So you want to be in pictures...

So you want to be an executive producer.

Feature Film seeking $3M in financing.

Standard Industry terms, 95/5 50/50.

Repayment schedule is 95% to investor - 5% to producers until 100% of
investment is recouped.
After initial investment is recouped investors and producers will split
returns 50/50.

Name talent already attached.

For more info, email...

LCAMLLC@YAHOO (add .com to this address)

Serious investors only please...In other words, if you can't write a
check for $3M USD...please don't respond.

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It happens every year. An independent film made for next to nothing
creates a frenzy at the Sundance Film Festival, goes on to earn
millions at the box office, and turns a small investment into an ATM.
It's enough to make even levelheaded investors think they ought to be
in pictures.

For some investors, just the chance of latching on to another Blair
Witch Project, an indie phenom that cost $50,000 to make and earned
more than $300 million, or being involved with a project they "really
believe in" is simply too tempting to pass up. To say nothing of the
possibility of sashaying down the red carpet, hobnobbing with movie
stars, and earning an "executive producer" credit for all your friends
to see.
For all its big-scale, Miramax-style success, the indie film industry
would be lost without these folks. With the economy still regaining its
footing, raising money for films has never been so difficult. "Fewer
and fewer people are willing to lose real money these days," says Larry
Meistrich, who founded the Shooting Gallery ( Sling Blade, You Can
Count on Me ) and is now CEO of Film Movement, a new subscription
service for first-run independent films. It's easy to understand why.
Even at the big studios like Disney, which owns Miramax, and Universal,
profits rarely top 10 percent, and most independent films can only
dream of that. Of the thousands of small movies that get made each
year, only a couple of hundred ever see the light of day and fewer than
10 percent of those ever make a dime.

Nothing earned. Although DVD sales, the Internet, and cable channels
like Sundance, which has 21 million subscribers, have all helped boost
the popularity and profitability of small movies, they're still a dicey
financial investment. "If you have some other motivation, we try to
make it as close to a reasonable investment as possible," says John
Sloss, a partner in Cinetic Media, a film financing firm that is behind
such low-budget hits as Napoleon Dynamite and Super Size Me . Sloss is
among a growing number of independent producers who are trying to
attract serious investors by building more stability and predictability
into a business that is inherently unpredictable. "You've got to go
into this prepared to go home with nothing," says Sloss. Still, there
are ways for investors to hedge their bets, if only slightly, by taking
into account the factors over which filmmakers do have some control.

Nothing, for instance, is as critical to the success of a movie as the
script. Surprisingly, say producers, many investors do not read them.
"Although you may not recognize a good script, you can usually spot a
bad one," says Robert May, president of SenArt Films, the independent
production company behind The Station Agent and the documentary Fog of
War . "A great script can still end up as a bad movie, but a bad script
will never become a good movie." To be commercially viable, a story has
to be able to connect with an audience. Stories about love, like My Big
Fat Greek Wedding , which has earned more than $400 million, or about
the triumph of the underdog, like Napoleon Dynamite , which was made
for $400,000 and has earned more than $50 million so far, are universal
themes. Documentaries ( Fahrenheit 9/11 notwithstanding) and highly
controversial subjects are much riskier. The Woodsman , a recent
release, for instance, stars Kevin Bacon as a pedophile trying to
return to society. Although critically acclaimed, it has been playing
to very small crowds.