie by a
positive review, compared with only 29% who said a negative review
persuaded them to skip a movie.
According to an Arbitron Survey, while studios continue to pay huge salaries
to A-list actors, star power ranks relatively low among factors that attract
viewers to the megaplex – with topic or plot being more important (Variety).
The AMC movie theater chain has conducted private studies that also
conclude that going to the movies is still America’s #1 pastime. Their
reasoning being that seeing a movie is still the cheapest, most enjoyable,
accessible form of entertainment for people outside of their homes.
III. MARKETING
a. Publicity & Advertising
Generally speaking, the marketing aspects of a film are in the hands of the
distributor, given that the distributor pays for the marketing campaign and,
thus, have final say. Therefore, in selecting a distribution partner, all efforts
will be made to ensure that the distributor clearly understands the film and the
strategies necessary to reach its target audience.
Major motion pictures tend to spend an exorbitant amount of money on
marketing efforts during the first two weeks of a film’s release that
independents generally do not have available in their coffers. Percentage
allocations are typically as follows:
MOTION PICTURE STUDIO ADVERTISING ALLOCATION
Newspaper 13.5%
Network 23 %
Spot TV 17.6%
Trailers 4.5%
Internet 0.9%
Other media 21.4% *
Other non-media 19.1% *
*Other Media includes: *Other Non-Media Includes:
Cable TV/Network TV Ads Production/Creative Services
Network Radio Exhibitor Services
Sport Radio Promotion & Publicity
Magazines Market Research
Billboards Posters/Box Cover Art
Source: MPAA
Subsidiary companies of the major studios include companies such as Sony
Pictures Classics, Fox Searchlight, New Line Cinema, and Weinstein And
Company (formally Miramax). These companies, which have less money to
spend, tend to allocate their resources differently than the studios, more
likeminded with independent filmmakers.
MOTION PICTURE SUBSIDIARY ADVERTISING ALLOCATION
Newspaper 22%
Network 25.7%
Spot TV 5.6%
Trailers 6.1%
Internet 0.9%
Other Media 21.1%
Other Non-Media 18.6%
Source: MPAA
Independent films will tend to deviate from the allocation detailed above given
the high cost of some of these media such as spot TV. The focus will often be
more on lower cost advertising such as the Internet, radio blurbs, and regional
versus national advertising. Savvy independent filmmakers understand there
are existing media resources available that reach millions of audience
members simply through creating a ‘buzz’ at relatively low to no costs. People
want to be ‘in the know,’ especially when it is entertainment related.
Advertising is synonymous with marketing in the mind of a good independent
filmmaker. The press is our ally and best friend when starting the ‘buzz.’
b. Suggested Distribution Plan
In cases where a distribution agreement is secured prior to completion of the
film, it is more than not financially unfavorable for investors. Whereas
completed projects generally give independent filmmakers more leverage in
negotiating a more favorable distribution deal.
The most common method used by independent filmmakers for securing
distribution is via screenings at the major film festivals such as Cannes,
Toronto, Berlin, Sundance, Austin, etc. Given the market forces at play,
the producers of “FEARLESS HEART” are pursuing a variety of strategies
as releases to the distribution of this film:
A. Proactively initiate preliminary discussions with major
distributors prior to final completion of the film to generate
interest. Actively enter negotiations upon completion of the
film.
B. Submit the film to major film markets and festivals such as
Cannes, Toronto, Berlin, Sundance, Austin, etc. Note: This
film is perfect for the Berlin Film Festival, which is generally in
February. Note: If we get production underway by next May, we
will be able to make this prestigious event.
C. Send distribution representatives to the major markets.
D. Film premiere in Los Angeles, California for “Academy Award”
eligibility.
As producers with industry leading experience on numerous studio and
independent films, relationships, resources, and highly successful distribution
deals, we are confident that this picture will get made on budget, on time, and
widely distributed to the delight of investors and ourselves. We are extremely
interested in developing a lasting relationship with investors for additional
future film projects with star talent involved.
IV. CREW & CAST
a. Producers – Writer – Director
Rob Walker – Director/Producer http://pro.imdb.com/name/nm0908148/
Director and Producer of over 40 feature films for the BBC in the UK. Rob
Walker was nominated for the prestigious BAFTA award for Best Miniseries
“Die Kinder” starring Miranda Richardson & Frederic Forrest. Best Drama Series
for Blind Justice (1983). Mr. Walker directed John Hannah, Fred Ward, Peter
Stormare and Famke Janssen in the 2000 Heist Drama “Circus” and He wrote
“Beyond Bedlam” with Elizabeth Hurley. Rob Walker teamed with Rick Walters at
Streetwise Productions to manage and produce their vision for successful film
productions and has now teamed up with Matt Walker at Angel Motion Pictures
Ltd forming Walker’s Entertainment in L.A.
Marlene Mendoza – Producer http://pro.imdb.com/company/co0307975/
Marlene is President of Gilt Entertainment Corp. and has many years of hands on
experience in the film industry with a background in business management and
consulting on financing of motion pictures.
Masters in Management (Leadership) 2012
Summa Cum Laude (top 5%)
Bachelors in Management (Marketing)
Talent Management and Independent Film and Business Consultant – over 20
year’s Motion picture development – Marketing - Leadership for team building
worldwide.
Product development – Studied various stages of business development, marketing
research, potential markets, pricing strategies and consumer behavior. Her specialty
is film finance and putting the right film teams together. She has run several
businesses.
Giorgio Serafini – Producer/Director http://pro.imdb.com/name/nm0784805/
Giorgio Serafini was born in Brussels, Belgium, from Italian parents. At the age of
nine, Giorgio co-directed two short shot in Super 8. The Museum of Cinema of
Brussels has been his real teacher. Giorgio wrote and directed, "The Nickelodeon
Type" as he was completing his studies in Political Science and International
Relations at the Université Libre de Belgique.
Meanwhile, Giorgio read and fell in love with a book by Gaetano Tumiati,
"Prigionieri nel Texas". It depicts the true story of Italian Prisoners of War in a
camp located in Texas during WWII. In December, 1989, then developed the
Italian POW's. Giorgio and producer, Nicole Labouverie, then a documentary on
the topic: "The Walls of Sand". That same year Giorgio and his friend, Kalindi
Dighe, decided to co-direct an English speaking film titled "The Junkyard Angel".
While filming, Giorgio met actress, France Demoulin. He married her in June,
1991. In December, 1991, Giorgio and France moved back to Rome to finally
start production on "Blu Notte".
In 1994, producer, Massimo Civilotti, sent Giorgio to Los Angeles to close the coproducing deal for "Loveblind". The deal was closed with Willy Baer's company,
Capella. He worked on a promo film for Attorney General, Alexander Haigh. Then
directing the feature movie "The Garbage Man" starring Frank Stallone.
Finally in summer, 2000, the long awaited project about Italian POWs in Texas
was given the green-light. When Italian TV-mogul, Guido De Angelis saw a
screening of "Texas 46" and asked Giorgio to direct a project for Italian
production company Titanus. That's how Giorgio became involved with directing
the three seasons of the television series "Orgoglio" (Pride) for Italy's first
channel, RAI1.
Giorgio Serafini is presently living in Los Angeles as an award winning
Italian/American director. Amongst his previous features are “Game Of Death”
with Wesley Snipes distributed by Sony and “The Healer” with Joel Courtney
(Super 8), Isabelles Fuhrman (Hunger Games), James LeGros (Point
Break), Trace Adkins and Peter Bogdanovich (currently in postproduction)
Giorgio uses his film production experience and talented producing and
directing abilities to give special insight into the project, and his firsthand
knowledge details of the material due to his experience with “Johnny’s Gone”
will insure “FEARLESS HEART” is a success.
b. Cast
Attempts will be made to secure one of the following individuals for the lead
male and female role with a “pay or play” offer based on actor availability. The
money for these offers must be put into an escrow account for producer’s
view from investors upon signing of any producer agreements. In addition,
prior to attempting to secure actors, holding fees for producers, director, and
writer will also be required at initial signing.
TARGETED CAST:
Lead role of
* Cameos will be considered for the remaining cast
V. PROJECT STATUS
An overview of the status of the production is as follows:
STATUS OVERVIEW
• / Finalized Screenplay
• / Completed Budget
• / Completed Business Plan
• / Seeking Private Investment for Production
A project timeline detailing the major components of final development,
preproduction, production, and post-production is as follows:
TIMELINE
DEVELOPMENT COMPLETE
Producer and Director Contracts Signed
Initial Required Funds Deposited
Lead Male Secured
PREPRODUCTION (12 Weeks)
Finalize Budget
Final Crew Assembly
Hire Key Personnel
Hire Additional Cast
Finalize Storyboards
Lock Locations (on books at Universal)
Conference with Post Facilities
Contract Post Facilities
Rehearsal of Actor
PRODUCTION (12 Weeks)
Production Shoot
Film Processing & Post Begins
Editing Begins
Scoring Begins
POST (16 -20 weeks) Overlap as post begins in production
Editorial
Film Finish
Negotiations start to secure distribution (Sony interested)
VI. FINANCIAL CONSIDERATIONS
A. Summary
This budget is based on the logistics involved in the production of “Latin
Quarter.”
As final contracts with personnel, vendors, service providers, etc. are secured,
some enhancements may be made, however, for purposes of a general use
of funds this budget is representative of all expectations.
“FEARLESS HEART” BUDGET SUMMARY
Total Above the line: $3,300,000.
Total Below the line: $ 972,830.
Total: $5,282,330.
BUDGET SUMMARY
Above the Line Costs
$2,915,000.00
Below the Line Costs
$1,837,000.00
Total Above & Below
$4,752,000.00
Other Costs $676,988.00
B. Budget
Under a Limited Liability Corporation, “FEARLESS HEART” will require
a total investment of $5,282,330.00 U.S. including fringes and taxes.
10-12 weeks of shooting with 6 day work weeks.
“FEARLESS HEART”
BUDGET SUMMARY
Under a Limited Liability Corporation, FEARLESS HEART will require a total
investment of $5,282,330.00 U.S. including fringes and taxes.
FEARLESS HEART
Budget Top Sheet 2012
Based on 12 - 6-day weeks
of shooting
ABOVE THE LINE
1100
1400
1500
1600
1700
Story & Other Rights
Producers Unit
Directors Unit
Talent & Casting
A-T-L Travel/Living
$100,000
$900,000
$200,000
$1,500,000
$600,000
ABOVE THE LINE TOTAL
$3,300,000
BELOW THE LINE
PRODUCTION
2100
2200
2500
2600
2700
2800
2900
3000
3200
3300
3400
3500
3600
3900
4000
Production Staff
Art Direction
Property Department
Camera Operations
Electric Operations
Grip Operations
Production Sound
Special Visual Effects
Set Operations
Wardrobe Department
Makeup & Hair Department
Location Department
Transportation Department
Production Office
Production Film & Lab
$110,000
$55,000
$60,000
$120,000
$60,980
$27,900
$15,450
$120,000
$18,000
$200,000
$20,600
$103,400
$19,500
$10,000
$32,000
BELOW THE LINE
PRODUCTION TOTAL:
$972,830
BELOW THE LINE POST
PRODUCTION
5100
5200
5300
5400
Editing
Post Production Sound
Music
Post Production Film/Lab
$122,500
$40,000
$50,000
$37,000
BELOW THE LINE POST
PRODUCTION TOTAL
$249,500
BELOW THE LINE OTHER
CHARGES
6300
6400
Publicity
Miscellaneous
$500,000
$50,000
BELOW THE LINE OTHER CHARGES
TOTAL
$550,000
BELOW THE LINE
CONTINGENCIES
7000
8000
FEARLESS HEART 2012
Indirect Costs
Finance Costs
$210,000
$0
BELOW THE LINE
CONTINGENCIES TOTAL
$210,000
TOTAL PROJECT COST:
$5,282,330
C. Initial Funds & Fees
Upon signing of producer agreement for FEARLESS HEART initial funds must
be secured and paid for fees equal to 5% of the total producer’s fee, 5% of the
director fee, and 5% of writer’s fee. In addition, an escrow account must be
secured for10% of each of the two leads for one male and one female role.
Attempts to secure the lead actors cannot be made until funds are available
for professional and industry standard practice of “pay or play deals.” In the
event, the investor(s) cannot produce the difference of these fees to complete
the production budget in a time frame as agreed upon, the fees paid to
producers, director, writer and actors, will be forfeited. Producers do not
expect to begin pre-production until all funds have been secured. Seed funds
in the amount of $200,000.00 US secured.
Producer Fees – approx. 5% = $125,000
Director Fee – 5% = $15,000
Writer Fee – 5% = $10,000
Lead Male Actor – 10% = $300,000
Lead Female Actor – 10% = $300,000
TOTAL INTIAL FUNDS & FEES $750,000
D. Fiscal Control
During a production, a production accountant who has been approved by the
investors will handle the daily expenditures and along with producers will
supply the investors with weekly reports.
E. Investor’s Protection
This production will be set up as FEARLESS HEART PRODUCTIONS”, a Limited
Liability Corporation. To ensure the protection of the investment, when
securing a production staff for this project (accountant, production manager,
etc.), only individuals with a track record of success in managing and
completing projects on time and on budget will be considered. The Investment
has good potential for tax credits the first year.
F. Overall Share of Profits
Profits will be shared based on a 90/10 split, with 90% of the profits going
directly to investors until 125% of their original investment has been recouped,
after which distribution of income will follow a 50/50 split. Profits will be shared
on distributable income: the monies received after contractual payments to
entities such as distributors have been made.
Closing thoughts:
The producers are very passionate about this film and have high expectations
for its release considering the obvious demands from the movie going public
and the talent involved. All efforts will be made by the producers of “FEARLESS
HEART” to secure an attractive return on investment.