blood on the streets

BLOOD ON THE STREETS LLC
BLOOD ON THE STREETS
from
Joseph D. Peters
Writer/Director
BLOOD ON THE STREETS LLC
P.O. Box 582, San Dimas, California 91773
BLOOD ON THE STREETS LLC
Executive Summary
LOGLINE
BLOOD ON THE STREETS is a romantic crime thriller about a mysterious
detective, a beautiful woman and a criminal family who launches a bloody war
when someone crosses over to the other side and commits the ultimate sin.
SYNOPSIS
BLOOD ON THE STREETS is an English language full-length feature film about a
mysterious detective named Curtis Raven who falls in love with Sylvia Buñuel, a
beautiful woman with a secret past. Sylvia is searching for her missing brother
David and she hires Curtis to find him, but they come up against the head of a
ruthless crime family by the name of Franco Scala who will destroy anyone who
comes across his path. Franco has escaped from prison and once again begins his
reign of threats and extortion, but he makes the fatal mistake of getting involved
in a love triangle that quickly becomes entangled into a web of deceit and murder.
He’s forced to hide in an abandoned warehouse with a hostage in tow. Franco had
left Curtis for dead in a dark alley, but now Curtis has returned to exact his
revenge in a fight to the death with a surprising twist at the end.
PROJECT DESCRIPTION
BLOOD ON THE STREETS includes a completed script, completed storyboards
and a soaring cinematic score. The film will be shot in English and Spanish. This
film will also be shot in an expressionistic and fast paced style that will take an
audience on a thrilling roller coaster ride.
1
BLOOD ON THE STREETS LLC
PROJECT STATUS STATEMENT
BUDGET – This full-length feature film will have a total budget of US $1.5 million
dollars.
DISTRIBUTION – BLOOD ON THE STREETS is currently looking for both domestic
and international distribution.
KEY ATTACHMENTS – Writer, Director – Joseph D. Peters. Cast – Paulo Brunetti,
Bebsabe Duque, Rodrigo Aragon, Andrea Barbieri, and Ray A. Torres. Director of
Photography – Mauricio Vidal. Sound - Jose Luis Diaz. Editing/Sound Design –
Richard K. Allen. Music Composer – Gilbert Bottcher.
DIRECTOR’S STATEMENT – Joseph D. Peters has taken pre-production trips to
Mexico. Meetings included production companies, actors, equipment rentals and
location scouting.
A CD Demo Soundtrack is being developed. Joseph has
completed storyboards (shot for shot). All of the main cast and key crew members
will be given a copy in order to better communicate his vision. The end result will
be a production that will run smoothly, be shot in a quick and efficient manner and
speed up the time spent in the editing bay. The film will be shot in English. The
entire cast is bilingual. The film will be distributed in both domestic and
international markets. It is cheaper to shoot in Mexico. Other cost benefits include
an established film infrastructure and specific local locations that will need
minimum set design. In addition, most of the actors and crew live locally which
will reduce travel and living expenses. All of this was done to enhance the overall
appeal for potential investors in order to produce the feature film.
2
BLOOD ON THE STREETS LLC
WRITER/DIRECTOR/PRODUCER – JOSEPH D. PETERS
Joseph D. Peters was born in Montebello, California. His father of German
descent and his mother from Bogotá, Colombia introduced him to the arts at an
early age. He performed in the musicals of West Side Story and Godspell at La
Salle High School.
He attended the University of Southern California and
graduated with a Bachelor of Arts in Communication. He formed Renaissance
Productions, Ltd. and began his career with a music video, Mas Que Nada. He
followed that with his documentary, Seniors and Alcohol Abuse which was the
official selection of the American Film Festival.
Eskimo Ice-Cream Shoes
received the Gold Award at the Houston Film Festival. Rachel won the Silver
Award at the Chicago Intercom Film Festival and the Bronze Award at the
International Cindy Competition. Emotions received the Gold Award at the
International Cindy Competition and an Honorable Mention Award at the Columbus
International Film Festival. He has completed a drama, When Autumn Comes,
which was shot entirely in North Carolina. He recently completed a music video,
Decades of the 70’s Reunion. Joseph has recently written several screenplays
for the Hispanic market including Joseph has recently written several screenplays
for the Hispanic market including Tango in the Dark, A New Life, Hidden
Tracks, A Silence Within, Blood on the Streets, Silent Storms, Shadow of
the Werewolf, and Tango Rendezvous.
Joseph can be contacted through his website at www.josephdpeters.com.
3
BLOOD ON THE STREETS LLC
DIRECTOR OF PHOTOGRAPHY – MAURICIO VIDAL
Mauricio Vidal was born in Ibagué, Colombia and he is bilingual. He study Social
Communication in Bogota, and worked for several years as the Publisher. He
started his career with the camera with The World to the Flight with Hector
Moorish. Between 1994 and 1999 they traveled through places as the Island of
Easter, Polynesia French, New Zealand, Australia, the Patagonia, the Tíbet,
Mongolia, Hong Kong, Germany Reunified, south of France, the Bahamas, and
cities like New York, Paris, New Orleans, Buenos Aires, Berlin, Beijing, Papeete,
and Lhasa, among others.
Simultaneously he worked photographing commercial and video clips with
Rhayuela Films, for groups as Velvety and The Block.
Seeking to have a
permanent one "pole to land", has participated in diverse documentary traveling
through the Colombian realities, forests, coasts, and its armed conflict.
After photographing various short films of fiction, he was a Camera Operator in
The Colombian Dream (Felipe Aljure). History of the Baul Pink (Libya Gómez)
was his first feature film as the Director of Photography. Since then has continued
shooting commercials, documentaries and feature films. Satanas was directed by
Andi Baiz and won many international prizes. The Miraculous One, was directed
by Rafa Lara. Chance, was shot in Panama and directed by Abner Benaim.
Crosscurrent, was directed by Javier Sources-Lion and shot in the Peruvian
coasts. The film went on to win awards in the Festivals of Sundance, Chicago,
Miami and Cartagena.
Recently he finished shooting Tabu for National
Geographic, and the filming of the feature film, The Burned directed by Jaime
Escallon.
Mauricio has dictated workshops and courses of photography in different
universities, in the Documentary International Sample of Bogota and with the
project, Imagining Our Image for the Department of Culture of Colombia. He was
an advisor of Photography in the International School of Movies of San Antonio of
the Baths (Cuba) in 2007. He is a founding member of the Colombian Association
of Directors of Photography ACDF, and Associate of the Digital One
Cinematography Society.
4
BLOOD ON THE STREETS LLC
SOUND DESIGN – JOSE LUIS DIAZ
Jose Diaz was born in Buenos Aires, Argentina. He is one of the most acclaimed
sound men in the business today. He has been nominated and has won many
awards for his work. His credits include Son of the Bride (Academy Award
Nominee – Best Foreign Film), Burnt Money, Historias Minimas, Luna de
Avellaneda, Dangerous Obsession, The Aura, La Antena, The Secret In
Their Eyes (Academy Award Winner – Best Foreign Film) as well as the recent
remakes for High School Musical (Argentina & Mexico versions).
5
BLOOD ON THE STREETS LLC
EDITOR/SOUND DESIGN – RICHARD K. ALLEN
Richard K. Allen graduated from San Jose State with a degree in Theater Arts.
He moved to Los Angeles to design sound for the Mark Taper Forum Laboratory
Theater and the Taper’s Main Stage Productions. He started his own production
studio and was designing sound mixes for broadcast television, corporate films and
videos. He has mixed several projects for Joseph D. Peters including Eskimo Ice
Cream Shoes, Rachel, and Emotions. He has recently mixed the first two Lord
of the Rings publicity videos and The Three Stooges 50th Anniversary
Special for NBC. His work can still be heard at Disneyland, Universal Studios, and
other theme parks around the world. He has expanded his production for editing,
DVD authoring and design. He recently edited Joseph D. Peters’ When Autumn
Comes. He has recently edited a documentary called Another Way of Seeing
Things for PBS, Discovery Health Channel’s Extreme Surgery; Animal Planet’s
Growing Up Lion, Growing Up Tiger. His feature film work includes A Man Is
Mostly Water and It Is What It Is.
MUSIC COMPOSER – GILBERT BOTTCHER
Gilbert Bottcher is currently developing the soundtrack for the proposed feature.
He has been a member of ASCAP since 1992 and received his MA in Composition
from UCLA. He has been a resident composer for The Vagabond Players Theater
Company. He also published his first book entitled, Structures, for orchestras.
He has scored several films including Madam, The Rise and Fall of the Soviet
Union. He has recently completed the drama, When Autumn Comes.
6
FROM GERMAN EXPRESSIONISM TO FILM NOIR
The 1946 film noir classic, “Gilda”.
The term Expressionism has a deep resonance in the history of the cinema. It is not just
a stylistic term for some of the films from the early 1920s, but “a generic term for most
of the art cinema of the Weimar Republic in Germany, and beyond Germany, echoing
down film history across the periods and genres, turning up in the description of
Universal horror films of the 1930s and the film noir films of the 1940s.”
The journey of German Expressionism from art cinema to the Hollywood mainstream
began with the exile and expulsion of many film producers, directors, writers, actors,
and music composers from Germany after Hitler came to power in January 1933.
Settling in California, these German émigrés had a significant artistic influence on
Hollywood filmmaking. This influence was most clearly felt in the existence of that
famous ‘Expressionist’ genre, the film noir, combining the haunted screen of the early
1920s with the lure of the sinful metropolis Berlin of the late 1920s (the femme fatales,
Louise Brooks and Marlene Dietrich) mixed with the angst of German émigrés during
the 1930s and 1940s as they contemplated personal tragedies and national disaster.”
The hard- boiled private eye stories of authors Dashiell Hammett, Raymond Chandler,
and James M. Cain provided the narrative source for many classic film noirs. John
Huston began the trend of crime novel adaptations with his 1941 version of “The
Maltese Falcon.” This was quickly followed by “Double Indemnity” (directed by German
émigré, Billy Wilder who went on to write and direct “Sunset Boulevard), “The Postman
Always Rings Twice”, “Mildred Pierce”, and the Raymond Chandler adaptations, “The
Big Sleep” and “Murder, My Sweet”. Other classic film noirs that feature an
investigative narrative structure include “The Killers”, “Out of the Past”, “The Big Heat”,
“Kiss Me Deadly” and “The Big Combo”.
The Orson Welles’ 1958 cult classic, “Touch of Evil”.
7
The term film noir was first coined by French film critics in August 1946 to describe a
daring and stylish new type of Hollywood crime thriller with films such as “The Maltese
Falcon”, “Gilda”, “Double Indemnity”, and “Laura”. Film historians describe film noir as
a synthesis of hard-boiled crime fiction and German expressionism. The term is also
associated with certain visual and narrative traits including low-key photography,
images of wet city streets and romantic fascination with femme fatales. Most film critics
locate the period of film noir as beginning in 1941 with “The Maltese Falcon” and
culminating 1958 with Orson Welles’ “Touch of Evil”. Some film critics believe that noir
began much earlier and has never really gone away, but has appeared in various guises
up to the present day.
A direct connection between the crime films of the German Expressionist cinema and
the American private eye movie is made in the work of Fritz Lang, the German émigré
director who fled into exile in 1933. Lang brought the dark vision of criminality of his
Expressionistic classics, “Dr. Mabuse”, “The Gambler” and “M” to Hollywood and
became one of the most prolific directors of the noir genre. His films include “The
Woman in the Window”, “The Big Heat”, “While the City Sleeps” and “Beyond a
Reasonable Doubt”. Lang’s special subject was the more paranoid mentality. No
filmmaker has conveyed more powerfully than Lang a sense of overwhelming
entrapment, of a world whose every circumstance, every twist and turning, every corner
and corridor, seem to conspire against the individual and draw him or her more deeply
into a spider web.
It is the visual style of film noir, rather than story or character type that is seen as its
defining characteristic. The noir look was created by cinematographers, costume
designers, art directors and production designers. Its enduring influence on all genres
of Hollywood filmmaking can be seen today in films as diverse as “The Godfather”,
“Blade Runner” and “Sin City”. The visual style of film noir is characterized by
unbalanced and disturbing frame compositions, strong contrasts of light and dark, the
prevalence of shadows and areas of darkness within the frame, the visual tension
created by curious camera angles and so forth. Moreover, in film noir, these strained
compositions and angles are not merely embellishments or rhetorical flourishes, but
form the very substance of the film.
French film critics saw the typical noir narrative as an existential nightmare from which
the protagonist can never awaken. He is a doomed figure journeying through an
underworld of crime and deception until the final betrayal by the femme fatale that he
has fallen for. Expressionist lighting schemes and camera angles convey a sense of
entrapment as the hero ultimately makes his way through an often labyrinthine plot to
his final destination.
Film noir has influenced filmmakers and has appeared in many diverse feature films
Double Indemnity-1946
The Godfather-1972
Blade Runner-1982
Sin City – 2005
8
BLOOD ON THE STREETS LLC
TENTATIVE SCHEDULE
35 days over 6 weeks in 2014.
LOCATIONS
Mexico City, Puebla locations.
TENTATIVE BUDGET
The filmmakers intend to produce BLOOD ON THE STREETS for a tentative budget
of US $1.5 million. The budget will cover all costs from script development and
purchase of rights, fees to writer, director, producers, all cast and crew, through
principal photography, post-production (editing, music scoring and dubbing,
mixing, etc.), and final delivery of the film.
The following actors have expressed interest in their respective roles, and are
awaiting formal offers from the filmmakers.
CASTING THE TALENT
Bebsabe Duque as “Lola Montera”
Bebsabe Duque was born in Caracas, Venezuela. She is a bilingual actor. She has
been in such plays as Historias de Cerro Ariba, Las Tijeras, and Las Alegres
Cantaridas. She has appeared on television in Hoy te Vi, Mujer Secreta,
Angelica Pecado, Viva la Pepa, Mambo y Canela, Enganada, Sabor a Ti,
Nunca Te Dire Adios, Los Querendones, Aunque, Mal Paguen, Bailando con
Los Abuelos, Conquistando un Sueno, Un Esposo para Estella, Correo de
Inocentes, Mujures Al Limites, and Allá Te Espero. Her films include
Documental Path to Glory and Una Mirada Al Mar. She also models and
dances.
9
BLOOD ON THE STREETS LLC
Paulo Brunetti as “Curtis Raven”
Paulo Brunetti was born in Argentina. He is a bilingual actor who has appeared
in film, television, and stage. He has performed in such plays as Revelation,
Numanica, Le Perro del Hortelano, and Cat on a Hot Tin Roof. He has
appeared in such television shows as Resistre, Un Cortado, Hombre de Honor,
Montecristo, Infideles, Lola, Without Anesthesia, Mujeres de Lujo, Manuel
Rodriquez, La Colonia, and Infiltradas. He has appeared in such films as
Verada Tropical, Whiskey Romeo Zulu and Chile 672. Paulo has received a
Florence Sanchez Award for his role in Revelation and an ACE nomination for his
role in Cat on a Hot Tin Roof.
Rodrigo Aragon as “Franco Scala”
Rodrigo Aragon was born in Argentina and is a bilingual actor who has appeared
in a number of theatrical productions such as Tangos of One Night, Grease,
Zorba the Greek, Opera Pampa, and Tango Palace. His television work
includes Gasoleros, Savages, Maleveje, and Cuentos Barrocos. Rodrigo has
starred in several films such as La Suerte esta Echada, Death Knows Your
Name, The Last Gateway and Behind the Trees.
10
BLOOD ON THE STREETS LLC
Andrea Barbieri as “Maria Scala”
Andrea Barbieri was born in Argentina and is a bilingual actor. She is an
established star throughout Latin America and Europe. Besides her extensive
acting roles, Andrea also sings and dances. Her television work includes Solo Un
Hombre, Black Octopus, The Strange Lady, Little Women, La Nocturna,
Savage Attraction, and Diablo Azules. Her many film roles include Los Tigres
de la Memoria, Barbarian Queen, El Ano de la Conejo, and Pasajero 10542.
Ray A. Torres as “David Buñuel”
Ray Torres was born in Venezuela and currently lives in Los Angeles. He is a
bilingual actor. He has the ability to perform in different dialects such as
Argentinean, Colombian, Cuban, Mexican, Puerto Rican as well as Venezuelan. He
has appeared on stage in On Broadway, ‘Til Death Do Us Part, The Sound of
Music, and Birdcage. His television work includes La Mujer de Mi Vida,
Mystery ER, NUMB3RS, and Weeds. His film roles are Maquillaje, Border
Lost, Ladron que Roba a Ladron and No Bad Days.
11
BLOOD ON THE STREETS LLC
PROJECTED TIMELINE
The following is a projected timeline, from financing through potential distribution
of BLOOD ON THE STREETS. Please note that these are simply projections. The
filmmakers do not have distribution or film festival commitments nor have they
entered into any agreements regarding the theatrical release of BLOOD ON THE
STREETS or sale of ancillary markets such as pay-per-view, VOD, and DVD in the
US, Europe, Latin America or elsewhere.









August 2014 – Complete financing. Deposit all monies in bank account. Hire Cast and
Crew. Scout and finalize locations. Begin publicity and selling. Develop marketing plan.
August 2014 – Official start of Pre-Production. Open production office. Rent equipment.
Begin building sets/rent locations. Cast rehearsals.
September 2014 – Begin principal photography for 35 days over six weeks.
November 2014 – Begin Post-production: assemble, edit music score, dub, mix, and
create prints.
January 2015 – Complete release prints. Distributor screenings of companies that
specialize in Independent/Latin films. Begin grassroots word-of-mouth screenings
through Hispanic/Latino/Dance media in the US. Begin to submit to other major film
festivals.
March 2015 – If selected, North American premiere screening and launch of
commercial theatrical release. Begin with (US and Canada) theatrical. Followed by
global theatrical releases.
August 2015 – Domestic non-theatrical (airline), pay-per-view (HBO, Showtime)
release.
September 2015 – Domestic DVD release. Followed by global DVD and video on
demand (VOD) releases.
January 2016 – Domestic network and cable TV release. Followed by global network
and cable TV release.
12
BLOOD ON THE STREETS LLC
MARKETING STRATEGY
The filmmakers intend to sell BLOOD ON THE STREETS to a Hollywood film
distributor that will release it in all domestic and global media and markets
according to its own strategies and schedules in connection with its current slate of
movies in the pipeline.
FILM NOIR
The filmmakers believe that BLOOD ON THE STREETS will use the film noir to
explore the romance, passion, the sorrow, and the triumph of a deeply human
story that is common to us all. Against that backdrop of a celebration of an everpopular thriller genre, BLOOD ON THE STREETS is intended to offer all of its
audiences a portrait of a man who seeks revenge and the other his destruction.
INTERNATIONAL STARS
The filmmakers have secured the interest of internationally known Latin stars that
are on the leading edge of getting discovered in Hollywood, like Paulo Brunetti
for the role of “Curtis Raven”, Rodrigo Aragon for the role of “Franco Scala”,
and Andrea Barbieri for the role of “Maria Scala”.
LATIN AMERICAN STARS
The filmmakers are also taking to the representatives in Latin America *We are
currently awaiting letters of interest.
13
BLOOD ON THE STREETS LLC
ENORMOUS POPULARITY OF THRILLERS
The most important primary target audience for BLOOD ON THE STREETS is the
fans from around the world that enjoy both suspense and mystery thrillers. The
enormous popularity of psychological thrillers such as Basic Instinct
($352,927,224 worldwide), Cape Fear ($182,291,969 worldwide) and The Cell
($104,155,843 worldwide) has firmly established the eagerness of an international
audience to embrace films that explore the thriller genre. As seen in the Genre
Box Office Performance Comparisons on the next page, thrillers with compelling
stories, fantastic special effects, and interesting and unique characters have
proven to be a big commercial success over the course of time. The filmmakers
are focused on bring another fresh perspective to the popular genre that has
surfaced from generation to generation. BLOOD ON THE STREETS provides an
opportunity to fully explore the story of two different men. One of them wants his
revenge over being left for dead in a dark alley. The other man is a hardened
criminal who will destroy anyone who gets in his way. There are several women
who become involved with these men and ultimately some of them meet their final
fate at the end. Our film provides a fresh and new prospective on this story … yet
the themes of the thriller are still familiar to a universal audience.
14
BLOOD ON THE STREETS LLC
TARGET AUDIENCES
The Hispanic/Latino population in both North and Latin America is one of the
primary target audiences for the English/Spanish language film, BLOOD ON THE
STREETS. There are three distinct groups in the Hispanic community. The first
older generation likes to watch their films in Spanish. The second middle age
group prefers a blend of both Spanish and English in their viewing habits. And the
third younger generation gravitates towards English only, but still wants to see
themselves up on the screen.
THE HOT HISPANIC/LATINO MARKET
According to the US census bureau, as reported in the August 20, 2004 issue of
Screen International magazine, there are now over 40 million Hispanics in the
United States, a number that excludes 8-10 million undocumented illegals. That
number is expected to rise to 63 million by 2020, representing 18.9% of the total
US population. Latinos control about $653 billion in spending power, and that
number is expected to top well over $1 trillion by 2009. The population of
Americanized, predominantly English-speaking second and third-generation
Hispanics are rising.
In an interview with Screen international magazine, Mr. Santiago Pozo, the CEO of
Arenas Entertainment, said, “this market is under targeted, underserved and
underutilized. There is a lack of product and a lack of campaigns directed at this
audience.”
In box office terms, the Motion Picture of America (MPAA) figures that the US
Latino population represents 15% of the annual US box office gross. That was $1.4
billion in 2002. The National Association of Theater Owners (NATO) and MPAA
estimate that by 2012, Latinos will account for $2.9 billion in ticket sales – 20% of
the annual US box office gross. Latinos go to the movies more than any other
annual US box office gross. Latinos go to the movies more than any other group in
the US: 9.9 times a year in 2002 as opposed to 8.1 times a year for Caucasian
Americans and 7.6 times a year for African Americans.
1
Source of all Films’ Domestic box office revenues: www.boxofficemojo.com
A COMMON THREAD
Santiago Pozo adds, “there is a common thread across Latinos in the US, whether
they are Mexican, Cuban or Puerto Rican, they all want to belong to America. They
call themselves Latino, so it is possible to market a movie across this ethnic
group”.
15
BLOOD ON THE STREETS LLC
2
GENRE BOX OFFICE PERFORMANCE COMPARISIONS
Title
(Country)
Release
Date
Estimated
Budget
Dressed
To Kill
June-80
$6.5m
Sea of Love
(USA)
July-81
N/A
Cape Fear
(USA)
Nov-91
Basic
Instinct
(USA)
Film
Distributor
US/Foreign
Box Office
Wks in
release
Lead Actors
N/A
$31,899,000/
N/A
N/A
Michael
Caine
Universal
N/A
$58,571,513/
$110,871,513
N/A
Al
Pacino
$35m
Universal
1,707
$79,091,969/
$103,200,000
N/A
Robert
De Niro
Mar-92
$49m
TriStar
1,884
$117,727,224/
$235,200,000
N/A
Michael
Douglas
The
Vanishing
(USA
Feb-93
N/A
Fox
1,658
$14,543,394
N/A
Jeff
Bridges
Seven
(USA)
Sept-95
$33m
New Line
2,528
$100,125,643/
$350,100,000
N/A
Brad
Pitt
The Cell
(USA)
Aug-00
$33m
New Line
2,476
$61,334,059/
$42,821,784
N/A
Jennifer
Lopez
Nine Queens
(Arg)
April-02
$1.5m
Sony Classics
36
$1,222,889/
$11,190,999
N/A
Ricardo
Darin
Monster
(USA)
Dec-03
$8m
New Market
1,093
$34,469,210/
$25,909,374
N/A
Charlize
Theron
Taking
Lives
(USA)
Mar-04
$45m
Warner Bros.
2,705
$32,682,342/
$32,788,187
N/A
Angela
Jolie
2
Orion
No. of
Screens
Sources: www.boxofficemojo.com
16
BLOOD ON THE STREETS LLC
FINANCING
The production budget needed to produce BLOOD ON THE STREETS (the “Film”)
is the amount that we need to finance through private equity sources. It is
contemplated that all private equity (“Investors”) can purchase up to 50% of
BLOOD ON THE STREETS LLC (“Company”), in the form of Class B shares. The
Producers will own the other 50% of the Company in Class A shares. Individual
shares among Investors will be based on a pro-rata basis according to individual
investment amounts.
MECHANISM FOR RECOUPMENT AND RETURN-ON-INVESTMENT
The recoupment term for the investment is estimated between 2-5 years.



The Investors recoup 100% of their capital investment, i.e., $1.5 million,
out of first revenues received by the Company, if any, after first deducting
unrecouped, out-of-pocket costs incurred by the Company in connection with
the Film, if any.
Then, the Investors receive a preferred return of 10% of the capital
investment, i.e., $150,000, out of net income received by the Company, if
any.
Then, the Investors share in 50% of any remaining net income received by
the Company, if any.
17
BLOOD ON THE STREETS LLC
FINANCIAL PROJECTIONS FOR BLOOD ON THE STREETS
GROSS SALES (in millions of dollars)
LOW
MID
HIGH
Domestic Theatrical (US & Canada)
Less 50/50 Split with Theaters
Net Domestic Theatrical
Domestic DVD (20% Royalty)
Domestic TV/Cable/Pay-Per-View
International Sales (All Media)
10.0
5.0
5.0
4.0
3.0
6.0
20.0
10.0
10.0
8.0
6.0
10.0
30.0
15.0
15.0
12.0
9.0
14.0
Total Gross Revenues
18.0
34.0
50.0
5.4
10.2
15.0
10.0
20.0
30.0
COSTS OF DISTRIBUTOR
Less Worldwide Distribution Fee
(30% of total Gross Revenues)
Less Global Marketing
(Prints & Advertising)
NET INCOME
Less Production Cost
(Recoupment of Investment)
2.6
3.8
5.0
1.6
1.6
1.6
NET PROFIT
1.0
2.2
3.4
RETURN
1) Less 10% Return to BLOOD ON
THE STREETS LLC Investors
on the investment
0.2
0.2
0.2
0.8
0.4
2.0
1.0
3.2
1.6
0.6
1.2
1.8
36%
74%
2) Net Profit to BLOOD ON
THE STREETS LLC – 50/50 split
with Producers
Total Net Profit to BLOOD ON
THE STREETS LLC (add 1 & 2)
RETURN ON INVESTMENT
(Total Net Profit divided by
Production Cost Investment)
111%
The summary may contain forward-looking statements and projections relating to the potential future
operating results or financial condition of the Company. Please be advised that the Company’s actual
financial condition, operating results, and business performance may differ materially from those
projected or from those, which any forward-looking statements, forecasts, or historical information may
infer. There is no assurance that the Company will achieve the financial results indicated in the forwardlooking statements or in historical information. There is no assurance that the Company will be profitable
and that it will earn revenues or that Investors will receive a return of their capital or any cash
distributions. Any projections are estimates only based on assumptions that may prove to be incorrect.
18