Movie Pitch
Movie Pitch
Movie Pitch
PITCH LINE-------------------------------------------------------------------------------3
FULL ARC-------------------------------------------------------------------------------3-4
III. LOCATION/SETTING----------------------------------------------------------------4-5
V. PRODUCTION SCHEDULE-----------------------------------------------------------5
VII. LEGAL---------------------------------------------------------------------------------6
MUSIC COPYRIGHT------------------------------------------------------------6-7
PROPERTY RELEASE------------------------------------------------------------8
X. COVER LETTER---------------------------------------------------------------------9-10
III. Location/Setting
• The film will be shot in and around Seattle, WA, with the family centered in
Lynnwood. For the family’s home, we would rent a house from an area in the
Greater Seattle Metropolitan area. At first, we considered Airbnb for a home,
however upon further research we discovered that the homes for rent would not
appeal to the lower middle-class aesthetic we’re looking for. Searching among
houses for rent within the wider area led to better options to fit the family’s
socioeconomic status. In particular, this listing or similar would fit within the
parent’s budget.
• Alderwood little league would be the nearest Little League for the baseball scene.
We would have to ensure that there aren’t ongoing events during our shoot, and we
would have to film on a day that was at least partially sunny.
• There are a couple elementary schools nearby that would serve for the classroom
scenes. Concerns would be getting permission from the school and scheduling a
time to shoot. We would have to avoid disrupting school lessons and activities.
Spruce Elementary would be closest, with Lynnwood Elementary being a possible
secondary location.
• The father’s workplace is at a hotel, and for any scenes there, the house is near
several hotels. We wanted a stark contrast between the family’s surroundings and
the father’s work environment. The W Hotel in Seattle is nearby and matches the
criteria. Obstacles would be getting permission – and if we don’t, there are several
other hotels in the area – and scheduling a time for the scenes.
V. Production Schedule
• Our estimated schedule is pre-production for two months, production for six
months, and post-production for two months. During pre-production, we will finish
writing the script, cast actors, go to location scouting for a house, baseball ground,
an elementary school, and a hotel, find costumes, get shooting permission from the
City of Seattle and Lynnwood, and find social media influencers for advertisements.
For production, we will shoot the film and take photos for advertisements. Video
editing, sound editing, color correction, title, credit, and making a few trailers will
be done during post-production.
VII. Legal
• For music use:
§ https://www.ascap.com/help/music-business-101/music-money-
success-movies
§ “Motion picture music falls into three basic categories: underscore
(James Horner's score to Titanic, John Williams' score to E.T.,or Randy
Newman's score to Toy Story 2); the pre-existing song or song and
original master recording (Bruce Springsteen's "Hungry Heart" for
The Perfect Storm, Steve Miller's "Fly Like An Eagle" for Space Jam,
the Guess Who's "American Woman" in American Beauty); and the
song written specifically for the film (Diane Warren's "I Don't Want
To Miss A Thing" for Armageddon, Phil Collins' "You'll Be In My
Heart" for Tarzan and Harold Arlen's and E.Y. Harburg's "Over The
Rainbow" for The Wizard Of Oz.)”
§ For pre-existing song:
• “The synchronization fees charged by music
publishers for major studio films are usually between
$15,000 and $60,000 (with the majority ranging from
$20,000 to $45,000) but can be lower if the music budget
is small or higher if the song is used several times in the
motion picture, if the use is under the opening or closing
credits, if the song is a major hit, or if it is vital to the plot
or particular scene of the motion picture.”
• “Because student-produced films have limited chances
for commercial success and small budgets, many music
publishers will license their songs for substantially
reduced fees.”
• “Songs will sometimes be given to these young
producers via a limited license for free or for a nominal
cost so that their projects will be realized and their
careers advanced. Most publishers, however, will
provide that if the project has any type of commercial
success or secures more than just film festival or art
house distribution, an additional fee or fees will be paid”
§ Song written for movie:
• “The writing fee will be negotiated depending upon
whether lyrics, music or both are being contracted for as
well as whether a producer and artist is involved. Some
of the main considerations as to the amount of the fee are
the nature of the production (major studio release,
independent studio feature, film festival release, student
film, etc.), the stature and past success of the writers, the
music budget, the type of use (visual vocal, background,
etc.) and the experience and clout of the agent involved.
Fees can range from below $1,000 to over $100,000
for a song with additional monies due for a master
recording.
• If the writer is a record producer or an artist, the fees will
normally be separated according to the different aspects
of the services (i.e. $120,000 payable $25,000 to write
the song, $45,000 to cover the costs of recording and
producing the song and $50,000 as an artist advance
against royalties).
§ Underscore
• “The composing fees paid to a feature film composer
vary considerably depending on the past success and
stature of the composer; the amount of music needed in
the film; the type of music required; the total budget for
the film; the total music budget, including the cost for
licensing preexisting outside songs or master recordings;
whether the film producer is a major studio, a major
independent, or a minor player in the film world; the size
of the orchestra needed to record the score; whether the
composer is contracting to bear all or most of the costs of
music (a package) or only negotiating the composing fee;
whether the film is intended for wide distribution or only
a limited release; the standard fees paid by a particular
studio versus the fees of other studios; and the skills of
the individuals on both sides of the negotiation fence--
the studio and the composer's agent. Depending on many
of the above factors, composing fees can range from
$20,000 for a lower-budget film to in excess of
$1,000,000 for a big-budget studio release using the
services of a well-known composer.”
• As many composers are brought into the film shortly
before the film is in post-production (the point at which
the film has been shot and edited), the time to compose
and record the score is usually relatively short (for
instance, 4 to 12 weeks) and depends on the post
production schedule as well as release date of the picture.
• Property release:
Since most of the film will be filmed in a rented "home," the other two scenes
are the school and the hotel.
• Potential sponsorship:
a) W HOTEL. We can negotiate with the hotel and plan to reach an
agreement with the hotel. They provide a venue for the film, and we can
potentially promote the hotel. If this is feasible, it can also reduce part of
our budget.
b) POPEYES FRIED CHICKEN. Applied in fried chicken scenes.
X. Cover Letter
To whom it may concern,
Conflicts and contradictions blended with neglect and financial struggles that
formulates into fragmented relationships. This unfortunate situation is currently a harsh
reality for some families, even more so in this climate. Our film, Brothers Johnson,
captures all the essence that situations like this bring forth. Every heartbreak,
contradictions, disparities and so much more are encapsulated and expressed to the
viewer. Each and every scene’s purpose to genuinely tug at your heart.
Brothers Johnson is the brainchild of 9 different collectives, joining forces to
create a film that is heart-wrenching and sensitive, yet intriguing and insightful.
Brothers Johnson showcases Sam and Mathew, and their gradual detachment from not
only their parents but also from one another. The film simultaneously reveals their
parents troubled relationship with their children. The film is a heart-warming story
filled with intense emotions.
The collective group dictating each and every part of the movie is a cohesive unit,
involved in every single aspect of the film, in order to have an end-product that we’ve
envisioned. We are the ones in the frontline, handling every word on the script, scouting
locations, promotion, and production, to even the legalities. Each and every single
member of this collective aspires to get their hands dirty and be genuinely involved
with what we hope to be, an amazing film.
You now know our team, our goals, and ideas. Now it’s your turn. We thank you
for your time and we are genuinely excited at the prospect of us having the opportunity
to work with one another. Our team would love to bring our individual expertise and
past experiences to create the film we’ve envisioned. We thank you again, for your
consideration and we expect to hear from you and your team.
Warm Regards,
The Cloud Nine Collective
Sam-Iain Armitage