Every once in a very long time an actor comes around that is so good at what he/she does that they make it look like anyone can do it. They make it look easy. Effortless. Add-to-that, an unassuming and quiet demeanor and you get an actor that feels like he’s a part of the scenery. Like, he comes naturally with the set design, that he just becomes fused in that world. Meaning, you forget that he’s an actor. You take for granted that he’s really the characters he plays and that he is integrated into the story as a permanent fixture. I’m not so sure this is coming across as intended…
Regardless, one of these such actors, would undeniably be the phenomenal, Mr. Bill Irwin. He first came across my radar in the live action version of Popeye in 1980. He is a very gifted physical comedian, albeit, 50 years too late. He really has the same physical gifts that made Buster Keaton, Charlie Chaplin, Harold Lloyd and those early comedians so good. You can see it in Popeye right away. In fact, he reminded me most of Stan Laurel.
He has an extensive background in theatre and still does a lot of theatre work regularly, but he also can be seen on TV and in the movies every year, even though you may not know him by name. In 1989, was nominated for four Tony Awards for “Largely New York“: as author of a Best Play nominee, Best Actor (Play), Best Director (Play) and, with collaborator Kimi Okada, Best Choreographer. In 1999, his show “Fool Moon” won a Special Tony Award for Live Theatrical Presentation. Won the 2005 Tony Award for Best Actor in a Play, for his performance as George in “Who’s Afraid of Virginia Woolf?” opposite Kathleen Turner.
In TV and Film, he’s starred in some great projects over the years, including: My Blue Heaven, Hot Shots!, Northern Exposure, 3rd Rock From The Sun, How The Grinch Stole Christmas, Elmo’s World, Lady in the Water, Sesame Street, The Good Wife, CSI, Blue Bloods, Sleepy Hollow, Law & Order: Special Victims Unit, and most recently on FX’s new show, Legion. Can’t recommend him enough, he’s brilliant. He can often be found as his clown alter ego, Bagatelles, along with partner David Shriner. Check out some of these videos on You Tube. It’s no surprise that he graduated from Ringling Brothers, Barnum and Bailey Circus’s Clown College and eventually was inducted in the International Clown Hall of Fame in 1999.
We met Belle Jewel last week for the first time when we booked her for the Jester’Z Comedy Improv at the Mesa Riverfront. Even though she’s a hometown girl and often mixes in some of the same circles we do, we hadn’t had the pleasure of meeting her until then. And when we did…she knocked our socks off. We sometimes have musicians and singer/songwriters at the Jester’Z Theatre and so this was not new to us, but I knew she was something very special when she performed a version of Parks and Recreation‘s song “Lil’ Sebastion” by fictional band MouseRat (actually originally written and sung by Chris Pratt). It was both funny and heartbreaking at the same time and she had the crowd totally engaged with cellphones all lit up and singing along. It was special, I managed to record the last verse and put it on Facebook…you’ll notice the adorable mismatched socks, she was appropriately comfortable within the small family venue.
She’s just as comfortable on TV in a huge venue with millions of viewers, last night she secured her spot on the live shows (in two weeks) by singing a very smooth and cool version of “Don’t Dream it’s Over” on Season 11 of The Voice in the final Knockouts. So far in both venues there’s a lot to be impressed by as she has a style sorely missing on this year’s The Voice, which should help her go far and build up the fan base she needs in the next month or so. Her song choices are particularly amazing as she dials in on what she likes very effectively and gives them her magic touch, usually both heartfelt and sincere and very reminiscent of a lost era of jazzy melodic film noir. She would fit right in to Dark City right next to Jennifer Connelly or with Sean Young in Blade Runner…
One of the very best things about her is her signature smile and authentic sweetness. In complimenting contrast with her style, it gives her such a unique blend of dark and light tones, best of both worlds and also gives us the comfort of an era long past but not forgotten. It’s about time that good things happen to good people, and believe me when I tell you she’s worth listening to! Please like her Facebook page and keep track of her on The Voice. In fact, tune in the next few weeks and VOTE for her!
For several years I’ve been asked how we go about funding our movies independently, and so a discussion usually follows regarding all that goes into development and pre-production of a film. Now, there’s a lot involved, and I have at times tried to breakdown the process for people and all of the work that goes into it. As a way to clarify further, I will be adding “no-frills” versions of documents we’ve developed over time to present to investors, production companies, and/or producers that helped us along the way. Several of these documents we’ve polished and updated, but for educational purposes for those interested in independent film production, I can share paired down samples of what we use for certain documents.
My next sample is a very basic, Movie Prospectus.
It’s for a movie that we are still very excited about, but have put on the back burner for now, so I don’t mind sharing this as an example. I hope you find this to be helpful:
Business and Product
Company’s Business
Crossing Walter, LLC (herein also referred to as “CW, LLC” or “The Company”) is an Arizona-based company formed for the purpose of developing and producing a full-length feature film currently titled “Crossing Walter” (herein also referred to as “The Film”), a family comedy. Brothers’ Ink Productions serves as the Member-Manager of The Company.
Overview
We are seeking film production financing in the amount of $3,250,000 (three million two hundred fifty thousand US dollars) that includes the cost of pre-production, principal photography, and post-production for a theatrical and/or DVD release for the film.
$25,000 per Membership Interest, an aggregate of 130 Interests available for a total of $3,250,000 (three million two hundred fifty thousand US dollars) for the production. (PPM available upon request.)
This package has a high success potential due to the following reasons:
Recognizable TV actors, which makes the film more marketable, commercial and more attractive to a wider audience.
The Comedy genre is extremely attractive in the indie feature industry and sells well to foreign markets.
Brothers’ Ink is well established in the Phoenix Film market and will utilize their influence and reputation to recruit cast and crew for all stages of the production. This will create a buzz throughout the region and a sense of community for the film. The filmmakers and actors will in essence, market the film to all of their families and friends, building up an audience for the release of the film in the Phoenix market.
Brothers’ Ink has secured a letter of intent (LOI) for distribution…(Request to view LOI)
The Product – Crossing Walter
Crossing Walter, LLC owns the option on the original screenplay, written by John Waldron, who is also on board as Executive Producer.
Feature Film Logline
An average family man accidentally mistaken for a human trafficker gets deported the weekend of his daughter’s wedding. With no money or possessions, he struggles to cross the border and make it back home in time to walk his daughter down the aisle.
Synopsis
“Crossing Walter” is a film about Walter Wheeler, a compulsive tax accountant and over protective family man. His world is turned upside down when his daughter comes home for the weekend to announce that she is quitting college and getting married on Sunday.
At the advice of his hapless brother-in-law, Walter innocently picks up a few day laborers and gets mistaken as a human trafficker (coyote) and deported to Mexico. With no money or possessions, he struggles to cross the border and make it back home in time for the wedding.
Through the adventure, Walter finds a renewed strength with the love of his family and learns to let his children live their own lives. “Crossing Walter” explores the themes of love, endurance, respect and commitment and that nothing is more important than family.
Audience
Families
Couples
Genre
Comedy
Family
Comparative
Sideways
Little Miss Sunshine
Stranger Than Fiction
Garden State
Business Strategy
Brothers’ Ink, LLC’s business strategy is not predicated on luck. Given our knowledge of the film industry and the track record of our team, we are aware of the challenges and risks involved in moviemaking. We also know how to apply our professional experience in business affairs, creative affairs, development, production, and marketing to manage the inherent risks. We have a talented management team with business ownership backgrounds, film industry backgrounds, negotiating acumen, and storytelling abilities.
The film will be produced independently of a major motion picture studio. That is, it will be created and financed outside the major studios. However, Brothers’ Ink, LLC will seek leading distributors (including the distribution divisions of major studios) in the United States and abroad in order to obtain the widest possible distribution of the film and to maximize revenues.
The production cost of an average Hollywood film produced by a major studio continues to rise and now stands at over $60MM according to industry estimates. Each of the major studios has established units to produce pictures at lower budgets.
According to recent research from the Motion Picture Association of America, the average production costs for these subsidiaries and affiliated studios (companies such as Sony Pictures Classics, Fox Searchlight, New Line, and Miramax) is still high at $34MM. As a result, Hollywood has a strong incentive to work with independent producers who can deliver quality motion pictures that have wide audience appeal.
Brothers’ Ink, LLC plans to create a financially successful film without the burden of significant overhead charges, which in the case of major studios, have little to do with the production of the film. The Company will keep overhead to an absolute minimum and will devote our resources to delivering a quality film to the screen.
Brothers’ Ink, LLC will attempt to earn revenue and generate investor returns from the exploitation of the following film rights in the United States and worldwide:
Licensing the rights for theatrical exhibition
Foreign Distribution
DVD sales and rental
Pay-per-view
Television broadcasts (cable, free TV)
Other ancillary markets (including licensing and merchandising, etc.)
Obtaining an “acquisition deal” is a primary business objective. In this type of distribution arrangement, the independent producer raises production monies from investors, but distributor funds are not used to market and distribute the movie. The distribution agreement is usually entered into after the film is produced (i.e., the film is already “in the can”). This approach to film finance and distribution generally provides the producer and creative team with the most creative control and the investors greater profit participation.
In order to deliver the film on budget, the management of Brothers’ Ink, LLC plans to adhere to the highest standards of cost control and financing reporting. Key reasons for budget overruns on films are the lack of financial controls and the lack of overall project management. We will implement and maintain an accurate budget and related financial reports, a pre-production schedule, a shooting schedule and a post-production schedule. Tight internal procedures, the implementation of accounting policies in accordance with US GAAP, and outside review of financial statements by a CPA-certified auditor will ensure that the Company’s management and investors have an accurate fiscal assessment.
The Industry
Though the U.S. motion picture industry continues to be both profitable and financially stable, box office receipts, once the cornerstone of motion picture distribution, continue to become less and less important as emerging technologies both create new distribution methods and make those methods more accessible to independent filmmakers.
Filmed Entertainment
Strong box office receipts will fuel spending worldwide.
DVDs and digital distribution will continue to boost the home video market.
No other country’s film industry creates entertainment that is as well received as U.S. produced movies. In Europe, American films currently capture from 50%-90% of the box office.
The licensing of films for home Video/DVD and television (network and syndicated, pay cable, and basic cable) is now overtaking revenues derived from theatrical release. Nevertheless, the stronger the box office returns, the more money a film property will command in ancillary markets.
While the theatrical market has enjoyed steady growth, the home Video/DVD sector has been even more impressive, with digital distribution continuing a strong and steady growth worldwide.
The video IPOD, IPAD, IPHONE as well as online download and burn services create additional distribution methods for studios and independents alike. This bodes well for independent filmmakers who often find it easier to obtain home video distribution.
With robust industry conditions projected for the next five years the underlying fundamentals are in place to support independent film production and distribution.
Independent Films
The market for independently produced films in the U.S. has increased significantly in the last five years. The outstanding box office success of films like My Big Fat Greek Wedding ($368,744,044 Worldwide box office), Little Miss Sunshine ($99,121,298 Worldwide box office), and Napoleon Dynamite ($46,118,097 Worldwide box office) is well known. However, there is a well-established trend of independent films being embraced by ever-broader audience segments.
Above and beyond such record-setting results, there is a larger trend emerging at the box office. Independent films are no longer limited to niche or art house releases. Broad audiences across the country are now embracing independently produced films.
In part, this growth is being fueled by the continued expansion of theatres presenting independent films. “The proliferation of indie screens enables distributors to keep their films in cinemas longer, even if they aren’t breakout hits,” notes the business daily Crain’s New York Business.
Distribution and Marketing
When the film is completed, the Management team will explore the most financially optimal arrangement for Brothers’ Ink, LLC and its shareholders. This will include a domestic distribution deal with a major distribution Company, selling off of individual international territories and/or the combination of both. The intent of the management team is to structure a distribution deal that not only pays the Company monies up front but also ensures that the film will get the maximum exposure and marketing support by an established and well-known distributor. To this extent, the management team may accept distribution contracts that initially may not pay the most upfront for the picture but, at the discretion of the management team, presents the most viable opportunity to make revenues long-term.
As an example of the various opportunities that may be presented to the Company, a foreign distribution deal involves an advance against sales in all non-North American territories from a foreign sales Company. This advantage can range anywhere from a few thousand dollars to several million dollars, depending on the perceived value of he film and the structure of the contract. The film sales Company will then sell rights to distribute the film territory-by-territory. The film receives monies over and above the advance after the advance and the foreign sales Company has recouped the distribution expenses. Generally a cap is established in the contract for all expenses of the film incurred by the sales Company. Additional revenues, if any, are split between the foreign sales Company and the producers of the film. The foreign sales Company will take a percentage of revenues from a low 15% to a high 40%, depending on the amount of the initial advance. All these points are negotiable and are dependent on the needs of the individual film.
Domestic distribution deals are similar, except that the distribution rights are sold to one distributor rather thank to multiple distributors in multiple territories. Generally, the domestic distributor will acquire all rights, i.e. theatrical, television, and home video, in order to maximize exposure and coordinate marketing and advertising.
Foreign and domestic theatrical distribution, as well as home Video/DVD, are the primary revenue streams for independent films. Additional revenue may be derived from television and ancillary markets. Success in these ancillary markets will usually depend on the quantity of success enjoyed by the picture during its theatrical exhibition.
Brothers’ Ink, LLC has developed several strategies to obtain distribution for the picture. First, we will leverage and further cultivate existing professional relationships in the entertainment business. We plan to develop direct connections to both studio distribution executives as well as to production companies with “studio output deals”. (Studio output deals allow certain high-profile production companies to utilize the global distribution arms of major studios.)
To gain access to an even broader set of distribution decision-makers, we will seek to create an aura of desirability for the film from the very beginning. We will generate publicity for the project in the pre-production phase and we will start creating “buzz” within the industry and the comedy fan community. This is accomplished by, among other tactics, communicating with industry trade magazines and providing updates to insider websites. This early level of awareness will help strengthen our position as we begin to brief executives at the major studios. However, based on the commercial potential of the film, studio executives will want to keep track of our progress. When the film is complete, we will enter it into festivals around the world. The festivals will enable us to expose the film to influential moviegoers and to gain press attention.
In addition, we will retain a sales agent to represent the film at major film markets including the American Film Market, which takes place each November in Santa Monica, CA and Cannes Film Festival, which takes place each May in France. Film Buyers from around the world gather at these markets seeking motion pictures for foreign and domestic distribution in theatrical, television and ancillary markets. All of these elements will help us to expose the film to influential moviegoers, to gain press attention, and help our film stand out from competitive films.
The film will be particularly appealing to distributors due to large audience appeal because of the family and comedy genres and the PG targeted rating. With a film that is well received on the festival circuit, which connects with a broad audience, we should be suitably positioned to obtain a distribution deal from a major distributor. We will seek distribution from companies that give the films a theatrical run, but that are also strong in DVD/Video distribution. While the film business is inherently risky, we are producing the film at a small enough budget that will enable us to generate a profit under a number of different scenarios.
Production
Principle photography is planned for the Fall/Winter of 2016. Pre-production has already begun. The films will be shot entirely on location in Georgia. For further information on the benefits of filming in Georgia, see ‘Georgia Motion Picture Tax Incentives’ on Page 13.
Rights
Brothers’ Ink intends to negotiate all ancillary rights to Crossing Walter worldwide. Ancillary rights include but are not limited to the following: Network TV, Premium Cable TV, Syndicated TV, DVD rental and sales, Pay-Per-View TV, Posters, Soundtrack CDs, Toys, Soft Drinks, Games, etc.
All rights are currently with John Waldron and Brothers’ Ink Productions. These rights are to be negotiated with each individual distribution territory worldwide. We seek to retain all publishing rights.
Merchandising
We are looking for partnerships with major advertising like Pepsi, Apple Computer, and Dominos Pizza to help with creating merchandising for the films to possibly include a music soundtrack, toys, clothing, special promotions, posters, games, books, etc. The merchandising rights will be negotiated as needed.
Licensing
Concurrently, we will negotiate television licensing, cable, DVD/Video and all other ancillary rights Worldwide.
Net Profit
Net Profits will be distributed after all expenses and fees are met and will be paid as follows:
90% to the investors, 10% to Brothers’ Ink Productions, until 150% of initial capital investment is reached;
For a profit projection, see Figure3.5 under ‘Revenue Forecasting and Projections’ on page 15.
Casting
We are committed to including at least two (2) “A” list actors that will attract studio distribution and/or audience interest.
Potential Cast:
WALTER:
Paul Giamatti
Jeff Daniels
Bill Engval
DeWAYNE:
Bruce Campbell
John Tuturro
Jim Belushi
PATRICIA:
Holly Hunter
Frances McDormand
Bonnie Hunt
GUY:
M.C. Gainey
Larry the Cable Guy
FAST FACTS
Rating
78 of the films in the top 100 grossing films of all time (Worldwide) are rated PG or PG-13.
22 of the films in the top 25 grossing films of all time (Worldwide) are rated PG or PG-13. Out of the other 3, two are G and 1 is R.
All 10 of the top 10 grossing films of all time (Worldwide) are PG or PG-13.
Genre
Over 50% of all the films on the one hundred top grossing films of all time (Worldwide) would fall under the Family or Comedy Genres.
Out of the 18 films entering the top 25 (Worldwide) since 2000, 13 of them are Family or Comedy.
So far in 2007, 8 of the top 10 grossing films (Domestic) are Family or Comedy.
Executive Summary
Brothers’ Ink Productions
In 2003, Donovan Montierth, Adam Montierth and Jason Walters created Brothers’ Ink Productions. They released their first 35mm short film, “Reveille” to audiences in 2004 and have since produced or partnered with other production companies to produce over 15 short films based on Brothers’ Ink scripts.
The company has participated in over 40 film festivals across the country, won over 20 awards for their films and screenplays, and sold and optioned several screenplays. Many of the films have aired on TV and most recently, Brothers’ Ink Productions signed a contract with the Department of Defense for them to play “Reveille” on the American Forces Network and the Pentagon Channel throughout 2007. Brothers’ Ink Productions won a Rocky Mountain Emmy® Award for “Reveille” on October 6th, 2007.
Brothers’ Ink Productions added Nick Stahr, Neil Mather, John Waldron and Adam Devaney as Creative Directors in November 2008. This enabled Brothers’ Ink Productions to increase production and in 2008 they produced 6 short films and went into development on 3 feature films.
Brothers’ Ink Productions is an award-winning production company focused on creating commercial films that are high in quality at conservative budgets. Brothers’ Ink recently finished their first feature film called Locker 13 starring Golden Globe Winner Ricky Schroder, Rick Hoffman, Jon Gries, Jon Polito, Curtis Armstrong, Krista Allen, Tatyana Ali and lensed by Academy Award Winner Russell Carpenter.
Member Managers
John Waldron
Executive Producer, Brothers’ Ink Productions
John Waldron is a professional stand-up comedian, comedy writer and producer. He produced and co-hosted “Morning Coffee”, an AM radio morning show on KFHX 1620 AM, produced and co-hosted “Happy Hour”, a drive-time comedy talk show on NBC radio, and has written comedy for KDKB’s “Tim and Mark Show”, “The Howard Stern Show”, and several local radio programs.
He has trained with David Razowsky of Second City, Tony Vicich of The Tempe Improv, and performed with the likes of Jeff Altman, Charles Fleischer, Franklin Ajaye, and Steve Bluestein. He has hosted several television programs, including “Arizona Express”, “Arizona Book-Nook”, and “Live!…on tape!”, a short-lived but hilarious comedy talk-show in the Phoenix Market. He has Directed, Produced, and Acted in several Brothers’ Ink films, including “American Big Game”, “Dirty Laundry”, “Relocation”, and “Neighborwood”.
Donovan Montierth
Executive Producer, Brothers’ Ink Productions
Donovan has written, sold and optioned several screenplays, including adapting two novels from popular thriller authors into scripts. Donovan was also included as an Honorable Mention in the Best American Mystery Stories 2007, edited by Carl Hiaasen, for a short story called, “Capacity to Kill” which is published in the Thuglit Anthology Hardcore Hardboiled by Kensington Press. Donovan won an Emmy Award along with his brother Adam for writing, directing and producing Reveille, which was shown on the Pentagon Channel and all over the world on the American Forces Network.
Adam Montierth
Executive Producer, Brothers’ Ink Productions
For many years, Adam has specialized in directing, writing and producing a plethora of programs in classic and new media. He specializes in providing a cinematic storytelling experience for advertisers/brand marketers that want to reach their audience in a new and effective way. Some highlights include a 30 minute interview with New York Best Selling Author J.A. Jance, a viral public service announcement for battered women, a10-minute short film about military veterans that was viewed over 6 million times on Google and the release of an informative children’s book called, “Dream” that included a book tour where he spoke to elementary schools throughout Arizona about the importance making your dreams come true.
In regards to utilizing private financing instead of having a major studio produce the film, “Crossing Walter” has two distribution options; 1) Negative Pick-Up1 or 2) Distribution Only2. Relative to the direct expenses of the comparative Family Comedies listed above, below is a breakdown of revenue, expenses and a potential return for “Crossing Walter”.
1In film production, a negative pickup is a contract entered into by an independent producer and a movie studio wherein the studio agrees to purchase the movie from the producer at a given date and for a fixed sum. Depending on whether the studio pays part or all of the cost of the film, the studio will receive the domestic, international, DVD and/or TV rights to the film, with net profits split between the producer and the studio. (source: Wikepedia.org)
2In film production, a distribution only deal is a contract entered into between an independent producer and a movie studio wherein the studio agrees to advertise, market and distribute the film. The studio will recoup Direct Distribution Expenses prior to the disbursement of net profits.
Description
Negative Pick-up
Distribution Only
US Theatrical Gross Box Office
$ 15,000,000
$ 15,000,000
US Gross DVD Sales & Rental
$ 17,931,051
$ 17,931,051
US Gross Network, Premium Cable & Syndicated TV
$ 7,500,000
$ 7,500,000
International Theatrical Gross Box Office
$ 22,500,000
$ 22,500,000
International Gross DVD Sales & Rental
$ 26,896,577
$ 26,896,577
Int’l. Gross Network, Premium Cable & Syndicated TV
$ 10,800,000
$ 10,800,000
Cumulative Gross Receipts (SUB-TOTAL)
$ 100,627,628
$ 100,627,628
Direct Distribution Expenses
$ 77,064,191
$ 71,234,140
Negative Cost (BUDGET)
$ 5,000,000
$ 5,000,000
Talent Residuals
$ 3,000,000
$ 3,000,000
Producer’s Gross Receipts
$ 18,297,624
$ 24,190,675
Talent Participation (if any, @ 7%)
$ 1,280,834
$ 1,693,347
Producer’s Net Receipts
$ 17,016,790
$ 22,497,328
Studio’s Share
$ 8,508,395
$ –
Producer’s Share (NET PROFIT)
$ 8,508,395
$ 22,497,328
Investor’s Share
$ 7,629,198
$ 21,538,894
Investor ROI
153%
431%
Brothers’ Ink Productions is looking for funding or Production Partner for the feature film with an expected budget of $3.25 Million. For Script, Prospectus, Executive Summary, PPM, Budget or more info:
Please contact John Waldron at CrossingWalter@Brothers-ink.com.
I was done. I can’t fully express to you how I felt exactly, I just was exhausted and was just simply done. Done with trying, done with caring, done with crying, done feeling everything- anything. I decided that this was it and that my marriage was over.
So the next morning after yet another sleepless night, I told her that I wanted a divorce.
She was beyond shocked. She was devastated. Now, mainly she was devastated because she never saw it coming. You have to understand something about me to understand this about her…I have not always been “Mr. Right”…but I have been “Mr. Everything is Alright”. I usually keep all my anger or sadness or unhappiness inside and just tell people, “Everything is alright.”. I try to keep a smile on my face at all times, no matter how I’m really feeling inside. I try and let things go, if I’m feeling confronted…I run.
Call this avoidance, or non-confrontational…however, you slice it, if my wife and I ever fought, or got angry or anything like this, I would just walk away. I felt I needed to get away and time away to cool down or whatever it was. Now, she is the complete opposite, as she wants to “hash” things out. Keep talking or hitting that problem head on until it’s completely worked out. But to me, early on in our marriage, this just felt like we were talking “it” to death, or just “beating a dead horse”…it was sheer torture for me.
But this avoidance also had a small side effect that I was unaware of at that time. Early on in our marriage, I wasn’t honest with her, with any of my “negative” emotions. Because I pretended that I didn’t have any. I never told her when I was hurt by something she did or said and then it just would fester in my mind later. If she did anything that hurt me later, or we would find ourselves arguing or mad at each other, I would bring up these “old” hurts and then blast her with multiple problems all at once, which undermined any current problem we were trying to hash out at that time.
Now, to be helpful, I’m not going to tell you all the little things that finally lead to my decision to leave my wife…because every one’s “little things” are different and they all add up over time. Needless to say, it all added up simply to me not feeling like I was getting what I truly needed from my wife and my marriage.
Back to the moment I told my wife I wanted a divorce…at this point, I thought she would yell, scream, throw things and generally hate me forever. But she didn’t. She did something I didn’t expect. She said, “OK, if that’s what you want.”
She moved out.
Just so you know…she still loved me. And she showed it over the next 4 months. She went to great lengths to show me that if we couldn’t be great as husband and wife then she would make sure we were great friends. She told me she couldn’t imagine her life without me, so she wanted us to be best friends, if that is what it took to keep me in her life.
We started talking on the phone…every day. She started to drop by every other day. And through all this, she never showed anger and she never showed sadness. Just support. And love. And deep down inside she was lying to me. Inside, she was broken in two. But she put on that same smile every day, that I was in turn giving to the world, while we were married.
I realized then that if this woman was giving it 150% to try and make things work, regardless of how she truly felt inside then I was the breakdown…I was the one that was not trying any more. I never wanted to be the problem. I wanted to be the solution.
So I thought long and hard about what I really wanted. I did want her. I loved her with all of my heart. But I did need things to be different.
I came up with 3 things.
These 3 things were things I needed above all else. It was 3 things that I needed from her at all times. They were indisputable and simple. Moving forward I realized that I needed my wife to give me these 3 things in order for me to be happy in my marriage and happy with her.
So, I called her and asked her out to dinner.
While we were out at dinner I told her that I still loved her. She cried and told me she still loved me too.
I told her about my thoughts about my “3 things”. She smiled and said that she would always keep those things in mind and that every day she would dedicate herself to giving me those 3 things. So, then I asked her what her “3 things” would be. She thought for a little while and then I could tell that she had thought about those 3 things quite often during our first few years of marriage. She told me about her “3 things”.
They were different than mine, of course. But just as valid. They made sense. I told her that I would think about these 3 things and dedicate myself to giving them to her every day.
We also made 2 rules, never to go to bed angry and never to leave each other without a kiss and an “I love you”.
And I can happily confirm that we have been married 20 years more after that dinner date. And we have never been happier.
Now, you may think it was that simple, but I’ve analyzed it over time and I have come up with some contributing factors:
I started to communicate with her. I finally told her what I needed. It took me some time to identify what it was that I really needed from her, but once I did, and we started to talk about those things, then we started to “really” talk to each other.
We re-committed ourselves completely to each other. Every day I realize that being with her is my choice. And every day, I make that choice again. I own that. I choose her.
I’m dedicated to making her happy. I’m not thinking of my own happiness because that is her concern. I’m going to think about and give her those “3 things” every day. And she does the same for me.
I can confirm that she has given me those “3 things” ever since. She probably would have done so in the beginning, only she didn’t know what those 3 things were, and I never took the time to tell her. Once, I did, everything changed.
Some people have asked what my “3 things” were, and I won’t tell you in this post, but I will tell you that they are different for everybody. They were simple, but they were crucial to my mental, spiritual and physical happiness. Now, if you really want to know, we can go offline and have that discussion, I will be more than happy to tell you what my 3 things were and what her 3 things were, if that is helpful and gives you more perspective.
I also realize that those 3 things may change over time, so it may be important to have that discussion and re-focus on the new “3 things” because we may be at different stages in our lives. We never had the blessing of children, but I’m sure that if we had, our 3 things would have definitely included them.
I hope this post can give those of you that are having a little difficulty in your marriage something to think about. I hope this is helpful. Just know that you are not alone, and that others have been through similar situations. You can get through this…and from experience, I know…it’s worth it.
Many of us were shocked to hear of Gene Wilder’s death this week due to complications of Alzheimer’s disease, and so it’s given us a chance to pause and think about this great actor and comedian. It was interesting to me listen to a recent interview of his and he said that he really didn’t consider himself to be a comedian as he didn’t find himself to be very funny. That may be true, but to us, he was hilarious. Here is my list of his top 15 movies, let’s see if your list would be similar to mine:
15. Thursday’s Game (1974)
This would be a banner year for Gene Wilder as 3 of the movies on this list were released in 1974. 2 of them would be considered to be “classics” to most people. Classify this one as a forgotten little gem. Thursday’s Game was released as a TV movie and starred Gene with a great cast of comedians with Bob Newhart, Cloris Leachman, Ellen Burstyn, Nancy Walker, Valerie Harper, Norman Fell, Rob Reiner and Martha Scott. The movie is about two guys who’ve been going to a Thursday night poker game for years, when suddenly a disagreement breaks up the game. The two guys then decide to keep getting together every Thursday night doing different things, under the pretense that the game is still going on. When the wives find out they are upset and wondering what they’ve been doing all that time. The budget for this film was so tight that the wardrobe department was practically non-existent. According to Gene Wilder, he and co-star Bob Newhart had to make do with their actual clothes.
14. The Producers (1967)
We mention the Producers in another blog, CLICK HERE TO READ THAT BLOG POST. Mel Brooks is almost synonymous with Gene Wilder as they made 3 movies together. These 3 are almost always mentioned as their top 3 movies respectively. That wasn’t always the case, as the Producers flopped initially but found new life when Mel made it into a smash hit on Broadway. Now, of course, Zero Mostel and Gene Wilder were great in this but, Kenneth Mars is also really fantastic in this as well. I talk about him in a blog CLICK HERE.
13. Haunted Honeymoon (1986)
I find Dom Deluise to be hilarious, but put him in drag and he’s drop dead funny. Gene and Dom appeared in 4 movies together. Now, if you don’t know already, Gene Wilder was a wonderful writer and director in his own right and this is one of the films he wrote and directed. It also stars his then wife and comedian Gilda Radner. This is a notable entry also because it was Gilda’s last movie before she died of cancer. It did not do well at the box office, but I like it because of the 3 actors and I especially like the scenes from the radio show.
12. Adventures of Sherlock Holmes’ Smarter Brother (1975)
Gene reunites with Madeline Kahn and Marty Feldman in this gem that he also wrote and directed after they did Young Frankenstein. Favorites of mine, Dom Deluise, Leo McKern and Roy Kinnear round out the cast! Originally, Gene tried to get Mel Brooks to direct this film as well, after they did Young Frankenstein, but he declined and convinced Gene that he could direct it himself. Gen would go on to direct 4 movies and 1 segment of a 5th one. This one is my favorite of all the films he directed.
11. Death of a Salesman (1966)
Up until Gene did the made-for-tv version of Death of a Salesman in 1966, he only had acted in a handful of TV shows. It was this film that ultimately put him on the path of stardom. This movie was relatively forgotten over time but had some very strong performances and included some very fine actors with Lee J. Cobb leading the cast. In his autobiography “Timebends”, Arthur Miller says that Lee J. Cobb was his favorite Willy Loman. The original Broadway production of “Death of a Salesman” by Arthur Miller opened at the Morosco Theater on February 10, 1949, ran for 742 performances and won the 1949 Tony Award (New York City) for the Best Play and the Pulitzer Prize. Lee J. Cobb recreated his stage role 17 years later in this television production.
10. Murder in a Small Town (1999)
Gene Wilder would write 8 movies over his career and a segment of a 9th one. This is the 2nd to the last one he would write and was 1 of 2 mysteries featuring his Cash Carter character for A&E. I enjoy a good mystery and for some reason I really like it when my mysteries are a little understated as these two mysteries are. This one is about a widowed theatre director who moves to a small Connecticut town where he gets involved in solving the murder of a millionaire, who was the most despised man in town. Gene is very good in this.
9. Start the Revolution Without Me (1970)
When 1 Gene Wilder is not enough, we get two! This one has Gene and Donald Sutherland playing two mismatched sets of identical twins – one aristocrat, one peasant – who mistakenly exchange identities on the eve of the French Revolution. Gene Wilder originally wanted Charles Grodin to play the part of Charles/Pierre, but Grodin declined, having committed to directing the original Broadway production of Lovers and Other Strangers, which would have been really fun to see, but Donald does a great job. Gene liked this film especially because he got to fence. Gene was already adept with a sword from his days on his college fencing team.
8. Bonnie and Clyde (1967)
In less than a year after his appearance in Death of a Salesman, Gene would be cast in 2 films Bonnie and Clyde and The Producers. He would never look back. In Bonnie and Clyde, he got to work with Warren Beatty, Faye Dunaway, Gene Hackman, Estelle Parsons, Denver Pyle and Michael J. Pollard. This was technically his theatrical feature film debut. Gene Hackman and Gene Wilder would later appear together in Young Frankenstein (1974). Hackman had a small, uncredited cameo as the blind hermit while Wilder portrayed the title character.
7. Stir Crazy (1980)
We talk about the greatest comedy teams of all time in a previous blog post, CLICK HERE TO VIEW THAT BLOG…but definitely one of the best comedy teams of all time would have to be Gene Wilder and Richard Pryor. They hit the list with 3 of their collaborations…almost 4, more on that in a sec…
Sidney Poitier directed this movie, and enjoyed working with Gene and Richard, even though Richard was sometimes difficult to work with on this production due to his frequent drug use. When they clicked, they were quite funny. Sidney would let them improvise during scenes for the movie. This is one of the four movies Pryor and Wilder teamed together, and was the most successful of the four at the box-office. There was no doubting their second match-up was an all-around success. “Our instincts seem to coalesce. The difference, this time, is that ‘Stir Crazy’ is an out-and-out comedy while Silver Streak (1976) was a mixture of mystery, adventure and romance”. Pryor interjected: “You might say that our Pryor picture was a ball but this one is Wilder”. Wilder responded: “You might,” needles Wilder, “But you’ll say anything”.
6. Blazing Saddles (1974)
Here’s the almost in that last paragraph…believe it or not, Richard Pryor was set to play the role that eventually went to Clevon Little in Blazing Saddles. Richard Pryor even wrote some of the script with Mel Brooks. Although, Gene Wilder was not the original choice for his role either. They had cast and went into production with Gig Young, but he was coming off of alcohol and couldn’t function properly and Mel had to call upon his friend Gene to fly out last second to fill in, as a personal favor to him. One of the best comedy pairings of all time almost happened, two years before they finally appeared together in Silver Streak.
5. Young Frankenstein (1974)
First film written by Gene Wilder and the only film directed by Mel Brooks, that Mel didn’t write. He didn’t direct anything he didn’t also write, but Gene talked him into directing as a personal favor to him. According to Mel Brooks (in the commentary for Spaceballs (1987)) when Gene Wilder came on to Blazing Saddles at the last minute as a favor to Mel, he requested that Mel Brooks do “his” movie idea next; that movie turned out to be this film. It was a perfect match. Gene Wilder has stated that this is his favorite of all the films he’s made. The cast and especially Mel Brooks had so much fun and were so upset when principal photography was almost completed, that Mel added scenes to continue shooting.
4. See No Evil, Hear No Evil (1989)
I forgot Kevin Spacey was in this with Gene Wilder, Richard Pryor and Joan Severance. Gene Wilder almost wasn’t in this movie. Per his autobiography, he turned the script down twice (due to its treatment of the deaf and the blind). He intended to do the same when offered it a third time, but his agent talked him into meeting with TriStar (the studio behind the film). The TriStar people asked Gene to re-write the script for himself and Richard Pryor, which he agreed to do…and the rest is history. Gene Wilder went to the NY League for the Hard of Hearing to study for his role. There he was assigned to speech pathologist Karen Webb, who would ultimately become his fourth wife. They were married 25 years, up until his death. With its dead body murder plot and villainous crime characters, the movie returned director Arthur Hiller and stars Gene Wilder and Richard Pryor to the suspense-adventure-comedy genre that had made their earlier picture Silver Streak a success around thirteen years earlier.
3. Frisco Kid (1979)
Now this one is probably the biggest surprise on the list, but it’s just so under-appreciated! Not only is Gene Wilder pitch-perfect in this film as a Jewish Rabbi, Harrison Ford plays an old school cowboy like he was born to it. I just love this movie. In his autobiography, Gene Wilder says that John Wayne was offered the part that was eventually played by Harrison Ford. Wayne loved the role and was eager to work with Wilder. However, an agent tried to offer Wayne less than his usual fee and the legendary actor turned the film down. The sad thing about this movie is that it was a flop when released and has had a very small but devoted following on VHS and DVD…but it’s a wonderful film!
2. Silver Streak (1976)
One of five movies where actor Gene Wilder plays a man wrongly accused of committing a crime. The films include Silver Streak (1976), The Frisco Kid (1979), Stir Crazy (1980), Hanky Panky (1982), and See No Evil, Hear No Evil (1989). Actor Gene Wilder loved his part because he could get to do scenes which were fitting of Errol Flynn doing action or Cary Grant being romantic. When meeting Gene Wilder after having seen Silver Streak, Cary Grant asked him if the script had been in anyway inspired by North by Northwest (1959). As Wilder admitted it was correct, Grant then added, “I knew it! Have you noticed that each time you take ordinary people, say, like you and me, then take them in a situation way above their heads, it makes a great thriller?” First of two consecutive comedy thrillers written by Colin Higgins. The second released two years later was Foul Play (1978). Higgins conceived “Silver Streak” in mid 1974 when he was traveling by train from LA to Chicago. We talk about Foul Play in another blog post, CLICK HERE TO READ IT.
On a sad note…Director Arthur Hiller and co-star Gene Wilder died within 12 days of each other.
1 Willy Wonka and the Chocolate Factory (1971)
This is number 1 for me. It’s his most iconic role and to be honest, one of my favorite films of all time.
According to director Mel Stuart’s “Pure Imagination: The Making of Willy Wonka”, when Gene Wilder walked in to audition, Stuart knew before he’d even uttered a single word that he had found his Willy Wonka. The audition convinced him even further, so when Wilder finished and left the room, Stuart chased him down the hallway, cut him off at the elevator bank, grabbed his arm and told him “You’re doing this picture, no two ways about it! You are Willy Wonka!” Producer David L. Wolper, however, was furious because he hadn’t yet had the chance to negotiate a fee. After reading the script, Gene Wilder said he would take the role of Willy Wonka under one condition: that he would be allowed to limp, then suddenly somersault in the scene when he first meets the children. When the director asked why, Gene Wilder replied that having Wonka do this meant that “from that time on, no one will know if I’m lying or telling the truth.” The director asked, “If I say no, you won’t do the picture?”, and Gene Wilder said “I’m afraid that’s the truth.” Even Julie Dawn Cole was fooled by the scene in which Willy limps out of his factory to greet the Golden Ticket winners. She mentions in the DVD commentary that she thought that Gene Wilder had injured his leg for real (and that the filming would have to be temporarily halted because of it). This resulted in her being just as stunned by Willy’s somersault as the audience is.
Peter Ostrum, who played Charlie, got very close to Gene while filming. He later told ABC News, “As a young actor filming ‘Willy Wonka,’ I had the rare privilege of working with Gene who I greatly admired,” he continued. “He became my mentor and personal friend. For that I will always be grateful. So shines a good deed in a weary world.”
We met David when we were casting for our short film tribute to American vets, Reveille. We had originally cast Gordon Jump from WKRP in Cincinnati, but he had to drop out due to Pulmonary Fibrosis, which he eventually died of. We were very sad about Gordon, but was pleased when we got a hold of David over the phone. He was willing to consider the role on short notice and asked that we fax over the 3 page script. He told us initially that he would get back to us within the week, but called us back immediately after 5 minutes and accepted the role because he loved the script.
You see, David is an American Air Force Veteran. So the film had a special place in his heart…and I think it shows on screen. He became the heart of the film. See for yourself, if you haven’t had a chance to view the film: David Huddleston in Reveille, Veteran Film Tribute
Now, when we finished the film we showed it in a special screening just for David and James McEachin, who plays the Army Veteran. They both were incredible touched by the end result and later each of them told us that the film was one of the proudest moments they ever had as actors. We are extremely proud of that, and of them. They were the perfect representation to our tribute. James McEachin was also an American Army Veteran in real life and he spent the next 7 years playing the Old Army Soldier at patriotic events across the country in front of thousands of people. When we produced our 1st feature film, we had the opportunity to work with David again for Locker 13, a supernatural thriller anthology. He played Floyd Marley, the leader of the Benevolent Byzantine Order of the Nobles of the Enigmatic Oracle, at a shady local lodge. He was great in the film and really stands out in the segment. Curtis Armstrong, from such movies as Revenge of the Nerds and Better Off Dead, jumped at the chance to work with him and played the role of Clifford. He had loved the actor since he was young and always wanted to work with him. He recently said in a tweet, “#RIP#DavidHuddleston. I once did a movie just so I could work with him. One of those actors who steals everything they’re in. Great actor.”
We couldn’t agree with you more, Curtis. David, you will be missed. We enjoyed every minute we shared with you.
If you don’t know the name, you will definitely know the face, soon to become the number 1 actress in total box office revenues of all time. Earlier this year, Scarlett Johansson was announced as the 1 actress in total box office revenues…but with the films that Zoe Saldana has lined up in the next few years, she could definitely be the one to take Scarlett’s place at the top. Scarlett has had a fantastic year with the release of The Jungle Book and Captain Marvel: Civil War, but Zoe has some pretty hefty releases of her own, especially over the next 6 years.
Lifetime gross for Scarlett’s films hit over $330 Billion Dollars at the box office this year, and it will still be rising as she is at her peak right now. Zoe Saldana is currently at $214 Billion Dollars at the box office this year so far with Star Trek Beyond having released over the weekend and with Live By Night with Ben Affleck and Scott Eastwood and Guardians of the Galaxy Vol. 2 being released next year and Avatar 2, 3 and 4 to be released every 2 years starting in 2018. If the Avatar films do as much as expected then Zoe will very much be in contention, even with the 2 upcoming Avengers Infinity War movies to come for Scarlett. It will be a very interesting race to watch.
Zoe Saldana has racked up a very impressive list of roles in a very short period of time. Her pinnacle year was 2009 when she released Star Trek and Avatar. The thing I think I like best about her is that she plays very strong and intelligent women. She’s no-pushover in any of her movies. I also think it’s amazing that she has managed to have a family and a great career at the same time. She gave birth to twins (yeah!) in 2014 with her husband Marco Perego. She recently said of directors that created strong female characters, “I’ve learned this about men who write good roles for women – there’s a very beautiful sentimentality to them. Their exteriors are sugarcoated with this manly presence, but deep on the inside, there’s also this [fragility]. During the shortness of my career, I’ve managed to work with Steven Spielberg, J.J. Abrams, and now Jim Cameron- all directors who are known for having strong female protagonists. They don’t feel diminished by it as men; they can tap into the complexities of how woman really are.”
She has shown an interest in getting behind the camera and directing in the future. She said, (on expanding her career to become a film director), ” It is more satisfying. You are more of a participant in the conception. I like having control. I think I have the capability. I am a storyteller and an artist and I love what I do. So I want to be part of it more and not just show up and say my lines.” Maybe after all the big movies coming up are gone and she starts her second career as a director, we’ll be talking about her amazing directing, but for now we are pleased to have her in front of the camera, entertaining us!
Adam and I have been trying for about a year to get a 30 minute comedy TV Show pilot picked up with no luck, so I thought I would post our TV Show Bible for the series here in one of our posts to show our process. I hope it can be of some use to someone, at the very least be interesting to someone who may be curious to see how we approach these things.
We have very little connections in Network and Cable TV, so have been hitting mostly brick walls, but if you’re reading this and can see it as a Series AND have connections with anyone in TV, contact us, we’d love to get this into the proper hands:
EXT. OFFICES OF WYNN JUSTICE – ESTABLISHING
Superimposed, “One Week Earlier”.
Sign outside of a busy downtown city street building reads, “Wynn Justice Law”. The street is bustling with PEOPLE in suits and dresses, rushing to work.
A ZOMBIE slowly ambles into view in the midst of the madness. He slowly tries to grab and bite people, but he’s way too slow. People rush by, push him out of the way and move faster. No one is worried or taking the Zombie serious.
The Zombie population is ignored, and now commonplace.
A HOMELESS MAN sits against the wall of the building, next to him is a Zombie, also sitting against the wall. A WELLDRESSED WOMAN walks by and throws a dollar bill down on the sidewalk in front of the Zombie.
She then notices that she threw it in front of the Zombie, so she picks it up and then looks at the Homeless man and throws the bill in his lap. He nods a thanks.
EDWIN WYNN TALKING HEAD
EDWIN WINN (50’s) wears a tweed sports coat and plaid bow tie.
EDWIN WYNN
To say we were floundering would have been an understatement. In the current climate of Zombie Infestation, we just couldn’t find cases in our current practice area. It was getting desperate. We simply had to start thinking outside of the box, or risk the chance of bleeding to death.
He watches as a zombie ambles by and looks at the camera again.
EDWIN WYNN (CONT’D)
Literally.
THE PITCH
Series Logline: The zombie apocalypse has come and now living in a world filled with zombies is the new normal. Zombie Law is the law firm of Edwin Wynn and Calvin Justice, with the help of their Investigator Laurel Hunt, they represent zombies in all kinds of lawsuits.
Pilot Logline: In the current climate of the restless undead, struggling attorney’s Calvin and Edwin, with the help of bounty hunter Laurel, have to find new clients quick or face bankruptcy. Their first client, a zombie weatherman in a wrongful termination suit.
In a World Filled with Zombies…It’s Time to Fight…
…For Their Right to Proper Representation.
~ Calvin Justice, Esq.
THE SHOW
The primary structure is a one-camera sitcom (Modern Family, The Office) type comedy that at times has a documentary feel where the characters talk to the camera.
In Zombie Law, the commentary is setup almost like video depositions in a case, scattered throughout each episode.
The feeling is a mix of supernatural, comedy, the law and the mundane.
The ideal would be Boston Legal during the zombie apocalypse or simply Office Space with zombies.
Sitcoms like The Addams Family or The Munsters could be accurate, but set within the modern business world not hidden behind the family’s sole residence.
Another good example would be to recreate the original Ghostbusters esthetic and tightly compact it within a sitcom format.
STORYLINES
Each episode features a single case or lawsuit as the “A” story and then a “B” story that continues the season one arc and “C” storyline usually consisting of some kind of rift or resolution to the 3 main characters.
“A” STORYA completely compact case or lawsuit, within each episode. IE: the pilot episode is a wrongful termination lawsuit of a zombie weatherman from KRQ News Station Channel 13. Wynn-Justice Law is on the verge of bankruptcy and takes the case as their first in a long line of representing the new populace of zombies in the city. They change their name to Zombie Law.
Some examples of other lawsuits throughout the season can be:
Family Law – A marriage counselor files for divorce citing irreconcilable differences because her husband is a slob and an unrepentant cheater and she’s dead. No longer…til’ death do they part.
Personal Injury – A post-life insurance adjuster files for workman’s comp when his employer sends him to a construction site where he gets his arm severed in a wood chipper. In the end, his job costs him an arm and a leg.
Tax Evasion – Zombie Law represents a Living Impaired Man who gets sued by the US Government when he stops paying taxes, just because he’s dead. Two things are no longer for certain; death and taxes.
Breach of Contract – A dead mailman wants to sue his life insurance company for not providing him the full death benefit to himself when he died. Their argument is simply that he is not the beneficiary, not that he’s not dead, but since his wife is also a zombie, they don’t feel the need to pay her either.
Letter of Eviction – A tenant tries to fight a letter of eviction from the management company of the apartment building he’s “living” in. They argue that he can’t really be “living” in the apartment since he’s dead.
CALVIN JUSTICE
Where do you suggest he move?
APARTMENT MANAGER
The cemetery?
SEASON ONE “B” STORY
The “B” storyline is that a major pharmaceuticals company (MOREAUCORP) is the one responsible for the zombie outbreak and Zombie Law has several clashes with the company in and out of court throughout the season.
It gets to be an all-out war, when Moreaucorp creates a new kind of zombie, a faster-stronger Berserker Zombie that threatens the whole world.
There are two main bad guys in the leadership at Moreaucorp.
Moreaucorp.
The name by the way is a hint to the real identity of the CEO (the secret shadow figure) who is the heir of the famous…DR. MOREAU. The H.G. Wells fictional protagonist in The Island of Dr. Moreau where Dr. Moreau was found to have been creating human-like hybrid animal beings, is the CEO, Edward Prendic.
His main LABORATORY SCIENTIST turns out to be THE FLY.
Throughout the series, the scientist will slowly pull in SCIENTIFIC ABORATIONS into the world Ala ISLAND OF DR. MOREAU.
This way, we can also bring in other classic monsters that are science or organic based like:
The 50ft WOMAN
The SHRINKING MAN
CREATURE FROM THE BLACK LAGOON
SWAMP THING
THEM
THE BLOB
LITTLE SHOP OF HORRORS.
(These could all be variations or our versions of these things.) Think about all the campy 1950’s drive-in feature creatures.
Not only is the CEO a secret shadow figure that gets revealed during the season, he also turns out to be a well-regarded State SENATOR, that eventually runs for President of the United States against the…
…ZOMBIE PRESIDENT.
Here’s more on that:
POLITICAL ATMOSPHERE:
The atmosphere behind the zombie apocalypse is the political commentary. Politics keeps coming up in several episodes that go along with the rising tide of zombie supporters for zombie rights. It’s a metaphor for rights groups throughout history. Later on in the season, the President of the United States gets bitten and becomes a zombie and Zombie Law is brought in to argue the diminished capacity of the President in front of House of Representatives and again in a trial at the Senate and whether or not he’s capable of doing the job of the executive office. This ultimately comes full circle as Zombie Law fights from episode 1 all the way through the series for zombie RIGHTS.
“C” STORY
The 3rd story thread usually consisting of some kind of rift or resolution to the 3 MAIN CHARACTERS; Calvin is in love with Laurel, Laurel hates Edwin, Edwin creates chaos for Calvin…etc. Here is a specific example:
Calvin’s ex-fiancée, that spurned him at the altar, comes looking for him. She’s recently dead and wants restitution from Moreaucorp for accidentally creating the zombie that bit her. She’s realized a lot of regrets since dying, the main one being Calvin. This causes confusion and complications with him and with Laurel, whose jealousy makes her realize that she may have deeper feelings for Calvin.
LAUREL HUNT TALKING HEAD
LAUREL HUNT
I’ve known Cal for most of my life, I’ve never seen him this low before.
She looks behind her to see if Cal may be around listening.
LAUREL HUNT (CONT’D)
And I’ve seen him get stood up at the altar. That was embarrassing. Pathetic really. But this was a new low. Even for him.
CHARACTERS
CALVIN JUSTICE
Calvin (30’s) is a bleeding heart without a paycheck, a conservative idealistic do-gooder.
Mona looks solemnly at Edwin and then to Cal. Cal knows when to speak and when to listen.
MONA
I have been here a long time. We’ve been thru a lot together. Edwin, Cal, you’re excellent lawyers… But you suck at running a business!
Edwin looks hurt, but Cal looks like that’s just about right.
MONA (CONT’D)
Cal, you’re a bleeding heart and you take every sad story that comes along. Many of them pro bono.
CAL
I do not.
MONA
My car broke down this morning. Can I borrow some money to get it fixed?
Mona holds her hand out.
CAL
(Taking his wallet out.) Oh, I didn’t know that. I only have…
Mona spreads her arms out for validation. Cal realizes and puts his wallet away.
CAL (CONT’D)
That was just mean.
He doesn’t like that he got roped into going into practice with Edwin years before, simply because Edwin thought their names together made for “great marketing”.
CALVIN JUSTICE
You only partnered with me because of my last name.
EDWIN WYNN
I don’t deny, Wynn-Justice Law, it’s a good marketing gimmick, but we’re good together.
CALVIN JUSTICE
We’re bankrupt, Ed.
He does, however, embrace the idea of helping the zombies. He’s an activist with a cause!
EDWIN WYNN
Edwin Wynn is a brainless get-rich-quick schemer, putting his money where his mouth is…empty. Edwin is a liberal free-spirited entrepreneur.
MONA
And Ed…
EDWIN
(He taps his forehead.) I’m a marketing master. The wheels never stop.
MONA
Like recently, you hosted an adult Slip & Slide contest to try and drum up business.
EDWIN
(He smiles.) Brilliant, I know.
MONA
People got hurt. And your P.I. Referral just signed 3 new clients and filed cases against us.
Ed frowns.
MONA (CONT’D)
Oh by the way, they sent you a fruit basket.
She points to a basket of exotic fruit off to the side. Ed gets excited.
He’s like a child in so many ways, 200% loyal, fearless, easily excitable, always upbeat and positive, his enthusiasm knows no bounds and often gets them into trouble, especially Calvin.
CALVIN JUSTICE AND EDWIN WYNN TALKING HEADS
EDWIN WYNN
We don’t need her. What happens when you fall off a horse?
CALVIN JUSTICE
ED, don’t cliché me.
EDWIN WYNN
Winners are just losers who never gave up.
CALVIN JUSTICE
Ed…
EDWIN WYNN
I’m just saying, we’re Wynn-Justice. We just need to figure it out.
Although, if backed into a corner, he can be a scary and formidable foe. Someone you want on your side, he has a joyful glee in making people think he’s mean, but can use it at times to make the pair stronger. It’s downright mischievous at times.
LAUREL HUNT
Their INVESTIGATOR is a bounty hunter named LAUREL HUNT. She owns a self-defense dojo, which is appropriate when you think of the world they live in, survival is a much valued commodity. She is the muscle.
Laurel walks over to a small counter by the door. A rough Biker is waiting for her.
BIKER
I’ve got a coupon for your “Evading Police Package”…
He pulls the piece of paper from his leather jacket vest pocket and slams it on the counter.
LAUREL HUNT
The free lesson on how to get out of handcuffs? She looks at the flyer and reaches into a drawer.
BIKER
That’s the one.
She pulls out some handcuffs and slaps one on the wrist of the Biker.
BIKER (CONT’D)
Hey, what the…
LAUREL HUNT
You want the lesson, right?
BIKER
Yeah…
She cuffs the other side to a pipe attached to the wall nearby.
LAUREL HUNT
Here’s the lesson. Don’t break the law!
BIKER
What the? Why you little B—
Laurel headbutts the Biker in the face and knocks him out. He hangs limply from the pipe.
Long-time friends with Calvin, they do not realize yet that, THEY ARE IN LOVE. The sexual tension is tangible, from the very start. The attraction is there, even if they don’t admit it verbally at first.
Later in the season they complicate things by replaying the wall of Jericho scene in It Happened One Night. (look it up) Eventually, they connect.
She comes in handy every week and provides the show with some much needed action at times. In the 2 k’s…kicking butt and kissing.
JUDGE DEL TORO aka DODGER ELVIS
Living in an odd world where zombies are real and running around, gives the show an unusual feeling that anything and anyone is possible. To emphasize that very thing, we’ve created a character that exemplifies that “anyone can be anything” persona; The Dodger Elvis as a JUDGE.
ROBERT RUE
Aren’t you going to swear me in?
JUDGE DEL TORO (40’s) turns to Robert to address him. Judge Del Toro looks like a Hispanic Elvis impersonator, with rings on all his fingers, sideburns, oversized gold shades and a pompadour. He picks up his bedazzled gavel and points it at Robert.
JUDGE DEL TORO
Now, see here, little man, this is just a hearing to determine if the plaintiff has a case, no need for that formality just yet. Please just answer the question, thankyouverymuch.
ZOMBIES
Let’s talk about what the series is wrapped around…ZOMBIES.
In most zombie films and TV shows, zombies are mindless, feeding monsters that are used as fodder. To kill and forget about, to mow down in droves.
Our series ventures to change that. The series ventures to play on that impression by starting out to make fun of it and then to slowly HUMANIZE the zombies again.
To show the progression of the zombie disease as if it was Alzheimer’s or Dementia. To slowly endear the zombie to the viewer. To get them on “their” side. We use it as a metaphor for HUMAN RIGHTS and to help us examine the human condition and the political and prejudicial atmosphere that is the United States of America.
I was recently approached by someone claiming to be from Facebook HQ to let me know I had just won $600Million Dollars! Right up front, I knew this was a scam and wanted to make sure and post my conversation with them, so that people become aware of this FRAUD!
First off, they asked to be friended and had a connection with my brother-in-law so I accepted their friend request. Mistake number 1 (don’t friend someone you don’t know personally).
Facebook Chat Conversation Start: Berggren Margareta: 10:08am Hello how are you and your family ??
Donovan:
Good thank you and you?
Am berggren from the Facebook organization
Awesome welcome
Mistake number 2 (people from Facebook don’t contact you this way, they call or email)
Mistake number 3 (punctuation and spelling is not a top priority from these criminals, so it’s a dead give-away)
Am here to pass you some good news about your Facebook account
Yes? Great
Before i proceed i will like to know if you have heard or been informed about the ongoing Facebook Promo going on ? Have any of our out staff informed you about your winning prize ?
Um no
Am delighted to inform you that you have won the sum of $600,000,00USD
There’s a zero missing
Is that 60 million or 600 million?
Six hundred
Wow cool
Donate it to Africa for me. Feed the children.
Good tax breaks for Facebook and everyone wins
Would you like to speak with the Facebook CEO
I’ll send this wonderful news to the good people at the FBI, they will be very pleased with this.
Have Mark Zuckerberg call my cell phone
Now a few minutes passed, I thought they were going to go away, but they were not deterred and decided to try a tactic that I didn’t expect, they’ve upped their game. I got a text on my phone!
(731) 903-7326 (Scammer’s phone number) 10:33am Hello donovan how are you doing its from the FEDERAL BUREAU INVESTIGATION
Hmmm. How did the FBI know I was talking with Facebook HQ?
Good. Do you want to text me from the Phoenix office at 21711 N. 7th st. Phoenix, as I know a few people from that office…623-466-1999
You have been messaged by the FBI
Hmmm. How did Facebook HQ know I was talking with the FBI?
Not from Mark…dang…
We don’t call we only text
These two message/texts are going on simultaneously on my Facebook Chat and my cellphone at the same time. She’s replying to my statement, “Have Mark Zuckerberg call my cellphone.”
its from washington DC
I looked up the Area Code on Google.
Then why is the area code from Tennessee? Don’t they have phones in DC?
I went back to the Facebook Message and read her last message…
Then how would I speak with Mark? I would love to pick his brain, I loved his movie…
She sent me an account link on Facebook, it had Mark Zuckerberg’s face on a brand new Facebook account. They are trying VERY VERY hard to convince me.
click this link and message him
About this time I get another text.
Just heed to instructions
I thought about this. How do they know I’m getting instructions from Facebook HQ? She pushed me to validate them this way.
Have you done that ?
Mistake number 4, always do your own due diligence. Don’t ever click on their links. Look them up on your own. Think for yourself.
Mark…Mark, why are you not using your original account you set up when you started this FB thing, why are you using a brand new account from 2016? have you gone broke giving people all your money?
He just messaged me he is no more on that page message this new one
Still trying to convince me. I decide to text the fake FBI one last time.
The FBI sure has bad English…I’m not sure what this sentence is supposed to be saying…heed what instructions? Don’t worry I have your brothers in the Phoenix office on my landline, they said it’s ok, they are going to start tracing all of these accounts asap…
Then I messaged her one last time within the same minute.
Ahhh, well, I guess he could do that, but you have to ask yourself why when the old one was working SO well…
Pretty much as soon as they got my text about the real FBI tracing them, all of their conversations went dead and her account online was INSTANTLY deleted.
Chat Conversation End
Seen 10:48am
As you can see all this happened between a 40 minute period. I’m posting all this here so that you can see for yourself and know about this horrible SCAM. Don’t be fooled. Nobody will ever just give you money! These kinds of people do this because it works 10-20% of the time and that’s all they need to make big bucks.
Their next step, if I hadn’t thrown up so many roadblocks would have been to ask me for personal information or for me to send them money for a bank transfer or something like that. Then they grab your money or your identity or whatever they can get their hands on.
George Miller has brought Mad Max back to the big screen and it’s incredible! It’s a visual action feast! In this day and age of technology, most movies like this made today would be done so with millions and millions of dollars in special effects. Over 80% of the effects seen in the film are real practical effects, stunts, make-up and sets. CGI was used sparingly mainly to enhance the Namibian landscape, remove stunt rigging and for Charlize Theron’s left hand which in the film is a prosthetic arm. As an example of some practical effects, the flame-shooting guitarist is Australian artist/musician Sean Hape, better known as Iota. In an interview on Vice (2013), he said the guitar weighed 132 pounds, and shot real gas-powered flames, which he controlled using the whammy bar.
This film series has a long established relationship within the stunt community. There are so many stunt performers on this film, it’s staggering. It’s interesting to note, while on location in Africa filming this movie in June 2012, Dayna Porter, the stunt double for Charlize Theron, and Dane Grant, the rehearsal double for Tom Hardy, met, fell in love, and, in March 2013, got married. In February 2014, they had their first child, a son named Ryder. Dayna, who changed her last name to Grant after the marriage, founded a school in New Zealand for training stunt performers, and has performed stunts in other projects based in New Zealand, such as Xena: Warrior Princess (1995) and Hercules: The Legendary Journeys (1995). Another stunt performer in the film also met his spouse on the set: in February 2015, stuntman Ben Smith-Petersen married actress Riley Keough, who played Capable.
The actors themselves joined in the stunts and were a heavy part of the stunt department. Charlize Theron told Yahoo! Movies that there was a particular stunt that Tom Hardy performs that blew her mind while they were in the middle of filming it. “[Tom’s] head is [inches] off the ground, and he’s just hanging there,” Theron told Yahoo Movies. “I’m like, ‘Dude, you are awesome. If that was me, I would so not be cool with this.’ And if he was gonna go, I was gonna go with him. That stunt was scary for me.”
Berggren Margareta: 10:08am Hello how are you and your family ??
