Riverrock Films Business Plan

Total Page:16

File Type:pdf, Size:1020Kb

Riverrock Films Business Plan THIS PRESENTATION CONTAINS INFORMATION WHICH HAS BEEN PROVIDED BY A NUMBER OF SOURCES, INCLUDING CERTAIN MEMBERS OF RIVER ROCK FILMS (“RIVER ROCK”). THE INFORMATION CONTAINED HEREIN HAS NOT BEEN INDEPENDENTLY VERIFIED AND NO REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, IS MADE BY RIVER ROCK OR HOLLYWOOD FINANCIAL, LLC (“HOLLYWOOD”) AS TO THE ACCURACY OR COMPLETENESS OF SUCH INFORMATION OR ANY OTHER INFORMATION TO BE MADE AVAILABLE TO ANY PROSPECTIVE INVESTOR. IN ADDITION, THE RESULTS OF CERTAIN FINANCIAL MODELS ARE CONTAINED HEREIN. FORWARD LOOKING DATA, SUCH AS THE RESULTS OF THE FINANCIAL MODELS, ARE INHERENTLY UNCERTAIN, AND NO REPRESENTATION OR WARRANTY, EXPRESS OR IMPLIED, IS MADE BY RIVER ROCK WITH RESPECT TO SUCH MODELS OR THE ASSUMPTIONS, HYPOTHETICAL RESULTS, ESTIMATES, HYPOTHETICAL PERFORMANCE ANALYSIS OR OTHER FINANCIAL INFORMATION CONTAINED IN SUCH MODELS. ACTUAL RESULTS MAY VARY MATERIALLY FROM THE HYPOTHETICAL RESULTS CONTAINED HEREIN. ASSUMPTIONS INVOLVE SIGNIFICANT ELEMENTS OF SUBJECTIVE JUDGMENTS AND ANALYSES AND CHANGES THERETO AND/OR CONSIDERATION OF DIFFERENT OR ADDITIONAL FACTORS COULD HAVE A MATERIAL IMPACT ON THE RESULTS INDICATED. EACH RECIPIENT HEREOF MUST MAKE ITS OWN EVALUATION OF SUCH FINANCIAL MODELS (INCLUDING THE ASSUMPTIONS ON WHICH THEY ARE BASED). RIVER ROCK DOES NOT ASSUME ANY RESPONSIBILITY FOR THE ACCURACY OR VALIDITY OF SUCH FINANCIAL MODELS OR THE ASSUMPTIONS, HYPOTHETICAL RESULTS, ESTIMATES, HYPOTHETICAL PERFORMANCE ANALYSIS OR ANY OTHER FINANCIAL INFORMATION CONTAINED IN SUCH MODELS. NOTHING CONTAINED HEREIN SHALL CONSTITUTE ANY REPRESENTATION OR WARRANTY AS TO FUTURE PERFORMANCE. RIVER ROCK DOES NOT EXPECT TO UPDATE OR OTHERWISE REVISE THE INFORMATION CONTAINED HEREIN. BY ACCEPTING THIS INVESTOR PRESENTATION, THE RECIPIENT AGREES THAT RIVER ROCK SHALL ASSUME NO LIABILITY FOR ANY INFORMATION CONTAINED HEREIN OR ANY OTHER INFORMATION TO BE MADE AVAILABLE TO THE RECIPIENT BY OR ON BEHALF OF RIVER ROCK IN THE COURSE OF THE RECIPIENT’S EVALUATION OF AN INVESTMENT IN THE TRANSACTION. THIS PRESENTATION IS FOR INFORMATIONAL PURPOSES ONLY AND IS BEING FURNISHED ON A CONFIDENTIAL BASIS TO A LIMITED NUMBER OF ELIGIBLE INVESTORS. THE INFORMATION AND DATA IN THIS INVESTOR PRESENTATION DO NOT PURPORT TO BE ALL-INCLUSIVE OR TO CONTAIN ALL OF THE INFORMATION AND DATA THAT A PROSPECTIVE INVESTOR MAY DEEM MATERIAL TO ITS DECISION TO INVEST IN THE TRANSACTION. ACCORDINGLY, PROSPECTIVE INVESTORS SHOULD CONDUCT THEIR OWN INDEPENDENT INVESTIGATION AND ANALYSIS OF AN INVESTMENT IN THE TRANSACTION AND THE INFORMATION AND DATA SET FORTH HEREIN. THIS PRESENTATION IS NOT AN OFFER TO SELL, OR A SOLICITATION OF AN OFFER TO BUY ANY SECURITY. RIVER ROCK MAKES NO REPRESENTATION WITH RESPECT TO A POTENTIAL INVESTOR’S REGULATORY OR ACCOUNTING TREATMENT. INVESTORS MUST RELY UPON THEIR OWN EXAMINATION OF THE TERMS OF THE TRANSACTION AND UPON HIS OR HER OWN REPRESENTATIVES AND PROFESSIONAL ADVISORS, INCLUDING LEGAL COUNSEL AND ACCOUNTANTS AS TO THE REGULATORY AND ACCOUNTING TREATMENT, SUITABILITY FOR SUCH INVESTOR, AND OTHER ASPECTS OF AN INVESTMENT IN THE TRANSACTION. PAST PERFORMANCE IS NOT INDICATIVE OF FUTURE RESULTS. ANY INFORMATION HEREIN REGARDING OTHER TRANSACTIONS IS FROM A DIFFERENT TIME PERIOD AND HAS UNIQUE CHARACTERISTICS. SUCH INFORMATION IS NOT INDICATIVE OF THE CHARACTERISTICS OR PERFORMANCE OF THE CURRENT TRANSACTION. THE ANALYSES CONTAINED HEREIN PRESENTS HYPOTHETICAL RESULTS WHICH MAY NOT BE ATTAINABLE. THE INFORMATION CONTAINED HEREIN IS CONFIDENTIAL AND MAY NOT BE DIVULGED TO ANY PERSON OR ENTITY OR REPRODUCED, DISSEMINATED OR DISCLOSED IN WHOLE OR IN PART. SHOULD THE RECIPIENT DECLINE TO INVEST IN THE TRANSACTION, IT SHALL RETURN THIS INVESTOR PRESENTATION AND ANY OTHER MATERIALS SUPPLIED BY RIVER ROCK AS SOON AS POSSIBLE AND, IN ANY OTHER EVENT, UPON REQUEST, DESTROY ALL COPIES AND EXTRACTS, AND DELETE ALL COMPUTER FILES. 2 2 I. Executive Summary 5 II. Executive Team 12 III. The Opportunity / Industry Summary 22 IV. Development 31 V. Films & Productions 36 VI. Additional Projects 50 4 4 River Rock Films (“River Rock”) is a newly created media company started by seasoned professionals to exploit current favorable conditions in entertainment and thereby generate outsized returns Our business plan is based on several key factors: . Filmed entertainment is capital intensive but production capital remains scarce due to current economic conditions . Studios are concentrating their limited capital on high risk / high reward franchise films but need to continue distributing high quality, third-party films to fill-out their release schedules . Top projects from established producers and directors get crowded out from the studio system; backlog of high quality films are now available for production by River Rock . Entry point is attractive for investors given the lack of available capital: talent costs are lower, distribution economics are more favorable, films are increasingly more global in reach, and the digital opportunity is substantial . Applying a systematic, diversified, and conservative approach to investing in River Rock projects can generate significant returns River Rock is raising $100 million to create, produce and distribute a portfolio of films over 5 years: . River Rock has internally developed and can acquire top projects to produce by partnering with top level talent agents, and established producers, directors . We can leverage our relationships for distribution of River Rock productions . We plan to preserve and diversify capital through co-financing and/or pre-selling foreign rights . A film portfolio can generate cash flow into perpetuity . The plan is highly scalable as a business model By combining management’s experience in producing film and entertainment properties, our relationship with top industry participants, and access to top projects, River Rock is positioned to prosper in this new industry paradigm 5 5 INVESTOR INVESTOR INVESTOR REPORTS FUNDS PROFITS TO TO RIVER ROCK FILMS FILM DEVELOPMENT AND PRODUCTION DISTRIBUTION AND NEW MEDIA • Develops IP and Scripts • Distribution of River Rock Productions • Acquires IP/Scripts/Rights • Music Videos, Gaming, • Produces film & television content • Online content & Soundtracks PARTNERS AND DEAL FLOW DISTRIBUTION PARTNERS ICM$ UTA$ WME$ CAA$ LG/FOX/SONY$ OPEN$ROAD$ NETFLIX$ iTUNES$ A B C D A B C D 6 6 Secures Investors Determines investment policy and strategy Approves acquisitions, dispositions, and financings Manages investor relations, communications and financial reporting Develops Film and TV productions Produces Film, TV and New Media Content Distributes River Rock Productions 7 7 • River Rock Films seeks total capital commitments of $100 million. • Two Types of investments – Class I: $250,000 Unit - Debt Based Convertible Note – 2 Year Commitment with no profit participation – Class II: $500,000 Unit - Debt Based Convertible Note – 5 Year Commitment with profit participation • River Rock Films will focus on the following activities: – Invest in Development, Production, Distribution and Technology used by and for Entertainment Properties to include Feature Film and TV. We intend to finance, produce, market and distribute a slate of independent film(s) (the “Films”) in innovative methods that takes advantage of leading edge developments in film production, financing, and distribution. – Strategically diversify allocating not more than 20% of the total capital in production or distribution costs to any single investment. – Employ purchase options, completion bonds, tax credits, deferrals and leverage budgets to reduce risk to invested capital. 8 8 Capital The Company is targeting $100 million in capital Commitments: commitments. Commitment 2 or 5 years following final closing Period: Terms: 8% per annum interest paid at close of commitment period Extensions: 3 One-year extension upon approval of management Investment California Limited Partnership Structure: Distributions: Class I: 100% to Investors until a 8% compounded annual preferred return. Class II: 100% to Investors until a return of total capital commitment to each investment; then 50% to Investors & 50% to the Company. Distributions are reinvested during commitment period. After the commitment period, profits are distributed as they are realized and paid quarterly. 9 9 River Rock Films has a deep pipeline of first-class studio-quality projects for production, which are developed in house or sourced from its top-level relationships with the following agencies / managers: Talent and Literary Agencies / Managers and Entertainment Law Firms 10 10 Son of director Jack Bunch, Paul grew up in the entertainment industry under the tutelage of a well-respected man who touted, above all else, creative freedom. This has had a lasting effect on Paul and has driven him to write and direct unique film projects that represent his own brand of comedy. Paul has worked in the industry for fifteen years. He studied acting under Howard Fine, finishing in his Master Class. Paul was a member of the Groundlings for 3 years writing and performing in the Sunday Company. He has written many screenplays and has directed several films. As Executive Producer, he just completed a feature with Bradley Cooper, Dax Sheppard and Kristen Bell. (Hit and Run) and is finishing a project with Paul Bunch Terrence Howard and Anita Briem (Pranksters). President He has worked with Producers such as Andre Panay (The Wedding Crashers), Mark Canton (300, Fame) and Julio Caro (The Cell, El Cantante). This
Recommended publications
  • GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
    Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months.
    [Show full text]
  • Runaway Production Problem? the Phenomenon of “Runaway” Film and Television Production from the U.S
    U.S. RUNAWAY FILM AND TELEVISION PRODUCTION STUDY REPORT TABLE OF CONTENTS I. Executive Summary Page 2 II. The U.S. Runaway Film and Television Production Problem – A. Runaway Activity/Trends Page 6 – B. Total Economic Impact Page 11 – C. U.S. Regional Impact Page 15 – D. Direct Labor Impact Page 16 – E. Future Impact Page 17 III. The Causes – A. Production Location Decision Drivers Page 18 – B. Exchange Rates and Factor Costs Page 19 – C. Foreign Tax Incentives Page 20 – D. Total Cost Differences Page 23 – E. Foreign Infrastructure Page 23 – F. The Integrated Approach and Canada Page 24 IV. Study Methodology and Key Terms Page 27 V. About Monitor Company Page 29 1 I. EXECUTIVE SUMMARY “economic” runaways. Note that the study’s scope included theatrical films, films for television, Background television mini-series, and thirty and sixty minute television series. Other types of productions such as In January 1999, the Directors Guild of America commercials, and news and sports programming (DGA) and Screen Actors Guild (SAG) retained were not included. Monitor Company, a leading management consulting firm, to conduct an investigation into What Is The U.S. Runaway Production Problem? the phenomenon of “runaway” film and television production from the U.S. The Guilds (on an The study results show that economic runaway film anecdotal basis) had been noting an accelerating and television productions are a persistent, growing, runaway phenomenon, and the need to create an and very significant issue for the U.S. In 1998, of objective quantitative analysis led to the study being the 1,075 U.S.-developed film and television commissioned.
    [Show full text]
  • Gravity (Cuaron, USA/UK, 2013) Introducing Some Key Points About Production, Distribution and Exhibition
    Gravity (Cuaron, USA/UK, 2013) Introducing some key points about production, distribution and exhibition Production budgets and distribution There are various ways of describing high budget, mainstream films: – blockbusters (the word journalists tend to use) – high grossing films (industry terminology) – ‘tent-pole’ films – also industry terminology, used to describe the high grossing films the industry want to ‘hang’ their other releases on (once audiences have been drawn into the cinema, the idea is that they will return) – high concept films (possibly a more academic term to describe films based on one simple idea that can be easily pitched – often accompanied by a defining soundtrack). High budget films support a studio’s other releases during the year and tend to have budgets of at least $100 million and some can exceed $200 million. The highest budget film is usually quoted asSpider-Man 3 (2007), which had a budget of approximately $258 million. It’s often useful when looking at the US and UK film industries to have a rough idea of the approximate size of films’ production budgets. Generally speaking, the lower the budget, the lower the distribution spend – which means, screening on a more limited range of cinemas and spending less on marketing. The most common ways of describing film production budgets and release patterns are: high, medium and low budget and saturation, wide and limited release. The industry does, however, use more specific categories (such as key cities, selected cities etc.). You can see some of this detail on the UK Film Distributors’ Association’s ‘Launching Films’ website’. Gravity (Cuaron, USA/UK, 2013) Introducing some key points about production, distribution and exhibition Production Distribution Approximate number of screens - USA (UK) Saturation Wide release Limited release release 50 – 2500 max 4500 (500) 3000 (300) (50 – 250 max) ‘Blockbuster’/ $100m + high grossing films Some lower budget blockbusters given wide release Medium budget Approx.
    [Show full text]
  • Paramount Consent Decree Review Public Comments 2018
    COMMENTS OF THE NATIONAL ASSOCIATION OF THEATRE OWNERS U.S. DEPARTMENT OF JUSTICE, ANTITRUST DIVISION REVIEW OF PARAMOUNT CONSENT DECREES October 1, 2018 National Association of Theatre Owners 1705 N Street, N.W. Washington, D.C. 20036 (202) 962-0054 I. INTRODUCTION The National Association of Theatre Owners (“NATO”) respectfully submits the following comments in response to the U.S. Department of Justice Antitrust Division’s (the “Department”) announced intentions to review the Paramount Consent Decrees (the “Decrees”). Individual motion picture theater companies may comment on the five various provisions of the Decrees but NATO’s comment will focus on one seminal provision of the Decrees. Specifically, NATO urges the Department to maintain the prohibition on block booking, as that prohibition undoubtedly continues to support pro-competitive practices. NATO is the largest motion picture exhibition trade organization in the world, representing more than 33,000 movie screens in all 50 states, and additional cinemas in 96 countries worldwide. Our membership includes the largest cinema chains in the world and hundreds of independent theater owners. NATO and its members have a significant interest in preserving an open marketplace in the North American film industry. North America remains the biggest film-going market in the world: It accounts for roughly 30% of global revenue from only 5% of the global population. The strength of the American movie industry depends on the availability of a wide assortment of films catering to the varied tastes of moviegoers. Indeed, both global blockbusters and low- budget independent fare are necessary to the financial vitality and reputation of the American film industry.
    [Show full text]
  • Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
    Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders.
    [Show full text]
  • The Commutation Test and Chris Bacon's Score for Source Code As
    The Commutation Test and Chris Bacon’s Score for Source Code as a Framework for Film Music Pedagogy Aaron Ziegel, Towson University he cinema, whether experienced at the neighborhood multiplex or streamed at home, is arguably the medium through which today’s col- lege-age Americans are most likely to encounter newly composed sym- Tphonic music. Given the ubiquity of the film-viewing experience, students are often eager to learn the tools and methodologies that can equip them to criti- cally assess and more fully comprehend the function of music in movies. The filmSource Code (2011), directed by Duncan Jones and scored by Chris Bacon, provides a particularly effective starting point through which this process can begin.1 This article will discuss the pedagogical potential found in the film’s main titles and the impact of applying a commutation test to this sequence. Although here I address one specific example, the methodology of the commu- tation test is easily adaptable to other circumstances, as the theoretical foun- dation will make clear. While variations on the commutation test are a regular occurrence in many film music classrooms, this essay aims to present an intro- ductory primer that may be of use to instructors interested in an entry point for incorporating film music studies into their teaching. With that in mind, the appendix presents one suggestion for how to create film clips for classroom use. The value of this classroom activity extends beyond providing students with an engaging and memorable learning experience. By situating this analysis I wish to express my gratitude to the many students at Towson University whose feedback and enthusiastic classroom participation, along with suggestions from the anonymous reviewers, helped me to refine the pedagogical approach described in this essay.
    [Show full text]
  • How Are the Major Streaming Services Reshaping the Film Industry
    How Are the Major Streaming Services Reshaping the Film Industry Master Thesis MSc Strategy, Organization and Leadership Submission: May 9th, 2018 Normal pages: 106 (237.228 characters incl. spaces) Supervisor: Mehran Moghaddas (DVIP, INT) Students: Viktoria Vas & Gerda Binkyte Copenhagen Business School 2018 Abstract The paper examines the effects major streaming services, such as Netflix, Amazon, HBO have on the Danish film industry, and seeks to identify how individual producers and independent production companies in the country can exploit the rising opportunities. The research used a mix of deductive and inductive reasoning in the analysis, for which twelve semi-structured in-depth interviews were conducted with industry professionals from Denmark over the course of five weeks. This led to insightful findings that can be used for further researches for both academics and professionals. The analysis built on theories discussed in the literature review; Porter’s five forces (Porter, 1979), supply chain, emerging strategy (Mintzberg, 1987), marketing mix, four trajectories of change (McGahan, 2004). The findings include changes in certain links in the supply chain of film production, such as; affects on producers and film financing, changes in sales and distribution. While for producers SVOD services mainly bring additional financing opportunities, decreasing the power of DFI and the national broadcasters, sales agents and distribution is highly affected. Sales agents will need to adapt to the changing conditions, and transform themselves from traditional sales agents to agents who offer extra services for their clients. Distribution is affected in a way that its release windows system is disrupted and shortening some of these windows might not be avoided in the future.
    [Show full text]
  • Netflix and the Development of the Internet Television Network
    Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation.
    [Show full text]
  • A Social Network Analysis of Coproduction Relationships in High Grossing Versus Highly Lauded Films in the U.S
    International Journal of Communication 5 (2011), 1014–1033 1932–8036/20111014 Producing Quality: A Social Network Analysis of Coproduction Relationships in High Grossing Versus Highly Lauded Films in the U.S. Market JADE L. MILLER Tulane University While mainstream U.S. film production has been derided as following a “lowest common denominator” blockbuster-style logic, the industry has actually produced both popular and highly regarded productions. To imagine an alternative (lower cost, higher quality) Hollywood of the future, this article set out to examine the network structure of coproductions in both high grossing and in highly lauded films in the U.S. market for a recent five-year period. Using social network analysis, this study shows that the funding structures of both types of films were less centralized, dense, and clustered than is commonly believed. Coproduction networks of highly lauded films, however, did exhibit structural differences from their high grossing counterparts that suggest more collaboration and penetrability. If the future of film production looks like the structures of the alternative Hollywood described here, we may see a more cooperative, dispersed, and international industrial structure for the future. If one looks at the funding structure of most films released in American theaters, a pattern of familiar names quickly emerges: Paramount, Universal, MGM, and those of other major movie studios. It’s no secret that the majority of films that achieve mass domestic (and international) promotion and distribution are usually associated with a small elite: an oligarchy of production and distribution, headed by a small group of risk-adverse and notoriously nervous executives.
    [Show full text]
  • 1 Production Information in Just Go with It, a Plastic Surgeon
    Production Information In Just Go With It, a plastic surgeon, romancing a much younger schoolteacher, enlists his loyal assistant to pretend to be his soon to be ex-wife, in order to cover up a careless lie. When more lies backfire, the assistant's kids become involved, and everyone heads off for a weekend in Hawaii that will change all their lives. Columbia Pictures presents a Happy Madison production, Just Go With It. Starring Adam Sandler and Jennifer Aniston. Directed by Dennis Dugan. Produced by Adam Sandler, Jack Giarraputo, and Heather Parry. Screenplay by Allan Loeb and Timothy Dowling. Based on ―Cactus Flower,‖ Screenplay by I.A.L. Diamond, Stage Play by Abe Burrows, Based upon a French Play by Barillet and Gredy. Executive Producers are Barry Bernardi, Allen Covert, Tim Herlihy, and Steve Koren. Director of Photography is Theo Van de Sande, ASC. Production Designer is Perry Andelin Blake. Editor is Tom Costain. Costume Designer is Ellen Lutter. Music by Rupert Gregson-Williams. Music Supervision by Michael Dilbeck, Brooks Arthur, and Kevin Grady. Just Go With It has been rated PG-13 by the Motion Picture Association of America for Frequent Crude and Sexual Content, Partial Nudity, Brief Drug References and Language. The film will be released in theaters nationwide on February 11, 2011. 1 ABOUT THE FILM At the center of Just Go With It is an everyday guy who has let a careless lie get away from him. ―At the beginning of the movie, my character, Danny, was going to get married, but he gets his heart broken,‖ says Adam Sandler.
    [Show full text]
  • BEDTIME STORIES Bobbi
    THIS MATERIAL IS ALSO AVAILABLE ONLINE AT http://www.wdsfilmpr.com © Disney Enterprises, Inc. All Rights Reserved. disney.com/BedtimeStories WALT DISNEY PICTURES Unit Production Manager . GARRETT GRANT Presents First Assistant CREDITS Director . DANIEL SILVERBERG A Second Assistant Director . CONTE MATAL HAPPY MADISON Creatures Designed by. CRASH MCCREERY Production Production Supervisor . ROBERT WEST A CAST CONMAN & IZZY Skeeter Bronson. ADAM SANDLER Production Jill . KERI RUSSELL Kendall . GUY PEARCE An Mickey. RUSSELL BRAND OFFSPRING Barry Nottingham . RICHARD GRIFFITHS Production Violet Nottingham. TERESA PALMER Aspen. LUCY LAWLESS Wendy . COURTENEY COX Patrick . JONATHAN MORGAN HEIT BEDTIME STORIES Bobbi . LAURA ANN KESLING Marty Bronson . JONATHAN PRYCE Engineer . NICK SWARDSON A Film by Mrs. Dixon . KATHRYN JOOSTEN ADAM SHANKMAN Ferrari Guy. ALLEN COVERT Hot Girl . CARMEN ELECTRA Young Barry Nottingham . TIM HERLIHY Directed by . ADAM SHANKMAN Young Skeeter . THOMAS HOFFMAN Screenplay by . MATT LOPEZ Young Wendy . ABIGAIL LEONE DROEGER and TIM HERLIHY Young Mrs. Dixon. MELANY MITCHELL Story by. MATT LOPEZ Young Mr. Dixon . ANDREW COLLINS Produced by. ANDREW GUNN Donna Hynde. AISHA TYLER Produced by . ADAM SANDLER Hokey Pokey Women. JULIA LEA WOLOV JACK GIARRAPUTO DANA MIN GOODMAN Executive Producers . ADAM SHANKMAN SARAH G. BUXTON JENNIFER GIBGOT CATHERINE KWONG ANN MARIE SANDERLIN LINDSEY ALLEY GARRETT GRANT Bikers. BLAKE CLARK Director of BILL ROMANOWSKI Photography . MICHAEL BARRETT Hot Dog Vendor . PAUL DOOLEY Production Designer . LINDA DESCENNA Birthday Party Kids . JOHNTAE LIPSCOMB Edited by. TOM COSTAIN JAMES BURDETTE COWELL MICHAEL TRONICK, A.C.E. Angry Dwarf . MIKEY POST Costume Designer . RITA RYACK Gremlin Driver . SEBASTIAN SARACENO Visual Effects Cubby the Supervisor. JOHN ANDREW BERTON, JR. Home Depot Guy .
    [Show full text]
  • MADE in HOLLYWOOD, CENSORED by BEIJING the U.S
    MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence 1 MADE IN HOLLYWOOD, CENSORED BY BEIJING The U.S. Film Industry and Chinese Government Influence TABLE OF CONTENTS EXECUTIVE SUMMARY I. INTRODUCTION 1 REPORT METHODOLOGY 5 PART I: HOW (AND WHY) BEIJING IS 6 ABLE TO INFLUENCE HOLLYWOOD PART II: THE WAY THIS INFLUENCE PLAYS OUT 20 PART III: ENTERING THE CHINESE MARKET 33 PART IV: LOOKING TOWARD SOLUTIONS 43 RECOMMENDATIONS 47 ACKNOWLEDGEMENTS 53 ENDNOTES 54 Made in Hollywood, Censored by Beijing: The U.S. Film Industry and Chinese Government Influence MADE IN HOLLYWOOD, CENSORED BY BEIJING EXECUTIVE SUMMARY ade in Hollywood, Censored by Beijing system is inconsistent with international norms of Mdescribes the ways in which the Chinese artistic freedom. government and its ruling Chinese Communist There are countless stories to be told about China, Party successfully influence Hollywood films, and those that are non-controversial from Beijing’s warns how this type of influence has increasingly perspective are no less valid. But there are also become normalized in Hollywood, and explains stories to be told about the ongoing crimes against the implications of this influence on freedom of humanity in Xinjiang, the ongoing struggle of Tibetans expression and on the types of stories that global to maintain their language and culture in the face of audiences are exposed to on the big screen. both societal changes and government policy, the Hollywood is one of the world’s most significant prodemocracy movement in Hong Kong, and honest, storytelling centers, a cinematic powerhouse whose everyday stories about how government policies movies are watched by millions across the globe.
    [Show full text]