masterofappliedarts · attractions host/lead/trainer june 2000 - november 2001 the disneyland...

“As Seen On TV”: A Multimedia Press/Pre-‐Production Kit for an original script. by

Dwight Wilcox

A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF APPLIED ARTS

Major: Applied Integrated Media, Integrated Media Concentration

Missouri Western State University

St. Joseph, Missouri

2011

Table Of Contents

Page

I. Resume i II. Abstract 1 III. Production 2

A. Treatment Of Assets 2 B. Project Timelines 2

IV. Reflection 6 A. Brief History of The Press Kit 6

B. Technical Specifications of Project 7

C. Production Issues 8

D. Project Adjustments 10

E. Conclusion 12 V. Acknowledgements 13 VI. References 14 APPENDIX A – Media Planning/ Pre-‐Production 15 APPENDIX B – Printed Press Kit 39 APPENDIX C – Permissions 46

i

Dwight L. Wilcox

Education MAA Integrated Media, Applied Integrated Media Option May 2011 (expected) Missouri Western State University St. Joseph, Missouri

Courses include: Project Management, Media Analysis, Research & Development, and Advanced Digital Production.

BS Speech Communication May 2000 Missouri Western State University St. Joseph, Missouri

Concentration in Video Production and Performance

Internship - Walt Disney World College Program May 1996 The Walt Disney Company Orlando, Florida

Earned “Ducktorate” degree in Management – Disney style.

Work Experience Graduate Assistant – Assistant Manager, Equipment Cage August 2010 - present Missouri Western State University Professor Kelly Wittenberg, Supervisor St. Joseph, Missouri

Video and audio equipment check-out, scheduling reservations, inspecting equipment upon check-in, and maintaining student paperwork.

Web Designer/Webmaster June 2004 - present Self-Employed St. Joseph, Missouri

Creation, design, and maintenance of websites and supplemental print materials for various clients.

Financial Services Representative April 2010 - August 2010 Citizens Bank & Trust St. Joseph, Missouri

Money handling, data entry, development of marketing strategies for branch

Graduate Assistant - Classroom August 2008 - December 2008 Missouri Western State University Professor Alan Arrivee, Supervisor St. Joseph, Missouri

Use of classroom audio/video equipment, class supervision.

E-mail: [email protected]

ii

Clerical/Office Support May 2006 - July 2007 American Family Insurance St. Joseph, Missouri

Set up and processing workman’s comp claims, data entry, filing, and office tasks for offices in St. Joseph, Missouri and Wausau, Wisconsin.

Creative Consultant/Editor/Webmaster February 2005 - May 2006 One Eyed Jack Entertainment Bel Air, California

Tracking timecode, continuity, and script on set, editing several trailers and blooper reels for film, assisting the director both on and off set, creating and maintaining www.deadlybelovedthemovie.com official website.

Production Assistant/Webmaster November 2003 - March 2005 James Gang Productions North Hollywood, California

Setting up various scenes, assisting lighting personnel and director, script supervision, still photography of various scenes and behind the scenes situations.

Onboard Docent July 2003 - November 2003 Royal Mail Ship Queen Mary Long Beach, California

Guest control, leading the World War II tour on the ship.

Cast Member November 2001 - June 2003 The Disney Store Kansas City, Missouri

Providing quality guest service, cash handling, organizing stockroom and shelving.

Attractions Host/Lead/Trainer June 2000 - November 2001 The Disneyland Resort Anaheim, California

Narrating guest experience for large groups, operating ride systems, cast member training and supervision.

Computer and

Technical

Experience

Final Cut Pro Windows Literate Adobe CS5 Master Suite Mac Literate Logic Pro HTML Microsoft Word Audio/Visual Equipment Literate EXCEL Internet Literate

1

II. Thesis Abstract

This thesis is a multimedia press kit for an original script I am currently

developing. It will be used to help secure funding in order to make the film. The

thesis consists of assets used and timelines followed in the creation of the kit. It also

covers a brief history of press kits, as well as the specifications, issues, and

adjustments dealt with during production of my project. The appendices include my

production book, the print version of my multimedia kit, and various talent and

asset permissions. The final website can be found online at

http://www.AsSeenOnTVTheMovie.com .

2

III. Production

A. Treatment Of Assets

The webpage style will look like an old style, early 1980’s TV with remote

control. Different buttons on the remote (the numbers, play, on, channel up, channel

down, etc.) will take the audience to different sections of the site. The print artwork

will consist of at least 3 different posters. One will use the same TV used as a web

asset, only with a broken screen and blood dripping from the shattered glass, with

the film’s title and tagline underneath. The other two posters will be designed to

look like faux product ads for a couple of different weapons used in the film. There

may also be a page of stills, both from the trailer and perhaps a separate photo

shoot, that will be in print form as well as a page on the website.

B. Timeline

Generally, the following timeline indicates when each step will be due, unless

otherwise noted.

11/19/10

1st written synopsis of film due to committee.

12/10/10

Writer’s bio and contact info due. Rough shoot script for trailer due.

Determine specific assets for posters and web. Begin casting and crew

selection for trailer. Begin collecting props for the trailer shoot.

01/20/11

3

Final shoot script, shot sheet, storyboards, and audio cue sheet for

trailer due. Written rough layout of website and website flowchart due.

02/01/11

Shooting schedule due. 1st draft of assets for web and posters due.

02/15/11

Revised web and print assets due. Casting and crew selection due.

Props for trailer collected. 1st draft of posters due. Begin shooting trailer (actual

dates will vary depending on actor and crew schedules).

02/23/11

Poster revisions/2nd drafts due.

03/01/11

All completed footage for trailer shot.

03/03/11

Final draft of posters due. 1st draft edit of trailer due. 1st web design

(no interactivity) due.

03/06/11

2nd draft of trailer with revisions due.

03/07/11

2nd draft of web design (no interactivity) due.

03/11/11

Final draft of trailer due. Final draft of web design (all artwork and

video added, no interactivity) due. Begin adding interactivity to web designs.

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03/24/11

Interactivity to web design complete and polished.

03/25/11

1st draft of completed kit (print and web) due. Begin working on

revisions.

04/04/11

2nd draft of complete kit due. Revise if necessary. 1st draft of written

component of thesis due. Revise if necessary.

04/15/11

FINAL COMPLETED KIT DUE. 2nd draft of written component due.

04/29/11

Present thesis to committee.

I have also tentatively allotted the following dates for meetings with my

committee (subject to change due to professor availability):

12/01/10

01/19/11

03/02/11

03/30/11

5

Revised Timeline (03/07/11)

03/11/11

1st draft of assets for web and posters due. 1st draft of posters due. 1st

draft of trailer due.

03/14/11

1st draft of web design due. 2nd draft of posters due.

03/16/11

2nd draft of web design due. 2nd draft of trailer due.

03/18/11

Final draft of web design and posters due.

03/21/11

Final draft of trailer due.

03/24/11

Interactivity to web design complete and polished.

03/25/11

1st draft of completed kit due. Begin revisions.

04/04/11

2nd draft of complete kit due. Revise if necessary. 1st draft of written

component of thesis due. Revise if necessary.

04/15/11

FINAL COMPLETED KIT DUE. 2nd draft of written component due.

04/29/11

Present thesis to committee.

6

IV. Reflection

A. Brief History of The Press Kit

While studying the history of the press kit, I discovered that very little

information on the exact origins and first uses of the press kit exists. Wasco

discusses the problems of technological histories of film, comparing them to

studying economic activities, where, “corporate decision-‐making often is veiled in

secrecy.” Further, she suggests many accounts have “traditionally focused on

inventors and inventions” and “neglected economic factors and the industrial nature

of Hollywood filmmaking” (14-‐15). I propose that the same mentality can be

applied to discovering more about the history of the press kit, where the study,

interest, and collectability of the kits focuses on the films, filmmakers, and actors on

which they are based, neglecting the creation and evolution of the kit and its

usefulness.

The use of a media kit in filmmaking to market and promote films can be

traced as far back as the early twentieth century. Originally dubbed “campaign kits,”

they differed greatly from what is currently known as a press kit, consisting of “a

hardbound, full color campaign book (featuring the standard press information such

as full cast, story line, and star biographies) as well as ad sheets; a breakdown of

other available advertising materials; radio commercial ideas; promotional games

and ideas; contests, promotions, product tie-‐ins; and movie merchandising ideas”

(Poole, n.d.). Merritt states that the more recent, traditional press kit consists of

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cast and crew credits, a synopsis, production notes, and brief biographies of key cast

and crew people (175). In 1995, Andre Grey, as a way to promote R&B

singer/songwriter Aaron Hall, created the first electronic press kit, or EPK

(“Electronic Press Kit,” n.d.). Dean expounds on the idea of the shift in media,

stating that, in today’s digital age, many studios and potential investors will not

bother with the stack of papers that makes up a press-‐kit-‐style proposal, tossing it in

the trash in favor of the “space-‐saving” EPK (64).

Traditionally, kits have been used to promote a completed film or established

work. With the advent of the Internet and availability of media technologies to the

everyday consumer, kits like the one I have created can be used to generate a “pre-‐

buzz” and help develop additional interest and funding before a film has reached the

actual post-‐production level. These are the steps, trials, and issues I encountered

while creating a multimedia pre-‐production kit for my original comic-‐horror

screenplay “As Seen On TV.”

B. Technical Specifications of Project

The video portion of my multimedia press kit is a 40-‐second video trailer for

the original film. I shot it in one day with the Panasonic HVX200 in the studio space

at Missouri Western’s Instructional Media Center. The scenes were lit with a

combination of the studio’s ColorTran Kinoflow lights and the Communication

Department’s Lowel light kits. I recorded additional audio for voiceovers and

Automated Dialogue Replacement on the Zoom H4n digital recorder. After being

edited with Apple’s Final Cut Pro, I exported the trailer to a Quicktime file and

8

converted it to a Flash Video file using Adobe Media Encoder CS5 in order to create a

smaller file size, ensuring better Internet performance.

The print portion of the kit consists of six promotional posters featuring an

“old style” television set graphic created in Adobe InDesign by fellow AIM student

Bradley Redmond and video stills from the trailer video shoot. Additionally, I

created print versions of each page from the site using Adobe Photoshop. I

imported all graphical elements into Photoshop, edited them, and exported each in

both web-‐standard 72 dpi and print-‐standard 300 dpi.

The web portion encompasses the video and print portions of the kit,

formatted for web delivery. I created the site using Flash Professional CS5,

Actionscript 2 programming language. I used Adobe Illustrator to create the TV

buttons. The completed Flash file was published as both a standalone Flash Movie

and HTML document. I then imbedded the Flash Movie into the HTML document

and edited it with Adobe Dreamweaver to ensure proper size and placement of the

Flash file and browser window.

C. Production Issues

I had several issues to consider when creating each part of my project.

Schedules for studio space, equipment usage, and talent availability all had to be

coordinated to execute the trailer shoot. Additionally, experimentation with various

video export and conversion settings as related to the web delivery was necessary.

9

Similar issues relating to the print-‐to-‐web work had to be ironed out. I tested

various size and quality settings to ensure professional delivery for each medium.

By far, the web component provided the greatest challenges. By reading

sections of Derek Franklin’s Flash MX: Creative Web Animation and Interactivity

and viewing tutorials on Lynda.com, I was able to better confront and fix whatever

problems arose during my troubleshooting sessions. One such challenge dealt with

the appearance of text in the “channel black box” when I rolled the cursor over

control buttons on the site. My original designs and programming created the

desired button rollover effect but also made text appear in the “black box” when

rolling over the box itself. By breaking apart the button from the desired text,

changing the state of the button and text to separate ”movie clips,” and writing

“hide” codes for the ”movie clips” into each scene, the buttons continued to function

and the undesired text box rollover effect was remedied. Another similar rollover

effect issue occurred when dealing with the art gallery. Art gallery posters were

expanding on rollover as desired but lingered when navigating to and on top of the

other pages on the site. I fixed this problem by changing the posters’ object states

(as I did with the buttons and text above), adding code specifying what layer levels

each object resided on and would move to on rollover, and writing specific code to

hide those objects upon clicking the buttons when navigating to another scene.

A major hurdle that I needed to overcome was how to incorporate the trailer

video into the site. I had two main options for adding video to a Flash website:

10

internally and externally. Internal placement imports the video directly into the

Flash Movie’s timeline whereas external streaming allows the video to be hosted on

an external server and streamed from that location. In initial tests, I placed the

video internally. Although I was pleased with the quality and outcome when testing

locally on my system, the Flash Movie’s size and time it took to load from the

Internet made that choice not feasible. Thus, I decided to place the trailer video on a

web server and stream it externally, which required that I create a loading graphic

for the video and add netstream commands into the actions of the Flash Movie.

Since I have posted the trailer video on several of my other websites, a major benefit

of externally loading over internal placement is the ability to track the web statistics

and discover from which of my sites it is most viewed.

D. Project Adjustments

Throughout the trials and creation of my thesis project, it seemed to take on

a life of its own. Some of my original ideas and design choices that looked good to

me on paper weren’t meeting my expectations once I actually created them. As a

result, I began adjusting some of my original ideas concerning all the media I was

working with.

Most of the video portion of my project remained true to my original vision.

The original version of the trailer showed both males and females in peril at the

hands of a product-‐wielding maniac. Since “sex sells” in the film business, and the

largest target audience for a film of this type is typically straight males in their teens

11

to early twenties, I decided to cast only young females as victims. Also, my original

trailer script called for the television graphic to shatter in the last seconds of the

video. After trying out a few “shatters,” I felt the ending seemed cluttered. I

removed the shattering, focusing instead on the image and the audio elements of

rapid breathing and fading heartbeat. This same feeling of clutter, and the spirit of

simplification, also led me to rethink the use of an original music piece or musical

elements for the video. I decided to let the sound effects create their own

symphony.

The original print portions of my design were to include several faux ads for

the products that would serve as posters for the film. As I was creating those, I was

not happy with the result. They were looking so much like actual ads that I found

myself thinking of the daily junk mail I receive. I never read those ads and

immediately throw them away without a second thought. The last thing I’d want a

potential investor to think about when looking through my kit is the trashcan. Thus,

I canned that idea. As I designed the two planned movie posters, I found myself

pleased with each level of design as I continued to add elements. The result was a

series of six movie posters, containing two different taglines and varying from the

simplistic TV with the film title to a TV showing a grainy image with knives in the

shape of rabbit ears protruding from the top, with classic broadcast test patterns

serving as the background.

12

The web design also went through some major tweaking. Original plans

called for a remote control as the navigation for the page. As I began to create it, I

feared generic buttons with numbers, mute, power, and all the other traditional

remote buttons might confuse the web visitor. Original concepts called for “channel

up “ and “channel down” buttons that would lead the visitor to the next or previous

pages on the site. Since there is not a linear path that the viewer must follow in

order to learn more about the script and site, I removed those as well. Also, I

wanted the site to appear more flat and kitschy and a two-‐dimensional remote

seemed to lose the feeling of a remote altogether. Ultimately, I designed buttons for

a control panel on front of the television, labeling them with the first letter of each

corresponding page.

E. Conclusion

Working on this multimedia project was somewhat like researching the

“which came first, the chicken or the egg” dilemma. Although I was able to adhere to

my established timeline, it was necessary to simultaneously work with all portions

as I created the various assets. The kit is now ready to go “live” on the Internet, be

posted on artistic networking and funding sites such as indieclub.com or

kickstarter.com, and be shopped around by word-‐of-‐mouth. My goal, of course, is to

find investors who may be more persuaded to fund the project when they see that

much of the promotional legwork has already been completed.

13

V. Acknowledgements

I would like to thank my Graduate Advisor, Dr. Kenneth Rosenauer, whose

weekly meetings, email reminders, and lent ear helped me stay on schedule,

focused, and sane. I’d also like to thank Dr. Linda Antas, Pete Hriso, and Kelly

Wittenberg for their sometimes harsh, but always fair, accurate, and warranted

evaluations of my work throughout my grad school experience.

There would be no project to present if not for the cooperation of Kevin

McQuirter and Tara Stoll at Missouri Western’s Instructional Media Center. They

opened up their “home” and gave me the space to play and experiment with my

ideas. It was nice to be back.

A huge thanks to my group of talent: Alesha Bird, Christopher “Bogey”

Blodgett, Mallory Edson, Jennifer Kohler, Bradley Redmond, and Erin Williams.

They provided the voice and vision I needed to make it real. Also, to Brett Seals,

who always comes through in a pinch with help and input in all things Audio/Visual.

Finally, I don’t think I’d have found this path if not for the faith and trust of

Gregori Holderbach. He gave me a chance working on his “little film that could…

and does” and encouraged me use my voice and talents rather than quietly sharing

ideas and letting someone else take the credit. A toast to you, Gregori… and long

may you live.

14

VI. References

Dean, C. L. (2007). The Art Of Film Funding: Alternative Financing Concepts. Studio

City, CA: Michael Wiese Productions.

Electronic Press Kit (n.d.). In Wikipedia. Retrieved April 1, 2011 from

http://en.wikipedia.org/wiki/Electronic_press_kit

Franklin, D. (2003). Flash MX Creative Web Animation and Interactivity. Berkeley,

CA: Macromedia Press, Inc.

Merritt, G. (1998). Film Production: The Complete Guide To Independent

Filmmaking. Hollywood, CA: Lone Eagle Publishing Co.

Poole, E. & S. (n.d.). Campaign Book, Campaign Kit, Press Book, Press Kit. Retrieved

from

http://learnaboutmovieposters.com/newsite/index/articles/campaign.asp

Press Kit. (n.d.). In Wikipedia. Retrieved April 1, 2011, from

http://en.wikipedia.org/wiki/Press_kit

Wasko, J. (1994). Hollywood In The Information Age. Great Britain: Polity Press.

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APPENDIX A – Media Planning and Pre-‐Production

“As Seen On TV” Film Synopsis for Multimedia Packet

This is the story of seven friends, a stormy reunion weekend, and murder

most foul at the hands of a madperson with an affinity for late-‐night infomercials

and products hawked on the tube.

David, age 23, has already become a semi-‐successful indie filmmaker living

the dreams of many in LA. To celebrate his five-‐year college reunion, he invites six

of his college classmates, and one-‐time closest friends, to a luxurious, secluded cabin

he’s thinking of buying. Brent, Derek, Eric, Jessica, Jonny, and Tara arrive at the

cabin together in an SUV, rented by David for this special occasion. Brent and

Jessica are now married, as are Eric and Tara. They all engage in the typical “how

have you been’s” and “what are you up to’s” as they kick off their shoes and crack

open the booze. As the night wears on, some of the tensions from their college days

begin to resurface, building with an oncoming storm outside. As the heated

discussions nearly reach their apex, lightning crashes nearby, hits something big

outside, and the power goes out.

David, Jonny, and Derek set off in search of the fuse box and generator. Brent

and Eric, already tipsy, head to the kitchen for a fresh round of liquid libations.

Jessica and Tara sit worrying about the storm outside as well as the old drama

inside. Just as Brent and Eric arrive back with the drinks, the power returns. Soon

after, David, Derek and Jonny also return. David suggests that the group play a

rousing game of “Circle Of Death”, the old drinking/card game that they so often

played in college. Although the idea is at first met with some reluctance, everyone

soon agrees and the game is on. During the game, a few of the secrets from the “old

days” are revealed, once again stirring up emotions and trouble. Finally, all agree

that it’s best to go to bed and start the new day fresh.

Although the house has settled into quiet darkness, the friends have not.

Jessica sneaks from her room and snoring husband to the basement. Not longer

after, Eric sneaks to the basement as well. Derek sits in bed, alone in his room,

writing furiously in a green spiral notebook. In Jonny’s room, David and Jonny stay

up drinking and smoking the pot that Jonny brought, reminiscing about good times.

David makes a pass at Jonny, who deflects it and reminds him that, although they

were a couple five years ago, they won’t ever be together again. Sad and dejected,

David retires to his own room to pass out as Jonny turns off his light.

The next “morning” (after 11am, in ‘hung’ speak), David is in the kitchen

preparing coffee and breakfast for everyone. Derek stands at the counter, still

writing in his notebook. A radio plays in the background, announcing that there was

much storm damage in the area and many roads and bridges have been made

impassible. Eric and Tara enter, the effects of the previous night’s festivities obvious

in Tara’s dark, red-‐rimmed eyes. As Brent enters the kitchen rubbing his own sleep-‐

stained eyes, David announces that a tree fell on the group’s SUV so he will go into

town as soon as the roads are open to arrange for another. Brent asks if anyone has

seen Jessica, as she was not in bed when he awakened. No one has seen her. Brent

pulls his phone from his pocket, thinking she may have gone for a brisk walk in the

woods to clear her head of the previous night’s hooch haze. David tells him not to

bother with the phone, as all phones and towers are down because of the storm.

Saying he’s preparing a little “hair of the dog”, David excuses himself to the

basement to get champagne for mimosas.

He fumbles to find light in the basement. When at last he finds light, he is

met with a grizzly sight. Lying on the floor is the lifeless Jessica, bludgeoned with a

Garden Claw and wrapped in a bloodstained Snuggie. The floor is also badly

stained with blood, but completely dry. Two “full” Sham-Wows rest at her side.

David calls to his friends, who join him in the basement and are aghast at the

discovery. As Brent begins to have a breakdown, David leaves to get his car,

determined to drive into town despite the possibility of dangerous roads. As the

others discuss what has happened and try to calm Brent, David returns far too

quickly. He explains that his car has been tampered with and is completely useless

and not drivable. They all realize that, not only are they trapped in a remote cabin

with a dead body and a murderer, the killer is one of them.

As the friends start dying one by one at the hands of a creative killer with a

particular penchant for improvised infomercial implements, they will wonder and

discover why they were each chosen and who will survive to see another good

morning, America!

Short Synopsis for “As Seen On TV” trailer

Shot in the style of “There is nothing wrong with your television set. Do not

attempt to adjust the picture. We are controlling transmission.” The picture appears

as though someone is flipping through channels at 3 a.m., when little is broadcasting

but infomercials. Beginning with static, it also crackles in-‐between quick clips from

various infomercials. However, the segmented dialogue from the clips will form the

lines, “Oh my God! Please, don’t! You’re gonna die,” etc. Also, close-‐up clips of the

products being used (chopping, cutting swinging, twisting, etc.) will be seen.

VIDEO

1. TV Snow 2. MS of infomercial spokesman. 3. TV Snow 4. MS of attractive girl shaking weights. 5. CU of knife cutting through tomato flesh. 6. CU of dicing device chopping a red fruit. 7. TV Snow 8. MCU of infomercial spokesman. 9. TV Snow 10. CU of weight being shaken at breast level. 11. CU of knife cutting though a bloody piece of meat. 12. CU of exposed dicing device blades, covered in red liquid. 13. TV Snow 14. CU of infomercial spokesman. 15. ECU of infomercial spokesman’s lips. 16. CU of knife, being slashed through the air. 17. CU of girl #1, terrified.

AUDIO

SFX: Static Line: “Can I have your attention, please?” SFX: Static Line: “In no time…” Line: “…it’ll cut …” Line: “…every little piece…” SFX: Static Line: “You won’t want to miss this!” SFX: Static Line: “It’s so easy…” Line: “…to slice your…” Line: “…friends will want to try it…” SFX: Static Line: “Try it yourself!” Line: “It’s a killer!” SFX: knife swooshing SFX: girl scream

VIDEO

18. CU of dicing device, being slapped rapidly. 19. CU of boy #1, in agony. 20. CU of plastic bag being suction vacuumed around a hooded head. 21. CU of girl #2, shocked. 22. CU of garden tool being pushed and twisted into a shirted chest. 23. CU of boy #2, dead with blood on his temple. 24. CU of weight being held in the air, then swung with deadly force. 25. TV Snow 26. Snow begins to shrink as the casing of a TV comes into view from all sides, shrinking to be centered in the screen and surrounded by darkness. 27. TV Set turns off as the title “As Seen On TV” grows from the center of the screen. 28. Full screen shatters 29. FADE OUT

AUDIO

SFX: dicing blades hitting cutting board. SFX: person grunting SFX: groan SFX: machine suction. SFX: breath being taken away. SFX: gasp SFX: squishing sound SFX: hard breathing SFX: angry, throaty scream SFX: slap of weight to skin contact SFX: static SFX: creepy music SFX: TV powering down SFX: glass shatter

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Web and Print Assets for “As Seen On TV” Multimedia Packet

Graphical Elements to be created for Web delivery:

1. Early 1980’s style television

2. Early 1980’s style remote control w/interactive buttons:

Power (to activate trailer on page)

Channel up (for page navigation, next)

Channel down (for page navigation, previous)

Preset 1 (to load “Synopsis” page)

Preset 2 (to load “Writer’s” bio page)

Info (to load “Contact info” page)

Mute (to load “Personal note” page”)

Additional number buttons may be added for potential assets listed below

3. High quality PSD documents for:

Writer’s bio link

Film synopsis

Contact information

Personal Note from the writer

Graphical Elements to be created for print delivery:

1. Early 1980’s style television with broken screen

2. High quality photos of infomercial products and new product names, including

(original names listed below):

The Shake Weight

The Garden Claw

The Kinsu Knife Set

The Space Bag

The Slap Chop

3. An original “As Seen On TV” sales logo, to be incorporated into a film logo

4. 2 faux print ads for the knife set and the weight set, to include:

Photos with products “bloodied up”

“As Seen On TV” film logo

5. Film poster, to include:

Broken television

Blood effect

Film logo

Film tagline

6. Writer’s bio

7. Film synopsis

8. Contact Information

9. Personal note from the writer

Outline for “As Seen On TV” Flash website

- I. Preloader IMAGES: Old 1950’s test screen pattern with the percentage loaded in place of the

old Indian Head or number countdown.

- II. Main Page IMAGES: The entire site will look like an early 1980’s console television. To the

right of the television, there will be an old-‐style TV remote control that will serve as

navigation for the website. At site load, the “As Seen On TV” logo will be static on

the TV “screen” with an instruction to use the remote to navigate throughout the

site. As each section of the site is selected, it appears on the TV “screen.”

NAVIGATION: The buttons on the remote will be labeled: Power, Set-‐Up, Info, Preset

1, Preset 2, Channel Up, and Channel Down.

LINKS: The buttons on the remote as assigned to the following areas of the website:

Power – View Trailer

Set-‐up – Film Synopsis

Info – Writer’s Bio/Contact Info

Preset 1 – Image Gallery

Preset 2 – Note From the Writer

Channel Up – moves to next page of the Flash “scene”

Channel Down – moves to the previous page of the Flash “scene”

- II.A. Trailer Link (Power Button) VIDEO: 30-‐second trailer for the film, “As Seen On TV.” - II.B. Film Synopsis Link (Set-up Button) TEXT: “This is the story of seven friends, a stormy reunion weekend, and murder

most foul at the hands of a madperson with an affinity for late-‐night infomercials

and products hawked on the tube.

David, age 23, has already become a semi-‐successful indie filmmaker living the

dreams of many in LA. To celebrate his five-‐year college reunion, he invites six of

his college classmates, and one-‐time closest friends, to a luxurious, secluded cabin

he’s thinking of buying. Brent, Derek, Eric, Jessica, Jonny, and Tara arrive at the

cabin together in an SUV, rented by David for this special occasion. Brent and

Jessica are now married, as are Eric and Tara. They all engage in the typical “how

have you been’s” and “what are you up to’s” as they kick off their shoes and crack

open the booze. As the night wears on, some of the tensions from their college days

begin to resurface, building with an oncoming storm outside. As the heated

discussions nearly reach their apex, lightning crashes nearby, hits something big

outside, and the power goes out.

David, Jonny, and Derek set off in search of the fuse box and generator. Brent and

Eric, already tipsy, head to the kitchen for a fresh round of liquid libations. Jessica

and Tara sit worrying about the storm outside as well as the old drama inside. Just

as Brent and Eric arrive back with the drinks, the power returns. Soon after, David,

Derek and Jonny also return. David suggests that the group play a rousing game of

“Circle Of Death”, the old drinking/card game that they so often played in college.

Although the idea is at first met with some reluctance, everyone soon agrees and the

game is on. During the game, a few of the secrets from the “old days” are revealed,

once again stirring up emotions and trouble. Finally, all agree that it’s best to go to

bed and start the new day fresh.

Although the house has settled into quiet darkness, the friends have not. Jessica

sneaks from her room and snoring husband to the basement. Not longer after, Eric

sneaks to the basement as well. Derek sits in bed, alone in his room, writing

furiously in a green spiral notebook. In Jonny’s room, David and Jonny stay up

drinking and smoking the pot that Jonny brought, reminiscing about good times.

David makes a pass at Jonny, who deflects it and reminds him that, although they

were a couple five years ago, they won’t ever be together again. Sad and dejected,

David retires to his own room to pass out as Jonny turns off his light.

The next “morning” (after 11am, in ‘hung’ speak), David is in the kitchen preparing

coffee and breakfast for everyone. Derek stands at the counter, still writing in his

notebook. A radio plays in the background, announcing that there was much storm

damage in the area and many roads and bridges have been made impassible. Eric

and Tara enter, the effects of the previous night’s festivities obvious in Tara’s dark,

red-‐rimmed eyes. As Brent enters the kitchen rubbing his own sleep-‐stained eyes,

David announces that a tree fell on the group’s SUV so he will go into town as soon

as the roads are open to arrange for another. Brent asks if anyone has seen Jessica,

as she was not in bed when he awakened. No one has seen her. Brent pulls his

phone from his pocket, thinking she may have gone for a brisk walk in the woods to

clear her head of the previous night’s hooch haze. David tells him not to bother with

the phone, as all phones and towers are down because of the storm. Saying he’s

preparing a little “hair of the dog”, David excuses himself to the basement to get

champagne for mimosas.

He fumbles to find light in the basement. When at last he finds light, he is met with a

grizzly sight. Lying on the floor is the lifeless Jessica, bludgeoned with a Garden

Claw and wrapped in a bloodstained Snuggie. The floor is also badly stained with

blood, but completely dry. Two “full” Sham-Wows rest at her side. David calls to

his friends, who join him in the basement and are aghast at the discovery. As Brent

begins to have a breakdown, David leaves to get his car, determined to drive into

town despite the possibility of dangerous roads. As the others discuss what has

happened and try to calm Brent, David returns far too quickly. He explains that his

car has been tampered with and is completely useless and not drivable. They all

realize that, not only are they trapped in a remote cabin with a dead body and a

murderer, the killer is one of them.

As the friends start dying one by one at the hands of a creative killer with a

particular penchant for improvised infomercial implements, they will wonder and

discover why they were each chosen and who will survive to see another good

morning, America!”

- II.C. Writer’s Bio/Contact Info Link (Info Button) TEXT: “Dwight Wilcox earned a Bachelor of Science degree in Speech

Communication and Video Production from Missouri Western State University in

May 2000. While there, he was called in to help recreate, produce, and direct an

existing live-‐to-‐tape, 30-‐minute television program for the University. He reshaped

the original show into a more informative, more entertaining viewing experience for

the audience. As the program gained more interest and viewers, Dwight’s masterful

vision won him praise from both the campus and the community. During and after

college, Dwight also solidified his natural and artistic talents and gained more

experience in the entertainment industry by working for “The Walt Disney

Company,” both in Florida and California.

In 2005, Dwight relocated to Los Angeles, California and soon started

working on several independent films (festival-‐winners “El Angel De La Muerte,”

“The Importance Of Blind Dating,” and “Camp Slaughter,” among others). His

unbridled passion for writing and film-‐making quickly helped him transition from

PA work to being hired as part of a feature-‐length film’s “creative force.” His

creativity, talent, resourcefulness, and innovative outlook lent him the “Creative

Consultant,” “Director’s Assistant,” and “Production Supervisor” credits on One-‐

Eyed Jack Entertainment’s 2006 movie, “Deadly Beloved.” Says “Deadly Beloved”

director Gregori Holderbach: “Dwight’s passion for the film easily matched my own

right from the start, and he is to be credited for many of the great ideas and concepts

that are in the final product.”

In 2008, Dwight returned to Missouri to further his formal education. He

completed a Master’s of Applied Arts in Integrated Media degree in May 2011.”

Contact Info

Dwight Wilcox

714-‐612-‐2540

[email protected]

- II.D. Gallery Link (Preset 1 Button) IMAGES: This will be a small gallery featuring the poster and postcard artwork that

is currently in development.

- II.E. Note From the Writer Link (Preset 2 Button) TEXT: This section will be written near the end of my thesis experience as a

summary of my project and a reflection on the experience.

- II.F. Next Link (Channel Up Button) - II.G. Previous Link (Channel Down Button)

39

APPENDIX B – Print Press Kit

46

APPENDIX C – Permissions

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