PROJECT DEVELOPMENT Title: THE DAWN-BREAKERS Date: Jan. 1, 1987 Note: This document contains confidential and proprietory information and may not accurately reflect conditions after its date. All rights reserved. (c) 1987 Keene Productions. Dear friends: Here is a list of some development highlights and documentation available for the major feature motion picture, THE DAWN-BREAKERS, which Keene Productions is syndicating and producing: STORY and SCREENPLAY 1. STORY RESEARCH: A. Beginning 20 years ago; 6 months intensive research. B. Hundreds of pages of photographic and artistic depictions of most locations and many key roles have been compiled. 2. TITLE CLEARANCE: Specific permission, copyright search and legal opinion. 3. STORY CHRONOLOGY: A 25 page document summarizing the research. 4. HISTORY OUTLINE: A 3 page sequence of story highlights. 5. FILM CONCEPT & SYNOPSIS: See "The New Motion Picture Property." 6. FILM TREATMENT: 16 page presentation of plot, characters & action. 7. SCREENPLAY: The completed script explores contemporary issues as it tells the true story of the extraordinary Babi movement in Persia (Iran) in the 1840s. 8. SCENE/PLOT INDEX: A 13 page pre-release plot and treatment. 9. SCREENPLAY COPYRIGHT (1986, James J. Keene, PA 300 365) & WRITERS GUILD OF AMERICA REGISTRATION (WGAw No. 345215). PRODUCER'S UNIT 1. MARKET ANALYSIS: "The Market" briefly summarizes key factors. 2. MARKET SURVEY: 100% "YES" to "Would you go see this picture?" 3. STORY & SCREENPLAY: Original script based on public domain story. 4. SCRIPT TIMING: 189 minutes. (1991 update: has since been shortened) Suitable for 4 hour TV miniseries. Shorter version for a feature. 5. SCRIPT BREAKDOWN: 336 pages of production data. Keene Productions utilizes its proprietory computerized system for screenplay writing, screenplay printing and script breakdown, scheduling and budgeting. 6. PRODUCTION BOARD: Complete. 7. PRODUCTION SCHEDULE: 15 weeks of Principal Photography based on five days of scheduled work per week. Since location shooting is planned, a six day work week would consist of about 12 weeks. 8. PRODUCTION BUDGET: A. Detailed itemizations from breakdown for budget detail pages. B. Research of current prices (union scales, by country, etc). C. Based on 10 weeks preparation (Pre-Production), 15 weeks shooting (Principal Photography) and 15 weeks wrap (Post-Production). D. Some Factors Affecting Budget -- Country(s) where work is conducted. Utilization of talent requiring above-scale payment. Joint venture agreements with talent, studio, distributor(s). Discounts for services and materials. E. Production Cash Requirements are less than the Total Production Budget (e.g., Deferred Payments Against Revenue below). F. By selection of a country(s) where equivalent services are available at lower cost, the quality of the motion picture may be similar to a production costing, say, four times more in the U.S.A. Based on the proposed schedule for the full-length script and current prices in many countries under consideration, the no-frills budget is about $4,000,000. "No-frills" pays for items in the schedule at minimum or "scale" rates. However, for a top quality production, the budget will increase to include additional costs for major talent (Director, Actors, etc) and a variety of other items such as equipment (Panavision), special effects, etc. 9. PERSONNEL RECRUITMENT: For virtually every key position requiring special talent in the production, an active program of recruitment is required. At the appropriate time, when production talent is announced, it will be clear that we have selected from the very best in the industry. DIRECTOR'S UNIT To expedite selection of a Director, discussions will be initiated. Demonstrated talent in depicting character development and interactions and action sequences is a prime consideration. CAST UNIT 1. CASTING CONCEPTS: Lists "models" or candidates for roles. 2. ROLE DESCRIPTIONS: Derived from screenplay. Used for casting calls and by Casting Director. 3. ROLE GROUPS: Illustrates role groups, e.g., by nationality -- American, Russian, British, French, Persians (Iranians), etc. Stars known and loved by movie goers in the above countries will be cast, to promote high viewership in those countries. 4. CAST/SCENE NUMBER BREAKDOWN: Lists scenes of each Speaking Cast. 5. DAYS WORK & HOLD: Budget detail sheets for Principal Players, Supporting Players, and Day Players of total days (work & hold). 6. SPEAKING CAST STATISTICS: This document summarizes the "exposure" of each role, in terms of number of scenes, "actions," speeches and lines, expressed as a percent of the values for role #1. 7. CASTING DIRECTOR: Agencies contacted. Final selection pending. 8. ROLE VISUALIZATIONS: Artist's conceptions have been sketched. 9. CASTING STRATEGY: A. This is truly an "actor's movie." There is not a single role which calls for a "routine" performance. The script is filled with strong and unusual characterizations and developments, roles challenging players to show their talent and elicit audience admiration. B. As in a Persian miniature painting, the people are shown in the overall context of an intriguing and historic panorama. Hence, this is not exactly a "star vehicle" picture, though ironically, the script presents actors, including major stars, with highly interesting and rewarding roles, some of the best that have been available in years. C. The Principal Roles are an interrelated group which may not vary greatly in either screen exposure or audience impact. Therefore, (1) the production will probably not revolve around any single player; (2) highly talented players will have the opportunity to interact in displaying their artistry; and (3) the presence of top, "world class" actors may well attract others and encourage reasonable contract terms. D. For various key supporting roles, well-known talent will be sought for Cameo Roles requiring a few days work, providing attractive possibilities to create performances and adding to the marketability and "cinema event" quality of the project. PRODUCTION DEPARTMENT 1. LINE PRODUCER: An extremely talented and experienced person will be recruited to serve as Line Producer of this project. 2. SCHEDULE & BUDGET: As the financial package for the project is completed, the Line Producer and Director will review documents prepared by the Producer (script breakdown and the production board, schedule & budget) to finalize the budget. 3. LOCATION SELECTION: A. The Producer Unit will negociate aspects of production in several locales such as southern Russia. While the film's action takes place in Iran and Iraq, Soviet lands north of Iran on either side of the Caspian Sea were once Persian territory and the people and architecture may be uniquely suited to our purposes. B. Photography of virtually all of the real locations where the action in the film actually took place, has been obtained to orient upcoming travel to scout locations for filming. PRODUCTION DESIGN 1. VISUALIZATIONS: A. Sketches of key roles illustrate conceptions of physical appearance, make-up, hair and costume. B. Sketches of key scenes combine elements of character, action, location and possible camera angles. For example, a story board of the final execution sequence has been drawn. 2. SPECIAL PHOTOGRAPHIC EFFECTS: Sketches illustrating protocols for creation of various effects and composite images. PRODUCTION FINANCING Progress is required with each of the following elements that could figure in a complete financial package for this project. Without detailed description or discussion of variations or relative advantages/disadvantages, they are: 1. KEENE PRODUCTIONS: Project development, production services, etc. 2. DISTRIBUTORS: Advances and guarantees from theatrical and TV outlets. 3. DISCOUNTS & INCENTIVES: Offers from parties who wish to attract film production activities. E.g., there are offers of substantial discounts of production costs from various countries. 5. PAYMENTS DEFERRED AGAINST REVENUE: Several significant offers have been received, several from major talent elements, another providing post-production facilities. 6. JOINT VENTURES: With talent, production companies, etc. We strive to orient everyone involved in THE DAWN-BREAKERS project toward creation of a truly excellent product, to take advantage of the general market where there is a relative scarcity of good projects and a relative surplus of funds, so that production financing might be completed in a short time. We would be happy to discuss further details including other project development activities and agreements with talent. James J Keene PhD Producer Keene Productions Copyright (c) 1987-2009 James J Keene