Category: film


Messages from the universe will be hosting Matthew Timosyzk Monday, May at 3 pm eastern time on

as he talks about how he used the skills he learned serving in the military to build a successful film and television career. During the live show listeners may call (845) 241-9942 to speak with him.


Matthew S. Timoszyk has been working professionally in the entertainment industry for 30+ years and worked for Sacramento Theatrical Lighting (STL) for 8 years. His associations include California Musical Theatre, Music Circus, Sacramento Ballet, Sacramento Opera, Barnum and Bailey Circus, Disney on Ice, BP Productions, Woodland Opera House, Stockton Civic Theatre, Showbiz Theatre Company, the Historic Oroville State Theatre and many more. Matthew is a professional member of the USITT, the Education Theatre Association, and a four-time recipient of SARTA’s ELLY Award, 2for Best Lighting Design, 1 for Best Sound Design, and 1 for Best Overall Musical Production. Matthew is also a filmmaker working with BCM Films and other independent film companies in the Sacramento region. Matthew and his wife Robin own and operate Garage Studio Production Services & Lost Art Cinema.

To learn more about how veterans can use the skills they learned in the military to build a successful career in the entertainment industry tune into

on Thursday, May 7, 2020, at 3 pm eastern.

Horses and Heroes will tell veterans’ stories as they work together to find new coping skills for their physical and emotional challenges. Veterans will be given priority for jobs both in front of and behind the cameras. Go to the website to learn more.

Horses and Heroes website


With all the stress and chaos, self-care and dealing with core issues are more important than ever. It’s easy to talk the talk, but walking that path takes discipline, courage and a snarky sense of humor. On April 18,2020 at 4:30 pm eastern at  Messages from the universe will host, Elizabeth Blake-Thomas as she speaks about how Project Phoenix will help those in the entertainment industry, who are financially challenged by Corvid 19. To speak with Blake-Thomas or to ask her questions call (845) 241-9942 during the live show.  After the show, the interview will be available at the same link.

Director Elizabeth Blake-Thomas is a British award-winning filmmaker and philanthropist based in Los Angeles, having recently completed her 8th feature film. Her latest feature Evie Rose, starring Oscar-nominated actress Terry Moore, follows the heartwarming story of an unusual friendship during the final days of a 100-year-old woman’s life. Elizabeth is the founder and resident director of entertainment company Mother & Daughter Entertainment, whose motto is “Making Content That Matters”, putting the focus on each project starting a conversation amongst viewers. Her most recent project, Project Phoenix, is a campaign to help support struggling crewmembers during the COVID-19 pandemic.

An Official Ambassador of Awareness Ties for Human Trafficking, Elizabeth hopes to raise more awareness to the horrific nature of human trafficking and help put a stop to it. Her award-winning short film UNSEEN, which addresses the role technology plays in the facilitation of child trafficking, was awarded “Best Short Film” by Film Threat’s Award This! and is currently available on all platforms. Being a female director, Elizabeth strives to make projects with at least a 50/50 female cast and crew. A regular on panels at Sundance, Cannes and Toronto International Film Festival, Elizabeth mentors wherever possible, ensuring she sends the elevator back down to all other female directors and filmmakers.

Directing Showreel:

Awareness Ties Ambassador Page:

Tune in April 18, 2020, at 4:30 eastern at to learn more about why Elizabeth Blake-Thomas created the Phoenix Project and how it will be helping those in the entertainment industry, who have been financially challenged by the Corvid 19. To speak with Blake-Thomas or to ask her questions call (845) 241-9942 during the live show.  After the show, the interview will be available at the same link.

Horses and Heroes will tell veterans’ stories as they work together t find new coping skills for their physical and emotional challenges. Veterans will be given priority for jobs both in front of and behind the cameras. Go to the website to learn more.

Horses and Heroes’ website


Film/television budgets cannot be arbitrary decided upon. They are based on the number of filming days needed to produce the project. Nor can breaking down the script into “eights” accurately determine how many days will be required. The script must first be broken down scene by scene according to the characters, location, daypart, VFX, etc It is the only way to determine who and what needs to be wear and for how long.

No matter which script program is used, more detailed information needs to be manually entered for the reports to be generated. Unless a character has dialog the program will not recognize it as being part of the scene. Scene headings will describe the place and daypart, but neither will register as locations on the reports, yet both are vital pieces of information. Any unusual props, SFX, stunts, or any time-consuming production aspect needs to be logged so that it will be listed in the reports.

Once the script has been broken down, the information is put into a spreadsheet with the locations listed at the top. Each column will further be broken down by daypart (IE day or night). Each scene is logged in by its scene number (IE scene 1) under its in the location and in which daypart it will be filmed The characters are listed beneath the scene number. Leaving an empty column between each location makes it easy to log in the estimated shoot time of each scene and to tally the total at the bottom.

When it comes to timings, scenes are not equal. A full page of dialogue between two characters will take less time to film than one with a big fight scene that is described in three sentences or one that takes place in a vehicle on the open road. When estimating how long to schedule for each scene the producer must factor in:

Travel time between locations

Day or night scene

Setup/wrap/clean up time

The experience level of the cast and crew

Animals and children

Number of outdoor scenes


Visual effects

makeup/hair effects

costume changes

stunts/fights/action scenes

moving vehicles

Once this time frame has been determined for each scene, the totals are summed up at the bottom of the column to get a ballpark figure of how long the production will need to remain at each location. Union regulations and the exhaustion of cast/crew must be factored in when determining the length of the workday. A tired team is more likely to make mistakes which wastes time and could get someone hurt. Although it is not uncommon to have long workdays, the double-time,which will need to be paid after 12 hours, makes it more expensive than just adding another day at the location Additionally, it would be wise to add 1-2 extra days to the overall schedule for illness, weather, or an unseen event. However, if the script leans heavily toward outdoor scenes or those with a great deal of action, SFX, or has a large cast, it would be wise to add 2-3 days. It’s better to have budgeted for them and not need than to need the time and not have room in the budget.

Theresa Chaze is available for hire to generate film/television business plans and budgets by calling 231-943-3298.

Comparables give plot, genre, and rating reference points for investors and distributors. It’s not enough to state the genre. Comparing it to specific films gives details that will tell others what to expect. To say that your project is a horror film, even if you qualify it with a sub-category, such as occult, suspense, slasher, etc, still lacks important details. However, comparing it to the Exorcist will elicit images of possession, devils, and exorcisms. Amityville Horror conjurers haunting, violence, and family betrayal. Ghost brings to mind ghosts, romance, untimely death, and karmic justice. The Others also contains ghostly and untimely death elements, yet its focus remains on other aspects such as the house, mental illness, and children. Texas Chainsaw Massacre creates images of violence, blood, and gore. All of them are considered to be in the Horror genre, yet each of them has specific elements that evoke a specific response from the audience. However, the comparables also invoke levels of language, violence, and sexuality perimeters. Ghost has more sexual elements than The Others. The Exorcist has more graphic violence than Amityville Horror. When properly used, comparables can be an effective asset. Within a few words, an expectation will be set that will attract the interest of some investors and distributors, while others will give it a pass. However, using inaccurate comparables will do more harm than good. Each movie that is referenced creates a presumption that if not met will reflect poorly on the project that is being promoted.

The biggest fallacy in the film industry and in the business world as a whole is that if you write up a business plan, all you have to do is present it to investors and they will write you a check. Even if you have the greatest of all business plans in all of history, that’s not going to happen. Business plans tell investors what you are going to do. The meeting and subsequent paperwork tell them how you are going to do it. The reality is that the business plan only gains the investors’ interest; it is the presenter, in this case, producer, who gives them the confidence to cut checks. Whether the producers write the plan themselves or hire someone to do it, the greatest selling point is how well they know the material and how they present it.




In partnership with Kaleidoscope Film and Television, Cosmos Production announces the development of the Gothic Horror feature film, Chalice Island. Written by Writer-Producer Theresa Chaze, the project was originally conceived after a conversation with actor David Selby. A fan of both Dark Shadows and Selby, Chaze took his off-handed comment to heart and used plot threads left behind by Dan Curtis to weave a new feature. Combining new talent with the original actors, she continued the Collins’ family legacy, However, when Chaze had been unable to attain rights to Dark Shadows, she edited out those elements to create an entirely new project.
Even after being off the air for nearly 50 years, Dark Shadows continues to have a strong and loyal fan base. It has launched several networks, including the SyFy Channel. The conventions continue to draw fans from around the world, More of a parody than a continuation of the Dark Shadows brand, the 2012 feature angered and frustrated the fans, which is why it failed at the box office. Yet the brand remains strong and viable in spite of the “movie that shall not be named.” Chalice Island cannot replace Dark Shadows. It wouldn’t even try. What it will do both as a feature film and the pilot for a new series is stay true to the original Dark Shadows, buy continuing the tradition of Gothic Horror, Romance, and cliffhangers.
With characters ranging in age from 10 to 60+ with the primary age range between 20 and 50, Chalice Island will cross age demographics. It will attract the prised 18-49 year old demographic while enticing the fan bases of the original actors who will be cast in fully developed and substantial roles.   The new characters include the 20-somethings Julia, Jonathan, Davy, Constance, and Katheryn’s children, The list of 30-50-year-old characters include Susanna, Joe, Joshua, and Cheryl, Ethnic inclusiveness will be woven into the fabric with a strong Native American presence and the ethnic diversity of Katheryn’s grandchildren.
Jacqueline’s capacity to love is only exceeded by her need for vengeance after she finds her mother raped and murdered. When a source of evil offers both her and her brother, Jackson, the means to gain revenge, they enthusiastically embrace the dark arts. After 150 years of blood sacrifices, she meets Morgan. His love heals her old wounds. Hiding the chalice, she breaks the cycle of blood. Although Jackson could have stopped, them, he chooses to allow Jacqueline and Morgan to escape. His act of compassion costs him dearly. Decades later, Frank finds Jacqueline and Morgan on a small Reservation. Over the decades, she has earned grace. As long as she refrains from using her powers, she will remain untouchable. Yet, Frank knows her true weakness. His first attempt on her children only served to make Jacqueline more obsessive and controlling over their safety. Her smothering made her son, Jonathan, angry and vulnerable. As the clock winds down, Frank sends the vampire that he created to bring him to Chalice Island. Jacqueline and Morgan return to find their past has not been forgotten or forgiven. Frank demands that she return the chalice. If she returns it, he will release the ancient evil. If she refuses, her son will become a vampire that she will either have to kill or force him to live in eternal confinement. If she uses her power to save her son, she forfeits her grace, erasing her life with Morgan, their children, and all the good she had done. Jackson remains the wild card. Only Bailey knows he has returned. Which side will he take or does he have an agenda all his own.
Chalice Island, the series will continue the drama, suspense, and romance. The plot twists will create as many questions as it does answers. Will the vampire, Davy retain control over Jonathan or will the mysterious Constance steal him from her? Jonathan finds himself torn between the two women, yet he finds himself attracted to forbidden love. They thought they prevented Jon from becoming a vampire by performing the ritual and cremating his body. Yet Jackson’s interference kept his soul from finding peace. As he reaches out to his wife, Katheryn, she becomes determined to bring him back by whatever means necessary. Will she reach out to the ancient evil? Or like Jackson, will she find another way? Did the ghosts of his victims take their revenge on Frank or did he find sanctuary? All these questions and more will be answered in the first season of Chalice Island.



We have all have either been or been in a car with an annoying kid in the backseat, who chanted “are we there yet?” for the entire trip. By the end of the trip, the rest of the people in the car are looking for large pieces of duct tape. The constant nagging and focusing on the destination took the fun out of the trip for everyone.

But how many of us, when it comes to our goals and dreams, are the same bratty kid?  We are so intent on the achieving it that we put on blinders.  We may be more focused and disciplined, yet in the process, we limit our options.  In the military, they call it target blindness. Pilots become so fixated on the target that they can’t see the obstacles and fly right into them.  However, it’s not just the fun of the journey, but other opportunities and solutions that we can no longer see.  By taking a broader and wider perspective we open our mind to more constructive alternatives that could actually be more beneficial in achieving our goals.

I have been returning to the film and television industries as a writer and producer.  I have been away for a long time, so I’ve had to make new contacts.  As the Executive Producer finding the resources as well as the cast and crew are major parts of the job, especially when it comes to funding.  Along this journey back, I’ve met some amazing people.  I was also able to update my skills.  Yet at the end of the day, the funding or lack thereof would determine if the day was successful.  Even though I had made some amazing contacts, including with those in the industry that I greatly admire and who are well respected, how I graded the day depended on that one criterion.  I was the annoying the kid in the back seat.

So how did I change it? Simple. I took a step back and looked at the whole picture. When I did I started to see my own pattern of behavior, but I also started to see how the individual pieces were fitting together to create a mosaic of talents and resources. In doing so, it took the pressure of me to do it all myself, which reduced my stress and gave me a fresh perspective. I was able to see the open doors that I previously overlooked.  Amazing things have been happening since. I’m enjoying this leg of the journey.  We aren’t quite there yet, but soon we will be and then the next leg of amazing adventure will begin.

Originally, Horses and Heroes was to be an episode in our series about horses, Spirit of a Nation. However, when I started doing the research, I quickly learned that there were many diverse veterans’ stories to be told and a greater need for them to be shared than what one episode could contain. I decided to set Spirit of the Nation aside and develop it at a later date.

Horses and Heroes is a Reality TV series, which combines the highly effective Peer Support Therapy with Equine Therapy. Unlike most in the genre, it will focus on healing and positive growth rather than endorsing bad behavior. Each season will bring together veterans from WWII to the current conflicts. They will be sharing their challenges and supporting each other as they find new solutions to their physical and emotional challenges. They know the talk because they have walked the walk. They see the dodges and will be able to call each other on them. Sparks may fly. Tempers may flare, especially when they force each other to face their ghosts. But there will also be laughter and fun as they rebuild the comradery, which kept them safe and strong. The snarkiness and practical jokes between the branches don’t simply end. There is always room for just one more. When it airs, it will reach into the homes of the veterans, who need to hear that they are not alone, and give them information as well as permission they need to also heal. They will help each other find their way back to the world. Veterans can’t go back and make a brand new start, but they can start from now and make a brand new end.

<p><a href=”″>Robert Bittinger: Couldn&rsquo;t Imagine-The Theme to Horses and Heroes.</a> from <a href=”″>Theresa Chaze</a> on <a href=””>Vimeo</a&gt;.</p>

Additionally, veterans will be hired for jobs both in front of and behind the cameras. There are already many veterans in the industry. They will be given priority for the jobs. But we will also be doing the necessary training that veterans will need for new careers.

To learn more by visiting the website by clicking here.


 For most of my life, people have been telling me not to try or to give up. They said my goals were impossible–that I couldn’t possibly make any of it happen. But, what they were really saying was that it was impossible for them. Since they couldn’t, I shouldn’t even try. It was too bad and so sad that they empowered their fears and self-doubts instead of finding their own inner courage ignore the negative message. If you believe you can’t, then you can’t; yet if you are certain you can, you can find or make a way to reach your goals. I changed the punctuation, which modified the message to “I’m possible.” What they didn’t understand is that every time they said I couldn’t, not only did I proved them wrong, but I did it so well that they looked foolish for doubting me.

I am a creative with a good business sense. As a storyteller, I tell tales about those who find the courage or are forced by circumstances beyond their control to face their deepest, darkest fears. As a producer, I use innovation, moxie, and the highest production standards to produce film and television projects. I base my projects on age, gender, and ethnic diversity both in front of and behind the cameras.

No matter what the venue, you first must start with an original concept and a well-crafted script. Adding the current visual/special effects or new talent doesn’t make a project new, which makes nearly all remakes and sequels reruns.

<p><a href=”″>Never Can Say Good-bye video one sheet</a> from <a href=”″>Theresa Chaze</a> on <a href=””>Vimeo</a&gt;.</p>

The current trend of focusing on A-list talent and high price tent poles projects only serves to reduce the number of projects produced every year, which increases the financial risk to the investors and the production company. Just because it worked before doesn’t mean it will be successful again. Original projects initially carry more risk, but the truly innovative ones become the trendsetters and sent new bars for profitability. Casting talent in an inappropriate role, no matter what their marketing rating, will only serve to increase the budget and will hurt the project at the box office. However, casting a talented unknown in the right role will garner the audiences and create a future A-list talent. 

Money can’t fix a bad project. By substituting money for innovation is throwing good after bad and is the main ingredient in producing a disaster. Business 101 states that profitability comes when you give the public what they want at a cost-effective price. Business 102 states that if you treat your people well, they will treat you well, which means paying them a living wage and giving them respect. These are two elements many in the business community have forgotten, which is why the economy is still challenged.

Although I have not served, I use my talents to actively support military personnel and veterans. Recently, I was asked why. The answer is simple. I don’t have the temperament to serve. Nearly all of my time would have been spent in the stockade. Besides, I am only capable of shooting off my mouth. But at that, I’m a markswoman because I know how to use words as weapons. 

<p><a href=”″>Horses and Heroes: An Unscripted Veteran TV Series</a> from <a href=”″>Theresa Chaze</a> on <a href=””>Vimeo</a&gt;.</p>

Most of those who serve signed their name and dedicated their lives to serving and protecting their country and the world. However, killing others is an unfortunate necessity for both sides of conflicts. This is a major disconnect that causes most of the emotional issues for those served. In order to defend, they have to kill. But killing is contradictory to their need to protect. I met a gentleman, who served during WWII, who put it the best. Looking back on his life, he felt guilty over the good men he killed just because they belonged to the other side and for his buddies, he was unable to save. Now decades later, those memories tore him up inside, because he couldn’t stop thinking about them
Those who serve the nation are people, not disposable parts of the war machine and they are especially not political footballs that are to be used, abused, and then losed at the whims of politicians.
My job is to make sure civilians and especially politicians never forget that.

I am proud of my work. It will make you laugh, cry, and scare your socks off. But it will also inspire you to see the world in new ways. Join my team and become the difference you want to see in the world.


As the creator and Executive Producer of Horses and Heroes, I need to clarify the purpose and parameters of Horses and Heroes. It has never has been a non-profit company.

Horses and Heroes combine equine therapy with peer support therapy to create an unscripted TV series that will empower veterans to reclaim their lives. Each season, eight veterans will come together with the hosts, Craig Sawyer and Tim Abell along with the Therapists on the hosting ranch and the team therapist, Dave Ferruolo. They will work together to identify and address their core issues. Unlike most in the genre, Horses and Heroes is all about healing and forward movement. Yesterday, I was accused to trying to make a profit off others’ pain. The owner of a ranch said, “It is immoral to capitalize on the recovery of our wounded veterans.” I debated with myself about how to or if I should address this accusation. Staying silent and letting it slid would only add credence to her charges.


Horses and Heroes is a production company that’s sole purpose is to produce the unscripted TV series, Horses and Heroes. It is a for-profit company that is looking for equity investors and a corporate cross-branding partner. Although we wouldn’t turn down donates, we are not actively seeing them out. Investors, expect and deserve to make a profit on their investment. That is why they invest. The corporate partnership with television programming has been around since the beginning of television. Texaco Star Theater and Mutual of Omaha’s the Wild Kingdom are only two examples. We are offering an updated and active version of what was done before.

As for the morality of making a profit off the pain and recovery of others, the same could be said of everyone in medicine from the janitor to the CEOs, lawyers, drug manufacturers, including those who do the research, those in the funeral industry–all of them and more make a profit of the physical and emotional challenges of others. If they didn’t, they wouldn’t be able to donate to the non-profits such as this ranch.

We will be hiring veterans for both in front of and behind the cameras. We will be paying a fair wage plus covering the travel, housing, and food expenses during the production, including for the eight veterans going through the therapy on air. The ranch will be paid a sizeable location fee as well as receiving a great deal of promotion. After the show. we will be arranging aftercare for the veterans who went through the therapy. Everyone wins, especially those veterans, who watch the show and seek help afterward.