Mars Paradisio Filmed Entertainment Enterprises Production

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contact us at james@marsparadisio.net or rick@marsparadisio.net


Spike Beck

Spike Beck

Mick Vick

Mick Vick

Winchester Jones / Steroid Man

Winchester Jones
/ Steroid Man

Mimi VanDoozal

Mimi VanDoozal

Lynette Connors

Lynette Connors

Princess Areola

Princess Areola

Princess Babylon

Princess Babylon

Princess Avalon

Princess Avalon

Silas King

Silas King

Mayor Connors

Mayor Connors

Police Chief Hardens

Police Chief Hardens

Clute

Clute

Lewandowski

Lewandowski

General Starbuck

General Starbuck

Cactus Jack Johnson

Cactus Jack Johnson

Professor Criswell

Professor Criswell

Hi ! Mars Paradisio with Martian Princesses and Martian Zombies!!! A writer I know says, “Martian Zombies are the best!” Mars Paradisio! (winner of Fadeinonline’s 16th Annual Screenwriting Competition) is this movie deal! Log line: It’s 2033, It is very hot! People wear skimpy outfits and gas cost 100$ a gallon! Earth’s resources almost finished, we are just about to run out of everything! A crew of misfits makes a last-ditch mission to Mars...The definitive mission to Mars to save the world as we know it!

Mars Paradisio! Is a ramped-up, blatantly original, uninhibited and exuberant, very sexy scifi action comedy… You may compare ”Rocky Horror Pic Show” meets “Mars Attacks” and “Piranha 3D” with a nod and tip-of-the-hat to Ed Wood’s “Plan Nine from Outer Space!”

At first glance these “what-if ” scenarios might sound a trifle silly, but that's part of the inherent charm and fantasy in a world where gas costs a hundred dollars a gallon - etc. Besides, who wouldn't like to be able to influence their current reality in a positive way? The 1930s was a period of prolonged economic turmoil for many Americans. Ironically, it was also a boon time for American entertainment, particularly the motion picture industry. Not only did box office receipts climb steadily throughout the decade, but rapid technical innovation coupled with some of the sharpest writing, directing and acting the industry has ever seen helped to create a "Golden Age" for American cinema.

Today, America is facing what's been repeatedly called "the greatest economic challenge since the Great Depression." In other words, the economy sucks. Icons of American industry, finance and retailing are disappearing faster than McCain/Palin bumper stickers. Unemployment is up, home values are down and the stock market is starting to make an hour at a Vegas craps table look like a smart investment. Yet, just as the Great Depression of the 1930s were high times for Hollywood, Depression 2.0 could prove equally lucrative for studios, filmmakers and even wannabes who are able to think beyond 20th Century paradigms and adapt to the new reality.

One of the best indicators for success that we have going for us with this shoot may be, frankly, the same cultural trend that it appears to be benefiting - namely, hard times fostering an appetite for undemanding fare, making films with a retro flavor, another modest, lightweight addition to a dinner-style menu of comfort food for a weary nation.

Here are some ways we can prosper during these Hard Times:

Think Cheap. When Steven Spielberg is having trouble financing a picture, you know times are tough. The last thing you want to do is go to a studio with a project whose budget rivals the GM bailout. Instead, think small. Clint Eastwood's hit, incidently Torino, had a budget reportedly just south of $35 million. As of last report, it's on track to be Eastwood's greatest box office success - ever. (Not to mention the most profitable.) The smaller the budget, the smaller the risk, and the greater the upside. That's an attractive formula when money is tight.

Think Happy. When 15 percent of the workforce is out of a job and the other 85 percent is waiting for its pink slip, no one needs to go to the movies to be bummed out. (We can do that by looking at our 401(k)s, thank you.)

The cure to Depression is comedy, romance, adventure and inspiration. Resurrecting Busby Berkley, Clark Gable and the Marx Brothers may still be beyond the realm of science, but a good strong dose of 21st century escapism is no doubt just the stimulus our personal economies are looking for.

Think Genre. Genre pictures -- particularly horror, romance comedies and thrillers -- always provide the path of least resistance for writers, producers and directors looking to break into the Big Time. With financing tight and studios squeamish, these "perennials" are stronger bets than ever, especially when they feature parts that can be cast with B-list actors or even young unknowns.

Think Boomer. Conversely, projects that appeal to Baby Boomers (45-65) are becoming increasingly attractive to producers in both film and television. Why? Because while younger audiences are dividing their leisure time between video games, the Internet, DVDs and other personalized entertainment options, Boomers still go to the movies (and watch TV). They still do so habitually. Oh, and they have money. (Social Security is likely to stay solvent longer than Old Navy.) So don't be afraid to write about characters who actually remember Nixon. When it comes to 21st Century buying habits, 50 is the new 30.

Think Positive. 2010 may have been a crappy year for the economy, but it was an unusually strong one for Hollywood, both economically and artistically. The mega-corporations that own the major studios may find demand for their microwave ovens, hotels and golf shoes may be on the wane, but there are still plenty of customers both here and abroad eager to shell out for an evening of quality entertainment. In fact, in this era of corporate downsizing, commercial bankruptcies and massive lay-offs, Hollywood may represent your best bet for steady employment.

1.4 Recent history

In general, the number of viewers within the 18-49 age range is more important than the total number of viewers. The 18-49 key demographics reigns supreme (as you have most likely heard) are the most sought after: Younger people buy more stuff (fewer empty nesters); will hopefully buy it longer (see actuary tables); are less brand loyal (not so set in their ways); and are harder to reach (media buyers covet most what they can’t have).

From Dailey Variety’s Peter Bart:

This summer was supposed to mark the triumph of tentpoles, the moment when superheroes would bury their rivals on screens worldwide. And certainly the established franchises - the Potters, the Pirates and the Transformers - delivered the goods. On the other hand, the process of staking new tentpoles proved hazardous - witness the flickering “Green Lantern.” And meanwhile, romantic comedies like “Bridesmaids,” or the anti-romcoms like “The Hangover Part II,” kept getting in the way.

Hollywood is always complaining about the risk of producing midbudget movies, but the reality is that these films delivered the audiences this summer, even when the tentpoles quivered.

Surprisingly, filmgoers overseas were embracing raunchy comedy with ever-growing enthusiasm so that a film like “Bad Teacher” may potentially gross nearly $200 million worldwide.

Talk to the studio hierarchs, however, and they’ll complain that both the tentpoles and the romantic comedies cost too much money to produce and to market. The explanations are sharply divergent, of course: The superhero budgets implode because of special effects — the attitude is to throw everything at the screen and pray for the best.

The economics of the midbudget films are more challenging to analyze. Even without effects, and usually without stars, they tend to come in at between $5 million and $20 million - acceptable numbers when compared with tentpoles but still downright tumescent when compared with the budgets of the past. Setting aside the work of the digital wizards, the tools of filmmaking have remained essentially the same - cast, crew, cameras, etc. - since the heyday of the studio system. Yet a film like “The Godfather” in 1972 cost $7 million while the same film today might cost $170 million. I co-produced a comedy titled “Fun With Dick and Jane,” which cost $5 million in 1977, then found my name on a remake that came in at $115 million-plus three years ago.

There are many explanations for this escalation, but, as one veteran producer puts it, “It all comes down to the attitude and experience of the filmmaker.” The filmmakers who came into prominence in the ’70s had worked in live television or on Broadway and understood the rigors of decision making. Steven Spielberg testifies that the most valuable element in his cinematic education was directing series television in his early days at Universal.

Today’s young filmmakers, lacking that experience, preside over sprawling production schedules. They need more time to shoot and to edit, and then often go back for re-shoots.

I was discussing this phenomenon the other day with William Friedkin, who brought in his classic “French Connection” for $1.8 million in 1971 and felt bad because he was $300,000 over budget. Friedkin, of course, has had his adventures with megabudget projects, but his gripping new film, “Killer Joe,” starring Matthew McConaughey, came in at $4 million - it was invited to the Venice Film Festival. For Friedkin, “Killer Joe” was an exercise in discipline — and attitude.

The success of this summer’s midbudget films such as “Horrible Bosses,” “Crazy Stupid Love,” “Bad Teacher,” “Bridesmaids” and even Woody Allen’s “Midnight in Paris” (OK, we’ve got to throw in “The Smurfs”) serves as a reminder that Hollywood cannot pin its future on the superhero genre alone.

At the same time, the midbudget fraternity has to become as aggressive with its budgets as it is with its raunch in order to gain a bigger role in the party.

Daily Variety's Rachel Abrams:

"Fox's teen hit "Chronicle" shows how sweating the small stuff makes a big idea work." Check out what Emma Watts wants, prod prexy at Fox! "If you make films at the right price, you can take a lot of risks" she says. Rachel says "Chronicle's big-idea/low-budget pic has inspired Fox to look for more scripts to make into one or two pics a year"

Dailey Variety’s Bob Verini:

Scripters embrace reality-based, improvised ‘behavioral comedy’ “Look at the first ‘Austin Powers,’ which sold itself on those giant set-pieces and big gags. But what’s the funniest part of that? Dr. Evil and his son, that ‘Don’t talk‘ goofing...the realistic playfulness where they’re just screwing around.”

On the set, Judd Apatow declares, “The rule is we might shoot a scene, but if at any moment any actor gets an idea, we encourage him to toss the script. ... A lot of the great moments have come from improvisations that were necessary for the actors to surprise each other.” The resulting string of hits has established a distinctive Judd Apatow style that is close to being his own genre.

“These days, people very much want honesty,” he says. “You’ve really got to let the actors make the words fit out of their mouths, a process that begins with structure. Yes, there’s some improvisation in my movies but we had a roadmap to begin with. We had a shooting script which was the tightest version, and we always shot that first. As long as we got was on the page we gave the actors the freedom to feel loose.” Many writers’ favorite scenes were born from improv.

The young audience has found a new king of comedy. Or at least a new master of the dick joke. In all Apatow projects a curious sentimentality lurks behind the singularly unromantic sex scenes. The dick jokes and sexist insults are always followed by hugs (Apatow characters are big on hugging).

From Dailey Variety's Peter Bart April 27, 2012:

One key element of a solid industry is when there is a predictability in product success, but one message was that hits are impossible to forecast. History's biggest successes, going back to "Star Wars" or "The Godfather" or "Jaws", were almost accidents, not carefully planned blockbusters...Hollywood veterans know that frequently the best way to predict a hit is when all the studios have passed on a project. Insider logic says that in a risk-averse industry, there's less accountability if the remake tanks. There's a precedent, so no one's neck is truly on the line for risking tens of millions on (gasp!) an original idea. The most delusional excuse for a remake, however, is that it is a "recognizable brand." You know, chestnuts like The Dukes of Hazzard, The Wild, Wild West. Psst! The Pinto and the Edsel were brands, too. Remakes are nothing new in Hollywood - after all, there were three versions of The Maltese Falcon. Remaking films: It's been a staple of Hollywood since the birth of movies. But never at this rate. And never so brazenly. It's gone beyond the tipping point into outright embarrassment. But in recent years they’ve become so wide spread that they’re threatening to outnumber originals. Which wouldn’t be so bad if they weren’t, well, so bad.

If they ever wanted to come up with an official flag for Hollywood, it would be simple to make. In fact, it would require no pattern and only one color: White. As in "surrender." As in "We have given up." What other conclusion is there when you look at the upcoming releases and the development slates of the major Hollywood studios? Sure, there will always be sequels. But who would have ever guessed that sequels would be a mild irritant compared to the desperation of executives foraging through their vaults in search of classic properties?

It's not all terrible news. You can count the number of recent remakes that have been exceptional on one hand (minus a couple of fingers), but it can be done. Just look what director Joe Wright did in sweeping the cobwebs off that most venerable of British warhorses, Pride and Prejudice. Employing a dazzling, fresh directorial eye, he breathed new life into Jane Austen's enduring story. No "tea on the lawn" prattling here - it was vibrant, sexy and completely accessible. Ditto for what James Mangold did with 3:10 to Yuma. No film was more likely to elicit a resounding "Who cares?" But he gave it an energy and vitality that revived the dormant Western genre (if only for a brief period). Not to mention the fact that he drew terrific performances from Russell Crowe and especially Ben Foster, and managed to make Christian Bale seem likable for once, a feat in itself. Within the success of those two films lies the formula for creating reboots that actually work.

First, it helps to have great source material (like Austen). Look at the list of upcoming remakes and marvel at how many of the titles were crap the first time around. Odds are it's not going to get better, no matter how you redress it. Polish a turd, and all you get is a shiny turd. Second, it always helps to begin with a project that still isn't lurking in the corners of people's minds. How many recall the 1957 Glenn Ford version of Yuma? Exactly. If Congress really wants to do America a favor, forget immigration reform. Pass a law that prohibits any remake unless at least forty years have passed since the release of the original.

Some people defend remakes by pointing out that both the music industry and Broadway do them all the time, so why knock the film industry for such a well-worn practice? That's a fair argument, but one that disintegrates upon closer inspection. A four-minute cover version of a song is just that: four minutes. It doesn't cost you anything to listen to (well, maybe the iTunes fee), and it certainly doesn't waste two-plus hours of your life. Broadway mounts so many revivals that there's a Tony Award category for them. But they're a drop in the bucket compared to original material that's produced (although the Great White Way's increased reliance on Hollywood for fodder is becoming disquieting in its own right). And Broadway revivals tend to skew toward the higher end of the food chain. Ever hear someone say, "Man, we have to sit through another fucking Hamlet"?

So why the incessant regurgitation? Pick your reason. Laziness. Lack of creativity. Or maybe just really bad taste. Insider logic says that in a risk-averse industry, there's less accountability if the remake tanks. There's a precedent, so no one's neck is truly on the line for risking tens of millions on (gasp!) an original idea. The most delusional excuse for a remake, however, is that it is a "recognizable brand." You know, chestnuts like The Dukes of Hazzard, The Wild, Wild West. Psst! The Pinto and the Edsel were brands, too. But you don't see Ford busting a nut to bring those classics back to life, do you?

To borrow from another classic, a lot of this comes down to something the Cowardly Lion went on about: courage - or lack thereof. In perhaps the Everest of misguided remake ideas, The Wizard of Oz has dueling updates in development. How much intestinal fortitude does it really take to redo Meatballs or Police Academy? If your heart is set on pursuing remakes, why not go after material with a proven track record? Why not dust off Citizen Kane, The Godfather or Chinatown? Say what you will about Gus Van Sant's ill-advised remake of Psycho, but it took titanium balls to even try.

With no abatement in sight, one can only imagine the day when a producer walks into a studio executive's office, sits down and says, "I've got the greatest idea for a remake...Gigli in 3-D!" Now that would be courageous!

Herein lies "The Dirty Dozen" - the twelve worst remakes of the past decade. Now granted, there are tons of titles that belong here, but space (and mercy) won't allow it:

“Black Christmas” (2006) With so many bigger-budgeted films on this list, why pick on this low-rent slasher trash? Because in a genre that's been flooded with remakes as putrefying as Prom Night, When a Stranger Calls and Last House on the Left, Black Christmas is the absolute nadir. And the fact that the 1974 original was a terrific little B-film with such a simple setup, how in the world did it devolve into something so unwatchable? A local lunatic returns to terrorize a sorority house on Christmas Eve. Carnage ensues. Loathsome characters, glacial pacing, cheapjack gore and a killer with the worst case of jaundice you've ever seen.

“Fun with Dick and Jane” (2005) There are many mysteries in this world of ours. Where do we go when we die? Who really built the pyramids at Giza? And how the hell did this film wind up costing $100 million to make? The 1977 original, with Jane Fonda and George Segal, was awful to begin with, so anything would have been an improvement. Wrong! Dick (Jim Carrey) and Jane (Téa Leoni) are affluent married suburbanites who turn to a life of crime after he loses his job and she quits hers, resulting in zero net income. Loud, shrill, forced, over-the-top - Roget's could create an extra volume just to fit all the adjectives that apply. Carrey's mugging is on overdrive here, and any attempt at social relevance is lost among the slapstick and gags that fall stone-cold dead. These are two people you're actually happy to see suffering from America's financial collapse.

“Planet of the Apes” (2001) Tim Burton is one of film's true visionaries, but he must have had beer goggles on when he decided to undertake a new version of the seminal 1968 sci-fi epic. In Burton's reimagining, an astronaut (Mark Wahlberg) crash-lands on a planet where apes rule the roost and humans are servants or pets. Everything that was compelling about the Charlton Heston original has been rendered moot here, with a slapdash story that's a little bit social commentary, a little bit action and altogether bad. Special kudos to anyone who can slog through this snorer and actually make any sense of the last scene. Much like this film, it defies all logic.

“Poseidon” (2006) Big ship. Big wave. Big bomb. Wolfgang Petersen's disaster of a disaster film certainly had all the latest in technology to recreate 1972's The Poseidon Adventure, about a humongous tidal wave that turns a cruise ship upside down. But the film is so short (98 minutes), that the wave hits before you can really settle in to get to know the characters that you won't wind up caring about. Instead, there's just empty drama as you ponder two questions: a) Who will survive, and b) how far Petersen has fallen since that other nautical picture he did in another lifetime, Das Boot.

“The Day the Earth Stood Still” (2008) The idea of casting Keanu Reeves as an expressionless alien who comes to Earth to decide if the planet should be trashed in order to start over is like...whoa, dude. His blank mien may seem like a natural, but he's about as inert as the rest of this dessicated reworking of the 1951 sci-fi classic. Director Scott Derrickson, who made the genuinely creepy Exorcism of Emily Rose, elicits nothing but yawns until the final ten minutes, when he suddenly decides to go all Roland Emmerich in an effort to rectify the previous ninety minutes of soporific dreck. An added misery is the performance of Jaden Smith, as Jennifer Connelly's adopted stepson, in one of the most annoying kid roles in years.

“The Heartbreak Kid” (2007) Of all the affronts dressed up as films described here, this may be the most rancid of the bunch. It took no fewer than five writers to destroy Neil Simon's wonderfully sharp 1972 screenplay about a hapless newlywed who meets what he thinks is his dream girl while on his honeymoon. The once reliable Farrelly brothers have not released a film since this debacle that confuses crass with clever, and mean-spiritedness with mirth. Ben Stiller is in his usual human-punching-bag mode as the groom, but he's like Olivier compared to poor Malin Akerman, in one of the most heinously written female characters since the invention of talking pictures. Sexist tripe that staggers the mind as it crushes the soul.

“The Lake House” (2006) Since only a fraction of the population ever sees foreign films, remaking them sometimes isn't such a bad idea. Sometimes. In the case of The Lake House, it's surprising that South Korea is still on friendly terms with us. Based on the bittersweet love story Il Mare, it's about two lovelorn souls who communicate via a mailbox, even though they're living two years apart. Don't bother trying to make sense of it - your head will explode. That is, when you're not dozing off. Just know that Keanu Reeves is reunited with his Speed costar, Sandra Bullock (kinda). When she accepted this year's SAG Award, Bullock said she took a hiatus about six years ago because she said she wasn't doing good work. And she came back for this?

“The Longest Yard” (2005) First, you have to buy Adam Sandler as a former NFL quarterback. Game over. Thank you for coming. Drive safely. And even if you swallow that canard, the fact that this is a virtual carbon copy of the 1974 original - sans freshness, humor or intelligence - makes for a worse time than being a Detroit Lions season ticket holder. The fact that Burt Reynolds (who starred in the original) accepted a supporting role only serves to remind those who remember how wonderful the first one was, and what a cynical cash-grab this really is. The plot: convicts vs. guards in a prison football game. The winner? Anyone who skipped this travesty.

“The Omen” (2006) Yet another example of "Why do they bother?" Zack Snyder's dynamite reworking of Dawn of the Dead proved that you can successfully retool a classic horror film, but there was simply no imagination or enthusiasm in this dead-on-arrival dust-off of the 1976 Oscar-winning horror film about a devilish little tyke named Damien. A couple of minor changes here and there don't constitute a remake, when everything else is nearly verbatim.

It's called copying, and it used to get you into trouble if you did it at school. Filmmakers who do so should be subject to the same penalties, or at least forced to watch their films with angry audiences who are tired of being abused.

“The Stepford Wives” (2006) If timing is everything in life, imagine what that means for a film that's thirty years past its prime. When this paranoid thriller came out originally in 1975, it was a subversive comment on the women's movement carried to the extreme. Thirty years later, it turns out to be a comment on bad movie packaging. Married couple Matthew Broderick and Nicole Kidman (OK, that ends the film right there) move to an idyllic Connecticut town where all the women are in June Cleaver mode 24/7. Director Frank Oz doesn't have the slightest control over tone or the type of film he's making, and the story has no contemporary relevance. Reshoots couldn't plug gaping plot holes, and principals like Kidman and producer Scott Rudin have even expressed remorse over the whole enterprise. Yeah, now you tell us...

“The Truth about Charlie” (2002) When you're looking to revive a Hitchcock-style thriller and you need an actor to step in the role of Cary Grant, who better to play a suave, sophisticated, charming rogue than... Mark Wahlberg? Director Jonathan Demme took the 1963 classic Charade, starring Grant and Audrey Hepburn, and kept the plot basics the same: a woman (Thandie Newton) returns to Paris with plans to divorce her husband, only to find out he's dead and everyone is after her. Along the way a shady stranger (Wahlberg) agrees to help her. Shot like a drunk did it on a three-day bender, Demme's muddle is not only illogical, it's made worse by the total lack of chemistry between the two stars. On the plus side, the film does end, and Paris looks nice.

“The Wicker Man” (2006) Isn't it about time to send out a search party for Neil LaBute? The director who made such an impact over a decade ago with his first two films, In the Company of Men and Your Friends & Neighbors, can now officially be declared lost. The first sign of abandonment came with this unintentionally risible reboot of the 1973 British thriller. Nicolas Cage plays a sheriff who goes to a remote island to find a missing girl, but winds up falling in dutch with the pagan clan that runs the place. The absurd plotting is matched only by LaBute's tin-eared dialogue and the ham-fisted performances he gets from his actors. The sight of Cage trying to solve the case while wearing a bear suit is so stupidly surreal, it might even give David Lynch pause. For further hilarity, check out the alternate ending on DVD involving Cage being tortured with bees.

Special Certificate of (De)Merit:

Michael Bays’ “Platinum Dunes” has consistently been the critics' whipping boy for creating hyperactive, cacophonous and intellectually bereft films that gross amazing amounts of money. So why should his genre production company be any different? They've been systematically remaking their way through a catalogue of iconic 1970s and '80s horror film titles, and ruining each one in the process. Not that the original Friday the 13th or Amityville Horror were going to wind up on the National Film Registry honor roll anytime soon, but compared to the dumbed-down and amped-up retools Platinum Dunes created, they seem like Palme d'Or winners.

Cult classics The Texas Chainsaw Massacre and The Hitcher were similarly desecrated, leaving the uninquisitive to wonder why there was so much hoopla surrounding the originals. The latest on the PD hit list: a retread of A Nightmare on Elm Street so lifeless and uninspired that the knife-fingered Freddy Krueger might want to consider going into the topiary business rather than agree to appear in any inevitable sequels.

Point: moviegoers are getting tired of sequels and bad remakes! This summers’ release of no less than eleven sequels or franchise reboots in the fertile May-August span, up from nine last summer and seven from the 2008 season just keep coming on! But those opened half way through have all underperformed so far, with seasonal box office off by a double-digit margin and have studio executives beginning to feel woozy about it!

“Hollywood serving up more comfort food” Daily Variety’s Peter Bart: Bill Castle was a colorful producer of a previous generation who had a simple philosophy about filmgoers. “Keep surprising ‘em” he used to tell me. “Give ‘em something they’ve never seen before.” Filmmakers of Castle’s era were expected to deliver “surprise,” but their successors are obliged to summon up the familiar. The upshot, of course, is an abundance of sequels and prequels and, most recently, remakes from the ‘80s. The closest thing to a game-changing new movie like “Titanic” is the 3D re-release of “Titanic 3D.” The box office success of “21 Jump Street” will doubtless spur a recycling of “80s movies and TV shows - today’s Hollywood-decision makers came of an age of this material. Already coming up soon are a new “Dirty Dancing” and the return of “RoboCop” and even a new installment in the “Die Hard” series.” This means new careers for Slyvestor Stallone, Bruce Willis, Arnold Schwarzenegger. Even Billy Crystal will be a leading man again.

I think if Bill Castle were around today, he would take heart in the remarkable success of “The Hunger Games.” Even though it was pre-ordained to be a tentpole and opened amid a global explosion of publicity, the movie offered a fresh cast of characters and considerable shock value. It’s always amazing what happens when new ideas are introduced, not old ones recycled.

Most recently, Universal’s “Conan the Barbarian” (U studio toppers said they overestimated Conan’s brand recognition...) Warner Bros’ “Sex in the City 2” was expected to outpace its’ predecessor and top the Memorial Day weekend. Instead, it lagged the original’s bow dramatically and debuted with a tarnished bronze metal, trailing even Disneys’ disappointing “Mars Needs Moms” and “Prince of Persia: The Sands of Time”. A would-be franchise starter, “Persia” will need outsized international box office to reach profitability. DreamWorks Animations’ “Shrek Forever After finished first in its’ time frame. But that was of limited relief, as the Paramount-distributed four-quel missed consensus forecasts for its’ opening by a nauseating $30 million.

Reaction to the latest disappointments came swiftly: “There very well could be some burnout with moviegoers, who are looking for something new and fresh,” a top studio exec lamented. “Watching the decline of “Sex and the City 2” every day has really surprised us.”

Several top industry insiders saw peril in making a $210 million-plus-budget film based on a board game to start. “Nobody here thought ‘Battleship was worth the investment,” says a leading agent. “No stars, an (intellectual property) play that made no sense, and nobody thought the script was good.” 

As the head of one successful production company notes, in today’s world, movies that don’t appeal are “killed in their cradles” opening night.

There seems to be one lesson to be extracted from the ‘Battleship wreckage - though ironically it came from a strategy that didn’t work as Universal had hoped. The studio knew from the start that a movie based on a board game faced skepticism. But the studio figured that overseas audiences would be more accepting. So, ‘ Battleship opened abroad first in the hope that the studio would could use big foreign numbers to sell it to American audiences.

That didn’t quite work out, but ‘Battleship has pulled in more than $225 million overseas. Those numbers weren’t dramatic enough to be a U.S. selling point - a strategy that isn’t exactly tested - but a rival studio exec says the early opening overseas helped. “Was it the success they needed? No,” he says. “But had they waited, they would have been annihilated.”

On the other hand, opening a movie overseas can be a double edged sword. Analyst  Paul Dergarabedian “If you’re trying to hide a movie overseas first, in this interconnected world that’s a false hope. It can be a dangerous game.”

Daily Variety’s Peter Bart says "I'm beginning to think that numbers are the new narcotic. Staring at them leaves me disoriented, if not downright giddy. Disney bought Pixar/Dreamworks for $7 billion and paid $4 billion for Marvel, Facebook tosses $1 billion at photo startup Instagram. The Dodgers sell for $2 billion. The new boss of Apple frets publicly that he's got $100 billion in cash on his balance sheet and isn't quite sure how to dispose of it.

Next year, “Iron Man 3” will become the first co-production of a multibillion-dollar franchise between Hollywood and China. The mavens responsible for dealing with these numbers dwell in an equally disorienting universe.

Hedge funds had a lousy year in 2011 but a manager like Steven A. Cohen paid himself $585 million while John A. Paulson had to settle for $500 million in take-home pay. Corporate CEOs had reason for envy. In the entertainment world, CBS’s Leslie Moonves got $69.9 million for 2011, Philippe Dauman of Viacom received $43.1 million in compensation and Disney's Bob Iger $31.4 million, leaving Rupert Murdoch in third place with $29.4 million (OK, Rupe probably earned his pay last year).

Why is all this disorienting? Possibly because most people live in a parallel universe where budgets are being cut, temps are being hired instead of full time workers and gasoline prices are putting a crimp in home budgets. Besides, I tried Instagram. I think it's a sappy app.”

SXSW TUNES UP SKED

Genre, comedy, raunch on fest menu… From Dailey Variety's Dave McNary...Sony's Jonah Hill-Channing Tatum starrer "21 Jump Street" and Emmett Malloy's music docu "Big Easy Express" are among the titles set for the South by Southwest Film Conference and Festival, which announced its feature lineup of 130 titles.

Fest and conference producer Janet Pierson emphasized that the fest is committed to focusing on crowdpleasing titles that have an edge. "We are turning down plenty of films that are commercial and interesting," she said. "We tell a lot of people something like 'That's not for our audience' because people who come to SXSW expect a lot of genre films, a lot of comedy and some raunchiness"...


Mars Paradisio Filmed Entertainment Production
Basic Financial Agreement:

Rick Beck owner and writer of WGA registered and copyright protected Mars Paradisio, (alternate titled With Love from Mars and Steroid Man on Mars) agrees to give 49% of all moneys generated from, associated with and as a result of. Payments can be received - made paid jointly. The entire cost of production and marketing will be repaid first. Profits there after to be shared on a 51% to 49% as stipulated.

These USD numbers will probably represent most of the production costs:
Director $50K
Production designer, art dept., costumes, sets, special effects (mech.) $400K
Visual effects $100K
Stage rental and location costs (including transportation) $75K
Office and prod. space, casting, rehearsing, etc. (including expendables) $25K
Shooting company, cast, extras and crew for 8-10 week shoot (including cameras) $250K
Post (including music clearances) $100K
Marketing (finding the best distributor deal at the local majors and mini-majors, attendance at Cannes and Sundance festivals) $25K
Possible cost over-runs, unforeseen eventualities, insurance premiums, etc. $475K
Total $1,500K

In order to get the right cast and crew, picture points may be given payable from our resources. Cost offsets will be available from pre sales (territorial sales of planned motion pictures to distributors worldwide; usually conducted to raise funding for lower budget, independent pictures), product placement, promo tie-ins, proof of funds and matching funds sources, bridge and interim financing and other incentives. Twenty-seven billion USD was the box office take last year foreign and domestic! We deserve our share of that box office pie, let’s take it! Steroid Man says, "Mars Paradiso...They won't see us coming, we will be galactic camouflaged!"

Filmed Entertainment Enterprises Production Presents:
Feature Length Live Action Motion Picture Basic Financial Split:

INVESTOR(S): profit sharing equals 50% ownership (picture points)*

EXECUTIVE PRODUCER(S): profit sharing equals 20% ownership (picture points)* and receives $2,500 per week salary for handling all financial book work from day 1 including pre production, principle and second unit photography, post and marketing. I will be providing services including but not limited to: PRODUCTION MANAGER; PRODUCTION DESIGNER (ART DIRECTOR); ACTION PROPS, SPECIAL EFFECTS and SET CONSTRUCTION COORDINATOR; FIRST ASSISTANT DIRECTOR; SCREEN WRITER

Rick Beck: profit sharing equals 30% ownership (picture points)*

* 100% of picture points equals what ever is left after points to actors are paid. The remaining points will then be divided as stipulated above, 50% to investors, 20% to whom-ever provides EXECUTIVE PRODUCER services and 30% to Rick Beck for providing the story and all but not limited to above services.

It’s going to be a great shoot, a great movie and a lot of fun for all parties involved! We’re going to make a whole lot of money! All investors will be welcome at all times to production facilities, sets and location shoots, and every where else including film festivals, talk show appearances and red carpet premiers, etc. You’ll never have more fun than this investing your money - guaranteed! And the best part is - this is just the beginning! Lots of other projects to go next! As told by Cactus Jack “Elderberry wine fer ever body!!”

Immediate Start-up Acquisitions:

  1. Raising necessary capital to start production in ernest - including pre sales - territorial sales of planned motion pictures to distributors worldwide (usually conducted to raise funding for lower budget, independent pictures), procuring proof of funds to get matching funds, bridge funds interum financing, product placement, promo tie-ins, completion bonds, using tax incenttives as collateral etc.
  2. Warehouse zoned mixed use for production offices, casting, special effects and construction mill, insert/green screen and miniatures stage, Foley stage, editing bay and screening room, combined space - 75 to 100 thousand square feet.
  3. Interview storyboard artists and begin storyboarding (graphic novel)
  4. Music advertising and clearance, Billboard, Rolling Stone, Music Connection
  5. Start casting process, Central Casting, LA Casting, Backstage West, notify Daily Variety, Hollywood Reporter
  6. Transportation and picture cars
  7. Set design and construction
  8. Special effects and props design and construction
  9. Accounting and insurance
  10. Costume design and construction.
  11. Camera crews, scout Martian palace, Grand Canyon and Megatropolis City Hall
  12. Build green screen and rig for flying
  13. Design rotoscope miniatures (flight through Martian canyons in and out) interview pitching lens companies
  14. Interview directors and first unit camera crews, rolling 3 cameras
  15. Interview catering and massage therapist
  16. Make shooting schedule
  17. Commence rehearsing and rewrites

Cash and Huge Licensing Agreement Available
Mars Paradisio/With Love from Mars/Steroid Man on Mars
Feature Length Filmed Entertainment Motion Picture:

Music Style and Motif for Mars Paradisio. The year is 2033,
the challenge is: What will these artists sound like in 2033 ?
Beck
Crystal Method
Black Keys
Foster the People
Red Hot Chilli Peppers
Foo Fighters
Rob Zombie/White Zombies
Stone Temple Pilots/Scot Wyland
Velvet Revolver
Jack White
Nine Inch Nails
Justin Timberlake
Linkin Park
Korn
Pearl Jam/Eddie Vetters
Nora Jones
System of a Down
Rage Against the Machine
Seawolf

Nine to sixteen super killer songs required for this sci-fi action comedy now in preproduction! Think-Tim Burtons’ “Mars Attacks” meets “Rocky Horror Picture Show” with a nod and tip of the hat to Ed Woods’ “Plan Nine from Outer Space” featuring characters and dialog as funny as Ben Stillers' "Tropic Thunder"! The year is 2033, gas cost $100.00 per gallon, and too many people-not enough stuff-etc…it’s a mission to Mars to save the world as we know it! If we can’t get Danny Elfman to score this - we’ll get somebody else - could it be you? It’s going to be mostly hot babes in negligee and shirtless chiseled/cut guy/model types. We will cast only funny people. As told by Steroid Man "Red horned bear skin coats for everybody!"

If you think you sound 2033, send your files to abouttimemusic@live.com and abouttimemusic@aol.com. Music director/contractor Rick Beck, this film is going to be big!

Filmed Entertainment Enterprises presents:
Mars Paradisio Copyright and WGA registered #260158:

This plan was created on behalf of Rick Beck by Filmed Entertainment Enterprises. All questions should be directed to James Edwards 310 710 1716 (Business Manager) for Rick Beck 310 567 7672 and james@marsparadisio.net or rick@marsparadisio.net

Mars Paradisio with alternate titles With Love from Mars and Steroid Man on Mars is an action packed, blatantly original, ramped up and exuberant uninhibited sci-fi comedy so eccentric it will prove to be a timeless masterpiece. The humor and content are current, fast paced, cutting edge and within the respectable boundaries to be good wholesome entertainment.

Laughter from entertainment is the key reward to consumers spending their time and money on a movie ticket, as well as a good story to follow. Mars Paradisio is guaranteed to leave the audience’s ribs sore with laughter and keep them thoroughly entertained. Phenomenal intertwining story filled with memorable characters such as Cactus Jack exclaiming and giving new meaning to the old “showbiz” cliche “Now that’s what I call entertainment!”

Hollywood, CA1.0 Executive Summary

Filmed Entertainment Enterprises, is employed by Rick Beck Writer/Producer on behalf of the film script “Mars Paradisio;” hereafter referred to as the “property.” The company has already produced an initial interest in the property. Primary goal is directed at developing Artists at all levels of business through out the United States. F.E.E. created this business plan, on behalf of the writer, solely in the interest of procuring funds to maximize profit from sale of revenue streams within the entertainment market via the sale of rights to the property titled “Mars Paradisio.”

The Entertainment Market, a multi billion dollar industry, includes feature films, animation, sound track musical rights, mobisodes/webseries, comic books and video games. The goal of the property is to target market 18-49 year old demographics sci fi/action/comedy fan base globally - currently the largest disposable income consumer market in the industry.

The property will be in filmed entertainment format, with increased press runs throughout the first three years to market and promote the property.

In addition, will make comic books, cartoons, toys, via direct marketing and through established Artists distribution channels. The direct marketing specifics of the property may be decided by the distributor.

Producing is a high profit and high margin business. The key to success is successful marketing and max execution of a solid plan with concrete time lines. Successful execution of this plan with conservative estimates, easily foresee sales net revenues of at least 35 million in year one, 100 million by year two on up to hundreds of millions potentially with a blockbuster US Theatrical release and subsequent Foreign release.

1.1 Objectives

The initial objectives are as follows:

  1. To have Product Integration via Brand In (product placement/promo tie-ins) should provide an additional 2-3 million USD towards budget once signed deals are in place.
  2. To have a distribution deal before the end of production from a global distributor interested in both foreign and domestic distribution.
  3. To have a comic book, cartoon and mobi-web series created to help increase public awareness and support for the feature film commonly referred to as source material.
  4. To produce interest in the feature length film by securing SAG, WGA, DGA - actors writers directors - on scale with deferred agreements.
  5. To secure US distribution.
  6. Create a promotional short of the film to distribute to direct marketed customers worldwide that have registered on the official Mars Paradisio web site creating additional source material.
  7. To build interest in the property generated by a solid piggyback marketing campaign.
1.2 Mission

F.E.E. is proud to have selected out of thousands of submissions this year alone to develop “Mars Paradisio”. This story will be a feature length film, sci-fi/action/comedy, intelligent and quirkily entertaining to intended to appeal to the great 18-49 year old demographics. Think: “Rocky Horror Picture Show” meets Tim Burtons’ “Mars Attacks” with a nod and tip to the head to Ed Wood’s “Plan 9 from Outer Space.” featuring characters and dialog as funny as Ben Stiller’s "Tropic Thunder"! Obvious comparison to “Piranha 3D” which has grossed $110 million worldwide as of this writing!

F.E.E. has collected a powerful set of industry networks. The company is a vessel to investors seeking artistic properties. The company provides a platform available for the interaction among artists and business people. Our mission is to promote the concept of “community” in the work place, as the community is who most supports our work. F.E.E. is proud to be the shepherd for investors and artists alike, helping build profitable ventures by guiding through the incredibly overwhelming multi-billion dollar conglomerate known as show business.

1.5 Keys to Success

The keys to success are:

2.0 Company Summary

The company scours weekly submissions to find artists to help generate this production of “Mars Paradisio.” Currently the property rights are owned solely by Rick Beck.

The Producer may have the exclusive rights to sell “Mars Paradisio” to all media formats, electronic media, catalogue business, theatrical distribution sales, digital content sales, comic books, cartoons, toys, sound track, and any future or unmentioned formats that may be developed for the purpose of the sale of the property. Our companies reputation is in helping maximize that for each project.

Estimates for this film based on production scripts of this genre, where all production aspects are filmed “in-house”. When looking at the first few years of the films, all grossed over 100 million dollars. Time only help these types of projects build larger fan base and generate more revenue. We are as a company proud to present projects we stand behind fully as blockbuster hits.

2.1 Company Ownership

The company is in the business of selling writers rights to their perspective properties represented by its clients.

2.2 Company Locations and Facilities

The office is fully equipped and functional for pre-production services. Upon green lighting of a project, offices may be opened at the studios on the lot for the concern of daily work.

An LLC will be formed, granting all rights to the investors, on behalf of “Mars Paradisio.” All funds are to be deposited in the LLC account to then be properly accounted for and dispersed. A company may be hired to handle the payroll, either Cast and Crew or Entertainment Partners.

Offices are readily available and inexpensive on the various studio lots, when production begins, offices may be properly secured. This will help to facilitate and ensure all deals and negotiations are done properly within the DGA, WGA and SAG guidelines or not.

The primary revenue stream will be from Mars Paradisio. The film will be formatted at the highest level to ensure it can be sold throughout any and all various media formats available for entertainment content sale once shot on 35 mm.

A blu-ray dvd, standard definition dvd and CD soundtrack will also be created. Quality art content is the constant goal. The content visually and musically will be entertaining and thought provoking. It will appeal to a broad audience of sci-fi and comedy fans globally.

The company is incredibly sensitive to the variances in marketing to different markets in different parts of the world, the content will be properly reconfigured to ensure highest volume sales in all markets and all formats.

All may coincide with the production of animation, web series/mobisodes, comic book, toys for commercial restaurants, video game for all systems. Goal to sell the completed content and immediately start generating revenue dollars. The story will be included in the marketing in mobisodes providing more source material.

This property has been selected based on its ability to appeal to the current demands placed on both business and family life by today’s business climate. In the end, art should in some way represent life, this being a creative process leaves a lot of room for imagination. Mars Paradisio hits on all positive financial indicators.

5.0 Strategy and Implementation Summary

Our strategy is based on serving a clearly defined niche market well. By having an identifiable market with available lists, the management believes we can exceed industry standards for conversion of potential consumer crossover.

Committed artists are a passionate and loyal clientele. A thirst exists for entertainment at this trying time in the global world, something to lift the spirits and regenerate the heart that “Mars Paradisio” will provide. The task is to reach and inform the target market.

The strategy is to combine sampling, direct mail, and group solicitation to build interest and solidify distribution. Multi-channel distribution principles will be em-ployed. Each has a differing margin structure but the combination will maximize the potential reach of Mars Paradisio.

5.1 Marketing Strategy

The marketing goal is to sell the film to the highest bidder, meaning, secure an advance payment by selling the distribution rights to a reputable distribution company skilled in marketing independent films.

With the pool of talent and experience available to us, we feel confident of the sale, here is a brief breakdown of how we would approach it.

Preproduction marketing, faxes and press releases are sent to the major industry periodicals: Daily Variety, Hollywood Reporter, Backstage West and Billboard announcing production.

Interview publicists, who may immediately develop unique angles on the production.

Contacts distributors and producers representatives (sales agents), providing them with scripts and production details that will allow us to “track” our production. This will help develop advanced relationships that can pay off handsomely when the film is ready to be screened.

Production marketing to create promotional materials such as production stills, edited “sneak preview” dailies, and a video journal that gives a “behind the scenes” feel of the production, allowing the viewer to feel drawn in.

Dissemination of publicity materials to industry contacts with the intent of creating an angle that will generate media attention and/or develop relationships with individual and companies that prove beneficial to the finished film.

Production marketing includes cutting a trailer and generating advanced interest by disseminating trailer to film critics, festival, distributors (buyers) and bigtime exhibiters.

When a movie hits big, almost no one cares what was spent; when a release fails to make opening-weekend estimates or has a 60% drop-off during its second week, everyone begins pointing fingers.

Consider MGM's $30 million to tub-thump "Hot Tub Time Machine," which cost about $35 million to make: First-week gross was $20 million, dropping 60% the following week and winding up with $50 million in domestic gross. Or Disney's $250 million production "John Carter," which has raked in $283 million worldwide domestically to date against a prints-and-advertising spend state-side of $75 million = a $200 million write-down for the period.

On the other hand, Disney's "Alice in Wonderland," similar in cost and marketing budget to "Prince," has grossed $334 million domestically and $1 billion world-wide. In short, there might not be a more daunting challenge than opening a major motion picture: Create an internationally recognized brand name that lasts a lifetime, and do it in a couple of weeks with no second chances to course-correct.

5.1.1 Pricing Strategy

Pricing is set by a current market theaters and via distribution deals offered for paid content. See Distribution Strategy for further details.

5.1.2 Promotion Strategy

Set up “friendly” screenings for cast, crew and associates to get a good buzz about the film.

Private screenings for critics, distributor reps, festival producers and the biggest exhibiters.

Submission to festival film markets, Venice, IFM, Sundance, Toronto, Berlin, Cannes and the Los Angeles Independent Film Festival.

Heavily publicized festival screenings and premiere with talent showing up to help promote and market release.

Soliciting and negotiating bids from the distributors.

Talk show appearances by the talent to coincide with the release of the film.

Trade paper announcements within the industry that will create proper buzz and awareness of the films success.

Red Carpet Premier to promote the film with the actors and Hollywood news media.

5.1.3 Distribution Strategy

US THEATRICAL DISTRIBUTION/SALES

Before the completion of shooting the film and during post production, we may take some clips directly to distributors that we have prior relationships with to begin the process of securing a distribution sales deal.

We have faith that with our high end production value we won’t need to run the festival circuit to warrant distribution, but we will take the film to the festivals for marketing, publicity, exposure and awards - all will help increase sales with or without a distribution deal already in place.

DISTRIBUTION DEALS- PERCENTAGES- FIRST MONIES and PICTURE POINTS

It will cost a distributor an estimated 5 to 10 million dollars to make several hundred 35 mm copies of a 90-120 minute film for US theatrical distribution. Depending on the number of theatres it airs - the more theatres, the higher the cost to the distributor. To make 35 mm copies for 4,000 theaters, the cost can go as high as 20 million the distributor must pay.

Initial Cost - is what the investor puts up as first monies on a project that warrants them entitlement to the first monies. If the distributor has to put money up with the investor, or after the investor to finish a project, then the deal ends up in favor of the distributor who will then get all first monies making it difficult for the in-vestor to profit as quickly. If complete initial investor funds the project, then con-tracts are negotiated in favor of investor receiving first monies on all revenue re-ceived. It is common knowledge that Mel Gibson returned to his investors a whopping 10 million dollars for each $250,000. invested to complete his "Passion of Christ" movie-the picture has already grossed over 1 billion dollars and growing!

The first few weeks of a new release is a tier system, starting at 95% to investor 5% to distributors- second week 90%/10% so forth based on the distribution deal until reaching the final split 65% to investor 35% to distributor. It could be lower if the distributors reputation warrants a 50/50 split. All terms will be negotiated with the distributor.

Legal contracts ensure the investor receives the bulk of the reward since they took the initial risk first, then distributor can recoup their costs.

The investors take on the risk, it is those funds which are paid first. The investor can see a substantial profit based on his cost to return on all markets.

5.1.4 Strategic Alliances
  1. Foreign Sales - Upwards of fifty viable territories ranging from $5,000 to $80,000 minimum (no stars) higher with stars, asking price for rights to exhibit (theatrical and television) an American produced feature-length film.
  2. Domestic Home Video - income is calculated by units shipped, which can be pay the project $8 to $12 per unit in just the first year.
  3. Domestic Pay Cable - Licensing terms are typically short (1-2 yrs) exclusive, paying project partners $50,000 to $300,000 for a project of this type for each airing, depending on product quality and success of theatrical run it can be more.
  4. Basic Cable - same as above, but non-exclusive.
  5. Pay-Per-View - payment is similar to above. Four months is a standard licens-ing term, non-exclusive.
  6. Network Television and Syndication - network television sales vary depending on the box office success of a film. Normally a station or network will pay roughly $100,000 or more for a limited number of airings with quarterly payments for first 24 months. Syndication may be a 15-20 year exclusive paying 50% on delivery of product and 50% one year from initial payment. Payments vary depending on success of theatrical run or prior to network broadcast.
5.2.1 Sales Forecast 5.3 Milestones

Important milestones are: Raising “seed” capital to start preproduction. Raising “seed” capital to start preproduction. Finalizing agreements from notable players in the industry. Raising “seed” capital to start preproduction. Launching marketing program, sealing product integration (product placement) deals.

Example: From Dailey Variety's March 27, 2012: 'Battle'-Ready Brands by Marc Graser: Universal's "Battleship" is ready to set sail, with the Coca-Cola Co., Subway and Kraft enlisting as the actioner's primary promotional partners. Combined with Chevron's ExtraMile convenience stores, Cisco, Hilton, Nestle Confections & Snacks, the U.S. Navy and the USO, the marketers will spend $50 million on campaigns that tie in with "Battleship's" release in the U.S.

References to Mars Paradisio’s opening scenes with “Hooters’ Cheerleading and Dance Team” on tour and “Svedka Vodka’s Voted Best in 2033!” global advertising campaign (Mars Paradisio is set in 2033) should be among the first to sign on with us...

6.0 Management Team

Writer/Producer - former U.S. Marine, 30 years in the industry, IA Local 44 member (special effects and construction coordinator, CA State Fire Marshall pyrotechnic operator, City of LA Bldg. and Safety certified welder structural steel, NAUI certified diver), IA Local 40 (journeyman wireman, HVACR specialist and EPA licensed refrigerant gasses), Rick has a lifetime of experience in production on many big budget feature films, television projects, music videos and commercials. Attended Theatre and art at the University of Houston, studied production design at UCLA, and motion graphics at Video Symphony in Burbank.

6.2 Management Team Gaps.

Casting Directors in town may be hired on for the bulk of the supporting, below the line and extras casting. Casting directors can open the door to A list actors that may have recently been in their rooms looking for work. Such contacts include but are not limited to Traci Dixion, Central Casting, supporting to lead Sheila Manning, Sheila Jaffe, FMW, Bhialy-Thomas, Ronnie Yeskel, among many others that are all CSA and just phenomenal at their jobs.

Project development requires a solid relationship with distributable names willing to work for picture points, scale and royalties as well as belief in the project.

6.3 Personnel Plan

Every production is a collaborative effort of some amazing unsung heroes. At times picture points are awarded to assure someone their deferred pay when the project is sold. Certain people are paid for their work during the project.

A list actors and crew may come on board the project for scale with deferred pay and backend picture points.

Executive Producer - financing of the project is what this business plan is seeking. Line Producer - Runs day to day operations of the project once greenlit, coordinates liaison for crews ensuring the project makes budget requirement deadlines. Rick Beck will act as line producer for the project as well as (but not limited to), production designer, special effects and construction and prop shop coordinator, first assistant director.

Director - Arron Hendry may be offered 50k and some backend points. The 50k is for living expenses, a directors time commitment to a project can be anywhere from five to nine months as they are usually a part of the process from casting to completion of editing.

7.0 Important Assumptions

Important assumptions are that the market will support the product. To do a comparison these properties similar to real estate properties are best if compared within their genre. Comic book titles are some of the most recent releases of scifi/action/comedy feature films. The goal for Mars Paradisio will be to capitalize on all revenue streams available for this type of product. Each of these markets is a multi million dollar potential sale, CD’s, DVD’s. Toys, on line subscriptions, PPV deals, video game sales, and we assume that we would have equal suc-cess with our competitors.

Should other people be producing or creating within the same genre/market, that only adds to the expected high revenue yield for our property as trends swing in favor of competing content. There is little to no concern of duplication of this story - is truly one of a kind that will be timeless.

7.2 Key Financial Indicators

Some important indicators in our case, includes hits on the Mars Paradisio official website. The number of consumers that actually register to win the free prizes and become a part of the fan base will greatly help determine the estimated financial success of the project. We do not want to let our marketing campaign miss any of its critical deadlines to ensure people do no lose their interest or attention span. The writers' strike and the soon to be SAG strike is sure to make for optimum release dates by this time next year due to a total lack of product availability at that time! We should be able to shoot for a summer release in 2013 if we get going soon.

7.3 Break-even Analysis

Break Even: Cost of Production plus Distribution, lets say in this case 2000 US Theatres. 14 million cost to distributor plus 1.5 million with completion bond 2 million to round the numbers = 16 million dollars (cost of production plus cost of distribution) for the property Mars Paradisio. After all initial dollars are paid, next positive cash flow pays on a split. For this example say the first weekend it was a Blockbuster weekend, and 50% of estimated (22.8 mil) only made 11.4 million dollars. Investors would receive full payment of 2 million and distributor would receive 9.4 million. The future revenues would vary until the distributor is paid back in full, 14 mil for cost of distribution. When all initial monies are repaid, a split begins. Only at this point does the producer have to start to pay the back end points and salary deferments to talent, crew, associate producers and anyone with a contractual backend point out of this profit. This is what actors with big names work for, they know their value in the market and what a film makes with them in it and by the time it is profitable everyone is sharing in the revenue with the Investor getting minimum, 35% of very dollar and as high as 50% for the film.

Investor receives 100% of the musical revenue stream minus picture points, 100% of the product placement revenue, which can equal up to 50% of the budget in this case 2-3 million USD.

The following week in this example, another blockbuster weekend, and to be con-servative, the first few weeks may bring in a total of 60 mil more in sales - distributer would receive 9.4 mil Investor would receive 95% of 51.6 mil, then pay backing points which should never be greater than 10% of investor’s total profit would equate to 5.16 mil, that offsets from the beginning of having to put up 1.5 million from the start of the film to pay the actors, willing to take on the risk with the investor from the start of filming.

After the theatrical run, see the Sales Forecast of this document for all other revenue that the film will collect over the first few years of it’s life.

7.4 Projected Profit and Loss

We expect from domestic and foreign sales, unit (dvd) sales, and online sales alone to net a cool 100 million in a hurry on the property. Comparable support data is provided in the sales forecast sheet.

7.5 Projected Cash Flow

The projects success is based on cash accumulation from the initial assumption of 1.5 million dollar capital infusion. At no point does the company ever risk running out of cash because the budget includes a 475k dollar completion bond.

7.6 Projected Balance Sheet

By the end of the year three, it would be projected the property will have reached a peaking sales revenue for the investor and steadily become a positive consistent revenue stream. The rights to the content may be available for catalog sale to studios