KILLDEER: A DOCUMENTARY FILM

BY SEAN FLANAGAN

MAY 2010 BUSINESS PLAN

EXECUTIVE STATEMENT

WE ARE PROUD TO ANNOUNCE FISCAL SPONSORSHIP FROM:

EVERY AUTUMN A GROUP OF RETIRED BABY BOOMERS TRAVEL TO KILLDEER, NORTH

DAKOTA, ON A HUNTING TRIP DESIGNED TO BE AN ESCAPE FROM THEIR DAILY LIVES.

WHAT THEY OFTEN DON’T NOTICE IS THAT KILLDEER IS A TOWN BEING RAVAGED BY THE

OIL INDUSTRY, AND THE PANGS OF A BLEAK FUTURE AND DYING OLD WEST CULTURE.

I. THE PRODUCERS PRESENT “KILLDEER” A FEATURE DOCUMENTARY FILM FOR

THEATRICAL DISTRIBUTION. THE FILM BLENDS THE TECHNIQUES OF NARRATIVE

FILMMAKING WITH REAL WORLD CHARACTERS TO TELL THE STORY OF A GROUP OF

AGING SPORTSMEN, OIL MEN, COWBOYS AND INDIANS. WHILE TOPICAL AND FULL OF

UNIVERSAL THEMES, WE ARE ALSO TAPPING INTO NICHE MARKETS THAT HAVE GONE

WIDELY UNTOUCHED BY HOLLYWOOD.

II. THE PRODUCTION TEAM IS CURRENTLY SEEKING AN INVESTMENT OF TWO HUNDRED

THIRTY-FOUR THOUSAND DOLLARS ($234,000 USD) TO FUND THE ENTIRE FILM

PRODUCTION.

III. BECAUSE OF OUR SPONSORSHIP WITH NYFA, WE ARE ABLE TO GUARANTEE A 100% TAX DEDUCTION FOR ANY DONATIONS THROUGH THIS NON-PROFIT ORGANIZATION. NYFA IS ABLE TO PROVIDE ALL NECESSARY TAX FORMS AND INFORMATION TO THIS

MATTER ENSURING ACCURATE AND PROFESSIONAL HANDLING OF FUNDS.

IV. ANY INTEREST FOR INVESTMENT OUTSIDE OF THESE DONATIONS MAY BE HANDLED

SEPERATELY ON A CASE BY CASE BASIS, WITH APPROPRIATE CREDIT, POINTS ON THE

BACKEND OR RETURN ON INVESTMENT (ROI) TO BE CALCULATED AS NEEDED.

V. AS NORTH DAKOTA IS ONE OF THE FEW STATES THAT DOES NOT HAVE A SOLID FILM

COMMISSION OR INCENTIVES, WE ARE LOOKING AS GRANTS AND SPONSORSHIPS TO

OFFSET THIS FACTOR. THESE TACTICS WILL BE ADDRESSED LATER IN THE PLAN.

VI. OUR TEAM TAKES PRIDE IN IMPLIMENTING A NARRATIVE FILM TECHNIQUE, WHICH

MEANS AS OPPOSED TO MONTHS AND YEARS OF DOCUMENTARY SHOOTING, WE

HAVE CRAFTED A TIME SENSITIVE STORY THAT ALLOWS FOR A TIGHT AND INTENSE

SHOOTING SCHEDULE OF JUST A FEW WEEKS. THIS HELPS US TO ENSURE KEEPING ON

BUDGET, WITH OUR OWN TIME TABLES AND THE DELIVERY TO DISTRIBUTION.

ABOUT “K ILLDEER”

“KILLDEER” IS A NON-FICTION FILM THAT FINDS A GOOD DEAL OF ITS ROOTS IN THE

WESTERN FILM GENRE DESPITE ITS DOCUMENTARY NATURE. THE STRUCTURE OF OUR

STORY COULD BEST BE COMPARED TO A PEBBLE’S RIPPLE EFFECT INTO WATER.

THE STORY BEGINS WITH A GROUP OF HUNTERS REUNITING ON THE EDGE OF THE

BADLANDS, COMING FROM ALL CORNERS OF THE UNITED STATES, FOR A TWO WEEK LONG

HUNTING TRIP. THIS HAS BEEN AN ANNUAL CUSTOM THAT NOW SPANS THREE DECADES.

WITH THE LONG STANDING RELATIONSHIP TO THE PEOPLE AND LANDSCAPE OF

NORTH DAKOTA, THE HUNTERS ARE OUR PEBBLE BEING DROPPED INTO THE PLAINS. FROM

THERE THE MEN BEGIN TO INTERACT WITH THE TOWN OF KILLDEER AND ITS CITIZENS,

THROUGH SOCIAL VISITS AND INTERACTIONS AT THE ONLY RESTAURANT IN TOWN, THE

REGIONAL CASINO ON A NATIVE AMERICAN RESERVATION AND THROUGH THE PLAINS AS

THEY HUNT, FISH AND ENJOY THE SCENERY.

AS THEY VENTURE FURTHER OUT OF KILLDEER, OUR FILM BEGINS TO LOOK AT THE

MODERN LIFE OF THE NATIVE AMERICAN TRIBES AND THEIR EVOLUTION / INTERACTION

WITH THE LOCAL RESIDENTS AND THE HUNTERS THEMSELVES. THOUGH THE CONNOTATIONS

AND THE RELATIONSHIPS HAVE GREATLY EVOLVED, WE ARE ESSENTIALLY LOOKING AT THE

CURRENT EXISTENCE OF A LANDSCAPE DOMINATED BY COWBOYS AND INDIANS.

UNDERNEATH ALL OF THESE DYNAMICS LIES THE FINAL ARC OF OUR FILM: THE OIL

INDUSTRY. THE BAKKEN SHALE, THE LARGEST OIL DEPOSIT IN HISTORY, HAPPENS TO BE

SITTING UNDERNEATH THE BADLANDS AND IS JUST NOW BEGINNING TO BE TAPPED INTO,

THOUGH RARELY RELEASED INTO THE MARKET. WHILE MANY RESIDENTS HAVE COME INTO

A WINDFALL OF CASH FOR MINING RIGHTS, OTHERS HAVE LEFT THEIR CAREERS TO WORK

FOR THE OIL COMPANIES DRIVING THE TRUCKS FOR A VERY HIGH HOURLY RATE.

TOGETHER THESE ELEMENTS CREATE A

COMPLEX DYNAMIC OF STORIES AND

CHARACTERS FOR THE FILM. FOR MANY THE

REGION IS A SERENE PARADISE, ONE OF THE

LAST VESTIGES OF THE OLD WEST CULTURE,

FOR OTHERS IT’S THE GATEWAY TO A NEW BIG

BUSINESS. HALF OF THE TOWN HAS BECOME

RICH OVERNIGHT, WHILE OTHERS HAVE FOUND

NEW CAREER CALLINGS. OUR GOAL IS TO

REMAIN OBJECTIVE AS WE EXPLORE ALL OF

THESE DYNAMICS AND LET THE HUNTERS,

COWBOYS, INDIANS, OIL MEN AND

TOWNSPEOPLE SHARE THEIR STORIES WITH THE

WORLD, AS IT WILL BE THE FIRST OPPORTUNITY

FOR MANY OF THESE DEMOGRAPHICS TO FIND A

VOICE IN MAINSTREAM MEDIA WITHOUT BEING BLASTED BY LIBERALS OR CONSERVATIVES.

THE TOWN OF K ILLDEER

KILLDEER HAS A POPULATION OF 713 (LAST CENSUS). IN A REMOTE REGION OF NORTH

DAKOTA, IT LIES ON THE EDGE OF THE BADLANDS, A BEAUTIFUL NATURALLY GREEN AND

LUSH LANDSCAPE AKIN TO THE GRAND CANYON. SPRINKLED AMONGST THE HILLS ARE THE

REMAINS OF NATIVE AMERICAN TRIBES SUCH AS MANDAN, ARIKARA AND HIDATSA.

ONCE INSIDE THE TOWN OF

KILLDEER, WE EXAMINE THE CITIZENS

AND EVENTS THAT HAVE BEEN SHAPING

THEIR LIVES. MOST SIGNIFICANTLY, FOR

THE SECOND TIME IN THIRTY YEARS, THE

OIL INDUSTRY HAS COME TO DRILL IN

THEIR REGION. IN THE 1980’S THE ENTIRE

TOWN STRUCK A CASH MOUND WHEN OIL

WAS TAPPED, LEADING THEM TO SPEND IT

ALL ON EXTRAVAGANCES THEY HAD

NEVER THOUGHT THEY COULD AFFORD IN THEIR MODEST SETTING. WHEN THE BUSINESS

DECIDED TO TAKE A BREAK, THE ENTIRE TOWN WAS LEFT ABRUPTLY AND IN MAJOR DEBTS.

TWENTY YEARS LATER, THE OIL INDUSTRY IS BACK AND PAYING EXORBITANT AMOUNTS OF

MONEY TO DRILL ON PRIVATE LAND.

BEING AS REMOTE AS KILLDEER IS, WITH DRASTIC SEASONAL SHIFTS, THE

LIFESTYLE OF THE TOWN CAN ONLY BE DESCRIBED AS MAKESHIFT. WHILE SUMMERS

ALLOW FOR OUTDOOR ACTIVITIES LIKE SWIMMING, FISHING, HORSEBACK RIDING, HUNTING

AND SPORTS, THE WINTERS CAN REACH SEVENTY DEGREES BELOW ZERO. CHILDREN OFTEN

WON’T EVEN MAKE THE TREK TO SCHOOL BECAUSE ANY DIRECT EXPOSURE TO THE WINDS

AND COLD CAN BE PHYSICALLY PAINFUL.

IT IS ONE OF OUR MAJOR GOALS THAT WE BRING AS MUCH LOVE AND SUPPORT TO

THE TOWN OF KILLDEER AND THE SURROUNDING AREA AS IT IS BEEN SUPPORTIVE OF NOT

ONLY OUR PROJECT DEVELOPMENT, BUT THE HUNTERS FOR THE PAST THIRTY YEARS. ANY

BUDGETARY EXPENSES OR CREW NEEDS WE HAVE, WE ARE LOOKING TO BRING DIRECTLY TO

THE LOCAL BUSINESSES AND ECONOMY AS OUR WAY OF SAYING THANK YOU.

THE NATIVE AMERICANS

ONE OF THE PREDOMINANT CULTURES TO THE MID-WEST IS THE REMAINING

PRESENCE FELT BY THE NATIVE AMERICAN POPULATION, IN THIS AREA THE MANDAN,

ARIKARA AND HIDATSA.

WHILE ITS BEEN SAID THAT SOME LOCALS AND NATIVES DON’T INTERACT OFTEN OR

DIRECTLY, OUR HUNTERS HAVE FORMED STRONG FRIENDSHIPS WITH EVERYONE WHO

CROSSES THEIR PATH, INCLUDING THE LATE AUGUST LITTLE SOLDER AND HIS FAMILY,

PROMIMINENT TRIBAL MEMBERS AND RODEO CHAMPIONS.

IT IS OF GREAT IMPORTANCE TO OUR PROJECT TO PROPERLY SHOWCASE THE

EVOLUTION OF NATIVE CULTURE AS IT IS THE ONE INDIGINOUS PEOPLE TO NORTH AMERICA

AND ONE THAT HAS RARELY BEEN SEEN IN HOLLYWOOD OR MAINSTREAM MEDIA. GONE

ARE THE OLD FASHION COWBOY & INDIAN MOVIES, BUT NO ONE HAS THOUGHT TO EXPLORE

WHAT MODERN TECHNOLOGY AND SOCIETY HAS DONE TO THE PRESERVATION OF THE

CUSTOMS, ART AND ORAL TRADITIONS OF THE TRIBES.

THIS INTERACTION WITH OUR HUNTERS RANGES FROM THE HUNTING / GAMING

BUREAU IN NEW TOWN TO THE RESIDENTS WHO ALLOW THE MEN TO HUNT THEIR LANDS

AND THE 4 BEARS INDIAN CASINO THAT BOASTS THE LARGEST SOCIAL GATHERING IN

VIRTUALLY A HUNDRED MILE RADIUS OF THE TOWN OF KILLDEER.

IN MARKETING AND HONORING THE FILM, AS WE WILL EXPLORE LATER ON, THERE

ARE SOME 4.5 MILLION NATIVE AMERICANS PER THE CENSUS WHO HAVE YET TO SEE A

FILM ACCURATELY DEPICT THE DAILY LIFE

AND STRUGGLES THEY FACE. THIS IS JUST ONE

OF MANY VALUABLE DEMOGRAPHICS OUR

FILM WANTS TO BOTH HONOR AND EMPHASIS

IN A BUSINESS SENSE, AS UNTAPPED MARKETS

ALLOW FOR A MAXIMUM POSSIBLE SUCCESS

FOR OUR FILM AND ITS INVESTORS AND

SPONSORS.

THE OIL INDUSTRY

UNLIKE A TYPICAL DOCUMENTARY, IT IS NOT OUR INTENT TO DIRECTLY VILLAINIZE

THE OIL INDUSTRY. WHILE THE ENVIRONMENT AND BUSINESS PRACTICES SHOULD BE

EXAMINED, WE ALSO SEE MANY JOBS BEING PROVIDED TO A COMMUNITY LIVING BELOW

THE POVERTY LINE AND THE POTENTIAL FOR DOMESTIC OIL TO REPLACE DEPENDENCY ON

INTERNATIONAL RELATIONS AND POLITICS.

BECAUSE OF THIS STANCE WE HAVE GAINED UNPRECEDENTED ACCESS TO THE OIL

COMPANIES THROUGH CONTACT OIL EXECUTIVE RUSSELL WILLIAMS, WHO WILL BE

PUTTING US IN TOUCH WITH THOSE WORKING THE OIL FIELDS OF NORTH DAKOTA. WE WILL

BE GRANTED ACCESS TO INTERVIEW SUBJECTS AND THE RIGS THEMSELVES, WHICH HAS

NEVER BEEN TRULY ACCOMPLISHED BY FAR LEFT INDIVIDUALS LIKE MICHAEL MOORE.

THE FACTS AND INSIGHTS WE WILL BE OBTAINING FROM THESE SOURCES WILL ONLY

HELP TO FURTHER ILLUMINATE THE COMPLEXITY OF THE ISSUE AND ENABLE OUR

DOCUMENTARY TO CONTINUE TO STAND OUT AS THE LEADING SOURCE ON THIS ISSUE FOR

YEARS TO COME.

LOGISTICS OF FILMING

THE MEN GO HUNTING THE SAME TIME EVERY YEAR, ROUGHLY THE LAST TWO

WEEKS OF SEPTEMBER, LEADING THE CORE OF OUR FILMING TO BE SEPTEMBER 2010 TO

CORRESPOND WITH THEIR TRIP AND THE HUNTING SEASON IN NORTH DAKOTA.

THE HUNTERS STAY IN CABINS AT THE

EASTVIEW CAMPGROUNDS, OVERLOOKING

THE BADLANDS. UNLIKE SOME PREVIOUS

YEARS WHERE THE HUNTERS STAYED IN

INDIVIDUAL MOTEL ROOMS, THIS LODGE

PROVIDES THEM WITH COMMUNAL SPACE,

WHICH MAXIMIZES THE POTENTIAL FOR THEM

TO INTERACT WITH ONE ANOTHER AND SPEND

TIME DRINKING AND SHARING STORIES WITH US. IT WILL CUT COSTS OF OTHERWISE

INTERVIEWING EVERYONE SEPARATELY, BUT WILL PROVIDE FOR THE MOST INTRIGUING

STORIES AND CAMERA TIME. THE HUNTERS’ CABIN, THE GRAND VIEW, COMES WITH A

BBQ AND BALCONY OVER HANGING THE BADLANDS, WHERE SUNLIGHT EXPOSURES MAKE

FOR CAPTURING BEAUTIFUL SHOTS OF SCENERY AS THEY MOVE ABOUT, AS WELL AS

PROVIDE OTHER LAND AND BREATHTAKING SUNRISE/SUNSET INSERTS.

OUR FILM WILL BE SHOOTING ON A TIGHT

SCHEDULE, ALLOWING MAXIMUM IMPACT

OF OUR PROJECTED BUDGET. WE ARE

TREATING OUR DOCUMENTARY LIKE A

NARRATIVE FILM WHICH ENSURES IT WILL

BE COMPLETED ON TIME AND TO THEATRES

IN A TIMELY FASHION. WE ARE DOING SO IN

A VOTE OF CONFIDENCE TO THE POWER OF

OUR STORY, THAT UNLIKE OTHER

DOCUMENTARIES THAT SPEND MONTHS AND YEARS WAITING FOR STORY TO DEVELOP, WE

HAVE OBTAINED ACCESS TO ENOUGH MATERIAL AND SUBJECT MATTER TO CREAT A

POWERFUL STORY THAT ONLY DEMANDS A BRIEF INTENSIVE FILM SHOOT.

AS INSURANCE TO THIS PRACTICE WE WILL BE SHOOTING ON A COMBINATION OF

FILM AND DIGITAL, DEPENDING ON THE NATURE OF THE DAY’S SHOOT. WITH OUR SCENIC

LANDSCAPE AND BREATHTAKING VIEWS WE WILL BE FOCUSING ON FILM TO ENSURE THE

RICHEST COLOR AND QUALITY OF IMAGE AND TONE. FOR OUR INTERVIEW SEGMENTS WE

WILL BE SHOOTING IN DIGITAL, WHICH WILL ALLOW US INSTANT PLAYBACK AND

UNLIMITED TIME/ENERGY TO BE SPENT WITH OUR SUBJECTS, ENSURING OUR SUBJECTS WILL

BE ABLE TO SHARE WITH US ALL THE INFORMATION THEY ARE CAPABLE OF.

HELPING US WITH OUR FILM NEEDS IS THE SUPPORT OF CSC RENTALS, A FILM

RENTAL HOUSE WHERE OUR DP BILLY GREEN AND A LARGE PORTION OF OUR CREW

LEARNED THEIR CRAFT BEFORE GOING OUT AS FREELANCING PROFESSIONALS.

ABOUT OUR CREW

OUR CREW PRIDES ITSELF IN BEING A TIGHT KNIT GROUP WHO HAS WORKED TOGETHER

OVER NUMEROUS PROJECTS, ANOTHER GUARANTEE FOR THE FIELD THAT WE WILL WORK

COOPERATIVELY AND CONSICELY WITHOUT ANY DELAYS IN SHOOTING.

WRITER / DIRECTOR – SEAN FLANAGAN

BORN AND RAISED IN MILLBROOK, NEW YORK, SEAN IS A

GRADUATE OF THE NEW SCHOOL WHERE HE STUDIED

CREATIVE WRITING AND FILM STUDIES. WHILE THERE HE

USED HIS TIME TO WORK WITH TIME OUT NEW YORK, RK

FILMS, HBO FILMS, NIELSEN’S MEDIA AND FOX NEWS AS

SUPPLEMENT TO HIS EDUCATION. SINCE GRADUATING, HE

HAS STRATEGICALLY WORKED ALL ASPECTS OF

PRODUCTION IN AN EFFORT TO BETTER UNDERSTAND AND

MASTER THE ENTIRE PROCESS OF FILM AND TV

PRODUCTION. WRITING, CASTING, LOCATIONS,

COORDINATING/MANAGING, DIRECTING AND POST PRODUCTION ARE ALL ASPECTS SEAN IS

WELL VERSED IN THANKS TO CAREFULLY SELECTED WORK WITH MTV, SPORTS

ILLUSTRATED, GANNETT NEWS, VOX3 FILMS AND VARIOUS INDEPENDENT FILM, TV AND

MULTI-MEDIA PROJECTS. SEAN HAS RECENTLY BEGUN WORKING ON THE 3-D

DOCUMENTARY “TRANSFIGURATIONS” WHICH STARS RENOWNED ARTIST ALEX GREY AND

HAS ATTRACTED INTEREST FROM TOP PRODUCERS. WITH TWO SCRIPTS IN DEVELOPMENT AT

SILVERLINE CINEMAS AND “KILLDEER,” A DOCUMENTARY BEING SHOPPED AROUND, THIS

HAS ALL LED SEAN TO A PLACE WHERE HE IS ABLE TO SPEARHEAD AN ENTIRE PRODUCTION

WITH THE FULL UNDERSTANDING OF THE HARD WORK AND PASSION THAT MUST COME FROM

EVERY DEPARTMENT.

PRODUCER - ISAAC BETANCOURT

BORN IN SAN PEDRO SULA, HONDURAS RAISED

PARTIALLY IN SOUTH FLORIDA AND NEW YORK CITY,

ISAAC BETANCOURT-SABILLON IS A GRADUATE OF LONG

ISLAND UNIVERSITY WHERE HE RECIEVED HIS BA IN

MEDIA STUDIES/ BUSINESS. AS A YOUNG

PROFESSIONAL ISAAC WORKED IN INFORMATION

TECHNOLOGY IN MARKETING & SALES FOR TWO OF THE

LARGEST IT COMPANIES IN THE WORLD, SYMANTEC

& DYNTEK CORP. AS AN ACTOR ISAAC HAS WORKED ALONGSIDE NAMES LIKE UMA

THURMAN, LUKE WILSON, EDDIE IZZARD, DENNIS FARINA, FRANK WHALEY, ANNA

FARRIS AND PRODUCER/DIRECTOR IVAN REITMAN. HONING IN ON HIS LOVE FOR FILM,

ISAAC CHANGED CAREER PATHS AND HIT THE GROUND RUNNING AS AN ASSISTANT

DIRECTOR & PRODUCER ON SEVERAL SHORT FILMS AND A CO-PRODUCER OF THE

FEATURE FILM "THE FESTIVAL OF LIGHT" STARRING AIDEN QUINN. SINCE THEN HE HAS

WORKED AS A PRODUCTION COORDINATOR FOR THE FEATURE "REMEMBER NAIXING."

ISAAC IS CURRENTLY WRITING HIS OWN FEATURE SCREENPLAY ALONG WITH WRITING A

SKETCH COMEDY TREATMENT FOR A PILOT WHILE CONTRIBUTING HIS TIME TO

"KILLDEER".

DIRECTOR OF PHOTOGRAPHY – BILLY GREEN

HAILING FROM LONG ISLAND AND COMING OUT OF SUNY

ALBANY WITH A DEGREE IN JOURNALISM AND MUSIC,

BILLY GREEN FOUND HIS CALLING IN FILM WORK AND

FOLLOWED FAMILY FOOTSTEPS INTO THE CAMERA

DEPARTMENT. HE WENT TO WORK FOR ARRI CSC

RENTALS WHERE HE WAS ABLE TO LEARN THE INS AND OUTS

OF THE FIELD. STRIKING OUT ONTO HIS OWN, BILLY

TRAVELED TO INDIA TO PRODUCE AND DIRECT HIS OWN

FILM ENTITLED INDIA IN CRISIS. BEFORE LONG, BILLY WAS WORKING ON MUSIC VIDEOS,

RED CARPET EVENTS AND COMMERCIALS FOR CLIENTS SUCH AS GNARLS BARKLEY, CHRIS

DAUGHTRY, ALICIA KEYS, KELLY ROWLAND, RYAN SEACREST, CAM’RON, L’OREAL AND

MORE. A MAJOR STEP FORWARD CAME FOR BILLY WHEN HE SIGNED ON TO HELP PRODUCE

AND SERVE AS DP FOR A 3-D DOCUMENTARY FILM SHOOT SURROUNDING ALEX GREY AND

CRYSTAL METHOD. SINCE THEN BILLY HAS WORKED WITH AWARD WINNING

DOCUMENTARIAN MORGAN SPURLOCK (SUPER SIZE ME ) ON AN UPCOMING FILM PROJECT.

BILLY IS NOT ONLY A STEADICAM CERTIFIED OWNER AND OPERATOR BUT SKILLED IN ALL

ASPECTS OF SHOOTING INCLUDING A PADI CERTIFICATION FOR UNDERWATER OPERATING.

WHILE AT ARRI CSC, HE NOT ONLY STUDIED ALL ARRIFLEX CAMERAS, LENSES AND

ACCESSORIES, BUT ALL OF THE CAMERAS, ACCESSORIES, UNDERWATER HOUSINGS AND

LIGHTING SYSTEMS ON THE MARKET, PASSING THE LOCAL 600 EASTERN REGION

ASSISTANT ADMISSIONS TEST WITH A SCORE OF 90% AND A PLACEMENT OF 2ND OVERALL.

PHOTOGRAPHER – EDOUARD HR GLUCK

EDOUARD HR GLUCK IS A PHOTOGRAPHER WHO IS POISED TO

MAKE HIS FILM DEBUT ACTING IN PAUL GREENGRASS’ “GREEN

ZONE” IN 2010, WHICH CO-STARS MATT DAMON, GREG

KINNEAR AND AMY RYAN. AS A WORKING JOURNALIST HE

HAS TRAVELED AND MADE A NAME FOR HIMSELF BY GOING

INTO IRAQ TO DOCUMENT THE CURRENT CONFLICT.

EDOUARD’S IMAGES ARE FUELED BY THE SIMPLE PREMISE

THAT ALL THINGS ARE INDEED PHOTOGRAPHABLE, BUT

CAPTURING THEM WITH HEART…WILL YIELD EXTRAORDINARY RESULTS. HIS

PHOTOGRAPHS HAVE APPEARED IN PUBLICATIONS SUCH AS GQ MAGAZINE, TIME, STERN,

PDN ONLINE, THE WALL STREET JOURNAL, INTERNATIONAL HERALD TRIBUNE, GUARDIAN

UK, NEWSWEEK, USA TODAY, THE CHICAGO TRIBUNE AND ON AWARD WINNING

BROADCAST PROGRAMS INCLUDING CNN’S AMERICAN MORNING, ANDERSON COOPER

360,NEWSNIGHT WITH AARON BROWN, CBS SUNDAY MORNING NBC’S TODAY SHOW, AND

NIGHTLY NEWS WITH BRIAN WILLIAMS. HE HAS WORKED FOR THE NFL, THE HISTORY

CHANNEL, AND THE U.S. DEPARTMENT OF DEFENSE. HIS FIRST BOOK CONTRIBUTION IS TO

THE CONDE NAST PUBLICATIONS-GQ MAGAZINE PROJECT, “THIS IS OUR WAR: A SOLDIERS

PORTFOLIO”.

PRODUCTION MANAGER – MONICA VEGA

MONICA-TEZLA SOLIS VEGA-GORSUN BOASTS A BA IN

SPANISH WITH A CONCENTRATION IN GEOLOGY FROM

APPALACHIAN STATE UNIVERSITY AND A BFA IN

CINEMATOGRAPHY CANDIDATE FROM THE NORTH

CAROLINA SCHOOL OF THE ARTS. SHE HAS ALSO STUDIED

SPANISH LITERATURE IN SPAIN AND AT LA UNIVERSIDAD

NACIONAL EN HEREDIA, COSTA RICA. HER LOVE OF

DOCUMENTARIES AND CINEMA BEGAN WHEN SHE WAS AN

ELEMENTARY SCHOOL TEACHER, USING THESE MEDIUMS

TO REACH OUT TO HER STUDENTS TO HAVE A BETTER

UNDERSTANDING OF LATIN AMERICAN CULTURE. HER CREDITS INCLUDE SUCH FILMS AS

JUNEBUG, MICHAEL CLAYTON AND GRAVEDANCERS. CURRENTLY MRS. VEGA-GORSUN

RESIDES AND WORKS IN NEW YORK CITY AND HAS WORKED ON COMMERCIALS FOR CENSUS

2010, WENDY’S, MACY’S, AT&T, SESAME STREET, NEW YORK STOCK EXCHANGE AND MORE.

MONICA IS IN DEVELOPMENT FOR THREE OTHER FEATURE FILMS WHILE CONTRIBUTING TO

“KILLDEER.”

SUPPORT - PETER FRUCHTMAN SUPPORTING OUR WORK AND TEAM IS INVESTOR

AND EXECUTIVE PRODUCER PETER FRUCHTMAN

OF DRO ENTERTAINMENT. THIS COMPANY HAS

FINANCED AND WORKED IN FILMS SUCH AS THE

UPCOMING “MACHETE” BY ROBERT RODRIGUEZ,

“BLACK SWAN” BY DARREN ARONOFSKY AND

STARRING NATALIE PORTMAN, “HESHER” WITH JOSEPH GORDON-LEVITT AND

“EVERYTHING MUST GO” WITH WILL FERRELL.

A K ILLDEER FIRST LOOK BUDGET

Project: “Killdeer”

Format: Arri 16SR3 Camera Producer/Director: Sean Flanagan Prep: 21 Days Producer: Isaac Betancourt Shoot: 18 Days (Over 3 wks) Locations: New York, North Dakota Wrap: Post: 42 Days Budget Date: 3/20/2010 Total:

ABOVE THE LINE TOTAL BUDGET

1000 Pre-Production and Development 5,000

2000 Producing Staff 50,000

3000 Rights, Music and Talent 10,000

TOTAL ABOVE THE LINE (A) 65,000

BELOW THE LINE TOTAL BUDGET

4000 Crew & Personnel 55,000

5000 Production Expenses 20,000

6000 Travel and Related Expenses 20,000

7000 Post-Production 30,000

8000 Insurance 3,000

9000 Office & Administration Costs 1,000

10000 Other Required Item 3,000

SUBTOTAL 132,000

TOTAL BELOW THE LINE (B) 132,000

SUBTOTAL (ATL + BTL) 197,000

CONTINGENCY (10%) 19,700

FISCAL SPONSOR FEE (8.0%) 17,336

GRAND TOTAL 234,036

KILLDEER: ENTERING THE MARKET

DUE TO OUR PAST WORK IN THE FINACIAL AND MARKETING FIELDS, OUR TEAM HAS

WORKED ON THE FRUITION OF THE BUSINESS SIDE OF OUR FILM SIMULTANEOUSLY WITH THE

CREATIVE ELEMENTS, PUTTING US AHEAD OF THE CURVE IN THE DOCUMENTARY REALM. AS

YOU WILL SEE, THIS COMES TO INCLUDE LOOKS AT COMPARATIVE FILM RELEASES,

MARKETING, PRESS CONTACTS AND PROMOTIONAL TACTICS TO ENSURE THE FILM CATCHES

FIRE AND OFFERS A QUICK RETURN ON INVESTMENT AND PROFIT FOR ALL THOSE INVOLVED.

PRE-PRO MAY 2010

4 WEEKS

JUNE 2010

4 WEEKS

JULY 2010

4 WEEKS

AUGUST

2010

2 WEEKS

PRODUCTION AUGUST 2010

2 WEEKS

PRE-PRO

SEPTEMBER 2010

1 WEEK

PRE-PRO

SEPTEMBER 2010

3 WEEKS

PRODUCTION

POST

PRODUCTION

OCTOBER 2010

4 WEEKS

POST

NOVEMBER 2010

2 WEEKS

POST

DECEMBER 2010

MARKETING

BEGINS

FOR OUR INVESTORS AND SPONSORS, THROUGH OUR VAST NETWORK OF CONTACTS WE HAVE

BEGUN AMASSING A LIST OF MEDIA SOURCES THAT ARE WILLING TO GIVE US TV, PRINT AND

WEB PROMOTIONS THAT WILL BE OUR FIRST

STEP TOWARDS GUARANTEEING A

PROFITABLE FILM AND THE WIDEST POSSIBLE

AUDIENCE FOR ITS THEATRICAL AND DVD

DISTRIBUTION. THAT ALLOWS SPONSORSHIP

TO BE PROMOTED THROUGH THE PRESS KITS,

WEBSITE AND THE FILM ITSELF AS IT TRAVELS

THE COUNTRY AND THE WORLD.

FINDING OUR AUDIENCE

“THEMATIC UNDEREXPOSURE” AS PREVIOUSLY NOTED, MANY OF THE THEMES AND

NARRATIVE ELEMENTS TO OUR STORY ARE ONES THAT ARE RARELY, IF EVER, SEEN ON FILM.

BY CAPTURING THE TRUE ESSENCE AND BEAUTY OF THESE INFLUENCES, AND PROPERLY

MARKETING AND REACHING OUT TO THE APPROPRIATE COMMUNITIES, WE WILL BE TAPPING

INTO A VAST NUMBER OF U.S. CITIZENS WHOM HAVE YET TO SEE A TRUE REFLECTION OF

THEMSELVES ON THE SILVER SCREEN.

ONE OF THE PRIMARY INTERESTS I HAVE IN MARKETING AND DISCUSSING THE FILM

IS THE HUMANIZATION OF THIS GROUP OF HUNTERS. NO MAINSTREAM FILM HAS EVER

NEUTRALLY APPROACHED THE SUBJECT MATTER. WHILE WE ARE NOT PUSHING ANY

AGENDA, WE ARE SHOWING A POSITIVE REINFORCEMENT OF THE PERSONAL REWARDS OF

HUNTING AND MEN WHO TAKE GREAT PRIDE IN THEIR GUNS AS WELL AS THEIR HUNTING

DOGS. WE’D LIKE TO FOCUS, HOWEVER, ON THE HUNTERS AND THEIR TRIP, RATHER THAN

ON GUNS AND POLITICAL POSITIONS.

THE NRA IS AN ORGANIZATION THAT BOASTS AN ACTIVE WEBSITE, REGIONAL

DINNERS AND EVENTS AND A REGULAR MAGAZINE PUBLICATION. TO HAVE THEM ON BOARD

WOULD MEAN A DIRECT TAP INTO MILLIONS OF HUNTERS WHO WOULD BE BROUGHT OUT TO

SEE THE DEPICTION OF HUNTING, THE SENSE OF COMRADERY IN THE MEN AND TO LEARN

ABOUT THEIR TACTICS ON HUNTING, DOG TRAINING AND MORE.

THE FILM, OUTSIDE OF THE HUNTERS WHO

COME FROM AN ARRAY OF BACKGROUNDS,

CONSISTS OF REAL MIDDLE CLASS PEOPLE THAT

STRUGGLE WITH DAY TO DAY ISSUES, HAVE

REAL LIMITATIONS AND PROBLEMS AND CAN

OFTEN BE CONTENT TO DO ALL THEIR SHOPPING

AT A WALMART AND NEVER LEAVE THEIR

SMALL TOWNS OR REGIONS TO EXPLORE

INTERNATIONAL CULTURE. THAT IS TO SAY, IT

CONSISTS OF “MIDDLE AMERICA”. A RELEVANT

GROUP/ORGANIZATION: POPULATION

NATIONAL RIFLE

ASSOCIATION

4,000,000

NORTH DAKOTA (STATE) 650,000

SOUTH DAKOTA (STATE) 775,000

NATIVE AMERICANS 4,500,000

US CITIZENS

(OVER AGE 45)

56,700,000

FARMS IN

CONTINENTAL US

2,000,000

EXAMPLE (ALBEIT A DIFFERENT MEDIUM): IT WAS THIS BASIC LOGIC THAT LED THE TV

SERIES “ROSEANNE” TO BECOME A HIT WITH 20 MILLION WEEKLY VIEWERS THAT JUST

WANTED TO SEE SOMEONE FACE THE PERSONAL AND CULTURAL ISSUES THAT THEY FOUND

THEMSELVES STRUGGLING WITH. AND TODAY, “ROSEANNE” STILL AIRS NIGHTLY ON TV

LAND, WHICH SHOWS HOW MANY AMERICANS STILL RELATE TO THE CHARACTERS OF THAT

SHOW. THE MARKET IS THERE FOR PEOPLE THAT FEEL UNREPRESENTED AND UNABLE TO

IDENTIFY WITH MEDIA CHARACTERS/PERSONALITIES.

IN THE END, ALL OF THESE NUMBERS CLEARLY ADD UP TO A LARGE PERCENTAGE,

PERHAPS OVERLAPPING, OF A POTENTIAL AUDIENCE THAT IS NOT TYPICALLY LOOKED AT IN

THE CONSIDERATION OF INDEPENDENT OR DOCUMENTARY FILM. TO ME, IT IS IMPORTANT

TO CLARIFY AND BRING EVERYONE TO THE SAME PAGE IN REALIZING THAT WE ARE

LOOKING TOWARDS A FILM WITH A NEW BROAD AUDIENCE OUTSIDE OF THE NY/LA

ATMOSPHERE THAT SO MANY SMALL FILMS LOOK TO FIND THEIR PROPELLENT FROM.

BY PROACTIVELY TARGETING THE MOST EXPLICIT DEMOGRAPHICS AND POPULUS OF

THE FILM, AND BY ALLOWING THE LARGER LIBERAL MESSAGE TO LURE IN WHAT COULD BE

CALLED THESE “BOUTIQUE CITY AUDIENCES,” I SEE NO WAY THAT THIS FILM WON’T BE A

BREAKOUT HIT ON AT LEAST THE BASIC LEVEL OF SUCCESS.

IF EVEN 1% OF THE POPULATION FIGURES MENTIONED ABOVE TURN OUT TO SEE

“KILLDEER” IT CAN SAFELY BE SAID WE COULD BE LOOKING AT 1,000,000 TICKET SALES OR

ROUGHLY 10 MILLION DOLLARS AT THE BOX OFFICE.

“BLOWING THE WHISTLE”

FIRST WE MAY LOOK AT THE NUMBERS OF DOCUMENTARIES WHICH SET OUT TO

“BLOW THE WHISTLE” ON ANY NUMBER OF POLITICAL, SOCIAL OR CULTURAL ISSUES. IN

THE PAST DECADE, NUMEROUS DOCUMENTARY FILMS HAVE BEEN RELEASED THAT HAVE

BROUGHT A LARGER CONFLICT/ISSUE TO THE MAINSTREAM ATTENTION. IN TURN, THEY

WERE WELCOMED WITH OPEN ARMS AND REPEATEDLY SHATTERED BOX OFFICE RECORDS

FOR THE DOCUMENTARY FIELD. WITH THE OIL INDUSTRY SUBJECT MATTER BEING BROUGHT

TO THE PUBLIC FORUM, WE RAISE THE POTENTIAL TO BECOME ONE OF THE NEXT FILMS IN

THIS SERIES OF MAINSTREAM SUCCESSES.

OUR PRODUCTION TEAM HAS COME

TO BELIEVE THAT WE ARE TRULY

STANDING AT THE THRESHOLD OF

WHAT MIGHT BECOME AMERICA’S

NEXT GREAT CHALLENGE. WITH

THIS AMOUNT OF OIL BEING TAPPED,

AND UNUSED AT THE MOMENT, WE ARE LEFT WONDERING WHAT THE REASONING IN

OVERSEAS CONFLICT MEANS WHEN WE COULD SUPPORT OURSELVES PEACEFULLY FOR

CENTURIES TO COME. IN A TIME OF PROVEN GLOBAL WARMING AND SEASONAL SHIFTS,

WHAT DOES RAVAGING OUR PLAINS MEAN FOR THE VERY FATE OF THE WORLD?

TO THE LEFT ARE COMPARABLE

NARRATIVE FILMS TO LOOK AT THE

PRESENCE OF SIMILAR THEMES,

CHARACTERS OR LOCALES IN

MAINSTREAM HOLLYWOOD. NOT ALL

OF THESE ARE OBVIOUS

COMPARISONS FOR WHAT THE FINAL

PRODUCT OF “KILLDEER” INTENDS TO

RESEMBLE. BUT IN LOOKING AT THIS

FILM BUDGET GROSS

(WORLDWIDE)

AN

INCONVENIENT

TRUTH

1 MILLION 41.6 MILLION

FARENHEIT 9/11 6 MILLION 220 MILLION

ROGER & ME 160,000 5.6 MILLION

RELIGULOUS 13 MILLION

FILM BUDGET GROSS

FARGO 7 MILLION 60 M

SMOKE SIGNALS 2 MILLION 6.8 M

A RIVER RUNS

THROUGH IT

60 M

LEGENDS OF

THE FALL

30 MILLION 100 M

CITY SLICKERS 36 MILLION 125 M

SEARCHING FOR

THE WRONG EYED

JESUS

80,000 *

INTO THE WILD 15 MILLION 22 M

LIST IT BECOMES CLEAR THAT WE ARE TAPPING INTO AN UNDER- UTILIZED GENRE OF

CHARACTER AND STORY. THESE FICTIONAL STORIES HAVE ALL TURNED A PROFIT OR BEEN

WILD SUCCESSES.

WHETHER SHOCKED BY THE OIL INDUSTRY, REVOLTED BY THE GRAPHIC SKINNING

OF BIRDS, IN STITCHES OVER THE HUNTER’S DIRTY JOKES OR MOURNING THE DYING

CULTURAL TRENDS, OUR FILM IS GOING TO HAVE PEOPLE TALKING AND READING ABOUT IT

AND MOST IMPORTANTLY OF ALL – GOING TO SEE IT

RELEASING THE FILM: FESTIVALS, SCREENINGS AND BEYOND

THERE ARE SEVERAL SPECIFIC FESTIVALS THAT I AM INTERESTED IN PURSUING TO

ATTRACT A PARTICULAR AUDIENCE OF PROFESSIONALS IN RELATED FIELDS OR KEY EVENTS

THAT HELP LEAD TO A WIDER DISTRIBUTION OR AWARDS RECOGNITION.

! SUNDANCE –PLAYING TO THE SENSIBILITIES OF ROBERT REDFORD AND BOARD OF

SCREENERS, THE FILM SHOULD APPEAL TO THEIR INTERESTS.

! WOODSTOCK FILM FESTIVAL – A FESTIVAL THAT IS REGIONAL TO THE

HOMETOWN AND RESIDENCE OF MYSELF AS WELL AS MANY OF THE

HUNTERS/CHARACTERS INVOLVED IN THE FILM, THIS IS A PROJECT THAT SHOULD

PLAY TO THEIR SENSIBILITIES AND HAVE A HOME GROWN FEEL.

! SOUTH BY SOUTHWEST – AN AUSTIN, TEXAS FESTIVAL THAT OFTEN BRINGS LOTS

OF INTERNET AND COMMUNITY ATTENTION THROUGH DIGITAL AND NEW MEDIA

MEANS, ITS TEXAS LOCATION IS ONE THAT WILL ALSO BRING ATTENTION AND

APPEAL TO THE HUNTER POPULATION OF THE SW.

! JACKSON HOLE, WYOMING – A FESTIVAL THAT PRIMARILY FOCUSES ON

ELEMENTS AND THEMES THAT ARE REFLECTED WITHIN THE PROJECT. WHILE NOT A

TITLE HONORARIUM, IT IS AN ENTIRE FESTIVAL AND COMMUNITY THAT WOULD BE

EMBRACING THE SUBJECT MATTER AND IS A KNOWN PLACE FOR OUTLETS LIKE PBS

AND NATIONAL GEOGRAPHIC TO PULL MATERIAL

PRESS & SPREADING THE WORD

WE WOULD LIKE TO INVITE ONE OR TWO JOURNALISTS, ALREADY KNOWN TO US,

ALONG ON THE TRIP WITH US TO WRITE ARTICLES FOCUSING ON NARRATIVE ASPECTS OF THE

FILM AND TOUCHING UPON THE PRODUCTION OF THE FILM THAT CAN BE RELEASED IN

CORRELATION TO PREMIERES OR FESTIVAL DEBUTS OF THE FILM.

MAGAZINE CIRCULATION

GQ 1.2 M

NATIONAL GEOGRAPHIC 8.5 M

ESQUIRE 750 K

MEN’S JOURNAL 700 K

OUTDOORS MAGAZINE 600 K

SMITHSONIAN MAGAZINE 2 M

EW 1.725 M

TIME OUT NEW YORK 140 K

NORTH DAKOTA LIVING 165 K

POUGHKEEPSIE JOURNAL

NEWSPAPER

50 K DAILY

BISMARK NEWSPAPER 27K

NEW YORK POST 725 K

ASIDE FROM HARD PRESS IN THESE MAJOR OUTLETS, WE WILL BE ESTABLISHING A

WEBSITE AS SOON AS POSSIBLE TO CREATE A PRIMARY SOURCE FOR ANY FOLLOWING TO

KEEP UP TO DATE ON OUR PROGRESS, PRODUCTION, AND ANY RELEASES AND PROMOTIONAL

EVENTS THAT WILL KEEP THEM COMING BACK TO THE PROJECT.

SOCIAL AND VIRAL MARKETING WILL BE TAKEN, BUT AS THIS IS A FILM SKEWING

TOWARDS A MORE MATURE AUDIENCE, THE FOCUS IS LESS VITAL ON TOOLS SUCH AS

FACEBOOK, TWITTER AND MYSPACE THAT ATTRACTS TEENAGERS TOWARDS POPCORN

FARE. IN PLACE OF LARGE AND ACTIVE CAMPAIGNS, WE WILL CREATE BASIC FAN PAGES

AND A NETWORK OF FANS TO SEND DIRECT MESSAGES AND NOTES TO, WHICH WILL BE USED

TO BRING OUT THE CAST AND CREW’S PERSONAL SOCIAL NETWORKS AMONGST OTHERS.

BASIC MARKETING STRATEGY WILL BE APPLIED, SUCH AS WEB ANALYTICS, SOCIAL

RETARGETING, SEARCH ENGINE MARKETING, BANNER ADS AND MORE AS WE FINE TUNE

AND FOCUS ON THE HIGHEST RESPONSE DEMOGRAPHICS AND OUTLETS.

BRINGING “K ILLDEER” TO THEATRES

TO HELP TO PROJECT A FAIR COURSE OF THEATRICAL RELEASE FOR KILLDEER, WE

ARE GOING TO LOOK AT THE TRACK OF THE RECENT DOCUMENTARY “THE COVE,” WHICH

FEATURED A GROUP OF ACTIVISTS WHO TRAVELED TO A REGION IN ORDER TO BRING

ATTENTION TO THE MISTREATMENT OF DOLPHINS; A SIMILAR PATH AS OUR OWN FILM. LAUNCH: PREMIERING IN FOUR THEATRES, THE FILM USED THIS LIMITED RELEASE TO ALLOW

THE PRESS AND WORD OF MOUTH TO CATCH UP TO THE FILM’S TRUE RELEASE.

JULY 21ST

2009 4 THEATRES 57,640 US BOX OFFICE

RELEASE: IN ITS SECOND WEEK, THE COVE OPENED TO ITS WIDEST RELEASE.

AUGUST 7TH

2009 56 THEATRES 151,106 B.O. 233,436 US TOTAL

THEATRICAL RUN:

FROM THIS POINT, THE FILM FOLLOWED A TYPICAL RELEASE PATTERN IN WHICH THE

PROGRESSION OF TIME SAW DWINDLING THEATRE NUMBERS AND RETURNS. UNLIKE MOST

FILMS HOWEVER, THE FILM HAS CONTINUED TO SCHEDULE SPORADIC SCREENINGS AND

EIGHT MONTHS LATER WAS STILL BRINGING IN TWO SCREENS PER WEEKEND.

MARCH 19TH

2010 2 THEATRES

(AFTER 34 WEEKS)

1,001 BOX OFFICE 869,730 US

TOTALAND

CONCLUSION: THE COVE USED THIS FORMULA IN THE US TO BRING IT TO ACADEMY AWARD

WINNING STATUS FOR BEST DOCUMENTARY, AS WELL AS BRANCHING OUT INTO NUMEROUS

INTERNATIONAL MARKETS WHERE IT WAS EQUALLY EMBRACED BY CRITICS AND

AUDIENCES. KILLDEER MAY LOOK TO DO THE SAME FOR ITS EXPLORATION OF THE OIL

INDUSTRY AS WELL AS EXAMINATION OF HUNTING, BOTH OF WHICH ARE UNIVERSAL ISSUES

AND PRACTICES. BY BUILDING UP THE PRESS AND ATTENTION THROUGH THE VARIOUS FESTIVALS

AND PRESS OUTLETS AS YOU WILL SEE IN THE FOLLOWING PAGES, WE WOULD LOOK TO

MOVE TOWARDS A THEATRICAL RELEASE TARGETED AT THE MARKETS POISED FOR THE BEST

RECEPTION OF THE SUBJECT MATTER. AS TIME PROGRESSES, WE WOULD PULL BACK TO THE MARKETS IN WHICH THE FILM

PERFORMED BEST, LIKELY TO BE THE REGIONS WITH DIRECT CONNECTIONS TO THE FILM; NORTH DAKOTA AND THE MIDWEST AS WELL AS NEW YORK WHERE MANY OF THE

CHARACTERS ARE COMING FROM AND OUR PRESS PRESENCE WILL BE THE STRONGEST. WITH NUMBERS SIMILAR TO THE COVE, WE WOULD ALREADY BE LOOKING AT A

SUBSTANTIAL SUCCESS FOR THE FILM, OUTSIDE OF OTHER MARKETS AND A DVD PUSH.

MAXIMIZING REVENUE IN TARGET LOCATIONS

I WOULD ALSO LIKE TO EXPLORE OUTSIDE OF ANY DISTRIBUTION, WITH EVENT

SCREENINGS IN TARGETS AREAS THAT PLAY TO THE STRENGTHS OF THE FILM.

THE HUDSON VALLEY, NEW YORK. AS SEEN IN THE CHARACTER LIST, A

MAJORITY OF THE HUNTERS (AS WELL AS THE DIRECTOR) ARE FROM THE HUDSON VALLEY

, A LARGE ARTS AND RECREATIONAL REGION OF UPSTATE NEW YORK. BECAUSE OF OUR

RELATIONSHIP WITH THE PRESS IN THE AREA, WE CAN GUARANTEE AN AMPLE AMOUNT OF

PRESS COVERAGE IF A FILM MADE BY AND STARRING LIFELONG RESIDENTS WERE TO PLAY

LOCALLY. THE AREA ALSO BOASTS FOUR INDEPENDENTLY OWNED MOVIE HOUSES WHERE

MUTUALLY BENEFICIAL DEALS CAN BE ARRANGED. WITH WORD OF MOUTH AND LOTS OF

FREE PRESS, SELLING OUT SCREENINGS SHOULD COME EASY TO THE AREA.

NORTH AND SOUTH DAKOTA. KILLDEER FOR EXAMPLE IS A TOWN WITH

ABSOLUTELY NO RECREATIONAL ACTIVITY. THEY BOAST ONE RESTAURANT AND BAR AND

NO RECREATION. THEY ARE ALSO THE LARGEST TOWN IN A 30 MILE RADIUS. IT IS NOT

UNCOMMON TO DRIVE UP TO AN HOUR TO THE NEAREST RETAIL STORE, MOVIE THEATRE,

MUSEUM, ETC. WHILE ARRANGING SPECIAL EVENT SCREENINGS WOULD ALSO SERVE AS A

NICE THANK YOU TO THE TOWN FOR HOSTING OUR PRODUCTION, THEY ARE A LARGE GROUP

OF PEOPLE WHO DON’T HAVE MANY OPTIONS FOR ENTERTAINMENT. USING TOURISM

GRANTS ALREADY IN PLACE, WE WOULD ALIGN WITH THE LOCAL RESTAURANT TO CREATE

AN OUTDOOR SUMMER SCREENING OF THE FILM AS LONG AS ENTERTAINMENT (MUSIC,

RAFFLES, FOOD & DRINK) THAT WOULD BRING OUT THE WHOLE COMMUNITY.

NRA BENEFITS AND EVENTS, NATIONWIDE. WITH SUPPORT OF THE NRA FOR

THE POSITIVE DEPICTION OF HUNTERS AND THEIR GENERAL CAUSE, IT IS NOT HARD TO

EXTEND THE RELATIONSHIP TO COORDINATING EVENTS WITH ONE ANOTHER. NATIONALLY,

THE NRA FREQUENTLY HOSTS EVENTS AND DINNERS FOR “MEMBERS AND FRIENDS,”

WHICH IS BASICALLY GATHERING A DEMOGRAPHIC FOR US TO CAPITALIZE ON. THE FILM, OR

EXCERPTS, CAN BE PLAYED OR SCHEDULED TO CORRESPOND WITH THESE EVENTS SO THAT

BOTH TEAMS CAN PIGGYBACK ON THE AUDIENCE GATHERING AS WELL AS ADVERTISING. AS

YOU MAY PROBABLY GUESS, WHETHER SUPPORTERS OR OPPOSERS OF THE NRA COME OUT,

EITHER WAY, ATTENTION WILL CERTAINLY BE DRAWN TO THE FILM.

“AGAINST THE DYING OF THE LIGHT”

A COFFEE TABLE BOOK

FROM THE CONCEPTION OF THIS PROJECT IT HAS REMAINED A GOAL OF THE

PRODUCTION TO CREATE A COMPANION COFFEE TABLE BOOK CONSISTING OF FINE ART

PHOTOGRAPHY FOCUSING PRIMARILY ON THE THEMES OF THE NARRATIVE STORY. WHILE

ACKNOWLEDGING THE PRODUCTION, THE GOAL IS FOR THE BOOK TO STAND ON ITS OWN.

SOME WORK OF EDOUARD HR GLUCK:

BY FURTHER EXPLORING THE THEMES AND TAKING THEM TO A HIGHER LEVEL THAN

THAT OF BASIC PRODUCTION STILLS AND PROMOTIONAL MATERIALS, THE BOOK WILL BE

ABLE TO HAVE A LONGER SHELF LIFE THAN THAT OF A MARKETING CAMPAIGN OR

THEATRICAL RELEASE OF A FILM, AND THEREFORE MAY BROADEN THE APPEAL TO THE FINE

ARTS COMMUNITY. IN DOING SO, AND KEEPING THE LINE BETWEEN BOOK AND FILM

TANGIBLE, THIS IS A TOOL THAT CAN GENERALLY SERVE THE PRODUCTION AS FURTHER

MARKETING AND A MEANS TO HOOK AUDIENCES INTO INVESTIGATING THE FILM ONCE IT

SETTLES INTO ITS DVD LIFECYCLE, ENSURING PURCHASES FOR YEARS TO COME.

“THIS SIDE OF HEAVEN”

A K ILLDEER SOUNDTRACK

MUSIC IS ALWAYS AN IMPORTANT PART TO ANY FILM AND NARRATIVE. THIS FILM IS

NO DIFFERENT, AND IT WILL BE USED IN THE FILM IN A NATURALISTIC WAY AND KEPT AS A

TOOL TO FURTHER DRIVE HOME THE THEMES BEING EXPLORED.

BELOW IS A LIST OF MUSIC THAT HAS BEEN VITAL IN THE INSPIRATION AND

EVOLUTION OF THE FILM TO THIS POINT. IT IS OUR GOAL TO CREATE A BROAD AND

APPEALING SOUNDTRACK THAT MAY BE USED AS ANOTHER TOOL TO THE MARKETING AND

PROMOTION OF THE FILM. WHERE MORE FAMOUS (AND THUS POTENTIALLY COSTLY) SONGS

ARE LISTED BELOW, I AM EXPLORING THE OPTION OF OBTAINING THE MUCH CHEAPER

RIGHTS TO RECORD COVER SONGS. REMOVING THE AUTO TUNED AND OVERLY POLISHED

RECORDINGS OF WELL KNOWN ARTISTS AND GOING WITH RAW TALENT, WILL GIVE THE

ACTUAL RECORDINGS A MORE NATURALISTIC SOUND AND FIT WITH THE AESTHETICS OF THE

PLAINS.

BOB DYLAN “TIMES THEY ARE A-CHANGIN” (TRAILER & PROMOTIONAL SONG)

RAY LAMONTAGNE “TRULY, MADLY, DEEPLY” (THEME SCORE)

ROCKET SUMMER “SKIES SO BLUE”

JOHN DENVER “COUNTRY ROAD”

ELO “MR. BLUE SKY”

LOUDON WAINWRIGHT “MEN” AND “A FATHER AND A SON”

JOHNNY CASH “IF WE NEVER MEET AGAIN” AND

“WHERE WE’LL NEVER GROW OLD”

EASTMOUNTAINSOUTH “SHOW ME THE RIVER” AND “FATHER”

NICK DRAKE“TIME HAS TOLD ME”

AIMEE MANN “LOST IN SPACE”

ASIDE FROM POPULAR MUSIC, WE ARE LOOKING INTO OPTIONS REGARDING A THEME

SCORE FOR THE FILM, WHICH DUE TO THE CHARACTER INVOLVEMENT OF PHILLIP ROELLER

MAY COME FROM THE INTERNATIONALLY TOURING BAND, “HOPEWELL”.

WE ALSO WANT TO CONSIDER AUTHENTIC NATIVE AMERICAN MUSIC AS WELL AS

ANY LOCAL KILLDEER RESIDENTS WHO ARE PERFORMERS.

FINAL THOUGHTS

AS THE DOCUMENTARY FIELD REQUIRES, WE HAVE ASSEMBLED A TEAM WHOSE

PASSION AND BELIEF IN THE PROJECT HAS SURPRASSED ANY EXPECTATIONS, EVEN AT SUCH

AN EARLY STAGE IN THE GAME. PART OF THIS COMES FROM ASSEMBLING A CREW WHO HAS

ALL WORKED TOGETHER IN THE PAST ON NUMEROUS FILMS, WHICH CREATES A SENSE OF

TRUST AND COMRADERY IN THE TEAM THAT CAN CARRY AN INDIE MOVIE TO GREATNESS.

AT THIS POINT IN TIME WE HAVE TESTED OUR STORY TO AMAZING RESULTS. WE

HAVE OPEN DOORS AND THE SUPPORT OF GREG RHEM, MANAGER OF HBO DOCUMENTARY

ACQUISITIONS AS WELL AS ACQUISTIONS AT SUNDANCE CABLE CHANNEL. MATT DAMON

HAS ALSO EXPRESSED INTEREST IN THE PROJECT AND WILL BE FOLLOWED UP WITH AS THE

PROJECT SECURES ENOUGH FUNDING TO MOVE TO A SOLID PRE-PRODUCTION STATUS.

WHILE A NON-FICTION FILM THAT DEALS WITH MANY IMPORTANT ISSUES AND CULTURES, I,

AS WRITER/DIRECTOR CANNOT HELP BUT LOOK BEYOND THE STATISTICS OF THE

DOCUMENTARY FILM AND SEE POTENTIAL IT PLAYING TO THE STRENGTHS OF A

TRADITIONAL INDEPENDENT FILM. IT’S BUDGET FALLS IN A VERY MODEST REALM, FOR

DOCUMENTARY OR NARRATIVE, BUT IT’S STORY AND APPEAL COVERS A FANBASE OF TENS

OF MILLIONS OF PEOPLE THAT ARE RARELY TAPPED INTO. WHEREAS MANY

DOCUMENTARIES ONLY PLAY TO SPECFIC SOCIAL MINORITIES, WE ARE PLAYING INTO

NICHES THAT DEFY RACE, CLASS OR RELIGION AND SPEAKING TOWARDS NATURE, SPORT

AND AMERICAN CULTURE AT LARGE.

NOT ONLY THIS, BUT IN A POLITICALLY AND ECONOMICALLY TENSE NATION, WE ARE

CONFIDENT THAT IF OUR FILM IS THE SOURCE TO BRING THIS SUBJECT MATTER TO LIGHT,

WE WILL BE THE LEADING AND DEFINING SOURCE OF A NEW DEBATE IN AMERICA, WHICH

WILL FURTHER GUARANTEE THE NAME AND SHELF LIFE OF OUR PRODUCT, ENSURING A

MAJOR FINANCIAL SUCCESS FOR ANY COMPANY OR INVESTOR INVOLVED