ally claire carson kelsey edwards shane kelly shane savage

ALLY CLAIRE CARSON
KELSEY EDWARDS
SHANE KELLY
SHANE SAVAGE
PRODUCER: FRANK EAKIN
ASSOCIATE PRODUCER: WAYNE WAGNER
DIRECTOR OF PHOTOGRAPHY: SCOTT ELLISON
PRODUCTION DESIGN: JILL PIERCE
COSTUME DESIGN: SARAH FERDERER
EDITOR: FRANK EAKIN
COMPOSED BY: BRAD SAYLES
GRAPHIC DESIGNER: PATRICIA ZAPATA
DIRECTED BY: CASEY KELLY
RUNTIME: Approx. 90 Minutes
COPYRIGHT© MMVII EAKIN FILMS/PAPILLON PRODUCTIONS LTD
Quotes
“The magical adventures of young Helen, her adorable dog, Rufus, and
her best friend Marie, comprise an amusing and mysterious tale that is
promising to captivate both young and old. Brace yourself for
BRACELET fun!!!” – The PeoplesCritic.com
“Kids six and above will no doubt enjoy it.” – DOVE Foundation
“Looking for some fun and engaging entertainment for the whole
family? The Bracelet of Bordeaux is your ticket. This film has all the
elements of a mystery drama, plus chuckles aplenty for both kids and
their parents. Bracelet is likely to become a family favorite for years to
come.”
– Voice of America
“A delightful independent film. The Bracelet of Bordeaux comes up
with enough belly laughs and light drama to keep parents entertained
as well. It easily rivals many films produced by major studios.”
– That Texas Magazine
“The Bracelet of Bordeaux was one of five family films we selected
from hundreds around the world. The movie played to packed houses
of enthusiastic kids and parents.” - James Faust, Senior Programmer,
American Film Institute (AFI-Dallas)
“The kids and parents at our festival loved Bracelet, an entertaining
movie which includes an important message about having the courage
to stand up against bullies and intolerance.” - Hilary Helstein,
Executive Director, Los Angeles Jewish Film Festival
Quotes
“A magical adventure filled and laughs and mystery. We need more
movies the entire family can enjoy together and this is one of the best
in years. Mystery, magic, laughs and lessons learned what more can
anyone ask for? The Bracelet of Bordeaux is fabulous family fun that I
highly recommend owning.” – VideoViews.org
“Well-done indie mystery for pre-teens is about as family-friendly as a
film can get.” – Videoretailer.com
Synopsis
Someone is dognapping the canine citizens of Chem City, Texas! Two
pre-teen girls overcome danger and conspiracies as they set out to
solve the crime and administer justice with the help of a magical
bracelet. As the girls battle the Mob, a punk gang and a crooked cop,
they learn something about friendship, courage and the importance of
hanging with the right crowd.
THAT TEXAS MAGAZINE
“It easily rivals many films
produced by major studios.”
– That Texas Magazine
FILMMAKING WITHOUT RISK—OR CREDIT CARDS
by Casey Kelly
No-risk indie filmmaking—a business model in which everybody wins—had its trial run this summer
in Texas. The result: a professionally produced 90-minute feature, with original music and special
effects, which will leave its makers solvent regardless of distribution outcomes.
The Bracelet of Bordeaux, now in post-production, was the no-risk testing ground for my partner,
writer-producer Frank Eakin. Though eager to make his first film, Frank concluded he could not
pitch a no-star indie project as an “investment” when it is undeniably a gamble, with industry figures
showing only 5% of indie features achieve distribution and fewer yet ever make a dime.
How We Got There
Frank and I had been considering making an indie feature together since we met at a SWAMP
workshop in 2002. A longtime WGA writer, I wanted only to direct again—too long had passed since
my 20-minute AFI short The Other Woman had traveled the festival circuit, gained distribution and,
thrillingly, paid off its actors. Frank, a successful businessman (he’s listed in Ernst & Young’s
Entrepreneur Hall of Fame), had recently put himself on permanent creative leave to craft stories he
longed to tell and reclaim his youthful passion for filmmaking. As we pondered potential projects, we
fine-tuned our working relationship by making a narrative short and longer commercial video projects
in NYC and South Carolina. We had fun.
Quietly, Frank was writing Bracelet, and surprised me by suggesting our first feature be a kids movie
with 200 kids, 14 dogs, and numerous special effects (the Big Three No-No’s for shoestring indies).
As I read his delightful screenplay, words like “impossible” floated through my mind—the budget
would have to be staggering. Frank kept talking.
For starters, he had targeted his script toward the hungry G-rated kids market, especially
underserved for girls ages 6-12. If we could make a quality mystery-adventure about friendship,
dogs, and magic—things girls love—our chances were higher of gaining outside DVD and/or a
theatrical release and (knock on wood) generating a profit. However, outside distribution would be
totally unnecessary to break even. He had my attention.
The Community Model
Then Frank laid out his “Community Model,” its revenue assumptions similar to those of a popular
area youth theatre, which relies heavily on volunteer support to turn out highly professional musical
productions. For each 4-performance run, some 3,000 tickets, at $15 each, are sold to family and
friends of the 80 participating young actors, each of whom already paid a $200 participation fee.
After an intense publicity campaign, additional tickets are sold to the general public which, added to
concession sales, bring revenues per run to about $65,000—enough to fund the next high-end
theatre production. (Quality is why this works at all; I’ve found their production values near
Broadway quality.)
Applying these assumptions to an indie feature, Frank believed his Community Model could work,
but only if we doubled the number of young participants. With 150 kids paying a $195 program fee,
we could assume sales of 6,000 movie tickets at $7 each, and at least 3,000 local DVD sales at $10
each (as keepsakes and gifts to friends and doting relatives). Thus, early gross sales (before we hit
the outside market) should bring in about $100,000—exceeding our total projected costs (including
purchasing our camera, lighting and editing equipment to serve Bracelet and future projects).
Good will—and plenty of it—would be the key to breaking even. New to The Woodlands, Texas, a
thriving community north of Houston, Frank had volunteered to manage business operations for its
impressive youth theatre and, over several shows, helped it back into the black. Over several shows,
he had been taken with the passion, dedication and talent the local parents poured in behind-thescenes, some putting in full time even after paying tuition for their kids playing small choral roles.
Parents seemed happy to pay and volunteer since their kids benefited from the training and
experience with theatre professionals. Frank wondered: What if all that creative energy were
unloosed on a locally produced movie—also lead by professionals?
Two Giant Steps
He had two exploratory steps already in mind: first, we should do something for the community to
demonstrate our professionalism and our good will, and to identify the level of local interest in
moviemaking. He formed The Woodlands Young Moviemakers (WYM), modeled after Women in Film’s
successful program with the Houston Museum of Fine Arts. He had planned to create such a
program in any case, as a means of helping kids with a passion for filmmaking. For WYM, Frank and
I arranged workshops with professionals and did some private tutoring, aimed at helping young
filmmakers discover their voices and learn technical skills to make their own 5-minute competition
films. The kids started making their personal projects which had nothing to do with The Bracelet of
Bordeaux. It would, however, begin building a local base of film-savvy youth to enrich The Woodlands
for years to come. And some might want to join us.
Secondly, before launching our feature, Frank felt we should test out the Community Model, our
script concept, and our skills bank, by making a pre-production trailer for The Bracelet of Bordeaux.
Older teens showing extraordinary enthusiasm and maturity in WYM were invited to crew on our 3minute trailer, gaining further experience under our volunteer professionals. Featuring car and bike
chases, a paddlewheel boat, a jet and five homes, the trailer shoot was a 12-day workout.
And it served many vital functions: (1) it allowed us to develop accurate cost data for developing a
projections model for the feature, (2) it allowed us to test production and editing equipment to make
certain we could produce a professional, theatrical quality film, (3) it tested our ability to work
together as a crew, and our theory that a teenage camera and grip crew could perform a professional
job, (4) it tested our systems and processes so we could identify weaknesses in preparation for the
feature, (5) it tested our lead actors and almost all of our 20 locations, (6) the end product was of
superb quality and provided proof for our community, prospective cast and crew volunteers,
parents/kids (who would be asked to pay a fee for the feature), and others that they could invest their
time and resources in our film and know that we could deliver a product they would be proud of.
Our professional graphics and website design by Pat Zapata would be their first tip off.
Early on, Frank started lobbying me to consider a 19-year-old as Director of Photography. I resisted
until I saw Scott Ellison’s highly imaginative 30-minute short Karoshi (which won the Student Jury
Award at the Orinda Film Festival). His skilled First AC Casey Schuman was just 18, and most of
the grip team also teenagers seriously interested in film as an art or career. All were to enjoy
intermittent mentoring from professionals such as cinematographer Larry McKee, and Brian Falcon
and Mike Huffine of Silver Rock Studios.
An early volunteer mentor was Greg Flakus, the North American field reporter for The Voice of
America, who thought the community-produced movie idea was unique enough to do a major TV and
radio feature (4 minutes) which was shipped via DVD to 60 foreign countries, and the print version
picked up widely. Local papers also ran articles on the trailer production and foreshadowed the
upcoming feature shoot.
With the trailer posted on our website (www.thebraceletofbordeaux.com), the community could
witness the quality of movie we were capable of shooting in June and July, when kids would be at
liberty. The website explained it all: the $195 program fee, based on customary children’s theatre
charges, would include professional training sessions, opportunities for “extra” casting, the chance
for a speaking role, a unique cast party, tickets to the premiere, and a DVD to include the finished
movie, a behind-the-scenes documentary (later made by WYM award-winner Michael Wham), and
enough outtakes to assure most kids were covered. We felt the package had high value compared to
other available summer arts programs—and parents apparently agreed. Volunteers literally began
knocking on our doors.
So did a couple of distributors, after seeing the Greg Flakus feature and viewing our 3-minute trailer
on our industry-standard website. Encouraging—we hadn’t even shot the movie yet!
The Hollywoodlands Gala
Meanwhile, the Woodlands Young Moviemakers competition was judged (by outside professionals,
such as Houston SAG President Jim Huston and Joan See of the School for Film & Television). The
first crop of young filmmakers was ready to celebrate. The new Borders gave us a pre-awards
reception and we provided a red carpet and a stretch limousine ride to Montgomery College’s digital
theatre. AFI provided us clips from its Greatest Movies series, which Scott Ellison edited in among
the winning short films, shown with state-of-the art equipment lent by Wagner Media. Emcee Brian
Thornton and I handed out prizes such as Movie Magic screenwriting software and t-shirts from
NYC’s School for Film and Television. The kids’ work, in all age categories, looked awesome on the
big screen. Parents beamed. So did we—this was obviously an organization which would grow and
continue serving the community for years to come.
As a footnote, we played our trailer -- letting parents know more film opportunities would be around
this summer.
A Community Pitches In
The Woodlands community responded overwhelmingly. Kids who had enjoyed free participation in
the trailer signed up for the paid feature program and many brought friends to audition. As Frank
predicted, parents volunteered, considering it quality time with their children. One, Lorie Kapila,
quickly became Frank’s good right hand, putting in 14-hour days, running all communications, and
often enlisting her husband and sons. Lorie could run The Pentagon.
Several members of Women in Film, seeking to broaden their industry credentials, came aboard—
such as our script supervisor Yankie Grant who, drafted to read during kids casting, impressed me so
much I added a role for her. Actress Jen White quit her day job to volunteer full-time aiding Frank
with releases and contracts—and ended up in the movie.
Creative stay-at-home moms jumped in to volunteer as Props Manager (Jill Pierce, whose daughter
Hallie was participating) and Wardrobe Designer-Manager Sarah Ferderer (supporting daughter
Grace). In 30 years of theatre and television production, I have never worked with two more
dedicated or talented. While Sarah’s team sewed surreal costumes, Jill enlisted the community’s
artists and craftsmen to create the nightmare list of props and special effects. Both supervised on-set
day-by-day. They concur it was their hardest, and most rewarding, undertaking ever.
Dads volunteered too. NASA propulsion engineer Andy Flottorp found himself rigging a giant fantasy
ice cream scoop to fire blueberry sherbet. Wayne Wagner spent days coaxing a malevolent
lawnmower to peel out and give chase under its own steam, and J. Pierce taught chrysanthemums to
bloom on cue. And professional composer Robert Hunt will create an original score with his son
Austin—our actor and grip.
The most miraculous of offers came from Ron and Julie Stiles (parents of seven at-home kids) who
catered the entire 12-week shoot, breakfast, lunch, dinner and craft services. Chef Julie made
culinary magic for every meal, testing her new creations for Executive Orders Catering, Inc., on the
happiest indie crew ever. When Ron wasn’t serving, he was rounding up hard-to-find items: police
cars, a police station, real uniformed cops.
Satisfied we were indeed making a community-wide contribution, The Woodlands Operating Company
and Community Associations of The Woodlands opened parks and roadways to our production, as did
the United Methodist Church (which became a classroom, an airport, a rental car agency and—oh
yes—a church). Also gratis were a large luxury jet, and Danny’s Kix-and-Trix, a vast costume shop,
which lent its store and costumes for a candy shootout scene. The Southern Empress, a three-tiered
Victorian paddlewheel boat was, for three days, the hideout for heartless mobsters who were stealing
the beloved dogs of the mythical town of Chem City, Texas.
More professionals signed on full-time to make a movie while enriching “our” kids: top sound man
Pete Nubile and his assistant Kyle Spencer, animal trainer Kelly Gotschall, and newly minted
designers of make-up (Ashley Frazier) and hair (Terry Johnson). Others such as filmmaker/talk show
host Roy Ford, and First AD Ra-Ana Gilani volunteered time between their paying gigs. Scott
Johnsgaard, a talented young music editor, was already standing by for post-production.
The groundwork had been substantial by the time we threw open the casting doors. We built it.
Would they come?
Casting Around The Block
For three days, a parade of enthusiastic kids waited patiently in the halls of another big supporter,
Montgomery College. If interviews and callbacks moved slower than anticipated, it was entirely my
fault. Winnowing kids is excruciating. Little egos must be protected at all costs. Never have I
auditioned a more talented bunch—some kids were already agented.
But it was soon clear we would have the necessary 150 paying participants to cover our entire
production budget—but only if all labor was donated, including adult actors.
The Houston market is rich with talented, experienced actors with limited opportunities to perform.
Some came aboard as a favor to me. Some came for the chance to train or mentor kids. Some just
wanted to stretch with a zany new role or gain their first movie credit. Some needed updated
resumes or footage for their demo reels. But enough responded to our casting call on the Houston
Film Commission website, or to notices from their agencies, to fill the adult roles to perfection. Only
two demanding roles were cast outside the Houston area: a French- speaking girl (played by Kelsey
Edwards of San Antonio) and a pint-size punk (Shane Savage of Bryan, Texas).
We were ready to roll. Frank and I decided to make good on our educational promises early in the
shoot…and to add a surprise element in appreciation for all the community support. We brought in
my friend Yvette Freeman, a fellow writer and director who also starred on Broadway in Ain’t
Misbehavin’, won an Obie for her one-woman show Dinah Was…; she is still enjoying her 12-season
run as Nurse Adams in the series ER. Yvette, a born teacher, shared her experiences and her
techniques over 6-hour days with rotating groups of 50 kids, while Rebecca and Carolyn Hardin ran
theatre games and taught acting techniques. Fox-TV, attracted by Yvette’s participation, aired a
3:30-minute segment called Building Better Minds, which commended our efforts at empowering kids.
Indeed, it was heartwarming to watch veteran actors showing kids the ropes. Jason Douglas made
friends with 11-year-old Alex Ryan, funning around and gaining his trust before having to menace
him on set. Brian Thornton and Michelle Hatmaker, who played myopic parents, and Broadway
veteran Lucy Gabbard, who played a grandmotherly spy, all cheerfully answered the kids’ nonstop
career questions throughout the long shoot. So did our comic relief.
Many of our trailer “bad guys” hailed from The Laff Stop, a popular Houston comedy club. Chuck
Savage, Rob Mungle, Eric Deickman, Paul Pappas and Elizabeth Stein spread the word that this
would be a fun shoot—prompting popular stand-up comedian Tommy Drake (on break from his
national tour opening for Cher) to sign on as a lark. This crowd kept us all laughing, despite 102degree temperatures.
In fact, 2005 was the hottest summer in recent record. Across 20 locations, for 7 weeks, valiant
volunteers held umbrellas over cast and crew, alternately slathering us with sunblock and mosquito
repellent, delivering water and ice packs, while 150 kids flowered—and 14 dogs and one tarantula
endured.
It was impossible, just as I had predicted. And we did it.
PAPILLON
VOICE OF AMERICA
Use of Digital Technology Opens Pathway for
Community Filmmakers
The Woodlands, Texas
30 January 2005
For people who enjoy the dramatic arts, there are thousands of community theaters
across the United States where they can get involved in activities ranging from
acting to set design and production. But the rise of digital technology has now made
it feasible and affordable for community groups to make their own movies. VOA's
Greg Flakus has this report about a group in a Houston suburb that is out to take on
Hollywood.
There are funny things happening in Chem City, Texas, dogs are being kidnapped,
girl scouts are fighting the bad guys and an old bracelet is producing magic.
Recently, dozens of people came together at various sites around Houston to film
scenes for what they hope will eventually become a feature film called "The Bracelet
of Bordeaux."
Now, the scenes are being put together on a computer editing system, not for the
feature itself, but for a trailer-that is a preview of the film yet to be made.
This project is the brainchild of businessman and film buff Frank Eakin. "The preproduction trailer has allowed us to test this concept before we spent a lot of time
and money and had a other people volunteer their time-professional actors and
professional crew members in key areas," he said.
Frank Eakin's idea grew out of his involvement with a local children's community
theater. "What I realized was that the same business model that applies to our youth
theater company can certainly apply to filmmaking, to independent filmmaking.
Particularly, I think it's suited for children’s films. Parents become passionately
involved when their kids are in a theater production."
So, Frank turned his house in the Houston suburb called The Woodlands into a movie
studio, which soon filled with volunteers including pre-teen actors, high-school-age
interns and parents who engaged in everything from carpentry to smoke machine
operation.
Working closely with Frank is the director of the film, Casey Kelly, who worked for
more than 20 years writing screenplays for television and film before entering a
program for women directors at the American Film Institute.
She says this community effort to make a children's film is also motivated by the
need for more wholesome family entertainment than Hollywood is producing. "The
market is hungry for PG- and G-rated films and 69 percent of what Hollywood is
turning out is R-rated or above and in the dramatic category."
Two Houston-based professional actors volunteered to play the parents of the main
child character in "The Bracelet of Bordeaux" -- Brian Thornton and Michelle
Hatmaker. Michelle says, "I think it is exciting that the kids are having an
opportunity like this to work on a project."
Brian Thornton says an important part of the learning experience for kids is seeing
how much work goes into a production. "They do not understand the effort that it
takes to actually go through, check the lighting, make sure the sound is there-all the
little details-and how many different angles you are setting up for just two lines of
dialogue."
Upon review director Kelly is please with the sequence. For Kelly, the work is a
reward in itself. She and Frank Eakin both see this project as an opportunity for
many young people to experience firsthand the magic of movie making. She says,
"We want them to have fun. We want them to learn something. We want them to
participate in something they can be proud of and carry around for the rest of their
lives."
Once distributors have seen the trailer, shooting on the film itself will begin in a few
months. Frank Eakin plans to eventually release it on DVD for worldwide distribution.
Film Festivals/Awards
Approved by The Dove Foundation
Approved by Kids First!
Official Selection American Film Institute (Dallas)
Official Selection Zlin European Fest for Children
Official Selection San Diego International Children’s Film Festival
Official Selection Los Angeles Jewish Film Festival
Official Selection Austin Film Festival
PRODUCTION STILLS
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