Showing posts with label entertainment. Show all posts
Showing posts with label entertainment. Show all posts

Thursday, September 8, 2016

Grim Weaver - Feature Horror Film premiere in Fresno, CA


If you are a HORROR movie fan that lives in the Central Valley of California, then I suggest that you go and watch GRIM WEAVER on October 22, 2016!

GRIM WEAVER - RED CARPET FILM PREMIERE  A One Night Only Special Event!A Ernest Serrano Film...
Their marriages were perfect....
or so it seemed....
They had beautiful wives, talented children, powerful careers, wealth in abundance.
But, lurking beneath the glossy exteriors of their narcissistic lives was a secret so dark, so dangerous, so deadly in its intent that it sent a spiritual emissary to lay claim to their lives!!
Will they survive this killer ....
from beyond the grave!
Even the hair on her beautiful head may have the power ...to kill your body and steal...
YOUR SOUL!!! 
(This Film Has Not Been Rated)
PLEASE BE ADVISED - MUST BE 16+ TO ATTEND THIS FILM PREMIERE

Independent film production is on the rise and there is evidence of it at the theatres all over the world! Please come and support local, Fresno filmmakers Ernest & Michelle Serrano as they prepare to release GRIM WEAVER at the Crest Theatre. 

You can purchase tickets online at: 

Event Description

______________________________________________
JOIN THE DIRECTOR, WRITERS, PRODUCERS, CAST AND CREW FOR THIS SPECIAL RED CARPET MOVIE PREMIERE!
RED CARPET/DOORS 6:00PM - FILM BEGINS AT 7:30PM
*THE DIRECTOR, CAST AND CREW WILL BE HAVING A Q & A FOLLOWING THE FILM
WHEN: Saturday, October 22nd 2016
RED CARPET/DOORS: 6:00PM
FILM BEGINS: 7:00PM
LOCATION: The CREST THEATRE - 1170 BROADWAY PLAZA, FRESNO , CA. (Downtown Fresno)    
 TICKETS: Only $10 for this Red Carpet Film Premiere! (Portion of Ticket Sales goes to the Crest Theatre Restoration Project)      
Contact: 559.268.0044 - EMAIL: Info@TheCrestTheatre.com
(the historic Crest Theatre is Equipped with a HUGE 43 ft. Wide Screen, DOLBY Surround Sound, Stadium and Floor Seating)
- SNACK BAR AVAILABLE (Hot Dogs, Popcorn, Beverages, Candy, Chips, Etc)

PARKING: Located Directly Across the Street from the Crest Theatre on Broadway street.
Additional BLOG:
The tagline for Grim Weaver asks the question “how do you bury a lie…. when you know it’s the truth?”  Intriguing question. Intriguing movie.

Grim Weaver is an Ernest Serrano film from Burnt Chili Productions and Falkonquest Productions that stars a top notch cast of actors including Sid Burston, Malika Perkins Blessing, Eric Akeem Bellows and iconic screen actress, Donna Lee Heising. Grim Weaver is directed by Ernest Serrano and Executive Produced by Sid and Betty Burston.

In Grim Weaver, the characters are living their dreams, they have lavish lives, powerful careers and wealth in abundance. Everything seems so perfect on the surface. However, what lies beneath that glossy exterior of perfection is a secret so dark, so terrifyingly dangerous that it has brought forth a beautiful entity to seek them out. One so powerful that even the hair on her head could kill their bodies and steal their souls.

The trailer for Grim Weaver, which is currently in post-production and scheduled to be released in October, is short, but it is filled with powerful and visceral visuals that let you know this is a horror movie and it will scare you. Set to an intense music score written by Cal Reichenbach, the images from the Grim Weaver trailer are a stylish mix color fading in and out to black and white, which sets the dramatic tone of the movie. In a few, very short frames, of film, the trailer manages to convey the tone of the characters and the deadly situations they are in. It makes the viewer want to see more; it made me want to see more of the movie. Check it out for yourself:
YouTube film trailer link: https://www.youtube.com/watch?v=nhETI-GtMSk




You can purchase tickets online at: 

YouTube film trailer link: https://www.youtube.com/watch?v=nhETI-GtMSk


Marketing Blog created by: George Ohan

Friday, August 12, 2016

Fulton Film Company brings the Film Industry to Fresno | Central California Life Magazine

Fulton Film Company Aims to Bring the Film Industry to Fresno | Central California Life Magazine



In Fresno, Fulton Film Company is working with the community to provide a space where people can work in film and still make a living wage, without the necessity of a full time job. They also offer affordable space -- $20 an hour -- for working on projects, or even screening a film.

Founded in June, people at Fulton Film Company can be creative in a supportive and inspiring environment, while getting advice on how to live comfortably.

George Ohan, the head organizer at Fulton Film Company, has a mission for the creativity of the Fresno area, and hopes that others feel inspired to try something new. 


Tell be about Fulton Film Company. When did it get started?


George Ohan:
 FFC is a place that I thought of creating to give artists a place to collaborate. It sucks to be surrounded by mediocrity in Starbucks while you're trying to create greatness. Fulton Film Company gives creatives a place to come and exchange ideas, build, and learn from each other.


What is the ultimate goal of the company?

GO: My goal is to train the youth about entrepreneurship and earning a sustainable living wage, without having to get a 9-5 job.

What's the most memorable moment you've had working at Fulton Film Company?

GO: My most memorable moment so far has been the grand opening day. On that same day I got a call to work on MineCraft set in Hollywood, my partner KP booked a TV reality show producing gig in Ohio, and we landed a digital marketing contract for the Asian World Film Festival 2016... When it rains, it pours! 

What are the hopes for the future?

GO: My hopes for the future are to create community programs to help at-risk youth, military veterans, and women in business.

Is there an age limit to who can attend your classes? What kind of classes are offered? 

GO: We are the alternative to taking your kids to a Karate class. We have weekly training for actors and filmmakers. We teach people of all ages about stunt fighting for film, producing, directing, cinematography, acting, modeling, and anything related to entertainment business.

We offer many digital marketing services to small businesses. We teach the small business owner how to take control of their digital content and social media sites too.

Friday, November 27, 2015

I'm happy that I was robbed in Puerto Rico.


Positive Attitude is not a gimmick; It’s my way of life.

I choose gratitude as my tool for maintaining a positive attitude. I enjoy living a happy life by showing gratitude to the people that I deal with. It is a CHOICE to live happy. You can choose to be happy too.

People get “positivity” confused with “fantasy” sometimes.

Positivity doesn’t mean that bad things don’t happen to me. Positivity doesn’t mean that the universe must favor me or any of my plans. Positivity doesn’t even guarantee success after you spend a lifetime doing the “right thing” along your journey. Positivity DOES give you the tool to handle any negative situation, by always looking for the good no matter what you are faced with.

The  night before Thanksgiving 2015 in San Juan, Puerto Rico somebody smashed the window of our car at the Afrika Club. We were there to film a live performance of recording artist Eddie Lamenaza, but when we got back to our car from checking in with the club manager, the film and audio equipment was gone. Any "indie" filmmaker knows how bad this sucks.

A few of the items were:
Canon DSLR Camera
2 Lenses
H5 Zoom Audio
Lavalier Microphone
SD Cards
Batteries

Why did this happen to me? Am I a bad person? Is this Karma from something that I did when I was 16 years old? Where is this negativity coming from?

……..NONE of those questions matter.

I started to think about: I volunteer with veterans, I mentor kids, I help non-profit organizations, I treat people well, I even take my dog to the beach…… So, why me?

……..NONE of those things matter either.

(Brendan Masters, San Diego, CA - Plays Buckets. No Excuses.)


I DO what I do because it makes ME happy. The universe doesn’t trade my good deeds for a lower amount of negativity that can come my way. I can’t control WHAT happens to me in my life. We only have control of about 10% of anything that happens in our lives. I only have control over my reaction when something good or bad happens to me.

Fact: My film & audio equipment is gone.
Fact: It’s time for my reaction…….

I kept it cool. I thought to myself, “Good. I hope he bought his family a nice Thanksgiving Day dinner with the money he got for that stuff.”

“Maybe this is a sign that I needed to put the camera down, and focus on bigger things?”

“Now I have an opportunity to learn PhotoShop more. Or maybe I can buy a better camera? Oh damn, we should call the cops.”

That was my REAL reaction. I didn’t react this way because it would look better for a blog. I didn’t react this way because I thought that it would help to magically bring my stuff back. I reacted this way because I KNEW my stuff was gone. I could not control that situation from happening to me. I also knew that anger, hate, and over-thinking only leads to the BAD me.  Positivity and forward-thinking take a massive amount of work to achieve.

I do everything that I can to protect my mind and spirit from any negative thoughts entering or being created within myself.

Why would I poison myself with hate because somebody chose to do something bad to me? It doesn’t make sense to make myself FEEL bad for something that I didn’t have any control over.

Staying positive helps me keep a clear mind so I can make better decisions in tough times.

(Combat Veteran, USMC (Ret.) CPL Juan Dominguez; A HAPPY guy)

I didn’t post this on Facebook when it first happened because it was one day before a holiday break. I didn’t want people to see negativity on their timelines, and I’m happy that I did that.  It gave me time to focus on being happy with the people around me, instead of waiting to read the comments on a post about something bad that happened to me. By choosing to not post about this situation, I have been able to keep my mind clear of negativity.

Negativity destroys creativity, and I can’t afford that.

Thank you to my friend Luiz Burgos (U.S. Navy Veteran) for inviting us to enjoy Thanksgiving Day with his family in Caguas, PR. I'm happy that I didn't make an excuse of having a broken window to not go from Bayamon to Caguas to enjoy time with our Puerto Rican family. Saying YES is part of the happiness equation.

Let's Party!

Karaoke 

Dominoes 


Very respectfully,

George Ohan
Entrepreneur
Puerto Rico

"Lead from the front."

 HAPPINESS:

Wednesday, June 26, 2013

Develop a pitch for your script - Sell your idea in Hollywood

ALL CREDIT FOR THIS ARTICLE TO: Stephanie Palmer


Instagram- georgeohan

How To Develop A Pitch For Your Screenplay: A Case Study


By Stephanie Palmer
 
Would you like to see how a pitch gets developed for a screenplay?
A screenwriting client of mine gave me permission to use his project as an example.
What you’re about to see is the first phase of researching and developing a pitch, using my client’s feature film idea as a case study. This process will not only help you to improve your pitch; it will also build your expertise in the genre so that you are the kind of writer executives want to hire.

Step 1: Draft The Initial Short Pitch

If you already have a short pitch, great. If not, try the following formula with five elements:
“My story is a (genre) called (title) about (hero) who wants (goal) despite (obstacle).”
I like starting with this formula because it forces the clarification of the dramatic conflict. Typically, a story that is clear can be framed in terms of an entity (the hero) that is seeking something (the goal) despite some significant problem (the obstacle).
Our goal is to clarify the five elements and make them more compelling. This means that the changes we make may seem small (e.g., exchanging one word for another), but they will have large implications because we’re working at the DNA-level of the story.
Using the formula, here’s my client’s initial pitch:
It’s a comedy called Nerd Ops about the National Security Administration’s nerdiest technical people who must become field operatives to save the world from a terrorist hacker organization.”

Step 2: Identify Possible Genres

Genre gives context to the project, suggests a structure for the story, and has implications for budget, scope, and potential revenue. The 1-2 words you use to categorize your project, therefore, should be chosen with care.
For Nerd Ops, is “comedy” the best description of genre? Could we find something more specific?
You may already know how your project should be categorized. If not, here’s a way to generate ideas for genre descriptions:
  • Go to boxofficemojo.com;
  • Look for produced projects that are the most like your idea;
  • See how they are classified.
Using this strategy, and given the core concept of nerdy technicians becoming field operatives, here are some possible genres:
  • Dark comedy
  • Buddy comedy
  • Action comedy
  • Spy comedy

Step 3: Identify Themes

While I do believe that it’s important for a finished project to have one core thematic premise, at this stage we’re interested in looking at themes more broadly.
Here are some themes that I could see being relevant:
  • Weaknesses can be strengths (and strengths weaknesses)
  • Warriors for the 21st century
  • The brotherhood (and sisterhood) of geekdom
  • Humans vs. machines

Step 4: Identify Structural Elements

Structural elements are aspects of the project which are obvious and relevant but which you don’t want to classify as themes.
Some structural elements of this story could be:
  • The culture of elite hackers
  • The NSA recruiting process
  • “Hell Week” training
  • Powerful supercomputers

Step 5: Brainstorm Comparisons

Now, using the genres, themes, and structural elements as a starting point, let’s generate more projects to which Nerd Ops could be compared:
  • Spies Like Us (Dan Ackroyd’s character is a technical genius)
  • Hackers (elite hackers work together)
  • Stripes (oddballs in the military)
  • Mission Impossible 3&4 (technical geek played by Simon Pegg)
  • The Recruit (Colin Farrell’s character is a math genius)
  • GI Jane (the structure of “Hell Week”)
  • The Other Guys (desk jockey cops become field agents)

Step 6: Build A Table To Hold Comparison Data

What we’re going to do now is build a chart full of data. Along the way, we’re going to get ideas for more comparison projects and we’ll add those to the chart.
First, set up a table with twenty rows and nine columns. Those nine columns should read: Title, Genre, Rating, Release Date, Buyer/Distributor, Domestic Box Office (DBO), International Box Office (IBO), Total Box Office (TBO), Pitch.
Second, open two websites: boxofficemojo.com and netflix.com. If you’re not already a Netflix member, you can get a trial membership.

Step 7: Fill In The Table

First, I’ll search boxofficemojo.com for Spies Like Us. I’ll enter the data in my table, then click on the tab for “Similar Movies.” This shows me that there’s a project called This Means War that I hadn’t considered. So I’ll click on that and enter the data. Then, I’ll click on the tab for “Similar Movies,” and repeat the process.
Second, I’ll go to netflix.com and look for the summaries. I highlight them, edit if needed, paste into a text file, then cut and paste into my table.
Third, I’ll click on the genres in boxofficemojo.com that I’m interested in and see what other comparable projects I can find.
Sometimes boxofficemojo.com, netflix.com (or IMDB or Wikipedia) don’t agree on the genre. For example, a comparison project in my table is Knight and Day. Boxofficemojo calls it a comedy; netflix calls it an action comedy. I think it’s an action comedy, but like This Means War, could also be classified as a romantic comedy.
Use the genre and pitch that you think best. The important thing is to collect the data in one place so you can look for patterns.
After poking around in the boxofficemojo and netflix databases, my table looks like this: Good in a Room Nerd Ops Research Example

Step 8: Sort The Table And Look For Patterns

Now, sort the table by clicking on the column for Total Box Office and sort the table with the highest grossing projects at the top.
The point is not to be a slave to the box office and to copy exactly movies that have been successful. Rather, it’s to have the same information that the decision-maker has, and to be able to customize your pitch using that information to showcase what’s original about your project in a way that is compelling to the listener.
Looking at our table, we can start to see patterns:
  • It seems that Nerd Ops would be more clearly described as an action comedy rather than a spy comedy (e.g. Austin Powers, Bean).
  • The top grossing action comedies are either romantic comedies or buddy pics (e.g., Knight and Day, Rush Hour, The Other Guys)
  • Characters who are “desk-jockeys” or “prodigies.”
  • Two male heroes.
  • A PG-13 rating.
  • Titles with 2-3 words.

Step 9: Improve Your Pitch

Now that I’ve done some research and identified patterns, I can change the short pitch and come up with new pitch material.
Here’s the old short pitch, then the new one:
Old:
It’s a comedy called Nerd Ops about the National Security Administration’s nerdiest technical people who must become field operatives to save the world from a terrorist hacker organization.”
New (changes in bold):
It’s an action comedy called Nerd Ops about two competing National Security Administration computer prodigies who must become field operatives and work together to save the world from a terrorist hacker organization.”

Step 10: Test Your New Pitch

At this point, I would begin testing this short pitch to see how I can sharpen and improve the core concept.

Tuesday, December 18, 2012

How to make progress in your professional life... Leadership & Success rules.


This is a simple list of things that I know can make your professional life move forward in a positive manner… from experience:

1.       Be on time.  15-20 minutes early is the standard.  Always plan ahead for traffic and travel.

2.       Never “No-show” an appointment.  If you MUST no-show, then call ASAP to reschedule.

3.       When someone gives you a business card, you have 72 hours to follow-up.  Send them a simple email with your information and how you intend to grow that relationship.

4.        Maintain a pleasing personality.  People do not want to work with negative people.

5.       Have a value proposition.  What is the reason someone should hire “YOU?”

6.       Dress neat and be neatly groomed.  Clients want to see professionalism.

7.       Have a PLAN.  Actually write out a plan of what you would like to accomplish, discuss, or research.  You MUST write it out (or type it) for it to be real.

8.       Have a continuous “to-do” list in front of you.  If a particular task does not get accomplished today, then move it to the next day.

9.       Must maintain LASER, INTENSE, FOCUS.  No matter what you do…. LASER, INTENSE, FOCUS. 

10.   If you notice that you talk about doing more things than actually doing those things…. STOP IT!  You’re not fooling anyone except yourself.  Get to work!

11.   Be concerned with helping people with their situation before being concerned with why nobody ever wants to help you.  What have you done for someone lately?

12.   Be aware of your physical activity.  Exercise relives a lot of stress and helps you think more clearly.
 
I hope this helps!
 
Very Respectfully,
 
George Ohan
 
 
 

Tuesday, August 7, 2012

Indie Film Producer joint venture agreement contract - Los Angeles



I did not write this, but I wanted to share it with my friends.  Please enjoy.


Very Respectfully,

George Ohan



Joint Venture Agreement: Preparing the Pre-Production Prenup

by Robert Seigel on January 4, 2012 in Legal
I often meet with two (or more) clients who wish to work together to produce a film, a video or some other audio-visual project. Sometimes one person will be designated a project’s producer while the other person may serve as the director. One of the parties often has written or controls the rights in and to the project’s script. Occasionally the two clients are both designated as producers with a script who either have a director in mind or are seeking a director. These parties either have little or no money raised to date. It is, at this time, when the parties’ business relationship is beginning and the stakes are relatively low (i.e., the bulk of a project’s financing still needs to be raised and a small sum of money may have been spent to date) that the parties should enter into some sort of a Joint Venture Agreement.
A “Joint Venture Agreement” is just another way of referring to a partnership agreement usually formed just for one project. This agreement specifies the parties’ rights and obligations pertaining to the project. It is a sort of business relationship “pre-nuptial agreement” in which the parties understand what is expected of them and what happens if a problem should occur between or amongst the parties. (A Joint Venture Agreement can be between two parties or among three or more parties.) If the Joint Venture Agreement addresses key issues comprehensively, the parties often can sign it, place it in a drawer and only look at it when the need arises.
The joint venture often is a preliminary step prior to forming a production entity such as a limited liability company or a corporation once a project’s funding begins to fall into place. Its term can be for a few months or years with six months to two years serving as the norm. If one of the parties wrote or otherwise controls the right in a project’s script, that party’s contribution to the joint venture would include the “optioning” of the script by the venture with the venture having the right to acquire the script’s rights before the end of the venture’s term. If the venture’s term should end and the venture (or a subsequently formed production entity) has not acquired such rights, the option would be deemed to have lapsed and the script’s rights would remain with the party that wrote or otherwise controls the script’s rights without any encumbrances. However, if the venture or one of the parties to the venture spent any development or otherwise related monies concerning the script or the project, the party who owns the rights to the script would be free to work with other persons or entities to produce the project once the venture’s term has ended, subject to that party either repaying or having a third party repay the other joint venture party any of that party’s share of the Venture’s direct, verifiable “out-of-pocket” expenses. The joint venture parties sometimes will permit such expenses to be excused without any right to repayment to a party. This point is a matter of negotiation between or among the parties.
There should be a provision in the Joint Venture Agreement which states what is expected of the parties. A party’s contribution to a venture can include the project’s script (or any underlying rights to a script), funding, development, production, marketing or distribution resources or skills or the promise to use best efforts by each party to secure such financing, to locate such resources or to render such services.
One of the most important provisions in a Joint Venture Agreement is the one that addresses how the parties make decisions regarding the venture. The parties can separate the types of decisions made on behalf of a venture into purely creative and business (i.e., economic) decisions. Although creative and business decisions often overlap, creative decisions can be separated into two categories: those creative decisions which require the additional allocation and expenditure of funds and those creative decisions which do not affect (i.e., increase) a project’s budget.
If none of the parties is to be a project’s director, the selection of a director may require the parties’ unanimous approval (although this decision and other decisions may be subject to the approval of a project’s financier in certain cases). If one of the parties shall be designated as the project’s director or a third party is to be engaged as the director, the parties would attempt initially to reach some sort of consensus; however, there should be some mechanism to address those times when consensus cannot be reached by the parties. The parties have several options regardless of the nature of such decisions. First, the parties can agree that a decision must be unanimous or a decision is not made. This method of decision-making works well concerning such issues as the selection of cast, crew and director, but it can result in a deadlock by the parties if they are unable to agree. Second, the parties could agree to choose a third party approved by the parties whose decision would govern. This option can be avoided if there is an odd number of parties in a joint venture but issues may arise if the parties have difficulty deciding who should be designated as the third party “tie-breaker.” Third, a party or parties can agree to defer to a party whose decision shall govern since that party may have expertise in a certain area or that party has secured financing or distribution for a project and this type of decision-making may be a condition to forming the venture and to producing the project.
Regarding expenditures made on behalf of the venture, the agreement can state that expenditures which are at a certain monetary level or greater require the (usually written) approval of the venture’s parties. This provision can be problematic if one of the parties may be unavailable or inaccessible during the venture’s term or the production of the project. The parties can select a third party as an alternative signatory for the purpose of paying for expenditures of a certain amount or higher or the agreement can provide a grace period in which the unavailable party must get in contact with the venture’s other party or parties or his, her or their right to approve such expenses would be deemed waived. Still, if a party accesses monies to pay for an unauthorized expenditure, the agreement would acknowledge that such party would be personally responsible for repaying such expense. But in this age of e-mail, faxes and overnight delivery, this situation is becoming less and less of an issue.
In the area of compensation, the Joint Venture Agreement may state the specific figures reflecting how much money would be paid to a party for certain services, or the parties may agree to equal compensation, whether such compensation is upfront, deferred or contingent in nature (i.e., “on the backend”). One of the troublesome issues regarding compensation in which the parties have to address in a Joint Venture Agreement is how to address the scenario when one of the parties leaves the project whether voluntarily or otherwise. There should be a pro rating of a departing party’s compensation that is tied to when the party departs the project. If a party departs from the project at an early stage, that party should receive less compensation that if the party would leave at a later stage of the project. This point is a highly contested issue.
The parties address a similar issue concerning the allocation of the parties’ credits regarding the project. A party’s credit should be subject to that party’s substantial or full compliance of the Venture’s terms and the rendering of services as designated in the Joint Venture Agreement. This credit provision should state how the credits should read and appear on all positive copies of the project and in its promotional and advertising materials. The parties also can deal with this issue by stating in the Joint Venture Agreement that a party’s credit shall appear whenever another party’s or parties’ credit(s) shall appear. Once again, this can be a highly negotiated provision.
A joint venture can be terminated for reasons other than the expiration of its term (which usually can be extended by the parties’ unanimous consent) such as by operation of law which may occur when the venture has not complied with certain laws which may result in the venture’s dissolution or when the venture may be compelled to seek bankruptcy protection.
If a joint venture’s parties are from different locations, there should be a provision that acknowledges which country’s or state’s laws should govern disputes by the parties. Other common provisions in a Joint Venture Agreement address such issues as how monies should be allocated by the venture in terms of repaying any loans, repaying any investments made by the parties in the Venture or to third parties, that each party is free to pursue other business opportunities which are unrelated to the venture without having to ask if the other parties wish to participate in such new business opportunities and that a party’s offers assurances that the party has the rights (or, at least, the right to acquire) the rights in a project’s property which may include its underlying rights.
It is a part of human nature to avoid dealing with difficult issues regarding any relationship, whether the relationship is personal or business in nature. Still the Joint Venture Agreement serves as a means of clarifying many misunderstandings at an early stage and decreasing the chances of growing animosity among the parties later in the heat of developing, producing or distributing a project. The parties who wish to work together ultimately should realize that if they can weather the storm of dealing with the issues addressed in a Joint Venture Agreement, they probably have just as good as or a better chance of dealing effectively with the often difficult issues which arise when the parties are in the production and distribution trenches together.