Tag Archive: Sony Productions


A chance encounter opens a karmic door that awakens memories of a previous lifetime when a breaking with a clan tradition led to power struggles and murder. This time as in the last Alyssa finds herself the target of a violent obsession by a man, who again sees her as a bane to his existence. Using his badge as the shield and a weapon, he sets out to once again kill her. Will a love from the past be able to save her this time or will the violent obsession once again kill her and all she loves? Nict for Ure Selfe (Not for Ourselves) is a suspenseful tale of betrayal and murder brought about by changing times and greedy men.
 
 
<p><a href=”https://vimeo.com/157811587″>Nict for Ure Selfe (Not for Ourselves): a magical fantasy novel</a> from <a href=”https://vimeo.com/user2064974″>Theresa Chaze</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>
 
Available along with my other books on my website and as an Amazon Kindle.
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Never Can Say Good-bye is a Paranormal Thriller, which is comparable to Ghost, The Others, and the original Dark Shadows TV series.

<p><a href=”https://vimeo.com/180121886″>Child's ghost begs to be free</a> from <a href=”https://vimeo.com/user2064974″>Theresa Chaze</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>


https://vimeo.com/180121886

Elizabeth was asked by her mentor to teach a writing course at a small college. Since she never forgets a kindness, she reluctantly agrees. Arriving in town, she instantly regrets her decision. She wants to run, but she is honor bound to stay. Even as the ghost of a small child begs her to forgive, the memories of another time arouse feelings of hatred that she doesn’t understand and cannot control. When she meets Shane, all of their lives are thrown onto a dangerous collision course from which they can neither run, nor can they hide. The question is, “Can they overcome their tragic past or will they be doomed to repeat it.

Love can be a blessing or the curse that destroys an entire town.

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The ghost of a murdered child bring his parents back together after they have reincarnated. He needs them to remember their lives together and forgive. If he succeeds, they will all heal and he will be freed to also reincarnate. If he fails, their need for revenge will damn them all

Elizabeth was asked by her mentor to teach a writing course at a small college. Since she never forgets a kindness, she reluctantly agrees. Arriving in town, she instantly regrets her decision. She wants to run, but she is honor bound to stay. Even as the ghost of a small child begs her to forgive, the memories of another time arouse feelings of hatred that she doesn’t understand and cannot control. When she meets Shane, all of their lives are thrown onto a dangerous collision course from which they can neither run, nor can they hide. The question is, “Can they overcome their tragic past or will they be doomed to repeat it.

Never Can Say Good-bye is paranormal thriller comparable to Ghost and The Others with the tagline, “When love is forever, death is only the beginning.”

We are looking for a co-producer and/or distributor with the people and resources we lack.

The ghost of a murdered child brings his reincarnated parents back together.  They need to forgive and remember the love they shared so that he will be freed to reincarnate? Will they remember the love or will they take revenge on his murderer?

 

Never Can Say Good-bye is a paranormal thriller, which is comparable to Ghost, The Others, and the original Dark Shadows series.

 

 

We paid for the review by Slated team. Although some of their comments were questionable, it raised .ur package score to 24.1, which makes it better than 97%   the other projects on Slated.

 

 

 

 

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Have you ever met someone and suddenly felt love or hate? Did you wonder why? What if you had forgotten the reason? Would you want to remember if it could save you life?

Elizabeth was asked by her mentor to teach a writing course at a small college. Since she never forgets a kindness, she reluctantly agrees. Arriving in town, she instantly regrets her decision. She wants to run, but she is honor bound to stay. Even as the ghost of a small child begs her to forgive, the memories of another time arouse feelings of hatred that she doesn’t understand and cannot control. When she meets Shane, all of their lives are thrown onto a dangerous collision course from which they can neither run, nor can they hide. The question is, “Can they overcome their tragic past or will they be doomed to repeat it?”

If you had a second chance, would you choose love…or revenge?

We have an Indiegogo crowd campaign with some really cool perks. Please help us produce this family friendly film.

http://www.indiegogo.com/projects/never-can-say-good-bye/x/94403

Never Can Say Good-bye is a paranormal thriller feature film with the logline love and hate survives death

http://tirgana.wix.com/never-can-say-good-bye/home

Please like our Facebook page: https://www.facebook.com/Nevercansaygoodbyeparanormalfilm/info
Courage isn’t the lack of fear, but the ability to set it aside and focus on what is truly important

never-can-say-good-bye-post

No Where Else Like It is a specialized marketing campaign, which cross brands Michigan based products or services with the paranormal thriller Never Can Say Good-bye. The campaign is designed to feature Michigan products and services within the film itself as well as featuring their parent company in the promotional and marketing campaigns from the start of pre-production through the theatrical release. The No Where Else Like It campaign will also feature the uniqueness of Michigan within videos that will be produced by the cast and crew. These videos will be distributed via the Internet, placed on the official and personal websites, and with the DVD/download load release.

Product placement in films and television is not a new concept. However, it is one that is ever changing. In the early years of television, advertisers sponsored individual shows. The program quality and the product reputation were intertwined. Throughout the decades single sponsorship no longer exists. It has been replaced by commercial breaks, which makes the advertising completely separate from the entertainment. Although initially the change has made it less costly for advertisers, it also limits the ad’s effectiveness to a single airing. If the audience missed it too bad so sad, but the networks are more than willing to sell you more air time. The simple fact is that people need to see a message at least three times before the message sticks with them enough to prompt them into action.

However, product placement has not disappeared; it has been transformed. Instead of sponsoring the entire project, sponsors pay for or do in kind exchanges to have their products or services are embedded in films and television programs as part of the action or the sets. Once embedded the product placement becomes permanent. Unlike other forms of advertising, this form of marketing has a one time fee, yet a nearly unlimited reach and exposure potential. Each time the project is viewed, the embedded products will once again be marketed without any extra cost to the sponsors.

Never Can Say Good-bye will be making full use of traditional product placement for their production needs. We will be looking to do in kind exchanges for

A large hotel: as a location and for lodging for cast and crew
Vehicles as locations and transporation
Air Travel for cast and crew
Brewery/bar as a location
Large auditoriums for meet and greets with cast and crew
Digital video equipment and ghost hunting gear as props

Sponsors’ product, service or company name would be shown in at least three scenes. They would be given non speaking roles as an extra, invited to the wrap party and the Michigan premiere. They would be thanked in the credits. But more importantly their logo with an active link will be attached to nearly all our online marketing and they would be listed as sponsors at our live events.

In addition, the No Where Else Like It campaign, which will show the uniqueness of Michigan with videos produced by the production team will be sponsored by Michigan corporations and businesses. These videos would be part of the marketing campaigns both online and with most other venues. Sponsors would act as host and guide for the cast and crew as they explore the state. Videos would include:

* Local festivals
* Sleep Bear Dunes
* The Manitou Islands
* Interlochen Arts Academy
* Avalanche Preserve
*Mackinaw Island and bridge
* Snowflake Campground
* National Shrine of the Cross in the Woods in Indian River
*looking for Petoskey stones
* Sault Locks
* Henry Ford Museum, including the revitalization of the Detroit area
* Michigan State campus
* Pictured Rocks, Tahquamenon Falls

During the production, the cast and crew will be holding meet and greets with the public in the areas where we will be filming. Sponsors would also be included in these events as well as the hosting location. The public would be able to ask questions and have their picture taken with the stars of Never Can Say Good-bye. These events will be recorded and released online through sites such as YouTube, Facebook and other social networking sties. Additionally, real time streaming events will be scheduled online, which will give the domestic and foreign audience opportunities to speak with the cast and crew.

Never Can Say Good-bye will be an opportunity to market products and services not only nationally, but also internationally through theatrical release, DVD/downloads, pay per view, and broadcast network release. Once embedded, the products or services will always be there at no additional cost.

Before you discount your ability to financially be part of our team ask yourself how much is exposure to a world of new customers worth? In addition, marketing expenses are both state and federal tax deductible as a business expense. Those who mitigate our production costs might also be able to claim a deduction under Section 181 of the federal tax code, which is a deduction equal to 100% of the investment in the production. You would need to speak with your tax professional to get the full details of how this incentive would apply to your company.

Also ask yourself when was the last time you walked out of a movie satisfied?

For more information go to http://www.theresachaze.c

It was implied to me yesterday that I am archaic. That I don’t know what the modern audience wants. I always loved films because they were a break in the fast pace, competitive world. Those two hours were a time to laugh, cry, be scared and visit other worlds. It was a time to relax and take a break from my own worries and life challenges. You fell in love with and along with the characters. You shared their adventures and their challenges. You also shared in their successes. They gave you hope that you could also win in your life.

But evidently movies aren’t like that any more. I was told that in order to get foreign sales there had to be nudity and sex . Evidently they are more important the the foreign markets instead of love and romance. Plot and character development were less important than the having the scenes strobe across the screen. I have been told that the modern audiences don’t have the attention span, patience, or the intelligence to watch movies that have actual plot and character development. It’s so much easier to produce shallow films; they sell more toys, beach towels and other crap.

I don’t believe this to be true. I believe that there is intelligent life out there, but I think that they are being ignored. I know there is a market for good old fashion plot and character based films. So let them call me archaic. I’ll wear the label proudly because I will not compromise on quality.

The main doctrine of a profitable business is to produce a quality product that consumers want at a cost effective price. Yet for many production studios, film distributors and investors there is a major disconnect with this concept. Not only have they failed to produce a product that consumers want, they are also not producing their product in a cost effective manor. Whereas technological advances in production and distribution equipment have lowered costs, while increasing quality, film budgets continue to skyrocket.
 
When choosing films to support studios, distributors and investors ask “whose in it?”, while the audience asks “what is the film about?”. The former believe A list talent insures the success of a project; therefore films without a hot actor on board have difficulty finding financing and distribution. Yet the box office has repeatedly proven this standard to be false. Which celebrity is hot and who is not quickly changes. They quickly become famous for one project, yet they just as quickly disappear. Talented actors—the ones who have learned their craft–maintain a standard of excellence that begins with smaller roles and develops into the body of work, which leads to more challenging roles.
 
True A listers do not magically appear through PR tricks or highly publicized bad behavior. They are created when the right actor is cast in the perfect role for her or him. It is the unique combination of the right person, the right role at the right time that launches an actor into stardom. The best example is Indiana Jones. Tom Selleck was the first choice for the role. He was the hottest male star at the time, but he was unavailable. Harrison Ford was cast. Most people would be hard pressed to imagine anyone else as Indiana Jones. Although Stars Wars launched Ford to stardom, it was Raiders of the Lost Ark, which made him box office gold. However, even with his strong fan base and his profitability track record, not even Ford could pull in an audience for Cowboys & Aliens. The storyline wasn’t strong enough for the audience to suspend their disbelief enough to buy tickets.
 
Although many of the “A list” actors started in television, many distributors discount their profitability in the theatres. They refuse to see how far reaching and potentially profitable television actors can be. Popular television shows create a fan base not only for show, but also for the individual actors. Ratings translate not only into advertising dollars, but ticket sales as well. Television talent, which has yet to make the leap to film, is more cost effective. They have strong fan bases, yet their salary and perk requirements are usually not has high as their film equivalent. They are also used to working on tight production schedules, which also lowers costs. In addition, every episode of their show is free advertising for whatever film they appear.
 
Studios and distributors are responsible for the endless remakes and sequels. From their perspective, if it was successful once, it’ll work again and again and again. Audiences are tired of reruns. They are looking for something new and the box office proves it. The success of Spider-man movies as well as few other films on the surface supports their theory. However, how much of the box office is not so much the audience being excited about particular film, but rather wanting to see a movie and choosing to see the lesser offensive film. The successful reruns are far out numbered by the mediocre remakes.Dark Shadows and Total Recall are just two in the latest remakes that haven’t lived up to expectations. Ticket prices also contribute to the seemingly high box office numbers. By dividing the price of tickets sold into the grosses, the numbers prove that attendance is down.
 
Audiences are more loyal to genres than to cast, crew or production teams. Although there are hundreds of sci-fi, romance, horror, anime, etc conventions, there has yet to be one convention for an individual actor. Genre is a more reliable source of profitability. TheDevil Inside is a perfect example. It is micro budget horror film with a 1 million budget. It was distributed Paramount Insurge. Opening weekend, it grossed 33 million dollars. By all accounts, it is a bad movie, yet it went on to gross over 101 million USD worldwide, because of the genre and it was new film. Many people have a favorite genre, which they will go see no matter who is starring in it or what others say about the film. These people are the target audience, whose word of mouth endorsements will bring in the general audiences faster than any marketing campaign.
 
Secondly the high production costs have limited the number of films the studios are producing each year and thereby reducing the number of films distributors have available to them. In the past, each studio produced hundreds of films a year, which spreads the financial risk factor among them thereby protecting the studio’s bottonline. They were always looking for new projects and new talent in which to invest. However with the enormous budgets most new films, studios, producers and distributors have placed all their financial eggs in one or two baskets. The big budgeted films have to do extremely well otherwise the studio suffers a great financial loss. The break even point for a 100 million dollar film is much higher than for a 20 million dollar film. For that same 100 million, five films could be produced, giving the studio a five times higher chance of making a profit.
 
Big budgets are caused by A list casts, special effects, big egos and lack of pre-planning.
  • A list actors, directors, and producers simply cost more. A list actors cost millions of dollars, a percentage of the grosses and special “requests”, which could include anything from special food to having their entire family brought with them. The greater expense is justified by their increased profitability.The Tourist is a prime example of how this is not always true. It had two A list actors and barely made budget.
  • Technological advances have created more opportunities for special effects. But by focusing on the new effects, character and plot development have suffered. John Carter is the best example of what focusing on special effects at the expense plot and character really costs.
  • Big egos, poor planning and lack of flexibility combined together are the biggest waste of funds. For decades films were able to boasted about their ability to be innovative. They were the “MacGyvers” of the business world. They were experts at finding creative solutions to production challenges; that has changed. They would rather spend money like a drunken sailor on payday than think outside the box. Disney is remaking The Lone Ranger. Instead of leasing or bartering use of one of the existing western frontier towns, they are building a town. Why? Because someone on the team was unwilling be flexible with their vision of what the town should look like. There was another film that spend thousands of dollars in post production to change the color of a character’s shirt. It would have been more cost effective just to make sure character had the right color shirt in the first place.
 
Technology had brought down both production and distribution costs. Digital video has eliminated the film stock and processing costs. Bulky production and editing equipment has been replaced with smaller high tech pieces that are easier to transport and are more cost effective. Theatrical distribution has replaced expensive 35 MM film prints with hard drives and electronic downloads, which has eliminated the most costly aspects and allowed simultaneous worldwide release, while eliminating most pre-release pirating.
 
Even with the massive budgets, film continues to be one of the United State’s most profitable exports. It is one of the few industries that can’t be outsourced. Films that do not make budget domestically find an eager audience abroad. However, theatrical release is only one source of income. DVD or electronic download followed by pay per view and network release increase the films revenue without adding to the production costs. The growing number of Internet and satellite entrainment networks has created an increasing demand for new television programming and films. These venues have a high demand for content and have the ability to pay for it.
The film industry is a business like no other; yet like every other business its success depends on their ability to provide a quality product that meets its customers’ needs. There a no simple formula for a successful film. What people will like cannot be summed up on a balance sheet. Just because a film worked once, it doesn’t guarantee that it will work again. Nor can relying too heavily on one element, whether it be star power, special effect or remaking a popular film, insure a film’s profitability. However, if you give the people what they want they will come.
 
 
Have you ever met someone for the first time and instantly liked or hated them? What if the meeting again was not by coincidence, but an opportunity to make different choices? Would you do things differently or would you make the same mistakes?
 
Elizabeth was asked by her mentor to teach a writing course at a small college. Since she never forgets a kindness, she reluctantly agrees. Arriving in town, she instantly regrets her decision. She wants to run, but she is honor bound to stay. Even as the ghost of a small child begs her to forgive, the memories of another time arouse feelings she doesn’t understand and is unable to control. When she meets Shane, Elizabeth is overwhelmed with hatred. The feeling is mutual as Shane redirects her jealousy and rage. By the time Elizabeth realizes what is happening, it is too late to run. Can she and the others learn how to forgive and remember the love before the jealousy, hatred and need for revenge once again take over their lives?
 
 
Never Can Say Good-bye is a traditional ghost story with a reincarnation twist. It picks up where the films Somewhere in Time, Always, and Ghost left off. Its logline is: Love and hate survive death.
 
To learn more about Never Can Say Good-bye and Theresa Chaze’s other projects go to http://www.theresachaze.comwww.theresachaze.comImageImageImageImageImageImageImageImageImageImage

I would like some feedback. I just added the audio pitch for Never Can Say Good-bye on my website at
http://www.theresachaze.com/TheresaChaze.html

Could you please take a few moments to listen and share the link. Thanks

Many of the most important times and events in a person’s life were brought about by coincidences– chance meetings or sudden inspirations, which awakens us to new dreams or fresh perspectives. But how many of these incidences were actually brought about not by divine intervention, but by the decisions we made throughout our lives? Just think about thousands of choices we make every day. They lead us to one destiny or another. Yet how many decisions are based not on free choice, but on contracts made between souls to fulfill karmic debts?

Using researching his new book as an excuse, Michael chooses to visit his friend Lynne in Coyote Springs. In his conscious mind, he wants to rekindle their romantic relationship; instead he fixates on the Randolph Bellow and his family.

Through researching the dead lumber baron, he meets his granddaughter Shane Bellows. Nearly half his age, Shane arouses passion within him. He calls it love. Lynne knows better. He doesn’t love Shane any more than he had loved her. Lynne knows that there has been one woman who has always had his heart. Just because he has yet to meet her, it doesn’t mean she doesn’t exist. Against her and others’ advice, Michael and Shane marry.

The town is shocked when the owner of the Bellows Mansion offers to allow the newly weds to move into the old house. Michael is ecstatic. Growing up, Shane heard how the ghost of her grandfather’s first wife, Sara Jane, had tormented his second family until they were forced to flee for their own safety. It was sold to Amanda Bellows just to be rid of the ghost’s curse. Although Shane fears the house, she loves Michael more and reluctantly agrees to live there.

After moving in, Michael’s obsession deepens. It’s all he can think and dream about. He knows there is more to it than can be seen. He searches the old records and finds what he is looking for. Taking the panel off the wall does more than reveal the hidden room. Turning the knob, he opens the door to the past. Crossing the threshold starts him down the path, which could once again lead to obsessive love, betrayal, and murder as he reconnects with the past.

In spite of her reservations, Elizabeth agrees to teach a writing course at a small college. Her instinct tells her to run in the opposite direction, but she never forgets a kindness and the man who asked was the one who made her career possible. Arriving in town, she instantly regrets her decision. But as much as she wants to run, the town draws her in, awakening old memories of passion, anger and fear. By the time she realizes what is happening, it is too late to run. The doors of her past have been opened and the memories overwhelm her.

Love, guilt and betrayal intertwine in a kaleidoscope of memories as the past and present abruptly collide. Can they remember the love and learn from the past before they once again turn down the path of murder and revenge?

http://www.wix.com/tirgana/never-can-say-good-bye