Theresa Chaze: Come make some good trouble with us

 

If you believe that diversity and inclusion should become so commonplace that they are no longer remarkable, join our mission. Those who work in film and televsion has the means to make this possible. Join our team to make original projects that tell tales about how when we face our fears we become our best selves.

https://youtu.be/WHD9zwedx6Q?si=CMHFLV9lOMWGU2aQ

#supportingdiversity #inclusion #film #television #women #NativeAmericans #IndigeousPeople #veterans #TheresaChaze #KaleidoscopeFilmandTelevision #Michigan #Oklahomas

Theresa Chaze: unabashed troublemaker

For most of her life, people have been telling her not to try or to give up. They said her goals were impossible--that she couldn't possibly make any of them happen. But what they were really saying was that they were afraid to try or were afraid she would succeed. If you believe you can't, then you can't; yet if you are certain you can, you can find or make a way to reach your goals. Theresa Pachesny Chaze Film & Television Producer • Writer • Director Email: Tirgana@yahoo.com Website: kaleidoscopefilmandtelevision.com

Veterans can't go back and make a brand new start but they can start from now and make a brand new end

Veterans are people—not political agendas. They served our nation, and many now face life-altering challenges without the support they’ve earned. I am the Creator and Executive Producer of Horses and Heroes, a veteran-based documentary TV series combining equine therapy and peer support to help veterans heal and move forward. The series will consist of 16 episodes (18 broadcast hours) and feature 10 veterans, including two public figures, while employing veterans both on and off camera. We are seeking a corporate partner aligned with supporting veterans and reaching the 18–49-year-old demographic. Our presenting partner would receive prominent brand integration, audience engagement opportunities, and exclusive access to unaired content, while directly supporting nonprofit equine therapy centers that serve veterans at no cost. If this aligns with your mission, buy our shirts and recommend others do the same. Thank you for your time, Theresa Pachesny Chaze Creator & Executive Producer, Horses and Heroes Website #veterans #hiringveterans #documentaryTVseries #equinetherapy #HorsesandHeroes #TheresaChaze

New Veteran Based TV Tells Veterans' Stories

Veterans are people who deserve to be treated as heroes, not political agendas. They have earned the help and support that they need. Horses and Heroes will tell veterans' stories as they work together to learn new coping skills for their physical and emotional challenges. We will also be hiring veterans for the jobs in front of and behind the cameras, while supporting the equine centers that have veteran programs. To learn more, visit our website. https://www.kaleidoscopefilmandtelevision.com/horsesandheroes #veterans #equinetherapy #jobs #ptsd #HorsesandHeroes #TheresaChaze #Army #Airforce #Navy #Marines #CoastGuard #militarysupport

Veterans: Do they need your support?

Product Placement and Integration benefits brands and projects

 Effective promotion and marketing campaigns remain the keystone for every company’s success. This is especially true during financially challenging times. The expenses are necessary to reach the customers, but finding the money in the budget can be a challenge.  It places the company in a chicken-and-egg situation.   The innovative knows how to get the biggest bang for their bucks.

Product placement is an old-school promotion and marketing technique that, when updated and used properly, outshines traditional and more expensive campaigns. During the early days of television, companies were the sole sponsors of individual TV series.  The brands were so intertwined that they became synonymous with each other.  The Mutual of Omaha’s Wild Kingdom is only one example.  Mutual of Omaha was featured in the title and the hosts promoted the brand within the series.  The increasing production costs made this business model unsustainable, thus establishing the current trend of separating content from advertising.  However, instead of being abandoned, cross-branding transformed into a combination of the two techniques.  This hybrid methodology maximizes the financial benefits for the production by expanding the number of brands embedded into it, while lowering advertising costs and maximizing the longevity of the promotion for each sponsor.

Both models have their benefits and their challenges. With only one sponsor, the full financial weight falls on it, yet the promotional benefits also dramatically increase.  Frequently, the brands become permanently intertwined with the reputation of each, reflecting on the other.   Being able to attract a specific demographic is an additional benefit of this business model. The content organically lures the audience, who find the topic, genre, or personality involved interesting, which gives the sponsor direct access to those it is trying to reach.   Once embedded in the project, the brand continues to be promoted whenever and wherever the project is viewed without additional cost to the sponsor.  Once produced, the connection becomes locked.  Nothing can be added or subtracted without altering the project itself

 

With the separation of the content and advertising, the financial obligations for the sponsor have been lower, but the benefits have also dramatically decreased.  Instead of being an equal partner with the series, the brand becomes only one in the crowd.  Targeted purchases of commercial time do increase the possibility of reaching a specific demographic; however, the cost for such commercial buys increases the cost of each ad.  Network rate cards vary in terms according to the market size, day part, how far in advance the airtime is bought, and the flexibility of the placements.  The more specific the terms, the higher the price tag will be.  The current norm focuses on day part and venue rather than content.  It is little different than throwing spaghetti at a wall and seeing what sticks. Additionally, the separation of content makes the ad buy a one-and-done.  The ad will air according to the terms of the contract and will not air again until another contract for more airtime has been signed and paid for

The hybrid model combines the best aspects of both.  It has the permanence of embedding brands and the cost-effectiveness of the current business model.  Embedding brands manifests in two forms, placement and integration.  The primary difference between the two is the involvement and interaction between the on-screen talent and the brand.   The more interaction between the two, the greater the exposure and the higher the cost.  Placement refers to the product being placed within the set design in such a way that it receives screentime, but without direct interaction with the characters.   Integration refers to products that involve active interaction or usage of the brand name on screen as the characters use or positively speak about the product. 

In the 1984 Ghostbusters, Bill Murray and Sigourney Weaver had a scene in front of her refrigerator.  For nearly thirty seconds of the scene, a Coke has been placed on a shelf between them.  They don’t look at it or refer to it, yet it has a notable presence in the scene. More recently, in the series Yellowstone, Marlboro circumvented the legal restrictions against on-air advertising of tobacco and smoking products.  In several scenes, the character Beth opened a Marlboro box, took out a cigarette, and smoked it.  Nothing was said about the brand.  It was just a matter of course that Beth smoked.  However, instead of concealing the brand, the name received screen time.

Timing is another primary difference in the promotional models.  Cross-branding placement has longevity and permanence; however, its benefits are delayed until the release of the project.  Purchasing airtime within commercial breaks has immediacy of exposure, yet a short shelf life. The rate card for each also radically differs. The cost for placement is based on length of screentime in seconds, active/passive presentation, actress/actor involved, and the genre.  Whether an Indie or studio project, an A-list talent will garner a higher rate per second.  However, in order to accommodate the two-minute commercial breaks, ads have been limited to standardized lengths of 15, 30, 45, 60, and 120 seconds. The rate cards base their fees on the rating of the program; the higher the rating the more costly the placement will be.

 

Never Can Say Good-bye’s production team will reinvent the definitions of innovation, moxie, and creativity as they place and integrate brands within the project.  It will feature products that are normally overlooked, while offering traditional sponsors a fresh perspective on how their products or brands will appear on the screen.  Although the genre of paranormal-thrillers attracts the 18–49-year-old demographic, by supporting age, gender, and ethnic diversity, Never Can Say Good-bye will broaden and enhance that target base. Thereby, it will expand the sponsors’ promotional reach beyond expectations.

 

By combining brands, Never Can Say Good-bye will give the scenes a real-world feel. In addition to being placed or integrated into the scenes, the name of the brand will be used whenever possible. For example, in the scenes within the cars, a radio station will be playing in the background.  The station will be identified by its call letters. Depending on the length of the scene, from one to two thirty-second commercials will air for any family-friendly product.  There will also be a running joke about how the supporting character, Amanda, is trying to win a radio contest.  She is more than capable of buying her own, but she tells others that it tastes better when she wins it.  Her attempts to call in are frequently thwarted by others.  These details will be added in the final script. 

A motorized wheelchair will be used by Amanda, who is well-respected in her community.  She will be seen using it in and outside her home.  In addition, it will also have screen time as it is used on various terrains, including city streets/sidewalks, college campus, and a cemetery.  Extras of various ages, genders, and ethnicities will be seen using them.  However, the budget line only includes the screentime in which Amanda is featured.  The scenes with the extras will be considered bonuses.  The sponsor will be expected to provide the necessary motorized wheelchairs that will be donated to non-profits after the production; the sponsor will receive the tax deduction.

For a complete list of placement opportunities available through the contact information on the website.  

Website

Wiccan Ritual Opens a Door to the Past

 

He slowly walked out of her reach. "I'm sorry."

 

“For what?” Shawn Michael demanded, stepping off the main path. He was quickly followed by Damien MacNab, Richard Connell,  and Keith Connell. “Explain yourself, boy!”

 

“I told you!” Keith volunteered, pointing at Shannon and Michael. “I told you they were together.”

 

Shannon Marie's gaze quickly darted from her father to the smirking Keith. Anger rose within. “Papa. Whatever he told you,” she jutted her chin in Keith's direction, “is a lie.”

 

“Shut up girl!” Richard snapped, sauntering into the glade. “He said you were together.”

 

“Harlot!” Keith smugly pointed at her; the condescension in his voice matched his father. “Just like your Seanhair!”

 

Shawn Michael snapped around; his left hand reaching for the dagger at his belt. “Richard, shut your bastard up!” The warning hung in the air between them, threatening to become more than a verbal battle.

 

“Michael?” Always the gentleman, Damien squared his shoulders and composed himself. With relaxed, yet directed long strides, he quickly crossed the distance between himself and his son. Damien reached out slightly and tilted his head so that their matching deep hazel eyes met. “Why were the two of you here together?”

 

“Father, we always come to honor Bridget.” Michael’s gaze did not waver.

 

Shannon was suddenly aware of how alike in manner and appearance they were. Without Damien’s beard, it was like the men were looking in mirror reflections of themselves; one towards the past and the other toward the future. Both were warriors; but whereas Damien had aged into a statesman, Michael still had the temperament and the physical stamina of a warrior and a hunter. Although their eyes were the same shape and color. Damien’s held wisdom. Michael’s were those of a seer who saw other times and places.

 

“I would never dishonor you or myself.” Michael continued. “Nor would I betray her father’s trust.” He turned toward Shawn. “Sir, your daughter and I have been friends for as long as I can remember. You never questioned us before. Why would you doubt us now?”

 

“We always have been together since we were children. Rachael and Scott used to come with us.” Shannon Marie interceded. “Since Scott was sent to the monastery, Rachael does not come anymore. Michael and I promise to always remember them to Bridget. We are honor-bound. Rachael gave me her offering.” She pulled the coins from her pocket.

 

“Pagan—“

 

“Shut up!” Shawn Michael snapped, cutting off Richard. The anger in his voice was sharper than the blade at his belt. “My daughter does not lie.”

 

“Neither does my”--

 

“Your son?” Richard cut Damien off. “Are you dishonoring your legit heirs by acknowledging your bastard?”

 

Shawn Michael crossed the few yards between himself and Shannon Marie. His voice softened when he spoke to her, yet the anger, which was only inches away, remained directed at the Connells. “Little Elf, what oath did you give.”

 

“The four of us made a blood oath on Bridget’s altar to be each other’s defenders and protectors.” Michael quickly answered, stepping toward the father and daughter pair. “We are one in her name.”

 

“Yes, Papa. It is true.” Shannon Marie looked up into her father’s eyes, trying to get him to understand how she felt about Michael without her being forced to put it into words. They were more than friends, yet they both knew that was all it would ever be. How could she speak what her heart felt in front of all of them when she could not say it out loud to the person who meant the most?  Angrily she looked at the Connells.

 

Arrogantly,  Keith stood beside his father,  his arms folded across his

chest. She hated him the most for his pretense. His parentage was no better than Michael’s, yet he presented himself as a son of rank.

“But it’s none of their concern. Michael is honorable. Neither of us would do anything to disgrace ourselves or our families.” She pointed at Keith. “He cannot say the same.”

 

"There was nothing more?" Damien demanded, stepping back and scratching his graying beard.

 

“Nothing worth speaking of.” Michael whispered and turned toward the altar. “I-we-it doesn’t matter. We have done nothing to shame ourselves or our families.”

 

Damien’s voice softened as he stepped around Michael and lifted his chin as if he were a small boy instead of a nearly grown man. “Speak the words of your heart.”

 

“I can’t Father. I don’t have the right.” Michael turned away and walked back to Bridget's altar. He stood there with his back to them all.

 

Damien's gaze followed his son, but his eyes quickly moved on to the stone formation that honored The Horned One, Cernuous. Scratching his beard, he seemed to be seeking an answer from the God. He blinked and shifted his weight to look at Shawn Michael. He slightly nodded. “Your daughter is an honorable young woman. So is my son. I believe both of them.”

 

Without hesitating, Shawn Michael returned the gesture. He faltered for a moment as if he were choosing his words carefully. “The Clans have their ways for good or bad. They cannot be changed. At least not from the inside. But not all of us are from the inside. Shannon Marie’s Seanhair is not of the Clans. When I married her daughter, we created a new tradition that was not quite Clan, not quite de Medici. I agree to release my claims to my wife’s family possessions. I gave her my family's name. As with the Clans’ traditions, my eldest daughter and her husband would inherit the clan title and honors...but Madam de Medici would name her heir. Do you understand?”

 

Shannon Marie did not. There was no reason for Papa to be speaking about the family business. Especially not now. Besides, Damien was Papa’s best friend. He knew all this already. None of it was a secret.

 

Damien slowly nodded his head.

 

Shawn Michael continued. “Some traditions can be broken without reproach. Others only bent. But some traditions cannot be broken. My daughter is of honorable blood. She deserves all her birthrights. Not everyone will accept Jacqueline De Medici's decisions and choices. They will try to take by force what they can’t have by law.”

 

“Strong friends and family alliances are shelter in such storms.” Damien interjected. “An honorable family, we would fight to the death to protect their own whether by blood or marriage. I speak for MacNab Clan and all our kin and all our kin’s kin when I say we are such an honorable family.”

 

“We have an agreement!” The elder Connell angrily barked.

 

“And it will be kept!” Shawn Michael matched his tone as he snapped around. “To bring peace between our clan, my eldest daughter and heir will marry yours. I will keep my word as long as you honor your end of the bargain. Shannon Marie has been and will be Madam de Medici's heir.”

 

“That wasn’t the agreement!” Connell growled advancing on Shawn Michael. "The estates go to the husband of the eldest daughter if there is no legit male heir. My son is entitled--"

 

“To the small estate, my father shall bestow on me.” Shawn Michael cut him off. “And the title.”

 

“Only you and yours thought that there was more. The rest knew the lay of the land.” Damien added, standing beside Shawn. “You were a fool to expect otherwise.”

 

“Tradition is tradition.” The elder Connell snarled. “Eldest child--legitimate child,” he corrected himself, “inherits the family title and property.”

 

Shannon Marie knew there was more to his meaning than his words conveyed. They were talking about clan agreements and marriage as if they were interchangeable. But Seanhair taught her that she would always have the right to choose with whom she shared her bed. Did not her older sister have the same right? Again she had the strange feeling of not being alone within herself--it felt as if a stranger was also looking out of her eyes and hearing as she heard.

 

This was important. Alyssa knew it was a turning point. A path had been chosen, yet she knew not what the options were. Nor was it her right to decide. Something had been just set in motion.

 

Shannon felt the stranger within her. From the beyond, words from another place echoed within her—“To another place to the other time take me back to the beginning of this crime. Let me see and understand the unfolding of this karmic plan. Show me now in this light how to make this wrong a right.”

 

Fear suddenly overwhelmed her. Shannon did not understand why this moment was so important. Why were Damien and Papa talking formally as if they were at court? They were friends. Always. For as long as she could remember, they had spoken openly as brothers. She looked at Michael; he was closed off to her. She wanted to reach out to Papa; she couldn't force her feet to move the few steps between them.

 

“I give you my word.” Damien continued, “The MacNab Clan honors the traditions of the other clans' families. We will respect the understanding between the Cullen clan and Madam de Medici.”

 

Shawn Michael slowly nodded.

 

Damien MacNab returned the gesture. “I'll make the arrangements with Laird MacDonald to make the first announcement.” He turned toward Bridget’s altar. “Michael, come here.”

 

Michael immediately bowed in reverence to Bridget and returned to his father’s side. Damien leaned forward and whispered into his ear. For a moment, Michael stepped back, looking first at Bridget’s altar and then at Shannon.

 

Damien stepped closer and continued to speak in a voice so low it did not carry across the field. As he finished, Michael slowly nodded but said nothing.

 

Shannon Marie saw regret and sadness in his eyes. Their eyes met briefly. Michael turned away and looked at Bridget’s altar. It was like he was mourning part of himself. Disappointment and grief radiated from him.

Available in paperback and as Kindle on Amazon.

Buy on Amazon click here

Author's Website click here

#paranormalthriller #karmicromance #Notforourselves #TheresaChaze #wiccan #pagan #reincarnation #rituals #pastlives

Facing our Fears and Healing out Lives

 

Shylon the caterpillar becomes self-aware in her egg. As she develops, she learns and grows to the point that her world had become too small to hold her.   As it breaks away, she becomes both fearful and curious about the outside world. But when the egg disintegrates and she no longer has the option to return to it, her fear becomes anger. Mother calms and comforts her until she is again forced to face another uncertainty.  Shylon's anger escalates with each challenge until she comes to the point when Mother can no longer reach her. Shylon must choose between the path leading to love or the dark angry one where love cannot go.

No matter what our age, like Shylon, we are ever-changing. Physical and emotional growth continues from the time we enter this world until the time we leave it. Whether we like it or not, we continually change and grow. Sometimes, our evolution is so slow and steady that we never notice how much we have evolved until we look backward. Other times, it happens without warning; suddenly the world as we know has disappeared.  Frightened, confused, and frustrated, we sometimes lash out, hurting ourselves and others. Like Shylon, we alone can decide which path we will continue to follow to the end.

Kari Marie

5.0 out of 5 stars A Journey of Emotions

Reviewed in the United States on April 16, 2023

I really liked this book! It was written simply and beautifully- very easy to read and the length is wonderful. Shylon is the main character and she goes through a process of self-awareness with the help of “Mother” and a few friends. Her innocence is heartwarming and her fears and pains are so relatable. I cried unexpectedly a few times and felt this was healing me also. I learned to not judge myself as much. A good reminder that we are never alone. There is another story at the end about Shannon that also resonated with me. Overall, I feel one of the overarching themes of this book is to embrace growth and change because we are meant to expand. And it’s also about the ones who support us towards that growth and those changes. Without them, we may not fulfill our potential. It made me think about the people who pushed me- towards being and doing greater. A good read!

leolady

5.0 out of 5 stars Reclaim your power and have faith in yourself

Reviewed in the United States on April 19, 2023

This book reminded me and taught of how I learned how to emerge from many obstacles throughout my life from childhood through adulthood. I had learned to embrace change, through a serious illness in my later years of life, I learned to stay positive and not to let fear f any obstacle encountered take over my life. I survived. “shylon” in the book means a person of true faith, all one has to do is to believe in something. I highly recommend this book for children or adults. The book is inspiring and offers encouragement and faith in oneself.

Let’s girl talk

5.0 out of 5 stars Promotes self-awareness of change and how scary it can be

Reviewed in the United States on March 30, 2023

This book is an amazing example of what change feels like and the importance of embracing it and not letting fear rule our lives. The name that was chosen for this book “shylon” was perfect! It represents so many good character traits, but the one I love the most is the representation of self-reliance and self-confidence. A very good read for children and adults

Joseph A Giangrosso II

4.0 out of 5 stars Multiple layers create evolving lessons.

Reviewed in the United States on April 24, 2023

Verified Purchase

This story gives an interesting path for the reader, without question. There are multiple layers as the story builds, just like the main character has multiple layers that are both grown and shed. I like the parallel between the fanciful characters and people. There is definitely the theme of transformation that embraces human emotions and questions and fears but is provided in a safe space, something we all need when faced with ourselves. The final shift to the theatre was a big surprise, but a welcomed one as it made me think more fully about the whole story. Thank you for sharing your work. Joey Giangrosso

A Butterfly is Born is a Divinely inspired short novel, which tells the tale of how Shylon the Caterpillar faces her fear to become a beautiful butterfly. it will help those, who are facing life's challenges, find the strength to heal and move forward. It’s available on Amazon in paperback and as a Kindle.

Amazon Link

It’s also available on the website as a PDF.

Website

#facingfears #healing #healingjourney #lifechanges #adolescence #amazon #amazonbooks #kindlebooks #lifechangingopportunity #newbeginnings #TheresaChaze #AButterflyisBorn

Screenwriting 101: Timing tips

Screenwriting 101: One page doesn’t always equal one minute.

 

Most screenwriters are taught that one page of script equals one minute of screen time.  But that is a misnomer.  Timing depends on the amount of dialog versus action.  But more importantly, it depends on the director and actors involved; they are the ones who set the blocking and delivery of the lines. 

Scenes, which focus primarily on dialogue, more closely align with the one-page-one-minute concept.  These scenes open with a general description, which sets the stage.  Unless specifically written, the director and actors will set both blocking and emotional motivation. Both determine the context of how the lines are delivered.  The perfect illustration is how the different actors, who played James Bond, said the classic line “Bond, James Bond.”  Each of the actors had a unique tempo, which was only slightly altered by the scene settings.  Emotions and actions always affect how lines are delivered.   Strong emotions and intense actions will slow down the dialogue in some situations by creating necessary pauses, while fear and anger increase the speed of others.  The interactions between the character, whether with overlapping lines or long pauses between them, will either shorten or length the scene.

However, scenes that focus primarily on action might be described in a few sentences, yet they will run for several minutes on the screen.  For example:

The crowd’s cheers rapidly became gasps of horror as Jackson and Drake's cars murderously battle for the lead.  Using the other vehicles as weapons, they played bumper cars with each trying to knock the other off the track.

These two lines could very easily run for two to three minutes on the screen.  Without a word of dialogue, the scene and the motivation are set.  Nothing needs to be said.  Their actions speak louder than any words could convey.  The final length would be determined by how explicit the director wanted to make the violence and if there are intercutting scenes, which reveal actors inside the cars.

Most scenes combine both dialogue and action.  The following scene from my dark comedy, Completely Loyal to Me.  It’s just shy of two pages.  According to the formula, it should run for two minutes.  However, the action and reactions of the characters would more than double the screen time.  Walking and running on beach sand while trying to catch someone, who doesn’t want to be caught isn’t easy and will quickly lead to exhaustion.  The lines would be interspersed with action with the delivery becoming increasingly slower as actors portrayed the characters become breathless and tired.

 

EXT. BEACH: DAY

Cheryl and Karen walk down the beach. Lynne runs toward them from the other direction.

CHERYL

You are so grounded.

LYNNE

(excited)

I have proof!

CHERYL

You promised mom and dad--

LYNNE

But I have proof!

CHERYL

You broke your word!

LYNNE

Just listen!

KAREN

Let’s go home.

LYNNE

(Pulling away)

No! I won’t!

CHERYL

We’ll drag you back.

KAREN

We who? Don’t look at me.

 

Cheryl tries to grab Lynne. She eludes them. In a keystone cop chase, Cheryl and Karen try to catch her.

 

KAREN

Damn! She’s fast!

LYNNE

(frustrated)

Promise you’ll listen!

CHERYL

Do you want to be arrested?

KAREN

Arrested? Wait a minute. Just her? Right?

LYNNE

Just listen.

CHERYL

I will--at home!

Lynne continues to elude them.

LYNNE

NO! We have to go to the lighthouse.

KAREN

No! It’s off-limits.

LYNNE

But we have to.

CHERYL

Why? Why do we have to go there?

LYNNE

That’s where he went.

CHERYL

Who?

Lynne points up at the mansion.

CHERYL

If we don’t find anything, do you pinkie swear to stop playing Nancy Drew?

 

With one hand behind her back, Lynne offers her pinkie.

 

CHERYL (CONT.)

Let’s see your other hand.

 

Lynne shows her other and uncrosses her fingers.

 

CHERYL (CONT.)

Let’s go.

KAREN

(whining)

My feet hurt.

 

The dialogue implies the action and emotion of the characters, but it also gives the actors and director a great deal of leeway to enhance the action and emotions, especially for the actor playing the eight-year-old Lynne.  The comedic possibilities would be nearly endless as the twenty-somethings try to capture her  Realistically the scene would run about three and a half minutes.  Running it too short would stunt the humor; too long would be overkill.

 

 

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