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Frontier Revolution

Viking Film Services Presents

Frontier Revolution


Contact 

Josh Plotkin­ - Producer 303-941-­4767 

Lars­-Erik Siren­ - Producer 617-201­-2619 

Paul Speziale­ - Producer 781-241-­7289 


19 Dalton Rd Belmont MA, 02478

Prepared by: Paul Speziale of Viking Film Services 


CONFIDENTIAL DISCLAIMER 

The information contained in this business plan is confidential and proprietary to Viking Film Services (the “Company”) and is intended only for the persons to whom it is transmitted by the Company or its representatives. Any reproduction of this document, in whole or in part, or the divulgence of any of its contents without the prior written consent of the Company, is prohibited. This is a business plan. It does not imply and shall not be construed as an offering of securities. Persons interested in pursuing an investment should contact their professional advisors. 


TABLE OF CONTENTS 


EXECUTIVE SUMMARY.......................................................................................................3 


I. THE COMPANY......................................................................................................................................4 

1.1 Company Background......................................................................................................................4 

1.2 The Creatives of Frontier Revolution............................................................................................4 

1.3 Outside Consultants & Creative Partners........................................................................................5 

1.4 Business History ..............................................................................................................................5 


II. MARKET ANALYSIS.............................................................................................................................5 

2.1 Industry Analysis ...........................................................................................................................5 

2.2 The Market.....................................................................................................................................6 

2.3 The Competition ............................................................................................................................7 


III. THE PROJECT.....................................................................................................................................7 

3.1 Synopsis.....................................................................................................................................7 

3.2 Production Crew............................................................................................................................7 

3.3 Goal.............................................................................................................................................12 

3.4 Cast Wish List.............................................................................................................................12 

3.5 Locations of the Films......................................................................................14 

3.6 Goal...........................................................................................................14 

3.7 Rating.........................................................................................................14 


IV. PRODUCTION PLAN.........................................................................................................................15 

4.1 Development................................................................................................................................15 

4.2 Pre­Production.............................................................................................................................16 

4.3 Production...................................................................................................................................16 

4.4 Post­Production...........................................................................................................................16 


V. DISTRIBUTION PLAN..........................................................................................................................17 

5.1 Distribution Pattern ......................................................................................................................17 

5.2 Publicity.........................................................................................................................................23 

5.3 Advertising ...................................................................................................................................23 


VI. MANAGEMENT & MILESTONES......................................................................................................24 

6.1 Major Milestones ..........................................................................................................................24 


VII. FINANCIAL PLAN............................................................................................................................24 

7.1 Use of Proceeds............................................................................................................................24 

7.2 Income Projections.......................................................................................................................28 

7.3 Early Negotiations........................................................................................................................32 

7.4 Future Projects ........................................................................................................................... .32 


CONFIDENTIAL DISCLAIMER 

The information contained in this business plan is confidential and proprietary to Viking Film Services (the “Company”) and is intended only for the persons to whom it is transmitted by the Company or its representatives. Any reproduction of this document, in whole or in part, or the divulgence of any of its contents without the prior written consent of the Company, is prohibited. This is a business plan. It does not imply and shall not be construed as an offering of securities. Persons interested in pursuing an investment should contact their professional advisors. 


VIKING FILM SERVICES BUSINESS PLAN 

EXECUTIVE SUMMARY 


Company Background 

Viking Film Services (the “Company”) is a new multi media production company based out of the State of Massachusetts, which has been engaged in the business of multi media consulting and film production.. 

The Company is managed by a team of two individuals with a total of over ten years experience in the film industry, consisting of award winning producers and supported by a host of supporting creative teams, freelancers with decades of experience in the craft of filmmaking, television, commercials, concept, administration, project management and design. 


Project 

“Frontier Revolution” a worldwide multimedia awareness campaign which includes a feature length narrative action drama western film, behind the scenes collection, live social media campaign, marketing and exhibition campaign. 


This story is a heroic tale about Eduardo and his wife Lupe who fight for their farm and town. They are caught up in an epic conflict against Mexican lawyer Jorge Mondego and American businessman, Samuel Tappert, who begins a land take­over to exploit natural resources. 


Set in Sonora Mexico, miles from the United States, the journey is just beginning. As political power changes hands we see the fade of the romantic European influence shifting towards a new path for the country, one that Mexicanidad invokes to this day. This exciting tale is meant to entertain through both drama and action. The story is a creative fiction that will be shared by both Mexicans and Americans, hopefully showing how our cultures are not so far apart. 


The time is right for this story due to the political challenges between United States and Mexico, but also the challenges they face individually and collectively. Water is clear gold, rare minerals are being depleted, warmer climate causes hardships, and the family property is facing increasing threats both by foreign and domestic players. 


Opportunity 

With successful distribution, revenue opportunities including potential pre sales from sales agents, domestic and foreign theatrical releases, VOD platforms, home video markets, Bluray/DVD sales, television networks, mobile application platforms, educational markets, and direct capital strategies. While the film industry is highly speculative, it is estimated by financial waterfall reports that Frontier Revolution could gross a median of $13.6 million dollars among the different venues of distribution. 


We as a Company believe in helping to making the world a better place which is why The Company is establishing a small campaign to help renovate the historic town square in Ures, Mexico where the primary shooting of this film will take place. Help us save a piece of history. 


Capital Requirements 

The Company requires an estimated ten million dollars ($10,000,000.00) in order to produce and distribute the film.


I. THE COMPANY 


1.1 Company Background 

The Company came together in August of 2018. The Company resides at 19 Dalton Road Belmont Massachusetts, 02478. Viking Film Services is a collective of creative professionals with the business of storytelling through the art of the motion picture through various entertainment platforms. We view each project as a singular event, transmitting its own unique message and feel.


1.2 The Creatives of Frontier Frontier Revolution Revolution 

Joshua Plotkin Joshua, a colorado native, has had a lifelong love of the cinema. He studied storytelling and cinema history at the University of Oregon graduating, in 2009. He went on to get a degree in Production at the Vancouver Film School in 2011. As one of the few selected to film his project, he devoted himself to start working on any project he could. Since then, he has been working in a variety of roles on independent film, TV, and Internet projects. Josh currently lives in Colorado and is helping a non­profit organization with its media presence.


Lars­Erik Siren Lars­Erik Siren has a Bachelors of Arts in Sociology, Speech & Theatre, and a minor in film from St. Lawrence University. He’s professionally certified in digital filmmaking from Boston University, and high speed imaging and motion analysis from Massachusetts Institute of Technology. For the past ten years, he’s worked on productions for MIT, Harvard, Broad Institute, and TEDx. Recently he’s been focusing on commercial work for Dunkin Donuts,TaylorMade, Microsoft (Xbox), National Grid, Schneider Electric, Citizens Bank, and many more. In 2018 he will release three short films, two of which he was the Director of Photography. Immediately following his undergraduate degree he managed remote operations on Lanai Hawaii. Through his hard work ethic, diving, spearfishing, and surfing he was able to successfully navigate local barriers and complete projects. This has taught him many lessons that he applies to ranch activities, including his wife’s cattle business, landscaping, and exploring the harsh environment. These experiences fit perfect with his plan to operate film crews on location and be respectful of local people, culture, and property. 


Paul Speziale Paul Speziale is an awarding winning producer and director. Having working on both Hollywood and Independent movies (The Fighter, The Waiting Room, Transformers The Last Knight) and TV shows (Yukon Men, Great Escapes, Attic Gold), as well as being an accomplished commercial director shooting ads for clients such as Ferreri, BMW, Louis Vuitton, and many more, also having produced two documentaries (One Pair at a Time & The Last Picture Show) gives him the experience and knowledge to produce any project from concept to delivery. 


1.3 Outside Consultants & Creative Partners 

The Company’s outside consultants, professional advisors , and creative associates provide tremendous input and support to enable management to make well informed, creative and appropriate decisions: 


Rogue Wave Entertainment Action House Pictures RJL Entertainment (presales/distribution sales) (presales/distribution sales) (presales/distribution sales) 


Rule Broadcast Talamas TaxShop&Finicial Services (film equipment/resources) (film equipment/resources) (financial & CPA services) supervising operations) 


Nash Information Services Entertainment Partners ART Payroll (film risk assessment/ (film resources/payroll) (payroll services/ projections) projections) 


High Output Quixote Fast Lights (film equipment/resources) (film equipment/resources) (film equipment/resources) 

Plus many more creative partners and companies that Viking Film Services has collaborated with in the past, present, and continue to do so in the future. 


1.4 Business History 

Since the short conception of Viking Film Services the company as already produced multiple short films, corporate av events, video sizzles, a catalog of narrative projects for both theatrical and television, multiple hours of media production design and services as well as consulting for both the theatrical independent industry and commercial market. 


II. MARKET ANALYSIS 


2.1 Industry Analysis 

The film industry has changed dramatically over the last 25­30 years. Historically, independent filmmakers dominated the industry by producing and distributing the majority of action dramas made in North America. Currently, however, many films are produced and distributed by entities other than the independents, including mainstream movie production companies. In addition, the financial structure of the industry is experiencing an important change resulting from the expansion of television, cable, the Internet and increased popularity of mobile device streaming. 


While mainstream companies own their own production studios (equipment, sound stages, post­ production facilities), have national and worldwide distribution, produce and release films with budgets of millions of dollars, and provide a continuous supply of product to exhibitors, the independent filmmaker must rely on others to help produce and distribute a feature narrative film. An independent must raise funds, which can range well into six and seven figures, to either rent or purchase production equipment and post production facilities, to hire the necessary people, and to find distribution outlets. The cost are so high independents are forced to apply to the public and private sectors to obtain funding. Since few independent filmmakers produce and distribute films for profit, they must create vehicles for funding that are consistent with underwriters and sponsors who are looking for returns other than profits. 


The film industry consists of two broad principal activities: (i) production, which includes development, financing, pre production, principal photography, and post­production; and (ii) distribution, which includes advertising, publicizing, licensing, release and exploitation of the film. 


2.2 The Market 

The average market of a action drama western film ranges from screenings at neighborhood theaters to multiplex theaters in larger urban centers. With constant changes in technology with the internet, television, film, and home entertainment, the market can more easily access films to view. This accessibility extended to include those who are either unable to attend theaters or would just rather watch films at home. 


The PR project has generated has already attracted attention and will continue to attract and raise awareness, from all over the world. The Company believes it will appeal to a broad audience, both male and female, in the 18 to 54 age range, and of diverse cultural and philosophical backgrounds. 


While action dramas are only a small portion of the total film industry, they have the potential to generate significant income. However, many pieces have to fall into place for that to happen, and many films are made to tell a story objectively and accurately, without employing the kind of gimmicks or promotions that can help create box office success. As Robert Redford once said “Films have the power to reveal truth in ways others don’t”. But getting that message out to audiences requires distribution, and it is through distribution that a Frontier Revolution gains revenue potential. 


2.3 The Competition 

Consumers have many choices for ways to spend their leisure time and dollars. All of these hobbies and leisure activities compete with films. The major leisure time activities which compete with watching films are: internet, mobile device engagement, television, home video, video games, music, dvds, and reading. 


Recent studies have shown that filmed entertainment comprises over 61% of total media consumption. This is the segment where a majority of the Company’s product offering falls. In categories where the Company does not currently plan to offer a product, it will use that medium to generate interest through publicity and advertising. By a live social media campaign broadcasting small segments while to story is being captured right before our eyes. Also a strategized PR marketing campaign months before the documentary is released. 

Feature films are much more than just a means of entertainment; they are also educational. This increases the potential audience for the project.


The greatest competitive threat to the project would be if another production company also makes a film based on the subject matter and releases it before or at the same time as our project. This could adversely affect the ability to secure distribution for some areas. If the media becomes saturated with the subject through numerous projects being released at or near the same time, it could be difficult to get the kind of public attention necessary to drive audiences to the theater and to purchase the related products. 


The strength of Frontier Revolution resides in the subject matter and how it is presented. The production quality of the film will enhance its ability to compete with other movies vying for the consumers time and money. Professional camera, sound, lighting, writing, directing, and production, along with a compelling story and intriguing characters, will make the film a contender at film festivals and at the box office. Similarly, attention to such details in the development of the non­film products will make them competitive in their respective markets. 


III. THE PROJECT 


3.1 Logline 

With land being forcefully taken in front of their eyes a family is called upon to defend the frontier. 


3.2 Synopsis 

Set in 1910, Ures, Sonora, Mexico, ambitious men tied to private business in Mexico City and Denver try a land take­over. Local ranch owner Eduardo Montero fights to keep his land intact as water becomes scarce and the Mexican revolution is at hand.


To threaten a takeover state lawyer, Jorge Mondego, comes to sniff around town for ways to exploit the Montero land along with a number of other ranches. Some owners have sold, some have mysteriously disappeared, and others just won’t give in. 


The Montero family and the town of Ures start to fracture as an uncaring American, Samuel Tapert, forces several families out and kills the local law enforcement. The Montero family come together and rally the rest of the town in order to hold onto their livelihoods. 

 

3.3 Production Crew 

Lars­-Erik Siren ­ Producer/Writer

Josh Plotkin ­ Producer/Writer 

Paul Speziale ­ Producer 


3.4 Cast Wish List 

Salma Hayek as Lupe Montero (Wild Wild West/Frida/Savages) 

Demián Bichir as Eduardo Montero (The Hateful Eight/Machete Kills/The Nun) 

Viggo Mortensen as Samuel Tapert (LoTR trilogy/Appaloosa/Captain Fantastic/Green Book)

Danny Trejo as Domino Colimar (Machete/Predator/From Dusk Till Dawn) 

Zahn McClarnon as Talkalai (Bone Tomahawk/Braven/Into The West) 

Numbers Not Available 

Eduardo Verástegui as Ramiro Montero (Son of God/Paul Blart Mall Cop 2/Little Boy) 


3.5 Locations of the Film 

Already in talks with owners to secure locations. Verbal interest shown by local Politicians.


3.6 Goal 

The Company’s goal in making this film is to make a commercially successful feature film and to educate as well as to raise awareness of the revolution to called upon the character of everyone involved. We all agree movies allow us to escape—and there’s value in that—but it’s more than simple escapism. Movies take us to places we’ve never been and inside the skin of people quite different from ourselves. They offer us a window onto the wider world, broadening our perspective and opening our eyes to new wonder 


3.7 Rating 

Already in talks with owners to secure locations. Verbal interest show by local Politicians.. This will give the company access to the wide range of the audience. 


IV. PRODUCTION PLAN 


4.1 Development 

After the script is done, researching the subject matter and its’ historical accuracy helps a filmmaker determine whether the story is in the proper place to take the next step from script to the silver screen and have a better look of the logistics for the authenticity to make the film. The Company is currently finalizing this initial stage of production. The remaining development is expected to take five to eight months to complete. During this time, producers will secure all legal matters for the film to move forward quickly and efficiently, create rough drafts of budgets, schedules, obtain majority of funding, and explore all avenues for funding and distribution. 


4.2 Pre Production 

During pre production the producers will finalize all legal and financial matters. Finalized budget, schedule, and any productions matters (e.i. permits, release forms, insurance, film festival schedule, etc). With the help of the producers the crew and additional freelancers will be hired. Equipment rentals and purchases will be made. Coordination of principal photography logistics and company travel will begin. More extensive research into distribution and pitching to sales agents will begin at this phase. 

Also The Company will finalize and execute a campaign to help renovate the historically town square. 


4.3 Production (Principal Photography) 

This phase consists of the actual filming of Frontier Revolution by the Director and the crew. Principal Photography will be the duration of 30 days, depending upon such factors as budget, location, weather, and unpredictable complications. At present, we anticipate principal photography in the fall of 2021. 


Principal photography will include of the shooting of main unit, second unit, behind the scenes documentary units, and any other smaller splinter units for aerial footage, visual effects, practical special effects, and additional stunts. The producers oversee all aspects of production, including administration, payroll, and development of interactive media, promotion, and distribution activities. Logging and capturing of all footage and archival footage shall commence with some editing to ensure the fastest turn around to market and to give more time to apply to detail and finish polish in post production the film deserves. 


4.4 Post­ Production 

The post production phase encompasses the editing of the film, along with incorporating opticals, narration, music, sound, and effects. Protective duplicates of the final cut as well as release prints are made. Post Production is anticipated to extend over four months. 


The producers who work along with the editors and post production team will work in the editing suite,, setting the editing schedule, and supervise the post production workflow. They will conduct several edits and then marketing trailers, sizzles, photos, etc. This last step includes scanning artwork, recording narration, completing voice­overs and ADR, recording music, preparing graphics, captioning, and synchronizing sound, foley, opticals, titles, vfx, coloring, DCP encoding, and final exports. 


Production Timetable - Phase Time Required Completion Date (est.) 

Development: 2 Months (April 2020) 

Pre Production: 18 Weeks (June 2020) 

Production: 4 Weeks (September-October 2020) 

Post Production: 20 Weeks (December 2020) 


V. DISTRIBUTION PLAN 

5.1 Distribution Pattern The Company intends to secure a distribution pattern that will maximize exposure to the film’s story and potential returns. Distribution entails the licensing of certain exhibition rights to various territories and media. It is the option of the distributor to specially tailer the release of the film. Depending on it’s appraisal of anticipated audience behavior, the marketing strategies of a distributor often make a significant difference in the exposure potential of a film. Additionally, having the film entered in film festivals provides wide exposure, particularly if the film wins a prize. 


The Producers began working on distribution while the film is still in development. Films have an eternal life, and proceeds can be lucrative. The push for evolving and continuing distribution over the years lends itself to a higher level of earnings. Film distribution is essentially endless. With the value of the educational scope of the project, the film bears the potential of being perpetual. 


During distribution, pre­sales of certain exhibition rights for the film may be arranged. This would provide the Company with non­refundable guarantees or advances against future territory and media licensed proceeds. Occasionally, portions of pre­sale advances are either paid upon execution of the Pre­ Sale Agreement or, alternatively, during the course of production (a negative pick up). 


The filmmakers are currently seeking sales agents and distribution partners for the project. One of the primary advantages of the film is the ability to appeal to a growing audience of you viewers. Because the subject matter of the film offers an intriguing perspective on a universal theme and the cinematic elements of the project are visually stimulating, the film will appeal to both general audience of the millennial & Gen Z viewerhips and more traditional cinematic experiences adding potential to reach an extraordinarily large viewing audience, making it significantly more appealing for distribution than a typical modern film. Overall, the filmmakers envision a five part distribution plan: 


Domestic / International Theatrical 

With few exceptions, films play first in theaters throughout the the globe. Theatrical opening distribution patterns are intended to maximize the theatrical rentals of a film. Success in this marketplace typically has a strong influence on a film’s exposure in subsequent markets. The Company plans to target film festivals and theatrical release in North/Central/South America, Canada, Western Europe, and Australia. Initially focusing on key film markets and targeted high profile and high market buying film festivals is the best way to raise awareness and exhibit Frontier Revolution in a short period of time and to also gain the most press coverage. Such festivals and markets as AFM, Sundance, Cannes, Slamdance, SxSW, Toronto Film Festival (TIFF), LA Film Festival (LAFF), Boston International Film Festival (BIFF), Santa Fe International Film Festival (SIFF), Albuquerque Film and Music Festival (AFMX). 


VOD Platforms / Mobile Application 

It’s no secret that the fastest growing distribution for any type of media is VOD and it’s technological presents on mobile applications and other streaming platforms. Also with this form of viewing and engagement leading the way in all exhibition through all genres, the western genre not only in a theatrical narrative format but also continues to rise today. The company will target VOD platforms such as Netflix, Amazon, Hulu, HBO, VUDU, YouTube Premium, and more. 


Worldwide Home Video / Bluray & DVD 

Generally about six months after its theatrical release, a film including Extras and a possible Soundtrack will be licensed for sale/release on home video and DVD. Industry formulas attempt to predict exposure and exhibiting life spans so as to optimize the exposure. This pertains to all secondary and ancillary market licensing rights. 

Another leading home exhibitor is pay television. This is important in North America, and has gained importance internationally as well. Films may be licensed to pay television services, then distributed to homes via cable or broadcast transmission. 


Most films are licensed to television networks, including cable, for a specified number of airings over a specified number of years. In the syndication market, films are licensed to independent and network­ affiliated television stations. A film may return to pay TV after appearing on network in syndication. 


The widely expanded cable television market creates an opportunity, as well as a competitive threat to the Company, since cable TV’s wide offerings could reduce the number of audience members paying for movies. However, the growth in the industry indicates that this has not happened yet. Instead, the greater number of channels creates a higher demand for quality programming, increasing the likelihood that the Company will sell television and cable rights, getting exposure to the least a fraction of the millions of households in the United States with basic cable. 


5.1.1 Additional Distribution Educational Institutions, Libraries & Museums 

Distribution to educational institutions, libraries, and museums are commonplaces for the independent film. Films are generally distributed via a distribution agreement between the filmmaker and the distributor with licensing rights belonging to the filmmaker. The length of time for distribution varies from one year to several years, depending upon the popularity and subject matter of the film. Typical distribution involves selling the film to multiple institutions in video/dvd format. Historically accurate films provide a market venue that far exceeds the classroom and serve to increase educational returns with those film for the market. 



Direct Exhibition 

The Company with any remaining licenses to Frontier Revolution will set up a campaign of direct exhibit which is simply platforms that host films and the production companies set the prices for viewership such as Vimeo On Demand, Flix TV, and setting a rent of buy option on the films site with digital downloadable content. 


5.2 Publicity 

Publicity will be an essential component of the distribution plan. It may even be more effective than advertising since, unlike paid advertising, audiences often perceive publicity as “news”. Additionally, publicity is much less expensive than purchasing advertising space and can generate strong word of mouth promotion. 


The Company will hire a publicist (Pristine PR in Boston) to fully exploit publicity opportunities with independent distributors, radio stations, TV channels, newspapers, consumer magazines, educational institutions, libraries, billboards, museums, social media, and internet campaigns. Producers, celebrities, and other figures in the movie will assist by giving presentations to groups and interview to the media on the subject of the film and how it was made. 


1. Specific media targets include FOX, ABC, NBC, CBS, CNN, Boston Globe, Boston 

Herald, Improper Bostonian, etc. 2. Specific social media targets include Instagram, Facebook, Twitter, SnapChat, Youtube, Vimeo, Google Plus, and TikTok. 


Local premieres and screeners are great to start the campaigning for the success of the film. The Company intends to not only have a private press screening but will start it’s public campaign in the local Boston/ New England market at the big market film festivals: Boston International Film Festival, Boston Underground Film Festival, New Hampshire Film Festival, Shawna Shea Film Festival, and the Rhode Island Film Festival. This campaign will extend out to other big film cultured markets such as New York, Atlanta, Los Angeles, Texas, New Orleans, and Philadelphia. 


5.3 Advertising 

Advertising surrounding the release of the film will supplement the publicity effort. Print advertising and movie trailers will be most widely used. Other media will be pursued as the budget permits. The other form of advertising which has proven itself time and time again in work of mouth. We have the advantage of living in the ever expanding world of social media and news being delivered seconds from news happening. The Company plans to used social media (e.i. Facebook, Instagram, Twitter, SnapChat, TikTok, and more) to broadcast small video clips, photos, press releases, teasers, trailers, and more digital content while the film is being made “the live social media campaign”. Successful movie producer & director Peter Jackson proved this method with a series of webisode vlogs and daily sixty second to three minute uploads to the internet during the makings of the Lord of the Rings movies, The Hobbit movies, and King Kong with an average 300K views per video building an audience while the movies were being shot and making a personal connection with the audience member turning them into a fan giving them a small peek behind the Hollywood curtain. This will allow the Company to raise awareness and keep the momentum of the projects at a strategic tempo to built and keep the audience. 

 

VI. MILESTONES 


6.1 Major Milestones 

The Company has set several key milestones, which will propel the project forward. The most immediate goals include financing, staffing, and completion of the trailer and the film. 


Milestone Target Dates 


1. Complete Funding - June 2020 (or when completed) 

2. Complete Development -­ June 2019 

3. Complete Pre Production ­- July 2020 

4. Start Principal Photography ­- September 2020 (or later starting date) 

5. Finish Principal Photography -­ October 2020 (or later date from start) 

6. Complete Post Production ­- December 2020 

7. Complete Marketing -­ November 2020 (all strategies will be complete) 

8. Film Festival Submissions ­- April 2021 (submissions will start) 


VII. FINANCIAL PLAN 

7.1 Use of Proceeds 

The film is being made for the following reasons: Frontier Revolution will be a cinematic marvel a benefit not only to the team that made the film but also to the audience and building fan base. Action, drama, suspense is all packaged together in this story that’s based off true events. The film’s reward will ultimately be of greater value than monetary gain. The film itself, as well as the distribution of the film in alternative forms (blu ray, dvd, vhs, digital media, and downloadable content) will create significant awareness of the events detailed in the film. It will educate a wide audience and create an true understanding of issues underlying in the story of the people and what the country of Mexico went through in that time in history. The Company is seeking ten million dollar investment ($10,000,000.00 USD) over the next one year to complete this narrative feature film and get into the markets of distribution and exhibition. 


Film Tax Incentives 

Movie production incentives are tax benefits offered on a state by state basis throughout the United States to encourage in­state film production. These incentives came about in the 1990s in response to the flight of movie productions to other countries such as Canada. Since then, states have offered increasingly competitive incentives to lure productions away from other states. The structure, type, and size of the incentives vary from state to state. Many include tax credits and exemptions, and other incentive packages include cash grants, fee free locations, or other perks. Proponents of these programs point to increased economic activity and job creation as justification for the credits. 


Proponents of production incentives for the film industry point to increases in job creation, small business and infrastructure development, the generation of tax revenue, and increased tourism as positive byproducts of the incentives.Supporters also maintain that MPIs (Movie Production Incentives) are a net benefit to the states because they attract productions that would have gone elsewhere. 


The immediate effect of a tax incentive is the direct production spend for the region in hotel rooms for visiting cast and crew, lumber for sets, food for catering, fuel for trucks and generators, to the secondary expenditures of crew members who go to local restaurants for dinner, the dry cleaners for their laundry, and the need for everyday sundry items from toothpaste to shampoo. These expenses average in the millions of dollars on a typical Studio feature which usually carries approximately a 100 traveling crew members and employs another 100 crew locally. 


Second, if the area did not previously have an existing infrastructure, the production provides hands on training for local employees to learn the stock in trade of filmmaking and helps to develop the experienced crew base that will make the area more valuable in reducing the number of crew a production will need to import the next time around. 


Film tourism has become a significant multiplier of the initial investment by the region in providing increased tourism marketing opportunities at a fraction of the media buy necessary through taking advantage of the extensive marketing efforts by a studio.The impacts of film tourism have been met with skepticism, as examples of the phenomenon tend to be anecdotal and a reliable method for measurement is hard to come by. Academic study of film tourism points to key elements that are needed for film tourism: iconic locations (like the baseball field in "Field of Dreams"), commercial success and on location filming in the places where the underlying story is set. Most films produced in leading incentive states do not meet these criteria. 


Mexico’s Tax Incentive 

1. 10­12% tax return from the total expenditure in Mexico if we register the project with the Ministry of 

Finance through a Mexican company which, at the end of the project, will apply for the tax return according to the law. 2. ProAV is a cash rebate of up to 7.5% of the total Mexican spend 3. Get back up to 17.5% of their total spend in Mexico, provided all expenses have a valid fiscal receipt 4. ProAV is available for projects with a minimum spend in Mexico of 40 million pesos (around 3.5 mill 

usd) in prep and production 5. Or 10 million pesos in their post production phase (approximately US 770,000 dollars) 


7.2 Income Projections 

While the non­financial gains from the project are clear, the Company cannot quantitatively project revenues with any certainty. With nearly thousands of films produced and released each year, it is nearly impossible to predict which ones will capture the audience’s attention and remain in theaters for significant periods of time. 

For purposes of this business plan, management has attempted to estimate possible returns on the investment and or brand awareness for sponsors investment. If the Company is successful in producing a quality product and securing distribution the following model below predicts potential figures of revenue. 

The Company can reasonably predict that the funds requested would be sufficient to produce a quality movie, true to the vision described in this plan. The budget allocates resources to distribution of the film where there is opportunity for producing revenue. In the event that the project generates a profit for the Company those proceeds will be used to help fund future projects that are consistent with the Company’s mission. 


7.3 Early Negotiations 

The Company is currently working with companies stated in this plan to ensure the film not only receive distribution but is known by a wide global audience (Pristine PR, Rogue Wave Entertainment, and Action House Pictures). 


What's Happening Right Now: As The Company seeks to complete the funding raising needed to move forward with film, sales agents have gotten interest from major VOD platforms Netflix, HULU, Amazon, VUDU, Fandango Now, Xbox & Playstation Marketplaces, and Itunes. These distribution companies are interested in hosting Frontier Revolution on their platforms but will need to see any pre release promotion (ei: teasers, trailers, artwork) or the first few rounds of dailies before discussing further exhibition possibilities. 


7.4 Future Projects 

Currently Viking Film Services has a catalog of eight feature films already vetted by studio and industry professionals for production and exhibition. These films coverage many genres concentrating on action & drama as well as ranging from $300K­$5Million Dollar range. Each movie already as a business package, financial risk and assessment, and some already of top talented actors and crew member (producers, directors, cinematographers) attached. 


Viking Film Services will also continue to build it’s clientele from consulting, AV & Commercial production. On behalf of Viking Film Services we thank you for your time. 


For more information or any inquiries please contact the Producers.


Josh Plotkin­ 

Producer 303-941­-4767 

plotkinj@gmail.com 


Lars­-Erik Siren ­

Producer 617-201­-2619 

lars@vikingfilmservices.com 


Paul Speziale­ 

Producer 781-241­-7289 

paul@vikingfilmservices.com 


VIKING FILM SERVICES © 2019 

Available upon Request

Screenplay

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