Vote for a Family Friendly Film

So many of the new films aren't really new at all. They are retreads, reruns, or sequels. They assault the senses with unnecessary sex and violence. Families are given the choice of animated film or those who focus on animals. As yourself how many more super hero movies do your really want to watch?

I have create a petition to prove that there is a market and a need for Never Can Say Good-bye. The goal is 20,000 signatures. Please sign our petition then share it with your friends, family, and on your social networking sites. It'll cost you nothing but your time, but it will help us reach investors, theatre owners, and distributors.

http://www.thepetitionsite.com/859/995/132/never-can-say-good-bye/













" Instant Karma is going to get you."
John Lennon
Have you ever met someone and suddenly felt love or hate? Yet for the life of you couldn't remember them. Would you want to remember? Would you want to know if it could save your life?

Never Can Say Good-bye is a paranormal thriller feature film with the logline love and hate survives death


http://tirgana.wix.com/never-can-say-good-bye/home

Please like our Facebook page: https://www.facebook.com/Nevercansaygoodbyeparanormalfilm/info


Courage isn't the lack of fear, but the ability to set it aside and focus on what is truly important

Reincarnation: Second chance to find love

If you were given a second chance, would you choose love...or revenge?

" Instant Karma is going to get you."
                                       John Lennon
Have you ever met someone and suddenly  felt love or hate? Yet for the life of you couldn't remember  them.  Would you want to  remember? Would you want to know if it could save  your life?

Never Can Say Good-bye is a paranormal thriller  feature film with the  logline love and hate survives death

http://tirgana.wix.com/never-can-say-good-bye/home

Please like our Facebook page: https://www.facebook.com/Nevercansaygoodbyeparanormalfilm/info




  Courage isn't the lack of fear, but the ability to set it aside and  focus on what is truly important

Creating Jobs and Positively Promoting Michigan

Over the weekend, I had a conversation with a gentleman, who suggested changes to Never Can Say Good-bye without having read the script, business plan, or seeing anything beyond an early pitch video.

According to him, I needed to change our ethnically and age diverse cast to one that was primarily African American and young. The locations needed to be moved from Northern Michigan to the Detroit area. Instead of the logging industry, the story should be focus on the automotive industry or another based in the Detroit area to take advantage of the current political controversy. The name should be changed from Never Can Say Good-bye to "Ghosts of Detroit--to have the metaphor of the ghost city for your ghost story" This is a film he could sell. The problem is that it is a totally different film than the one we want to produce.

His suggestions would have turned a paranormal thriller that combined romance and suspense into to a pop culture niche market film with political over tones that demographically limits its appeal and marketability, while adding in unnecessary controversy and shorting its relevancy.

Whether it be age, gender or ethnicity, a diverse cast means a diverse audience. Audiences like characters they can relate to as friends, family or the person they see in the mirror. Focusing heavy on one aspect of humanity excludes the rest.

Our characters range in age from 70 to 3. Amanda Ramsdell, who will be played by Dyan Canoon, carries the guilt and secrets of the past. Michael, a man between the ages of 45-54, believes he has found his lost love only to learn he made the same horrible mistake. Elizabeth, who will most likely be cast by Lauren Holly, is a woman who has runaway from life only to find herself back at the beginning and no longer able to run. Shane, Michael’s wife, is a woman in her mid to late twenties, who was given a second chance at love and redemption. In the past, Sara Jane and Randolph are more than soul mates, they are a mated pair whose love goes soul deep. But their time together is cut short when her father's vengeful actions causes Sara Jane's death. To save their newborn son, Randolph marries Audrey, but his heart still and always belongs to Sara Jane. Unable to manipulate Randolph into loving her, Audrey murders the child she see as standing in her way. His death causes a cascade of violence and revenge that spills over from into the next life. The question is, "Can they overcome their tragic past or will they be doomed to repeat it?"

Never Can Say Good-bye is set in the 1950's when the Michigan lumber industry was waning, but still vital and in present day when all that remains of the glory days are the mansions, the memories, and the ghosts. The story and the characters only fit in a rural or semi rural area. It would not be realistically in an urban area. Although there are some very large houses in the Detroit area, they do not have the look or feel of the mansions created by the lumber industry.

Michigan might be primary known for the automotive industry, but it was the lumber that turned common men into millionaires. As the timberline receded under the ax and saw so did civilization move north. Never Can Say Good-bye will be filmed in the northwest corner of the lower peninsula, primarily in Traverse City, Manistee, Bear Lake, and Torch Lake. Although most of the lumber baron homes have been converted into apartments, B & B's and businesses, they remain mostly intact. They are the perfect settings for a ghost story as well as a metaphor for an industry and lifestyle that was, but will never be exist again.

He did have two good suggestions that I had used, but had not focused enough on-- job creation and product placement. I had pitch both, but did not followed up. Since our conversation, I have been focusing more on the quality and quantity of the jobs we will be creating. We are a union picture, but we will be Taft-Hartleying those who need to be. We will be filling most of the 77 crew jobs from Michigan. I can't guarantee a specific number or percentage, because we are still going to hire the best person for the job.

Several of the primary characters have been cast. We would very much like Lauren Holly for the role of Elizabeth. We have talked with her people and did have an LOI. But we need to be funded to keep her. Kimberly Estrada, Dyan Cannon, Bill Hayes, and Sean Harmon have all been cast in roles. We had spoke with Adrian Paul's people for the role of Michael. Although we are still interested in him, his people aren't interested enough to return emails or phone calls, so we have opened up the role to other actors. If we can find an Michigan actor with an established record, so much the better.

The primary and featured roles we have yet to cast are:

Sara Jane: actress 18-20 who must look like she could be related to Dyan Cannon. She must also have good chemistry with Sean Harmon, who will be playing Randolph.

Shane: actress age 25-30 who must look like she could be related to Dyan Cannon. She must also have a good singing voice.

Jefferson: actor 25-30, any ethic background, but he must have a good singing voice.

Elaine: actress over 40 of any ethnic background

Judy: actress 49-53 who must look like she could be related to Dyan Cannon. We are considering Michigan actress Linda Pacic for this role or for the role of Elaine.

We will also be hiring most of the day players and all of the extras from Michigan.

The number of jobs we will be creating are:

9 person supervisory staff

77 member crew

5 character primary cast

8 character supporting cast

12 day players

200 paid extras

Our product placement will be two fold. We will be embedding family friendly products and services into the film, which will also be promoted in our marketing strategy. However, we have a separate campaign called No Where Else Like it, which will require a separate crew. We will be taking our cast around the state to show the uniqueness of Michigan. The sponsors will act as guides, hosts and in some cases fellow adventures as we explore the locations that are best known to natives. We will be going to the normal tourist locations, but we will not be producing a travel logs. Instead we will be having adventures, chatting with those we meet, and having a good time. Two of our locations are said to be haunted. We will be teaming up with a ghost hunting group and finding out if this is true. The videos we produced will be release on online through video sites and on social networking groups, as well as on the DVD's and with the downloads.

What he suggested is at the root of the decline in the entertainment industry. There is too much compromise in character and plot to make an easy sell. Instead of believing in the project and becoming a trend setter, they have been playing follow the leader. Those who follow are always behind the curve--always singing to someone else's song--always playing by someone else's rules. The gentleman on the phone said that there was nothing special about Never Can Say Good-bye. It was just a ghost story. But he is wrong. Never Can Say Good-bye is a ghost story, but it is far from being old hat. It is a fresh story with new twists. We are a trend setter that combines the old with the new not only with storytelling, but production and marketing techniques. We have intertwined Michigan's history with its present as we entwine the lives of three people in love, loss, and revenge.

  " Instant Karma is going to get you."
                                       John Lennon
Have you ever met someone and suddenly  felt love or hate? Yet for the life of you couldn't remember  them.  Would you want to  remember? Would you want to know if it could save  your life?

Never Can Say Good-bye is a paranormal thriller  feature film with the  logline love and hate survives death

http://tirgana.wix.com/never-can-say-good-bye/home

Please like our Facebook page: https://www.facebook.com/Nevercansaygoodbyeparanormalfilm/info Courage isn't the lack of fear, but the ability to set it aside and  focus on what is truly important



 

Indiegogo Campaign for Paranormal Thriller to be Filmed in Michigan

 

I am asking for your help with the Indiegogo campaign for Never Can say Good-bye.  It is is a new family friendly film that doesn't involve animals or animation.  If you are tired of the remakes and sequels, please support Never Can Say Good-bye and help us prove that when you give the audience what they want, they will come.  Please contribute what you can and share our message on your page.

https://www.facebook.com/Nevercansaygoodbyeparanormalfilm

http://tirgana.wix.com/never-can-say-good-bye/home

Please like our Facebook page: https://www.facebook.com/Nevercansaygoodbyeparanormalfilm/info

  Courage isn't the lack of fear, but the ability to set it aside and  focus on what is truly important

 

Paranormal Thriller Feature Film

"Instant karma is going to get you."
John Lennon

Have you ever met someone and suddenly felt love or hate? Yet for the life of you couldn't remember meeting them. Did you wonder why? Would you want to know if it could save your life?

Starring:
Lauren Holly
Adrian Paul
Kimberly Estrada
Dyan Cannon
Bill Hayes

Produced:
Theresa Chaze
Pam Wenzel
Patrik Simpson

Directed:
Stanley Livingston

To learn more:

www.theresachaze.com


https://www.facebook.com/theresa.chaze

Please like and share our Facebook page
https://www.facebook.com/Nevercansaygoodbyeparanormalfilm?ref=ts&fref=ts

Michigan No Where Else Like It: Marketing to Domestic and Foreign Markets

No Where Else Like It is a specialized marketing campaign, which cross brands Michigan based products or services with the paranormal thriller Never Can Say Good-bye. The campaign is designed to feature Michigan products and services within the film itself as well as featuring their parent company in the promotional and marketing campaigns from the start of pre-production through the theatrical release. The No Where Else Like It campaign will also feature the uniqueness of Michigan within videos that will be produced by the cast and crew. These videos will be distributed via the Internet, placed on the official and personal websites, and with the DVD/download load release.

Product placement in films and television is not a new concept. However, it is one that is ever changing. In the early years of television, advertisers sponsored individual shows. The program quality and the product reputation were intertwined. Throughout the decades single sponsorship no longer exists. It has been replaced by commercial breaks, which makes the advertising completely separate from the entertainment. Although initially the change has made it less costly for advertisers, it also limits the ad's effectiveness to a single airing. If the audience missed it too bad so sad, but the networks are more than willing to sell you more air time. The simple fact is that people need to see a message at least three times before the message sticks with them enough to prompt them into action.

However, product placement has not disappeared; it has been transformed. Instead of sponsoring the entire project, sponsors pay for or do in kind exchanges to have their products or services are embedded in films and television programs as part of the action or the sets. Once embedded the product placement becomes permanent. Unlike other forms of advertising, this form of marketing has a one time fee, yet a nearly unlimited reach and exposure potential. Each time the project is viewed, the embedded products will once again be marketed without any extra cost to the sponsors.

Never Can Say Good-bye will be making full use of traditional product placement for their production needs. We will be looking to do in kind exchanges for

A large hotel: as a location and for lodging for cast and crew

Vehicles as locations and transporation

Air Travel for cast and crew

Brewery/bar as a location

Large auditoriums for meet and greets with cast and crew

Digital video equipment and ghost hunting gear as props

Sponsors' product, service or company name would be shown in at least three scenes. They would be given non speaking roles as an extra, invited to the wrap party and the Michigan premiere. They would be thanked in the credits. But more importantly their logo with an active link will be attached to nearly all our online marketing and they would be listed as sponsors at our live events.

In addition, the No Where Else Like It campaign, which will show the uniqueness of Michigan with videos produced by the production team will be sponsored by Michigan corporations and businesses. These videos would be part of the marketing campaigns both online and with most other venues. Sponsors would act as host and guide for the cast and crew as they explore the state. Videos would include:

* Local festivals

* Sleep Bear Dunes

* The Manitou Islands

* Interlochen Arts Academy

* Avalanche Preserve

*Mackinaw Island and bridge

* Snowflake Campground

* National Shrine of the Cross in the Woods in Indian River

*looking for Petoskey stones

* Sault Locks

* Henry Ford Museum, including the revitalization of the Detroit area

* Michigan State campus

* Pictured Rocks, Tahquamenon Falls

During the production, the cast and crew will be holding meet and greets with the public in the areas where we will be filming. Sponsors would also be included in these events as well as the hosting location. The public would be able to ask questions and have their picture taken with the stars of Never Can Say Good-bye. These events will be recorded and released online through sites such as YouTube, Facebook and other social networking sties. Additionally, real time streaming events will be scheduled online, which will give the domestic and foreign audience opportunities to speak with the cast and crew.

Never Can Say Good-bye will be an opportunity to market products and services not only nationally, but also internationally through theatrical release, DVD/downloads, pay per view, and broadcast network release. Once embedded, the products or services will always be there at no additional cost.

Before you discount your ability to financially be part of our team ask yourself how much is exposure to a world of new customers worth? In addition, marketing expenses are both state and federal tax deductible as a business expense. Those who mitigate our production costs might also be able to claim a deduction under Section 181 of the federal tax code, which is a deduction equal to 100% of the investment in the production. You would need to speak with your tax professional to get the full details of how this incentive would apply to your company.

Also ask yourself when was the last time you walked out of a movie satisfied? 


For more information go to www.theresachaze.com 



  

What Makes a Successful Film?

The main doctrine of a profitable business is to produce a quality product that consumers want at a cost effective price. Yet for many production studios, film distributors and investors there is a major disconnect with this concept. Not only have they failed to produce a product that consumers want, they are also not producing their product in a cost effective manor. Whereas technological advances in production and distribution equipment have lowered costs, while increasing quality, film budgets continue to skyrocket.

When choosing films to support studios, distributors and investors ask “whose in it?”, while the audience asks “what is the film about?”. The former believe A list talent insures the success of a project; therefore films without a hot actor on board have difficulty finding financing and distribution. Yet the box office has repeatedly proven this standard to be false. Which celebrity is hot and who is not quickly changes. They quickly become famous for one project, yet they just as quickly disappear. Talented actors—the ones who have learned their craft--maintain a standard of excellence that begins with smaller roles and develops into the body of work, which leads to more challenging roles.

True A listers do not magically appear through PR tricks or highly publicized bad behavior. They are created when the right actor is cast in the perfect role for her or him. It is the unique combination of the right person, the right role at the right time that launches an actor into stardom. The best example is Indiana Jones. Tom Selleck was the first choice for the role. He was the hottest male star at the time, but he was unavailable. Harrison Ford was cast. Most people would be hard pressed to imagine anyone else as Indiana Jones. Although Stars Wars launched Ford to stardom, it was Raiders of the Lost Ark, which made him box office gold. However, even with his strong fan base and his profitability track record, not even Ford could pull in an audience for Cowboys & Aliens. The storyline wasn't strong enough for the audience to suspend their disbelief enough to buy tickets.

Although many of the “A list” actors started in television, many distributors discount their profitability in the theatres. They refuse to see how far reaching and potentially profitable television actors can be. Popular television shows create a fan base not only for show, but also for the individual actors. Ratings translate not only into advertising dollars, but ticket sales as well. Television talent, which has yet to make the leap to film, is more cost effective. They have strong fan bases, yet their salary and perk requirements are usually not has high as their film equivalent. They are also used to working on tight production schedules, which also lowers costs. In addition, every episode of their show is free advertising for whatever film they appear.

Studios and distributors are responsible for the endless remakes and sequels. From their perspective, if it was successful once, it'll work again and again and again. Audiences are tired of reruns. They are looking for something new and the box office proves it. The success of Spider-man movies as well as few other films on the surface supports their theory. However, how much of the box office is not so much the audience being excited about particular film, but rather wanting to see a movie and choosing to see the lesser offensive film. The successful reruns are far out numbered by the mediocre remakes. Dark Shadows and Total Recall are just two in the latest remakes that haven't lived up to expectations. Ticket prices also contribute to the seemingly high box office numbers. By dividing the price of tickets sold into the grosses, the numbers prove that attendance is down.

Audiences are more loyal to genres than to cast, crew or production teams. Although there are hundreds of sci-fi, romance, horror, anime, etc conventions, there has yet to be one convention for an individual actor. Genre is a more reliable source of profitability. The Devil Inside is a perfect example. It is micro budget horror film with a 1 million budget. It was distributed Paramount Insurge. Opening weekend, it grossed 33 million dollars. By all accounts, it is a bad movie, yet it went on to gross over 101 million USD worldwide, because of the genre and it was new film. Many people have a favorite genre, which they will go see no matter who is starring in it or what others say about the film. These people are the target audience, whose word of mouth endorsements will bring in the general audiences faster than any marketing campaign.

Secondly the high production costs have limited the number of films the studios are producing each year and thereby reducing the number of films distributors have available to them. In the past, each studio produced hundreds of films a year, which spreads the financial risk factor among them thereby protecting the studio's bottonline. They were always looking for new projects and new talent in which to invest. However with the enormous budgets most new films, studios, producers and distributors have placed all their financial eggs in one or two baskets. The big budgeted films have to do extremely well otherwise the studio suffers a great financial loss. The break even point for a 100 million dollar film is much higher than for a 20 million dollar film. For that same 100 million, five films could be produced, giving the studio a five times higher chance of making a profit.

Big budgets are caused by A list casts, special effects, big egos and lack of pre-planning.

• A list actors, directors, and producers simply cost more. A list actors cost millions of dollars, a percentage of the grosses and special “requests”, which could include anything from special food to having their entire family brought with them. The greater expense is justified by their increased profitability. The Tourist is a prime example of how this is not always true. It had two A list actors and barely made budget.
• Technological advances have created more opportunities for special effects. But by focusing on the new effects, character and plot development have suffered. John Carter is the best example of what focusing on special effects at the expense plot and character really costs.
• Big egos, poor planning and lack of flexibility combined together are the biggest waste of funds. For decades films were able to boasted about their ability to be innovative. They were the “MacGyvers” of the business world. They were experts at finding creative solutions to production challenges; that has changed. They would rather spend money like a drunken sailor on payday than think outside the box. Disney is remaking The Lone Ranger. Instead of leasing or bartering use of one of the existing western frontier towns, they are building a town. Why? Because someone on the team was unwilling be flexible with their vision of what the town should look like. There was another film that spend thousands of dollars in post production to change the color of a character's shirt. It would have been more cost effective just to make sure character had the right color shirt in the first place.

Technology had brought down both production and distribution costs. Digital video has eliminated the film stock and processing costs. Bulky production and editing equipment has been replaced with smaller high tech pieces that are easier to transport and are more cost effective. Theatrical distribution has replaced expensive 35 MM film prints with hard drives and electronic downloads, which has eliminated the most costly aspects and allowed simultaneous worldwide release, while eliminating most pre-release pirating.

Even with the massive budgets, film continues to be one of the United State's most profitable exports. It is one of the few industries that can't be outsourced. Films that do not make budget domestically find an eager audience abroad. However, theatrical release is only one source of income. DVD or electronic download followed by pay per view and network release increase the films revenue without adding to the production costs. The growing number of Internet and satellite entrainment networks has created an increasing demand for new television programming and films. These venues have a high demand for content and have the ability to pay for it.

The film industry is a business like no other; yet like every other business its success depends on their ability to provide a quality product that meets its customers' needs. There a no simple formula for a successful film. What people will like cannot be summed up on a balance sheet. Just because a film worked once, it doesn't guarantee that it will work again. Nor can relying too heavily on one element, whether it be star power, special effect or remaking a popular film, insure a film's profitability. However, if you give the people what they want they will come.

Have you ever met someone for the first time and instantly liked or hated them? What if the meeting again was not by coincidence, but an opportunity to make different choices? Would you do things differently or would you make the same mistakes?

Elizabeth was asked by her mentor to teach a writing course at a small college. Since she never forgets a kindness, she reluctantly agrees. Arriving in town, she instantly regrets her decision. She wants to run, but she is honor bound to stay. Even as the ghost of a small child begs her to forgive, the memories of another time arouse feelings she doesn’t understand and is unable to control. When she meets Shane, Elizabeth is overwhelmed with hatred. The feeling is mutual as Shane redirects her jealousy and rage. By the time Elizabeth realizes what is happening, it is too late to run. Can she and the others learn how to forgive and remember the love before the jealousy, hatred and need for revenge once again take over their lives?

Never Can Say Good-bye is a traditional ghost story with a reincarnation twist. It picks up where the films Somewhere in Time, Always, and Ghost left off. Its logline is: Love and hate survive death.

To learn more about Never Can Say Good-bye and Theresa Chaze's other projects go to www.theresachaze.comwww.theresachaze.com

Producer Joins Never Can Say Good-bye Staff

The executive producers of the paranormal romance film, Never Can Good-bye, announce the addition of veteran producer Shara Nickell to their staff.

Never Can Say Good-bye is a paranormal romance that is best described as the Reincarnation of Peter Proud meets Fatal Attraction. Described as a traditional ghost story by award winning screenwriter, Darlenne Girard, Never Can Say Good-bye ties the Michigan’s historical lumber era to modern day life to prove that love and hate survive death.

As a published photojournalist and still photographer, Nickell established a strong reputation for producing creative and unique work.  Having spent many years experienced in business and project management, in 2002 she returned to her attention to filmmaking, where her smart planning and her ability to successfully present projects to investors has establish her as the go-to producer. In 2009 she was approached by Class Clown Pictures to produce their slate of feature films. Once financing has been found, she will be joining the staff.

As a producer and line producer, she has worked with several award winning writers, directors, and cinematographers. She has produced numerous productions to include features, documentaries, television pilots, shorts, commercials and new media projects.

In the spring of 2010, Nickell partnered with Subtropolis Film Partners to the development the sci-fi action feature film, The Black Riders. Bringing her diverse experience both as producer and line producer to the production, Nickell will be using her connections, creativity and out of the box thinking to bring resources and personal touch to Never Can Say Good-bye.

Executive Producers will be looking to the new studios and at locations in Northern Michigan, including Traverse City and Manistee for possible scene sites.  Their goal is to keep the entire process within the Northwest area of Michigan due to the strength and availability of a qualified and skilled crew base, facilities, and staff and to make use of the Michigan film incentive program.

Michigan Film Indusrty News

July 26, 2010


Open Casting Call


THURSDAY JULY 29
Time: 1pm – 3pm Each Day
Location: West Michigan Film Office
741 Kenmoor Ave Suite E
Grand Rapids, MI
Talent Compensation:

Day rate= $75/ 8 hours + overtime

How to Apply:

Come to EITHER ONE of the open casting days anytime between 1pm & 3pm.
Michigan residents who wish to be considered as Featured Extras in Paying Roles on
“Touchback” & future projects, will fill out an application, have a photo taken and
register as a background actor.
JR Galactic Casting Directors will cast “on the spot” for shooting dates in August.


FOR MORE INFO VISIT: WWW.JRGALACTIC.COM

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The Story "Day with The President"

Dawn Butler http://fxmakeupbydawn.com/

I was greeted at the door after finally being allowed to pass through the gate - needing to give verification of who I was and why I was there.

After being searched personally as well as all my makeup cases a Secret Service Agent escorted me to a very small room in which I was to do the Presidents makeup. I asked about pictures or autographs and was told I could take a picture of the back portion of Airforce 1 only! After starting to set up my products, the producer of NBC universal asked me to pack up again and go with him to the NBC rolling studio for makeup on Chuck Todd first. There were at least 20 Secret Service, State Police and/or marine personnel guarding the area. After completing Mr. Todd's makeup I returned to my small room.


After returning from Holland in the helicopter, the president was escorted in to see me. I was instructed to stay in the room as he arrived and not to come into the hallway. He shook my hand and said it was nice to meet me then sat down in my directors chair. After offering him a bottle of water and asking if there were any special instructions or allergies I needed to be aware of, I started cleaning off his face.
He inquired as to whether I did this full time and I said "yes I am because of our film tax incentives I do, and it has given me an opportunity to work with a number of great celebrities such as himself." He asked " who were some of them?" I named Neil Cavouto, Joan London, 50 Cent, and Lee Majors. To that, he said "I remember Lee Majors, the Six Million Dollar Man! He was on TV back when I was about 10!"


About that time I finished up with his powder and he asked if I minded staying for a bit while they did the interview just in case he needed a touchup? I stayed in my room until he was about to board Airforce 1 again, then was able to come out and watch him leave.


I was then escorted outside again and thanked many times over for coming.

What a day!

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My name is Anthony L. Stubbs,

I'm the CEO of Star Entertainment, LLC. We are a Grand Rapids home based film and publishing company. Also I'm the Author the best selling novel "Trouble Ahead Trouble Behind" which we are presently filming and turning the book into a movie.

As it stand I have the Rapper/Actor Beanie Segil not only in the movie but he is also an share holder and has already filmed his roll in the movie. He last starred in 'State Property 2' which that movie alone brought in over 32 million dollars. The good news is Beanie Segil owns State Property and he is willing to do 'State Property 3' right here in Grand Rapids Michigan if he feels we can handle the job.

Therefore what I am trying to do is put together an outstanding film crew not only to help film "Trouble Ahead Trouble Behind' but to help others get recognition and established for 'State Property 3'. Everything will be done on CONTRACT.

Star Entertainment is also looking for any food venues who can provide food and drinks periodically as part of their schedule. Most importantly we are looking for a great camera and lightening person who has their own equipment.

Thank you please respond to: ainmentllc@gmail.com

The sooner the better!

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TRAVERSE CITY FILM FESTIVAL ADDS MORE FILMS TO LINE-UP

Record Breaking First Day Ticket Sales

TRAVERSE CITY, MI (July 21, 2010) ¬ Now in its sixth year, the Traverse City Film Festival has announced a record-breaking 30,000 tickets on the first day of ticket sales, selling out 17 screenings within minutes of the tickets going on sale online to the Friends of the Film Festival. Due to popular demand, the festival has added six screenings of sold-out shows to its sixth annual schedule of events. Here are the additions:

"Nowhere Boy"
Opening Night Screening
Tuesday, July 27 at 10 p.m., State Theatre

"Castaway on the Moon"
Wednesday, July 28 at noon, City Opera House

"Heartbreaker"
Wednesday, July 28 at noon, Lars Hockstad

"Cane Toads: The Conquest"
Thursday, July 29 at 6 p.m., Lars Hockstad

"The Infidel"
Thursday, July 29 at 9 p.m., Lars Hockstad

"His & Hers"
Thursday, July 29 at 3 pm, Milliken Auditorium

Admission prices to regular movies are $9.50 and opening and closing night tickets are $25. Tickets are available for purchase at the box office at 300 E. Front Street in Radio Center, online at www.traversecityfilmfest.org, or call the box office at 231-922-8903.

The Traverse City Film Festival will take place July 27 to August 1. For a full schedule of events please visit www.traversecityfilmfest.org.

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Hello Rick,


Our lead actor has a three year old and a six month old baby. We are looking to put him in a house. A condo would be find if there is outdoor yard space for the children to run around. We would like it to be in close driving distance to a grocery store. Let me know anything you can find. We greatly appreciate it.

Best,

Alexandria

Need Ideas to rick@wmta.org


Man-about-town Aziz Ansari spotted around Grand Rapids
during breaks from filming '30 Minutes or Less'
MLive.com, 07/21/10

Grand Rapids prepares for largest film shot in West MichiganWZZM
GRAND RAPIDS (WZZM)-- A few streets in Grand Rapids will be closed Thursday as filming gets underway for the most expensive movie ever made in West Michigan ...

check out our new site
www.wmfilm.org

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LEVITATION Staging's

With one of the country’s largest inventories of StageRight temporary entertainment and event platforms, Levitation serves art directors and production scenic designers by providing solid, safe and green “scenic-integrated substructures” for film productions.

We are an ideal partner to contact at the initial stage of a project from conceptual art direction meetings to location scouts to actual set improvements since Levitation has masterfully delivered on budget for the film, television and music industry for over 20 years with a product that increases your speed, safety and performance in a cost effective and very green fashion.

Please contact our office for a quote.
Levitation
Grand Rapids, MI
p: 616.742.1174 616.742.1174
f: 616.742.1175
www.levitationstaging.com

"Changing the World, One Event at a Time"
Get LinkedIn with Tommy.

Casting for Michigan Films

Open Casting Call
THURSDAY JULY 29TH & FRIDAY JULY 30th 2010
Time: 1pm – 3pm Each Day
Location: West Michigan Film Office
741 Kenmoor Ave Suite E
Grand Rapids, MI
Talent Compensation:
Day rate= $75/ 8 hours + overtime
How to Apply:
Come to EITHER ONE of the open casting days anytime between 1pm & 3pm.
Michigan residents who wish to be considered as Featured Extras in
Paying Roles on
“Touchback” & future projects, will fill out an application, have a
photo taken and
register as a background actor.
JR Galactic Casting Directors will cast “on the spot” for shooting
dates in August.
FOR MORE INFO VISIT WWW.JRGALACTIC.COM

Paranormal Romance Film Set in Michigan

A paranormal romance set in Michigan, Never Can Say Good-bye is The Reincarnation of Peter Proud meets Fatal Attraction. To read an
excerpt click here.


Winning the 2006 International Gloria Film Festival and placing in the Greenlight Project, Never Can Say Good-bye is a paranormal romance that connects the present with the logging industry of the 1900. To help a friend, Elizabeth agrees to teach a writing course at a small college. She expects to find a sleepy town with a long history, but instead becomes the target of violently jealous woman and past mistakes she is only beginning to remember. When love leads to vengeance, it is best to say good-bye.

www.theresachaze.com

Making the Most of Advertising and Marketing Dollars

Product placement has been a blessing as well as a curse for the entertainment industry as it both financed and controlled television programming. Over the years the advertisers role has changed from sole sponsorship of individual programs to rotating commercials that have little or no connection to specific programs. Instead of content, advertisers use ratings as the yardstick as the deciding factor as to where to spend their marketing budget. However there is a third option available that would be advantageous to both program producers and advertisers. Products properly embedded into programs will not only positively market products and services at a lower cost, but will also subsidize production budgets thereby allowing the executive producers and the networks to air a higher quality of scripted programming.

In the early years of television, advertisers sponsored individual shows. The program quality and the product reputation were intertwined. The mutual branding gave the sponsor more control over the content of the program and to some extent the network that aired it. Texaco Star Theatre is an example of successful product sponsorship. It was a comedy-variety show that originated on radio in 1938; however, NBC picked up it up the June of 1948. Not only was the brand name featured in the show title, but Texaco featured its products and services throughout the show. It was blatant in your face promotion, but it was also done within the context of the show format. Texaco was taking credit for presenting good entertainment. In 1953 Texaco dropped its sponsorship, but Buick picked it up, changing the name of the show to The Buick-Berle Show. In 1954, the name was changed to The Milton Berle Show, which it was known by until it ended in 1956. Buick changed its sponsorship at the beginning of 1955-1956 season to the Jackie Gleason Show. In both cases, Texaco and Buick paid production cost to insure their products left a lasting positive impression on the viewers by embedding their products within the context of the entertainment.

Throughout the decades, single sponsorship dwindle to the point that it is currently nonexistent. It has been replaced by commercial breaks, making the advertising completely separate from the entertainment. Although initially the change has made it less costly for advertisers, it has also created a competition for placement for shows with higher ratings. With the diversity of products and the time limitation, networks and local stations not only charge on a sliding scale according to the ratings, but they no longer guarantee exclusivity during commercial breaks. In the current system, there is virtually no connection between the programming and the products. Sponsors buy ratings and demographics, nothing more.

Each system had both benefits and pitfalls. Embedding products takes advantage of the positive aspects television marketing, while eliminating most of the drawbacks. Implanting products within the entertainment will once again blurred the lines between content and advertising, but it will also more honestly reflected not only the product but its use in real life. By appropriately embedding the products within the context of action, the show looks and feels more realistic. Instead of drinking no named sodas, the characters would openly drink Coke, Pepsi, or another name brand. While continuing with the natural flow of the plot, characters could be shown shopping or dining at specific national chains. Nothing in the conversation would be directly promote anything, yet the natural movement of the camera would catch the distinctive logos of both the individual products or the national chain. If the characters needed to buy a coffee pot, they could be seen going into Walmart, walking through the store and choosing to buy a Mr. Coffee. The conversation would be about topics which furthered the plot until it came to deciding which Mr. Coffee they were going to buy. Once the decision was made, they would revert back to plot developing topics. It would be natural and reflect a real life situation.

In addition, by making the product or business a natural part of the scene, it not becomes an effective marketing tool, but also it becomes permanently embedded into the episode. No matter what time slot, network or products slotted for the official commercial breaks, every time that episode airs the embedded products will once again be marketed without any extra cost to the sponsors.

The major pitfall is if the product doesn’t fit the situation, character or plot. If it is forced into the program instead of seamlessly fitting into the scene, it will not only distract the viewer from the program but also create negative backlash for the product and the sponsor. One soap opera placed a woman’s magazine into the action of a scene. A male character was injured and a female friend gave him a copy of the women’s magazine to read to help pass the time. The two of them proceeded to spend time talking about the benefits of the magazine. If it had been done properly in the context of character and the situation, it could have been very effective. However, instead of being an effective marketing tool it came off as a badly written ad. The situation would have worked for another product such as the TV Guide. The female friend could have given him a copy as a way of him finding programming to keep his mind occupied while he recuperated. In addition, the writers could have easily added dialogue to generalize about the information found in the articles, which would have kept the piece timeless. As long as the dialogue was kept short and within the framework of the situation, scene would have been effective.

Products could be embedded at two levels: episodic and series. The only difference between the two would be the length of service of the product in the series. Episodic products would be short term, being found in one or two episodes, while series products would run an entire season or as long as the series aired. Whether short term or long, the effectiveness will depend solely on the how well the product fits into the plot. The key is to write in the product without over-shadowing the entertainment or slowing down the plot development. Clever blocking of both the actors and camera angles would eliminate the need of promotional dialogue, thereby limiting the negative impact of over exposing the products.

The executive producers and writers of Operation Home Base intend to embed both series and episodic products within their new military series. In the style of MASH and NCIS, Operation Home Base has a strong ensemble cast that will appeal to a broad demographic base that includes gender, ages, and ethnicity.  MASH focused on the effects of war and NCIS concentrates on  criminal situations involving military personnel. OHB will incorporate both while revealing the challenges military families face daily along with the conflicts that originate from involvement with civilians.  OHB could be best described as a family of man drama, which will show the best and worst of the human condition, whose broad base appeal will give it nearly unlimited product placement potential.

Who is responsible for buying the donuts will be one of the long standing jokes among the characters on Operation Home Base. It would be very easy to promote Dunkin Donuts within the show by simply showing the logo on the box as the characters choose their favorites. Non verbal cues such as seeing the character enjoying the donuts or the multiple empty donut boxes in the trash would promote product more than any dialogue that could be written. In addition, if they are lucky enough to sign on Tom Selleck to play the part of Deek, orange juice will be added to the morning staff meetings along with the coffee, tying in OHB to Selleck’s voice overs for Florida orange juice. In addition to the civilian promotion, OHB will show the sense of belonging and personal satisfaction to be gained through service in the military, not through heavy handed ads, but revealing what it means to be military through those who have lived the life.

Short term promotion will be handled with equal grace. The fundraising episode will not only help raise awareness for therapy dogs, but it will also be a fabulous opportunity to promote restaurants, musical groups, soft drinks, and real-life veteran’s organizations. Stella’s engagement presents a chance to showcase the rings from Kay Jeweler or another national chain as the couple chooses their rings.

As a non-profit agency, which helps military personnel and their dependants during crisis situations, there will be limitless opportunities to discreetly promote products and services. Whether it is home repair, telephone service, or in the case of the pilot episode, emergency support in the form of prepaid charge cards after a family who looses everything to a home fire, OHB will be able to effectively promote a diverse number products and services, while still being able to produce quality entertainment.. Sponsors will not only gain effective marketing for their products, but they will also gain the additional benefit of showing public support for the military, veterans and their families.

Under the Eightball: One Woman's Stuggle with a Mysterious Disease

Until You Walk the Path, You Don’t Know Where it Goes will be hosting Timothy Grey on March 14 at 5 pm eastern.

Timothy Grey Began filmmaking in 2001 with his first independent production VOW.  The film was released regionally.  Oscar winning director Michael Moore said "Timothy Grey's VOW is both disturbing and entertaining and a wonderful contribution to independent film."  

In 2004 Grey started production on his second narrative, Lower the Sun.  A vampire tale loosely based on the Gilgamesh epic.  The film remains unfinished. In 2008 Timothy Grey with Breanne Russell began production on their first documentary Under The Eightball.  The film was released in 2009 to rave reviews in the LA Times, Village Voice, NY Times, and Variety. The film is currently entering the Festival Circuit as well as a screening/speaking tour with the filmmakers.

Under the Eightball is a film about one woman's struggle with a mysterious disease and her family's desperate attempt to save her life. This documentary ventures further than merely a disease, it examines the systemic failures of our health care, insurance, and pharmaceutical industries. The audience becomes witness to an ambivalent medical community who's attitude can only be described as a tragic failure.  This is a cautionary tale --- warning the viewer that this story is not the exception but one that is all too common.  A truth that lives in our cities, on our streets, in our homes. The victims are our neighbors, friends, parents, siblings and children. The victims are us...

Tune at http://www.blogtalkradio.com/theresachaze on March 14 at 5 pm eastern to learn more about documentary film making from Timothy Grey as well as how his spiritual helped inspire him.  Those who wish to talk to Timothy may call in at (347) 324-3745 or participate in the interactive chat room, which is available on the show’s page.