Juan goes in search of the father he never met; Pedro flees from a criminal past. When Juan arrives to the city, he finds that Pedro has not only stolen his bag, but also the letter that contains Juan's father's address. Without it Juan not only can't find his father, but has to learn to survive on New York's mean streets.
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The project was selected as one of twenty finalists out of 5, applicants for the Sundance Institute's Feature Screenwriting Lab. The producers seek to finance the film either entirely through equity investment or through a combination of equity and other sources. Upon completion of the film, the producers will target the top film festivals such as Sundance, Berlin, Venice, Cannes and Toronto in order to create maximum publicity and to garner the most competitive distribution deals.
After recouping their equity investment, the investors will become profit participants, sharing in all profits generated by the film.
By keeping the budget low, assembling a top-notch creative team, and casting name actors, the producers aim to maximize the film's marketability and profitability. Otherwise, there will be a portion financed through a distribution deal, foreign presales, or other funding. Any changes in the structure will be pre-approved by all investors. After the film is completed, the producers will seek both a domestic and foreign distributor. Often, sales contracts allow for a film's rights to revert back to the producers after a finite period of time such as seven years , at which point the film can resell to other buyers in these markets.
The film will be produced through an LLC dedicated to this project. Most of the revenues from a film tend to be received in the first year or two after selling of the film. There will be points total, and investors will receive 50 of these points on a pari passu basis. The other 50 points will be allocated by the producers to actors, writer, director, producers, and other key contributors.
As with deferments, the point system enables the producers to keep the costs low while maintaining high production value. As these points have no cutoff time, investors will continue to receive income over the entire profit-earning life of the film. Pedro shows Juan a sealed letter that his mother, now dead, has given him — an introduction to the father he never knew. He brags to his new friend that his father, DIEGO-- who left Mexico many years before — has become a wealthy restaurant owner and will surely rejoice at the arrival of the son he always wanted.
Juan doubts Pedro's confidence and challenges his expectations. Juan's father left him when he was four with two things -- a switchblade…and the scar it made on his chest. When the truck lands in New York City, Pedro finds that Juan has not only stolen his bag, but also the letter with Diego's address. With that letter, Pedro shows up at Diego's house knocking on the door, introducing himself as his long lost son, Pedro. Diego doesn't believe he has a son and Juan spends his first night sleeping in the hall outside Diego's door.
Juan plays along and contrives to maintain the image of the hardworking, devoted son. But rather than working during the day for money, as he claims he is doing, Juan picks pockets, steals from beggars, and solicits prostitutes. Even as Diego sleeps, he prowls about his room, looking for the old man's money stash.
He meets MAGDA, a prostitute who dupes him and steals his last possession: a locket containing a picture of his mother and Diego. When he finds her again, he demands that she help him find his father, but she'll only listen to money. In order to earn her payment, though, Pedro must partake in her way of life.
When Juan finally discovers a shoebox beneath a loose floorboard, he is disappointed to find it only contains a few old love letters and some random tools.
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After prying up the entire floor, Juan realizes there is no stash, and makes the difficult decision to leave. He runs into Diego returning from work and agrees to go out for a last drink with his coworkers. Juan wins them all over with his bravado. For the first time, Diego experiences fatherly pride. Juan relishes the human contact as they stumble home, arm-in-arm. Though Diego and Juan discover a father-son relationship they have both secretly longed for, Fate conspires against them. Pedro, with the help of Magda, finds the restaurant where his father works, learning through co-workers that Juan has stolen his identity.
Before long, Pedro and Juan find themselves facing off against each other with knives.
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As sirens approach, Juan, terrified, tells him that he killed someone and must go away. Diego acts quickly. He grabs the hammer and chisel and knocks several bricks from the wall, revealing dozens of large rolls of cash behind. He tells Juan that he must take the money and meet him in Mexico, for the police will confiscate it and deport him anyway. Juan caves under the weight of the gesture and the moment. He finally confesses that Diego isn't his father, but Diego won't hear any of it…not from his own son.
Money in hand, Juan runs frantically across the Williamsburg Bridge, away from the only father he ever had and to an unknown fate. Both of these films were Spanish language, edgy in content, and used actors with little or no international star power. And yet, they were both successful in both box office and ancillary revenue streams.
Much of their success came from the U. Latino marketplace including theatrical, TV, cable and home video. See Exhibit A. According to the U. Census taken in , the combined Latino and Hispanic population was 35,,, or With a constant new influx of immigrants and continued growth rates in the current population, the number is currently estimated to be 40 million. Recent Spanish language films that have succeeded in the U.
In fact, the U. Of the eight films mentioned above, six of them are Mexican or Mexican-American stories. This is important, as the Latino market is diverse and sometimes difficult to navigate. Tastes between immigrants of different Latin American countries can vary greatly even if they share a common language. Latino population. The contents of this memorandum are confidential and are disclosed pursuant to a confidential relationship and may not be reproduced or otherwise used except for the purpose intended herein. The partnership interests described in this memorandum will not be registered under the Securities and Exchange Act of or any local securities law, and are described for investment only and not with a view to resale or distribution.
The purchase of membership interests described herein entails a high degree of risk and is suitable for purchase only by those who can afford a total loss of their investment. Further, factors as contained in this memorandum which does not include all possible factors should be carefully evaluated by each prospective purchaser of a limited membership interest. The contents of this memorandum are not to be construed by any prospective purchaser of a limited membership interest as business, legal, or tax advice, and each such prospective purchaser will be required to demonstrate that he or she has the ability to evaluate the purchase of the limited membership interest described herein or has retained the services of a representative who has such knowledge and expertise as may be necessary to evaluate said purchase.
This memorandum is neither an offer to sell nor a prospectus, but is informational in nature. A full investment prospectus will be provided upon request and at the sole discretion of the Managing Member. They have been kind enough to allow me to include it here as an excellent documentary proposal sample: Produced by Jack!
John and Denise were always there, offering a smile, a kind word, a cup of coffee, a clean bandage, a game of cards, a good joke, a shoulder to cry on to everyone who came in. On September 11, Liz Carvajal was in her late twenties, unemployed, dispirited, and unsure what to do with her life. When she saw the attacks on the World Trade Center on TV, she got in her car and drove from Flushing, Queens, to as close to the site as she could get.
Talking her way in past various checkpoints, she began helping out at Ground Zero that night. Fearing that if she left the perimeter she would not get back in, she took to sleeping in doorways for a few hours each night, and working for the relief effort every waking moment. It was nearly a week before she went home for the first time, only to change her clothes, turn around and go right back in.
When her path crossed after several weeks with John and Denise's, they brought her in to work full-time in the tent. By the end of the next year, once the relief effort was completed, Liz had taken and passed the New York City Police Department exam, become a private investigator, and moved in with her new boyfriend, Alex, a fireman she met and cared for at Ground Zero.
By November, the Salvation Army had erected a huge dome near the perimeter of Ground Zero where relief workers could come for a hot meal, a shower, a change of clothes, new equipment, a cup of coffee, a pack of gum -- whatever they might need.
Like the Hard Hat Cafe, it was open twenty-four hours a day, seven days a week. Charlotte Leopard came to work there because her boyfriend, Gerard Baptiste, a New York City fireman, died in the collapse of the twin towers on September She wanted to be there when they found his body. Night after night, she worked in the dome, making coffee for relief workers, waiting for the dreaded news, and forming new bonds.
Happily married, with several grown children, Toolie became like a father to Charlotte. He watched out for her, comforted her, helped her in countless ways until she became like a member of his family. What kind of lifelong bonds are formed in the intensity of communal grief? How do we find life in the wake of death?
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At the Hard Hat Cafe and the dome at Ground Zero, countless New Yorkers and others gave freely of their time, their hearts and their souls -- sometimes at a cost involving great personal, emotional and financial sacrifice -- to comfort the men and women in the trenches of the rescue and recovery effort. They gave. This is their story.
We will film interviews with former volunteers, particularly the ones mentioned above, and many of the workers they cared for, threading their stories together into a dramatic narrative. Aside from interviews, we intend to film a dinner re-uniting volunteers and firemen at a firehouse in the Bronx; a visit by John Casalinuovo and Denise Lutrey to the site where the Hard Hat Cafe formerly stood; and the annual September 11 reunion at John and Denise's building in Chinatown, where workers and volunteers come together every year on that historic date, not in a spirit of celebration, but one of appreciation and remembrance.
Weaving this together with archival footage and still photographs, we will reveal and explore a unique, as-yet-unexamined, aspect of the legacy of September 11th; the mysterious and inevitable healing process; and the enduring strength of the human spirit. As a documentary film-maker, Ms.
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As a writer, Ms. As a fellow at the American Film Institute, Ms. Styron wrote and directed several short dramatic videos. She holds a B. Her daughter watched the towers burn from her classroom window down the street.
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They returned home on Thanksgiving day It featured Lili Taylor narrating the voice of poet Lyn Hejinian.