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

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

How Film and Television Changes Hearts

 Film and television projects, which focus on entertaining rather than preaching, change hearts and minds. They reveal the worst of ourselves but also the best. This dynamic engages the full spectrum of audiences’ emotions—joy, sadness, love, loss, anger, and fear.  They represent the humanness that mathematical formulas are incapable of understanding, computing, or predicting. By engaging the emotions, rather than shocking the senses, the project empowers the audiences to envision a future based on equality, diversity, and inclusion.

Kaleidoscope Film and Television’s mission statement is to reflect what was and is to order to change what can be. By focusing on projects based on age, gender, and ethnic diversity, we will break stereotypes in front of and behind the cameras. Revealing the best and worst of humanity will give the audiences the means to see beyond who they are now to who they can become. It’s never too late to find our best selves. 

When the focus remains on character and plot development, instead of preaching, the projects attract national and international audiences, thus making them popular and profitable. Keeping the production budgets reasonable and responsible only increases their profitability potential. By including those voices who have been overlooked or excluded, we will expand the audience base, giving our projects larger shares of nearly all demographics.

Kaleidoscope Film and Television will achieve these goals and so much more. We are seeking those, in front of and behind the cameras, who want to support the humanness of diversity and inclusion. By working together to share our talents and experiences, we create more of a cooperative than a traditional studio. Let’s open the door to new adventures together.

https://www.kaleidoscopefilmandtelevision.com/

#film #television #gender #love #future #development #project #change #inclusion #diversityandinclusion #diversity #projects #share

When love is forever, death is only the beginning: will it lead to forgiveness or revenge?

  

Never Can Say Good-bye tells the parallel storylines of the past and the present as the reincarnated souls are forced to decide between forgiveness and seeking the revenge they were denied in the past.

INT. RAMSDELL LIVING ROOM: NIGHT

Amanda talks on the phone.  Michael nervously paces.  He touches the repaired damage on the grand piano.    

                AMANDA

        (frustrated)

    I already asked him. She doesn't let people get close to her.  

Amanda watches Michael.  He stares up at Sara Jane's portrait.

                AMANDA (CONT.)

    Daniel, I have to call you back.

She hangs up the phone.

                MICHAEL

        (without turning around)

    The memories are getting more intense.

                AMANDA

    I knew they would.

                MICHAEL

    I have to know the whole truth. 

                AMANDA

    You will when it is time.

                MICHAEL

        (touching the piano)

     This is Sara Jane's.

Amanda nods.

                MICHAEL (CONT.)

    She loved music. 

                AMANDA

    Both her and Mother. It was their secret language. They were so close.  Sometimes I would get               jealous. They would always just seem to know and find a way to include me.  They'd make up a silly     rhythm...

Amanda becomes momentarily lost in the pleasant memory.

                MICHAEL

    She loved the guitar I bought her.

        (indicating the piano)

    But this was special to her.

                AMANDA

    It was a gift from Mother.  Father was furious when she took it with her.  But it was hers to take. 

                MICHAEL

        (pleading)

    Where is she?

                AMANDA

    It's not my place to interfere.   

                MICHAEL

    Where is Sara Jane?

                AMANDA

    I can't answer that.

                MICHAEL

        (angrily)

    Can't or won't?

                AMANDA

    Sara Jane might not be ready to deal with the past.  I'm not even sure you are.

                MICHAEL

    What if she can't forgive me?  What if she can't love me again. She begged. I couldn't let her leave.  

                AMANDA

    Could you now, if it was best for her?

                MICHAEL

    I don't know.

website

Film and Television Producer: Job Description

 

Many people have misconceptions about what a producer is and what they do.  Producers are jacks of all trades, masters of few. She or he needs people skills and technical knowledge, while still being willing to not only think outside the box but also rip that sucker up and reinvent it.

They are mediators and counselors of egos, who understand that sometimes you need to hold hands, while other times they need to kick butt.  Cast and crew are people with individual challenges that sometimes spill over onto the set.  Differing opinions can be resolved if the common goal remains to produce quality.   Hiring the right people means more than just focusing on experience or job skills.  It’s bringing together those who work easily and effectively together.  One bad apple will create a hostile work environment that threatens every aspect of production. This doesn’t mean that everyone needs to be besties, but respect is paramount.  Another analogy would be that of gears in a machine.  It only takes one to be out of sync to start a cascading effect that will eventually cause a loss of productivity.

Having a general, yet working knowledge, of all aspects of production, marketing, and distribution means knowing more than just the job description.  It’s being able to assist without getting in the way or becoming a liability to the task at hand.   The producer doesn’t have to be able to set the lights, but she or he must know the difference between a flood and a spot.  It’s having the humility to be willing to pull cables, help with food service, pick up trash, and load equipment.  It’s doing the job at hand without egos getting in the way.

As scrouges, they find cost-effective solutions to production challenges.  She or he needs to be inventive enough to turn to drop clothes and Christmas lights into the interior of a circus tent.  It also requires helping the team to be flexible enough to alter schedules and methods when challenges present themselves.  You can plan to the nth degree and things will still go sideways.   Freaking out or allowing others to do so only exacerbates the situation.  Running around with their hair on fire because it rained or someone came down with the flu, only creates unnecessary stress.  However, remaining calm and stepping back lowers the emotional temperature and makes finding solutions much easier.  Effective producers formulate plan b and an outline for plan c.

Having these skill sets gives the producer the ability to bring projects in on time and within budget.  It also builds teams that become working families that build the trust that is necessary to produce quality, while pushing the status quo of the industry. 

Website

Supporting Film and Television Crew during Covid-19

With all the stress and chaos, self-care and dealing with core issues are more important than ever. It's easy to talk the talk, but walking that path takes discipline, courage and a snarky sense of humor. On April 18, 2020, at 4:30 pm eastern at https://www.blogtalkradio.com/messagesfromtheuniverse/2020/04/18/messages-from-the-universe  Messages from the universe will host, Elizabeth Blake-Thomas as she speaks about how Project Phoenix will help those in the entertainment industry, who are financially challenged by Corvid 19. To speak with Blake-Thomas or to ask her questions call (845) 241-9942 during the live show.  After the show, the interview will be available at the same link.

Director Elizabeth Blake-Thomas is a British award-winning filmmaker and philanthropist based in Los Angeles, having recently completed her 8th feature film. Her latest feature Evie Rose, starring Oscar-nominated actress Terry Moore, follows the heartwarming story of an unusual friendship during the final days of a 100-year-old woman’s life. Elizabeth is the founder and resident director of entertainment company Mother & Daughter Entertainment, whose motto is “Making Content That Matters”, putting the focus on each project starting a conversation amongst viewers. Her most recent project, Project Phoenix, is a campaign to help support struggling crewmembers during the COVID-19 pandemic.

An Official Ambassador of Awareness Ties for Human Trafficking, Elizabeth hopes to raise more awareness of the horrific nature of human trafficking and help put a stop to it. Her award-winning short film UNSEEN, which addresses the role technology plays in the facilitation of child trafficking, was awarded "Best Short Film" by Film Threat's Award This! and is currently available on all platforms. Being a female director, Elizabeth strives to make projects with at least a 50/50 female cast and crew. A regular on panels at Sundance, Cannes and Toronto International Film Festival, Elizabeth mentors wherever possible, ensuring she sends the elevator back down to all other female directors and filmmakers.

https://www.seedandspark.com/fund/projectphoenix#story

Directing Showreel: https://vimeo.com/401574242

Awareness Ties Ambassador Page: https://www.awarenessties.us/elizabethblakethomas.html

Tune in April 18, 2020, at 4:30 eastern at

https://www.blogtalkradio.com/messagesfromtheuniverse/2020/04/18/messages-from-the-universe to learn more about why Elizabeth Blake-Thomas created the Phoenix Project and how it will be helping those in the entertainment industry, who have been financially challenged by the Corvid 19. To speak with Blake-Thomas or to ask her questions call (845) 241-9942 during the live show.  After the show, the interview will be available at the same link.

Horses and Heroes will tell veterans' stories as they work together t find new coping skills for their physical and emotional challenges. Veterans will be given priority for jobs both in front of and behind the cameras. Go to the website to learn more.

Horses and Heroes' website

Film Comparables in Business Plans

Comparables give plot, genre, and rating reference points for investors and distributors. It's not enough to state the genre. Comparing it to specific films gives details that will tell others what to expect. To say that your project is a horror film, even if you qualify it with a sub-category, such as occult, suspense, slasher, etc, still lacks important details. However, comparing it to the Exorcist will elicit images of possession, devils, and exorcisms. Amityville Horror conjurers haunting, violence, and family betrayal. Ghost brings to mind ghosts, romance, untimely death, and karmic justice. The Others also contains ghostly and untimely death elements, yet its focus remains on other aspects such as the house, mental illness, and children. Texas Chainsaw Massacre creates images of violence, blood, and gore. All of them are considered to be in the Horror genre, yet each of them has specific elements that evoke a specific response from the audience. However, the comparables also invoke levels of language, violence, and sexuality perimeters. Ghost has more sexual elements than The Others. The Exorcist has more graphic violence than Amityville Horror. When properly used, comparables can be an effective asset. Within a few words, an expectation will be set that will attract the interest of some investors and distributors, while others will give it a pass. However, using inaccurate comparables will do more harm than good. Each movie that is referenced creates a presumption that if not met will reflect poorly on the project that is being promoted.

Website

My New Chapter

Many people rush to evaluate their performance at the end of the chapters of their lives. However, that is where the testing takes place. The evaluations or the grading needs to take place at the beginning of the new chapter. Rushing to judgment distorts the results with false positives or negatives. There needs to be time and space to gain perspective. The new chapters begin by setting the stage for what comes next. What is the new challenge? Once the agenda has been set, you have to format the plan of attack so to speak. What worked or didn't work last time. What lessons were learn? Which weren't? Those that weren't why what needs to be done differently and how does it apply to the challenges of the new chapter.

I've started the new chapter. The last couple of weeks I have been evaluating--sorting through the data, lessons, and results. Most of the challenges of the last chapter have been met; a few are being carried forward but in a new context. I've learned a great deal about leadership along the way, what to do, but more importantly what not to do.

Leadership is a balancing act.

Flexibility and schedule. Those that strictly adhere to the agenda miss opportunities. Sometimes you need to pivot to take the scenic route to get to your destination. It might be longer in distance, but shorter in time. Plus, you never know what bonus points you will earn along the way.

Compassion and discipline. A leader who bullies to get the job done isn't truly a leader but merely a bully with power. Sometimes you have to reshuffle to find the good fit. Sometimes you have to put in the extra effort. Sometimes the best you can do for everyone do is bless and let go. Those who put profits over people find that they lack the good of both. Treat your workers like people and everyone wins.

Teams need balance, which means every member has to be grounded and centered. Trade school and a targeted education are great for teaching the skills, but they fail to create a grounded and centered person that are necessary for success. The arts, math, sciences, and other required subjects of a college or university are necessary because they create multi-fascet people. Diverse knowledge and training uplifts and adds dimension a person. Life experience is also a necessary element to a well-rounded individual, especially for leaders Those who haven't had to fight to survive by living paycheck to paycheck don't have the empathy to be a strong leader.

You can't teach what you don't know.. Good leaders have a working knowledge of every aspect of the job, but they hired the right people to do it and get out of the way.

Stress kills productivity and profitability. Stress happens because unexpected shit happens. How you react to it determines the end result. Running around screaming and pointing fingers only makes the situation more difficult. Identify the challenge, the solution, fix it, and only then do you look for reasons it happened, which will lead to preventative measures. Laying blame at the beginning terminates the creative solution process.

A little gratitude goes a long way.

My new chapter has begun.

                                                            Website

Imprisoned in her family's home, the spirit of a murdered child waits for her parents to free her. But they have reincarnated as has her killer. Randi must bring them back together, so that they can forgive themselves and make amends. If she succeeds, they will all heal and she will be freed to also reincarnate. If she fails, their need for revenge will damn them all.

Horses and Heroes is a Reality TV series, which combines the highly effective Peer Support Therapy with Equine Therapy. Unlike most in the genre, it will focus on healing and positive growth rather than endorsing bad behavior. Each season will bring together veterans from WWII to the current conflicts. They will be sharing their challenges and supporting each other as they find new solutions to their physical and emotional challenges. They know the talk because they have walked the walk. They see the dodges and will be able to call each other on them. Sparks may fly. Tempers may flare, especially when they force each other to face their ghosts. But there will also be laughter and fun as they rebuild the comradery, which kept them safe and strong. The snarkiness and practical jokes between the branches don't simply end. There is always room for just one more. This interaction will help them rebuild that sense of brother and sisterhood they depended on while serving, which will help them reclaim their civilian lives. When it airs, it will reach into the homes of the veterans, who need to hear that they are not alone, and give them information as well as permission they need to also heal. They will help each other find their way back to the world. Veterans can’t go back and make a brand new start, but they can start from now and make a brand new end.

With the tagline, “When a mother eats her own, no one is safe,” Eye of Ra compares to The Exorcist and Amityville Horror.

Katherine was born with the power to control the elements. Her whistle called the winds. Her tears refreshed the earth. She was able to see into the realms where fools and angels fear to tread. Her daughter, Sandra, was born with gifts that were complementary—or they should have been. Sandra had the ability to nurture and heal. Her gifts gave her the ability to see and heal others' pain. She could foresee their destinies and give them the courage to embrace their futures Yet, it was not enough. Sandra wanted more direct control over the world and the realms beyond. When her daughters' developed the gifts she craved, Sandra's envy turned to hatred. When a voice from the dark void reached out and asked, “What would you do to have their power. Sandra replied, “Whatever it takes.”

Kidnapped as a child, Rikki is forced to defend her life from her envious mother, who is more than willing to kill to steal her spiritual gifts. When Rikki escapes, Sandra turns her attention to others, who are more vulnerable. Can Rikki find the strength and courage to once again face her mother and stop her or will Sandra use Rikki's guilt to weaken her to the point that she is unable to save herself or anyone else?

A scripted television series, Operation Home Base combines the best of MASH, The Waltons, and NCIS to create a family of man drama about forgiveness and second chances.

A medic in the U.S Army, Martin Flying Crow returned from Vietnam a wounded soul, who was haunted by the ghosts and the guilt of his own actions. He quickly learned that there were more like him than the nation wanted to acknowledge. Unable to heal his own wounds, Flying Crow vowed to help other veterans find the peace he never expected to find for himself. Through a series of coincidences, several others joined his crusade and expanded it. Through their combined efforts, Operation Home Bases legally becomes a non-profit organization that moves out of Martin's garage and into an old shop. When Pat Bogley asks them to learn the truth of his son's disappearance while on a routine patrol in Afghanistan, their inquiries led them dangerously close to exposing a truth that many powerful people at home and abroad would do whatever it takes to keep hidden. When slander and threats do not deter Operation Home Base, Valhalla is created to offer unlimited financial and logistical support. Valhalla's generous offer will either be the carrot to divert the investigation or the stick to destroy Operation Home Base from the inside out.

The second-year slate would include the second seasons of both televisions series, plus the following features.

Riding Fences: Western

When his mother dies while Tom is away at college, his grief turns to rage and he turns his back on his father and brother. He only returns decades later when he is given the opportunity for revenge. By the time he learns the truth, it may be already too late to undo the damage his has done to their family's heritage ranch.

Swamp Rats: Drama Thriller

They rode together. They fought together. They played together. They were the Swamp Rats until a lie ripped them apart. When the doctor gave him the long face, Willie realizes that he has little time to prevent the truth from going to the grave with him. In an attempt to make it right, he tricks the Swamp Rats into riding together again. Willie hopes there is enough of their old friendship left to save two old friends and a daughter that one of them never knew he had.

New Film and Television Production Studio

Cosmos Productions Studio will be digital film and television production facility that will produce low to medium budgeted film, television, and documentary projects as well as music videos, commercials and industrial films. Initially a one sound stage studio, the five year plan is to expanded it to a four sound stage facility and distribution hub for the domestic, foreign, and ancillary markets. Whereas the large established studios focus on producing big budget projects, Cosmos Productions Studio will go back to the concept of producing low to medium budgeted projects that spread the financial risk among many projects. One hundred fifty million can produce one tent pole film or produce and distribute 20 low to medium budget projects. It is the difference between one role of the dice and mitigating the risk by spreading it across 20. Within that financial pool of films some will fail, some will breakeven, but some will make a profit.

Cosmos Productions Studio proposes combine the best of the old school with the modern technologies to create a more financially stable business model. Based on the concept originally created by D. W. Griffith, Charlie Chaplin, Mary Pickford, and Douglas Fairbanks with United Artists, Cosmos Productions Studio intents to once again pull together the talent of producers, directors, actors, and crew, who want to take back their independence by having more financial and creative control of their careers. By working together and combining their skills, they will be able to produce and distribute projects that are based on diversity of gender, age and ethnic backgrounds. Women and minorities will gain equality in the industry by achieving strong leadership and decision making roles. It is this inclusive business model that will attract the creatives with good business sense.

First year projects:

Comparable to Ghost and The Others, Never Can Say Good-bye is a paranormal thriller with the tagline, “When love is forever, death is only the beginning.”

Sara Jane and Randolph met and fell in love as children. Several years older, Randolph went to work for her father, James. Determined to give Sara Jane the same standard of life, Randolph did the unthinkable. Claiming a large track of old growth forest for himself, instead of James, he became a pariah in the community. Only Sarah Jane and her mother stood by him. James actively worked against him by persuading the Michigan mills not to buy his logs. James' revenged backfired when Randolph found alternative markets for his timber, which brought higher profits than anyone expected. Enraged. James forbid the marriage. Loving each other more than they feared him, they eloped. As their happiness grew, so did his hatred, which cascaded into series of events that caused Sara Jane's death and the murder of his grandchild. Before Randolph could exact his revenge, he too was murdered

Their souls quickly returned to live in new bodies. Their conscious minds had been wiped clean, but the past remained festering in their subconscious. When the fates with a little help from the living bring them together all of their lives are thrown onto a dangerous collision course from which they can neither run or hide.

Never Can Say Good-bye tells the parallel storylines of the past and the present as the reincarnated souls are forced to decide between forgiveness and seeking the revenge they were denied in the past.

Paranormal thriller with an innovate spin on the ghostly genre from Theresa Chaze on Vimeo.

Horses and Heroes is an unscripted TV series, which combines the highly effective Peer Support Therapy with Equine Therapy. Unlike most in the genre, it will focus on healing and positive growth rather than endorsing bad behavior. Each season will bring together veterans from WWII to the current conflicts. They will be sharing their challenges and supporting each other as they find new solutions to their physical and emotional challenges. They know the talk, because they have walked the walk. They see the dodges and will be able to call each other on them. Sparks may fly. Tempers may flare, especially when they force each other to face their ghosts. But there will also be laughter and fun as they rebuild the comradery, which kept them safe and strong. The snarkiness and practical jokes between the branches doesn't simply end. There is always room for just one more. When it airs, it will reach into the homes of the veterans, who need to hear that they are not alone, and give them information as well as permission they need to also heal. They will help each other find their way back to the world. Veterans can’t go back and make a brand new start; but they can start from now and make a brand new end.

All veterans' lives matter from Theresa Chaze on Vimeo.

With the tagline, “When a mother eats her own, no one is safe,” Eye of Ra compares to The Exorcist and Amityville Horror.

Katherine was born with the power to control the elements. Her whistle called the winds. Her tears refreshed the earth. She was able to see into the realms where fools and angels fear to tread. Her daughter, Sandra, was born with gifts that were complimentary—or they should have been. Sandra had the ability to nurture and heal. Her gifts gave her the ability to see and heal others' pain. She could foresee their destinies and give them the courage to embrace their futures Yet, it was not enough. Sandra wanted more more direct control over the world and the realms beyond. When her daughters' developed the gifts she craved, Sandra's envy turned to hatred. When a voice from the dark void reached out and asked, “What would you do to have their power. Sandra replied, “Whatever it takes.”

Kidnapped as a child, Rikki is forced to defend her life from her envious mother, who is more than willing to kill to steal her spiritual gifts. When Rikki escapes, Sandra turns her attention onto others, who are more vulnerable. Can Rikki find the strength and courage to once again face her mother and stop her or will Sandra use Rikki's guilt to weaken her to the point that she is unable save herself or anyone else?

A scripted television series, Operation Home Base combines the best of MASH, The Waltons, and NCIS to create a family of man drama about forgiveness and second chances.

A medic in the U.S Army, Martin Flying Crow returned from Vietnam a wounded soul, who was haunted by the ghosts and the guilt of his own actions. He quickly learned that there were more like him than the nation wanted to acknowledge. Unable to heal his own wounds, Flying Crow vowed to help other veterans find the peace he never expected to find for himself. Through a series of coincidences several others joined his crusade and expanded it. Through their combined efforts, Operation Home Bases legally becomes a non-profit organization that moves out of Martin's garage and into an old shop. When Pat Bogley asks them to learn the truth of his son's disappearance while on a routine patrol in Afghanistan, their inquires led them dangerously close to exposing a truth that many powerful people at home and abroad would do whatever it takes to keep hidden. When slander and threats do not deter Operation Home Base, Valhalla is created to offer unlimited financial and logistical support. Valhalla's generous offer will either be the carrot to divert the investigation or the stick to destroy Operation Home Base from the inside out.

The second year slate would include the second seasons of both televisions series, plus two of the following features.

Riding Fences: Western

When his mother dies while Tom is away at college, his grief turns to rage and he turns his back on his father and brother. He only returns decades later when he is given he opportunity for revenge. By the time he learns the truth, it may be already to late to undo the damage his has done to their family's heritage ranch.

Swamp Rats: Drama Thriller

They rode together. They fought together. They played together. They were the Swamp Rats until a lie ripped them apart. When the doctor gave him the long face, Willie realizes that he has little time to prevent the truth from going to the grave with him. In an attempt make it right, he tricks the Swamp Rats into riding together again. Willie hopes there is enough of their old friendship left to save two old friends and a daughter that one of them never knew he had.

Seize of Honor: Science Fiction

Based on the short story of the same name, Seize of Honor is a Sci-fi thriller. Kelly O'Dell works for an highly advanced, but strictly structured intergalactic organization with little tolerance for failure. When a newly discovered planet releases a plague throughout her people, Kelly is assigned to learn the cure from the indigenous people. However, when her first contact accidentally murders several of the their children, she must find a way to appease them before her superiors learn of her failure.

Dark Shadows: The Trial of Angelique Gothic Horror

In 1971 when the original Dark Shadows series went off the air, it appeared that Angelique had been killed after she and Barnabas declared their love for one another. However, Angelique had power that  Judah Zachary could not take. She uses it to escape to the future, where she and Barnabas are reunited. Striped of his power, Judah Zachary is forced to face their Master alone. Trying to win his power back and his freedom, he bets that he can destroy the grace Angelique has earned by her sacrifice. The Master gives him the span of one life time bring Angelique to him. If he fails, Judah faces an eternity of torment; if he succeeds, he will gain power beyond his imagination.  

Website