Pound Pictures and Oliwood Films, LLC Present:
Laura Jean Cronin, 206/323-0557
EXECUTIVE SUMMARY :
Set in the Seattle grunge era, Billy Fields embodies the conflicted grunge movement: carefree and self-destructive. When she meets the striking Victoria, she sees in her an opportunity to improve her life, and places her faith and dreams in this new relationship. Victoria, on the other hand, finds in Billy a world of passion and personal freedom that she has never experienced. The pair is swept up into a world of desire that effaces their differences in class and education. Soon, however, the pressures from Billys substance abuse past and Victorias upper-class mindset break into both of their fantasies. Billys love for life and living for the moment is overshadowed by her inner turmoil and haunting demons of the past. Victoria uses Billys past transgressions as a means of escape when she is faced with issues of commitment to Billy and the relationship they have formed. When Billy experiences the backlash of Victorias emotional openness she spirals into an abyss of drugs and crime. Victoria, retreats into the familiarity of her career and a safe, yet passionless, relationship with an admiring colleague.
From Billys climatic arrest the story jumps forward two years when Billy is released from prison and decides to take another chance on Victoria. It initially appears that history is to repeat itself, but Victoria soon learns that the emotional dynamics have shifted. The new Billy is someone to be reckoned with and Victorias old habits of deception and emotional detachment have run their course. Victoria and Billy are given another chance to find out what is true and what is love. A modern lesbian drama, Princess and Buddha combines confidence with courage and a groundbreaking degree of originality. Targeted at the rapidly growing specialty film audience, the film holds strong potential to break out to a mainstream audience.
Pound Pictures and Oliwood Films is powerfully positioned to achieve success with this film. The founders Laura Jean Cronin and Shon Kayli are an experienced management and creative team whose combined work has put them in direct contact with the specialty film audience and given them strong personal connections throughout the distribution and exhibition communities. In addition, Cronin is a prolific and successful film writer/producer/director. Finally, the combination of strong artistic and production talent with an extremely favorable local production climate ensures that we can maximize our artistic capital and offer tremendous value for each production dollar.
While the specialty film marketplace is known to be quite volatile, the upside potential for breakout films is extraordinarily large. Pound Pictures and Oliwood Films aim to create a film of great distinction and broad appeal at an exceptionally modest budget. Dependent on domestic box office grosses, we project ROI from 16% to 288% and up.
The specialty film market is a loose alliance of independently owned production and distribution entities specializing in more challenging, more explicitly artistic film production than what is pursued by the major Hollywood studios. This market is defined by smaller budgets (up to maximum of $10 million vs. the national average of $38 million ), more focused and concentrated theatrical play (specialty films see 600 theatrical engagements or less, vs. upwards of 10,000 engagements for the average Hollywood blockbuster ), and a greater dependence on and cultivation of critical response than is seen with the typical studio release.
Size and Trends
Streams for Independent Productions
vs. Limited Theatrical Distribution
Which is not to imply that limited theatrical distribution is necessarily less desirable than wide distribution. Indeed, many films are better servedin terms of finding a responsive audience, in terms of generating valuable critical response, in terms of establishing the filmmaker and company nameby limited theatrical. Moreover, on a screen-by-screen basis, limited theatrical often matches or exceeds the revenues generated by wide theatrical distribution, enabling distributors to respond to specific markets in a context of decreased fiscal risk, in turn allowing a film to grow over the course of its release.
From our 10 years experience serving this audience through our two art studios in Seattle (Pound Gallery and Oliwood Films), as well as our experience producing and marketing independent features, Pound Pictures and Oliwood Films has come to know this audience intimately. This is an audience that wants to be questioned, that responds to artistic innovation, that wants a deeper, more challenging movie-going experience than that offered by the typical escapist thriller or romantic comedy. This is an audience that is in love with the past, present, and future of the Cinematic Art; that is as likely to see the re-release of the 1958 Hitchcock classic Vertigo (Re-released to outstanding box-office in 1998) as it is to see the current blockbuster. This is an audience that is fascinated by the diversity of world cinema; an audience that keeps French films popular on our screens; that brought the unlikely triumph of the Iranian Cinema to US shores with such critical and commercial successes as 1999s The Color of Heaven. This is an audience that consumes the critical press and interacts with it; that responds more to word-of-mouth than to print and media commercials; that supports the ongoing explosion of film-festivals around the world. Most of all, this is the audience that made stateside hits out of such seemingly unlikely fare as this years Ghost World; last years You Can Count on Me; or 1999s The Blair Witch Project. And this is the audience we intend to serve with Princess and Buddha.
By limiting our operations to the low-budget realm, and working outside of the star-driven mainstream, we will be able to maximize our artistic capital. Princess and Buddha will trade on this artistic capital, standing out in the marketplace for originality of both theme and stylistic treatment. It is our experience that true artistic innovation is of tremendous value in the specialty film markets, where despite the profusion of independent productions over the past decade, a unique artistic voice remains a rare commodity.
Second, we know our market and audience intimately. From our first-hand experience serving the film-going public, we have been able to put our finger on the pulse of the specialty audience, and are confident that we can play to this audience, delivering a sophisticated film to their tastes. We are also intimately acquainted with the personal mechanics of the market, having developed working relationships throughout a broad range of specialty distributors, the critical press, festival programming over the past decade. Third, we are strongly committed to and experienced in alternative marketing schemes. We are aware that a films popularity must to some extent be engineered, and we are committed to exploring the possibilities of grass-roots campaigns, strategic alliances, and event marketing. These methods, used so successfully in the marketing of such films as The Blair Witch Project and Crouching Tiger, Hidden Dragon (not to mention our own films), will be put to good use in marketing our production to cultural tastemakers, specialty distributors, and the general public.
Finally, we are well-versed in the artistic task at hand. If the art of filmmaking is the business of filmmaking, then we are well prepared to succeed in this business. We have devoted ourselves, for over a decade, to the study and exploration of the art and business of film, in the fields of production and exhibition. We take seriously the artistic challenge of film, the mandate to create great work. It is our intention to deliver a film of tremendous artistic conviction and outstanding originality; a film that is challenging and innovative and hugely entertaining; a film that everyone will want to see.
Analysis of Comparable Films