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MOTION PICTURE PROPOSAL FOR:
Submitted by Kevin M. Kraft © 2009 by T E K Productions, LLC
TABLE OF CONTENTS PROJECT DESCRIPTION PERSONNEL LETTERS OF REFERENCE PROOF OF COPYRIGHT Introduction I am pleased to have my motion picture proposal for MOMO: The Legend of Stinky Mitch . As the writer, producer, director and co-star, this project is not only the first feature-length motion picture to come out of my production company, T E K Productions, but is the culmination of a particular motion picture goal nearly a lifetime in achieving. It is my hope and sincere belief that MOMO will become an exceptional independent effort that will open the eking door wider for fellow indies and encourage others to do the same. In so doing, we can actually change the movie industry for the better, by infusing it with new blood, so to speak, and perhaps turn the industry back to more of an artist-oriented business, rather than a purely business-oriented one, and elevate the quality and artistic range of productions in general. Why MOMO? My wife and I founded T E K Productions because, frankly, we hated (for the most part) the movies coming out of Hollywood and found too many of the independent features we saw to be intolerable in some way, shape or form. We wanted to make movies we wanted to see and movies we could take our kids to see. We knew our standards were so rigid only we could reliably make movies we would want to see ourselves. We also knew that moviegoers we spoke to were largely dissatisfied with movies—often for the same reasons we ourselves were, but that, well, that’s all that’s out there. I came to the conclusion that moviegoers were much like babies and food. A baby will eat baby food—until that baby tastes something better! Our endeavor to make truly excellent and broad-based motion pictures extends naturally to MOMO, as well as my desire since I was a child “to make a really good and scary Bigfoot movie!” There have been many attempts and few real successes. I remember a film called Sasquatch: The Legend of Bigfoot I saw at a movie house in the 1970s, and it scared me. I’m not sure why. I would likely find it cheesy if I saw it today. Still, it stayed with me. And while there have been a number of attempts at bringing the legendary Bigfoot to the screen, few were successful at being truly effective. It occurred to me that the writers, producers and directors, for the most part, approached their projects as horror films, and the star was the monster, with attention to plot and the human lead characters being jettisoned in favor of monster thrills. MOMO, on the other hand, as discussed in the next section, will be approached as an adventure with the human characters being the focus, and the monster merely providing the plot complication to develop the journey of the human characters. As the movie’s creator, it is my hope to recreate or surpass the success of Open Waters (2004) and The Blair Witch Project (1999) before that. With an excellent script, outstanding new actors and “Missouri’s Bigfoot”, Momo (short for Missouri Monster), It is my belief and those of T E K’s associates that MOMO could be that exceptional nugget that rises above the procession of independent thrillers continually being produced. What will MOMO look like? I am approaching MOMO as an adventure and a human drama, rather than a thriller or a horror offering. The logline could just as easily have read: “A Sasquatch-like creature terrorizes a father and son during a weekend fishing jaunt at the cabin in the woods.” However, I purposely stated it early on: “A father and son, during a fishing jaunt at their cabin in the woods, find themselves terrorized by a Sasquatch-like creature.” This is because at the center of the story is the relationship between a father and son, not the monster. The monster could just as easily have been a cougar or a man-killing bear or a pack of ravenous wolves. I just chose Momo because, well, that’s original and much more interesting. Utilizing the best in digital technology, I want to shoot a movie that is vivid in color and dramatic in its dynamic, unlike a horror film, which is often shot in a very myopic and moody manner. Remember, MOMO is not a horror film, so it won’t be shot that way! I really want to create almost a false expectation, where the audience is lulled into this touching relationship between this father and son spending the weekend at the cabin, seeking to understand one another in light of the grandfather beforehand…and then, as things often happen in real life, BAM! before we know it, they find themselves encountering this incredible and often terrifying night. MOMO: the STINKYTREATMENT! Sometime after the death of his beloved father, Mark Taylor takes his son Evan to spend a weekend together in the cabin in the wilds just outside Evan wears around his neck a certain bronze medallion, given to him my his grandfather. It is clear from the beginning that Mark not only recognizes it, but also places some emotional value on it, and not necessarily good ones. After the long walk to the cabin, with just the bear essentials to sustain them, they notice straightaway that there is damage inside. Possibly, Mark says, a bear came to visit, which frightens Evan. Mark reassures his son that bears are more afraid of them, and would not revisit, so long as they were there. The damage is extensive, making their first chore to clean up. While Evan is unimpressed with the rustic provisions, he is at least grateful they have a roof over their heads. The two go fishing in a nearby creek and enjoy a good talk then. Mark tells Evan stories about his childhood experiences in this place and his memories of his own father. Among the stories he shares in one about a Sasquatch-like creature called Momo, which is said to haunt these parts. A hairy, manlike beast, Momo is said to also exude a horrible odor like rotting garbage or spoiled eggs. “Wait a minute…” Mark says. “You smell that?” Evan sniffs, alarmed. Could it be….? “Must be the egg salad sandwich I had yesterday,” Mark cackles. The joke isn’t lost on Evan, and the two share a hearty laugh. Father and son obviously have a close relationship, with Mark trying to instill confidence in Evan, but not exactly sure how. Creative Evan even gives the creature a nickname; since they are in Later, they return to the cabin to find their gear ransacked and tossed about again. Another bear? This time, the radio transmitter itself is damaged, warranting a cancellation of the weekend excursion. But Mark dismisses this as unnecessary. There’s a police band radio in their car, should any emergency arise. After cleaning up again, Mark cleans the prepares the fish for dinner, while Evan explores the woods a short distance from the cabin. It is at this time that he discovers a set of strange two-legged tracks leading from the property. That evening, during a fireside fish dinner, Evan tries to tell Mark about the tracks he had discovered, but Mark is convinced his son had found anything compelling. Also discussed is the true nature of their relationship, as well as the significance of the bronze medal and Mark’s emotional attachment to it. He also learns that contrary to his longtime belief that his father was disappointed in him, he was actually extremely proud of him and just failed to express it except to his grandson, Evan. Mark also comes to the realization that he was treating his own son similarly and repents, bringing new hope to their loving but stressful relationship, a new solidarity emerging between them. Then… two are alarmed by the sound of wood-on-wood knocking. Woodpecker? No, bigger, more like sticks of branches being struck together. Mark suggests there are people nearby fooling around with them, vandalizing their possessions and trying to scare them. An investigation is hastily planned to confront what must be trespasser, perhaps the ones responsible for ransacking the cabin. Despite the early evening and the rapidly encroaching night, an angry Mark and Evan, armed with their bows, set a screw board, a common device used to discourage bears, at their front door to painfully discourage any trespassers. They then hike east along the creek. If there are poachers or trespassers to be found, some sign should be seen. Mark’s opinion is that the violators should be close. They soon discover the trail of something or someone and in short order feel there are being watched. Movement in the forest and strange sounds just out of sight heighten their hunt, and then they see a shadowy apparition in a low-branch tree. Evan, his bow drawn taut in anticipation of a hostile arrival accidentally looses his arrow, and it strikes the apparition. A startling, feral scream precludes the fall of the apparition onto the forest floor. Evan is unnerved. Mark tells him to stay put while he checks out the victim. Evan waits for his father, nervously, lamenting his foolishness, worried he has harmed someone. Another feral roar, much more powerful, brings Mark back, and without explanation he hurries his son back to the cabin. They are apparently chased by two, maybe three creatures, which pace them, just out of view for clear identification. At the front door, they find their screw board. Something has stepped onto it and has left some of its blood and tissue behind. Back inside the cabin, Mark explains what Evan had shot: a hairy humanoid, but smaller than what a creature like Momo is alleged to be. Perhaps, he suggests, Evan had killed a juvenile. It is a distinct possibility that their pursuers in the woods were adult Momo. Mark decides they need to leave for the car and get out of Dodge. They take only their bows and cautiously start out of the cabin. They get a few feet from the cabin when a broken-off log slams into Mark, sending him to the ground. Savage screams from the assailant explode from the forest and rocks, boulders and branches pelt the After barricading themselves within and driving off the Momo’s first attack, Mark tells Evan to stand guard, while Mark attempts to fix the radio transmitter. After an hour, his attempts fail. The Momo resumes its assault, and the generator is running out of fuel, soon to cast the entire cabin into darkness. Evan displays impressive medical skills by stitching up a laceration to Mark’s side. Stinky Mitch’s next attack splinters the door and threatens to overwhelm the barricade. Evan makes the mistake of backing up against the window, and he is quickly snatched right out of the window by the monster, who proceeds to carry him away. Mark, injured, moves the barricade from the front door and, displaying exceptional archery skills, succeeds in freeing Evan from Stinky Mitch’s clutches. Evan returns to his father, while Mitch lumbers off into the woods, maimed and seemingly defeated. With their stronghold compromised and Stinky Mitch taken care of, Mark and Evan make for the road and the car. Halfway there, Mark can’t make it; his lungs are filling with blood, making it harder to breathe, and he is succumbing to the shock of his injuries. Evan therefore go on ahead. After fumbling with the door he gets inside. But now what? Evan uses the car radio transmitter to put out a distress call, when two of the creatures come for him and try to break into the car. Evan, thinking fast, uses the cigarette lighter as a weapon to deter one beast, which tires to grab him through the driver’s side window. The second beast appears in front of the car, roaring a challenge. Evan shoves the key into the ignition, starts the car and guns it forward, colliding with the beast. Momo goes down, and the impact drives Evan’ head into the steering wheel. As the car drifts into the roadside, Evan drifts into unconsciousness. Evan awakens with the rising sun in the back seat of the car. His head sports a swelled cut, attesting to his run-in with the Momo. The It’s time to head home. Accompanied by the Sheriff and the Deputy, the Marketing MOMO: MOMO: The Legend of Stinky Mitch is intended to be a PG-rated movie targeted at a broad demographic, except maybe very young members of a typical family, due to the level of suspense, danger and fright this movie inherently depicts. MOMO isn’t Harry and the Hendersons! At the same time, there will be none of the gore, death and foul language usually associated with thrillers, making it more accessible. It’s scary, not horrific. The attitude and flavor of the marketing will focus on the adventure and the relationship between the father and son in the movie, and the novelty of Momo will be an obvious attraction to those drawn to the paranormal mystique of hairy bipeds. MOMO will be different in many appreciable ways than other films that have come before it, prompting an enthusiastic critical response. As well as the subject matter, approach and uniqueness, since MOMO is being produced by a Christian production company, the Christian audience members will appreciate the effort as coming from some who share their sensibilities, while the prominence of African-American actors in the picture will hopefully entice those interested in seeing blacks depicted in an untypical manner. I plan to enter MOMO in a number of film festivals including The Kansas City Film Fest, Tribeca Film Festival, Telluride Film Festival . Funding MOMO. As well as approaching PanicButton, I will approach private investors for possible funding. it is hoped that my efforts through PanicButton will yield expedient and adequate results first and foremost, but other avenues are also being explored. As this particular time, no funds are in place for the $30K budget. As a matter of business, I have always tried to barter some services when possible. Such opportunities are varied. MOMO: The Legend of Stinky Mitch is currently in-development, with a script completed, actors and location secured.
Shooting MOMO. I plan to use the Red One package on a 1-week shoot with a small production crew at a relatively fast pace, as is my personal directing style.
PERSONNEL KEVIN M. KRAFT SCREENWRITER, PRODUCER, DIRECTOR Kevin M. Kraft has been an avid writer from early childhood, growing up in upstate FILMOGRAPHY/SCREENPLAYS MOMO: The Legend of Stinky Mitch writer, producer, director, co-star THE VAGRANT-short film (in post-production) writer, producer, director, co-star producer RETURNING GLORY: DANCING WITH HORSES director, co-producer PROFILE OF JENNIFER DAVIS, ACTRESS (digital video demo for Hallmark Channel’s New Morning Show) director, producer THE DISPUTE OF DRAGONS-video short (post production) writer, director, producer THE LAST BREATH featured extra director, Ty Jones THE APOLOGY DANCE assistant director (directed by Jason P. Hunt) BURN assistant director (directed by Jason P. Hunt) FALLING STAR (in development) writer, producer, director, co-star PROVING GROUND (in development) writer, producer, director THE CELLIST (in development) writer, director TOPWORLD (in development) writer, director, producer JOHNNY ADVENTURE ACTION FIGURE actor, writer, producer THE W-3 CREW writer “YA GOTTA BE CAREFUL IN THIS NEIGHBORHOOD!” writer TOPWORLD: DESCENT writer RIVERHORSE writer BOTTLENECKER writer
Kraft framing a shot for Jason P. Hunt in AWARDS AND RECOGNITION 1995 Kansas City Network of Christian Writers FICTION AWARD for the compelling short story THE LAST SAMARITAN Hollywood Scriptwriting Institute’s Tanglewood Films’s First Fifteen Minutes Screenplay Award for TOPWORLD…November, 2004 Burris-Hulett Screenplay Discovery Award for TOPWORLD, BEST OVERALL…November, 2004 72nd Annual Writer’s Digest Writing Competition, HONORABLE MENTION for SQWARK!...2003 72nd Annual Writer’s Digest Writing Competition, HONORABLE MENTION for THE W-3 CREW...2003 Anything But PERTINENT EDUCATION SPECIAL SKILLS Screenwriting, moviemaking, problem solving
JOSEPH POLLACK CINEMATOGRAPHER
Above L TO R: Joseph Pollack, Jessica Moulder and Kevin M. Kraft editing Returning Glory: Dances With Horses JOSEPH worked as cinematographer with director Kraft on the short promotional documentary Returning Glory: Dancing With Horses, beginning a respect and friendship that endures even now. His filmmaking instincts shone brightly and had everything to do with the results. He has produced a number of short digital films, some of which received notable attention on YouTube. He is a busy man, shooting weddings and videos for prestigious organizations such as the American Royal. But Joe’s real goals rest in making narrative motion pictures. His work on MOMO is a bold step in that direction. Education: High School Education Home Schooled 1995-2007 Work History: Firework Stands for 8 years 1997-2005 Pertinent Experience: CEO of Joe’s Club Productions RETURNING GLORY: DACNING WITH HORSES, (directed by Kevin M. Kraft) cinematographer, editor 6 weddings Filmed and Edited 2005 - present Osage Film Festival 2008 2nd place Kansas City Film Festival 2008 3rd place American Royal -Youth Horse Show Dec 07, Feb 08, Sept. 08 American Royal- Video for my church So. Mo. Dist. Council of Assemblies of God April 07 and July 07 Major League Gaming- ESPN Main Camera Man April 08 New June 08 July 08 Aug 08 Oct 08 Nov 08 La Vegas Accomplishments: Eagle Scout Troop 427 References: Steve Kingsolver,14623 Gammon Rd., Jon Singleton, 701 Heron, Danny Kane,
Joseph Pollock joesclub@email TEL 816-322-4400
THE LEAD PERFORMERS: LIKE FATHER, LIKE SON!
TYLER EVAN KRAFT plays Evan, the son of Mark, who, with his father, finds gets more than he bargained for on what was supposed to be a weekend fishing getaway. Young Mr. Kraft’s thespian talents came to the attention of father and director Kevin during the shooting of the video comedy short Dispute of Dragons, on which he co-starred with sister Tamara as one of two warring siblings. He went on to play as a featured extra in the short film The Vagrant.
KEVIN M. KRAFT plays beleaguered father Mark, who struggles to protect his son and himself from a different kind of father in a lonely cabin in the To Whom It May Concern: "Shortly after wrapping a film in March, 2005, I received an email from Kevin. He wanted to learn more about my experiences of working with a particular actress whom would be featured in his film. Immediately, I was impressed by how well he does his homework as a director. As I get to know him better, I find myself impressed by this person more and more for his talent, passions and persistence. Throughout of the years, Kevin has faced many disappointments and drawbacks in the moviemaking world, but nothing has discouraged him and stopped him from pursuing his passions and polishing his crafts as a writer and director.
Benjamin Disraeli once said, “The secret of success in life is for a man to be ready for his opportunity when it comes.” Kevin is definitely ready and has been ready to show the world his capabilities. With his amazing talent, passion and persistence, I have no doubt that Kevin will be a very successful writer and director."
Elaine Liu, director of The Projectionist, Illusionwave Films www.illusionwave.com elaine@illusionwave.com
June 30, 2009 To Whom It May Concern: I would like to offer this letter of recommendation on behalf of Kevin M. Kraft, who I’ve had the pleasure of working with on the following film projects The Apology Dance, Burned, and The Vagrant. Kevin is hard-working and dedicated to his craft. He brings his talents to every film he does and never has a negative attitude. He has always been very professional and dependable. On his skills as a filmmaker, I’ve worked with many directors throughout the years and Kevin has a passion for what he does and knows what he wants when he gets to the set. He also has a deep concern for all the cast/crew who grace his sets and you rarely see that in a director. I look forward to working with Kevin again in the future. Sincerely, Christopher Oliver moviedude1618@yahoo.com 816-379-2877
To Whom It May Concern: I just wanted to write a letter of recommendation for Mr. Kevin Kraft who I’ve had the pleasure of working with on an interview for the Hallmark channel. Mr. Kraft was the director for the shoot and it was the first time I’ve ever worked with him. Needless to say, from the moment I met him, he was down to earth and knowledgeable about what he wanted. Kevin never once raised his voice (like most directors do), nor did he close himself off to any creative input I had to offer. He was open minded and very easy to work with. As a cameraman for various film shoots, commercials, and corporate videos, I have to say that Mr. Kraft’s demeanor and attitude made it one of the most enjoyable experiences I’ve had on the set. He would be an asset to any film crew or production company. Sincerely, Dac D. Lam Email: onezenmoment@hotmail.com (818) 262-1733 |
