PITCH DECK
OVERVIEW
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We add value to the international entertainment market through authentic storytelling. We leverage digital technologies and high trust working and audience environment to achieve our goals. We develop and produce narrative, live-action digital content for the international market place across all available distribution platforms with value added interactive and audience engagement social applications. The company will be based in Ontario, Canada.
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We create successful experiences that connect. We humanize entertainment. |
TEAM
Producers
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Laura Tremblay of Lucky Dime Films
Lucky Dime Films’ president & founder started her career in the entertainment industry as an actor and has an array of film and television roles to her credit. With an intense work ethic and passion for her craft, Laura has made it her goal to create as much art as possible at all times. This drive lead to the creation of Lucky Dime Films in 2016, a production company geared towards making films on a tight budget. Her first ever produced short film, Menses, has over 25,000 views on YouTube and was an official selection of the Toronto International Short Film Festival. Laura's associate producer feature film Lifechanger (2018) had its North American premiere at Fantasia and its European premiere at London Frightfest. Laura prides herself on being a strong voice for women in the Canadian film industry and collaborating with like-minded teams. Laura is a member of CMPA (Canadian Media Producers Association). |
Ashley Matt of Mattfilms
Following her studies in art fundamentals and journalism Ashley took up screenwriting in 2009. She co-produced her first feature documentary in 2013. Ashley moved to producing and directing her own work with a handful of micro shorts, one of which was first place winner of the CreativeFuture and VidCon 2015 contest. Ashley's feature directorial debut came with her experimental new wave A Walk that went to the 2016 Agora Film Market at the Thessaloniki International Film Festival. Ashley’s follow up feature, the experimental mumblecore I Believe in Bank Robbers was completed in the summer of 2018. Ashley's third feature is a hard turn into commercial territory with her co-produced noir psychological spy thriller Night at Station Main. Ashley lives and works in Ontario, Canada. She is a member of Women in Film & Television - Toronto, Women in Film - LA, the Academy of Canadian Cinema & Television and Creative Women International. |
Michele Kaye
Michele is a writer, producer and director. Selected film works: Here’s Ginger! (web series) 2018, He & Me (short) that screened at the 2018 Deep Cut Film Festival and has been selected for the Berlin Flash Film Festival. Michele is developing her next short, a post-apocalyptic-meets-Heathers and is co-producing the feature Night at Station Main. She has a B. F. A. Honors in Music from York University and Music Theatre Diploma from Sheridan College. Michele is a member of WIFT Toronto, Liaison of Independent Filmmakers of Toronto (LIFT), IWCC and Toronto Musicians Association (Local 149- CFM & AFM). |
History
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Fun fact: Ashley met one of her Night at Station Main co-producers Michele Kaye when she had the privilege to be on set of another Laura Tremblay/Lucky Dime Films production Here's Ginger directed by Michele 📽️ Here's to supporting and lifting each other up and all the future collaborations 👏 #WIF #womeninfilm#womenhelpingwomen |
Laura and Ashley grew up together in Midland, Ontario. Ashley's oldest friend Dawn is Laura's cousin. Ashley reconnected with Laura in 2017 when she approached Laura to star in her second feature I Believe in Bank Robbers. Laura was one year in to her production business and Ashley couldn't help but get involved after Laura finished working on Ashley's film. Ashley edited one of Lucky Dime Films' short films, Doors, and jumped at the chance to PA on the web series Here's Ginger (above). Love, friends and respect run deep.
Crew
Film ProductionBrendon Sawatzky, consulting producer
Dividing his time between a number of different roles in the film and television industry, Brendon Sawatzky has primarily focused on producing. In addition to producing four made in Canada feature films: Inertia, Who Loves the Sun, Euphoria, and Hunting Season, Brendon also co-produced a television series for The Comedy Network called House Party. More recently Brendon worked as a producer on the Winnipeg Comedy Festival for the CBC; Bunks, Disney XD movie of the week; Mr. Hockey: the Gordie Howe Story, CBC movie of the week; and the television specials CBC Short Shots 1, 2, 3 & 4. As a producer for the National Film Board, he produced a number of projects including the At Home/Chez Soi Winnipeg project. He has previously held positions with the National Screen Institute and the Winnipeg Film Group. He is also the Chair of Film Training Manitoba. In his spare time he has managed to direct and produce five short films, four of which he wrote. Amanda Shaw, Costume Designer/Wardrobe
Amanda Lee Shaw is a freelance Costume Designer and Stylist who divides her time between living and working in Toronto and Northern Ontario. She has been a part of the independent film world for six years and has done work for bands like Bombay Bicycle Club and clients such as Scotia Bank, Blackberry and Hallmark. Her work has spanned projects both contemporary and historical and has taken her across Canada. She was recently awarded Best Costume Design for “Buckout Road” by the World Music and Independent Film Festival 2018. A deep interest in understanding story and character drives Amanda's aesthetic. Through collaboration with the director, actors and other departments she translates abstract ideas into carefully crafted characters to express a narrative visually. Her goal is to create poetic imagery that tells a story of its own. Many of the projects to which she has contributed have been selected for, screened at and received awards from various festivals including Cannes Film Festival and TIFF. Amanda is a member of IATSE 634 and has a Nabet 700 permit. Website/Portfolio: www.amandaleeshaaw.com IMDB: http://www.imdb.com/name/nm4744376/ Marco Furgiuele, Sound Recordist Marco graduated from Ryerson University’s Radio and Television Arts program in 2013 and has since found a successful career working in various forms of media production doing what he loves, recording sound. Sound Recordist/Boom Operator/A2 highlights include Drake: I'm Upset - 2018 (Music Video - Popp Rokk Entertainment), The Kit: Nike - 2018 (Digital Content - Bensimon Byrne), Cineplex Timeplay - 2018 (Digital Content - Cineplex Odeon Entertainment Inc.), Children's Wish Foundation - 2018 (Digital Content - Budgie Productions Inc.) and Nescafe - 2018 (Commercial - Touchpoint Films Inc). Taro PR, Public Relations Boutique agency that specializes in publicity and promotions within the lifestyle and entertainment sector. Recent campaigns include, Hostiles, You Were Never Really Here, The Death of Stalin, Caught Ashley Hallihan, Casting Ashley is a Casting Director and Producer with her fingers on the pulse of the Toronto film industry. She has worked extensively in features, television, music videos, commercials, and everything in between. Having acted as Associate Producer on Charlie Hamilton’s ‘ Dances with Film's 2016 Award Winning short film "Next Stop", she’s just leaving her mark on the industry. Ashley has taken Hallihan Casting from ‘local upstart’ to ‘trusted Toronto mainstay’ over the past three years, and she’s done so through her commitment to teamwork and collaboration. More than just sourcing talent, Hallihan Casting matches the right people with the right projects, thinking beyond the audition room and considering the cooperation and trust inherent in taking any film from concept to screen. Ashley invests herself fully in every aspect of the industry, working with creatives to find the perfect match and assist them in realizing their vision. Serving as a juror at the Canadian Screen Awards, a regular judge at the Toronto Monologue Slam, she keeps her eyes open and is always seeking the next perfect fit for a project. The value of this can be seen in the casting for the upcoming Feature films "Strange But True" (with Producer Fred Berger 'La La Land) and ‘Paper Year’ (with Rebbeca Addleman, ‘New Girl’) Jordan Nahmias, Legal Jordan is a partner with the firm Goldenberg Nahmias, whose practice focuses on entertainment and corporate matters, with an emphasis on film, television and digital media production in both live action and animation. Jordan advises both well-established and emerging clients on all aspects of production, including licensing and purchasing intellectual property, financing, distribution, and errors and omissions matters. James Hanlon, Accounting Recent productions of note: 12 Monkeys – Season 3 & 4 (1st Assistant Accountant Payroll), Killjoys – Season 4 & 5 (1st Assistant Accountant Payroll), Mary Kills People (1st Assistant Accountant General). James is a member of the DGC (Directors Guild of Canada). Our film production and tech teams are groups of individuals that our producers have developed strong and long lasting relationships with over the years. This kind of strength makes the difference when creating something new and industry-shifting. |
Henry Sansom, Cinematographer
Henry is a 15 year vet in the Toronto film industry, and his work as a personable collaborator and creative technician have taken him around the world. Adaptable and versatile, he thrives in the challenges of every style of film making and production. Along with a matured technical sensibility for the physical realities of camera operation, he has an eye for detail and finely crafted image. Awards: Canadian Screen Awards, 2017 - Best Original Program or Series Produced for Digital Media - Gayl Pile, 2015 - Best Live Action Short - 'She Stoops To Conquer'. Nominations: Los Angeles Independent Film Festival 2015 - Best Cinematography - 'Getting Ready For A Lunch Date'. Sasha (Alexandra) Pozdeeva, Production Designer
Alexandra Pozdeeva started her career in the corporate world, where she made her way up from visual department to Regional Visual Manager of Ontario and Eastern Canada. She has achieved great heights in executing overall ambient looks of retail space in home fashions, setting up trendy looks for upcoming seasons and designing unique displays and visuals. Discovering a greater overall passion for design and fashion, she had acquired a diploma in Interior Decorating from George Brown College, which was another stepping stone in pursuing her interest in film and television. Her first job as she completely transitioned into new career path was an Art Director of Magic Button's feature dark comedy "We Came to Wreck Everything"(2018). Since then she has been invited onto multiple productions, where she has found her passion working in Art Department. Her hard work and artistic vision has since been in demand in the industry, leading her to greater projects and expanding her horizons. Her latest art direction work can be seen in Raven Banner’s most recent feature horror film "Lifechanger"(2018). Jenny Duckworth, Hair/Makeup/SPFX artist
Jenny has been working as a makeup artist, specifically in the film/television industry for more than three years. She once had the desire to become an actress, but after realizing that was not her path, she transferred her love of the craft to something behind the camera. This transition has lead to many great opportunities, working with amazing people, on some amazing projects and has allowed her to hone her talents and become established in this fast-paced industry. She loves being on set, doing anything from straight makeup, to hair styling, to period styles as well as any opportunity to get her hands dirty and to let her artist skills flourish doing special effects. Some of her credits include ‘Here’s Ginger’ (Lucky Dime Films, 2018), ‘Dotage’ (Bold Move Productions/North Film Co., 2018), ‘Lifechanger’ (Federgreen Entertainment/Raven Banner/Unstable Ground Productions, 2017), ‘ShadowLands’ (Border2Border Entertainment, 2017), ‘The Billionaire’ (CG Entertainment, 2016). She is determined to have a life-long career being a part of the crazy, intense, and rewarding world of film and television. Jessica Fazari, Production Co-ordinator Jessica is a forward-thinking visual storyteller with a passion for comedy, writing, and the production process. A recent graduate of Humber College’s Film and Television Production program, Jessica specializes in production management and scriptwriting. Working as writer and producer, Jessica’s biographical documentary 6 Seconds won a 2016 REMI Award at the Worldfest-Houston International Film Festival, and her pilot for the comedic web series Little Boxes is currently on the festival circuit. In her final year, Jessica was the recipient of the William F. White Spirit Award, presented to students based on performance and professionalism. Having now entered the industry, Jessica works as a production assistant on VICE’s Nirvanna the Band the Show amongst a variety of other projects, including Lucky Dime Film’s dark comedic web series Here’s Ginger! Her next projects include production coordinating the short film 6th Line as well as the psychological thriller Night at Station Main. Kalen Artinian, Behind the scenes for EPK Kalen Artinian has plenty of experience behind the camera. He's shot music videos for artists all the way from NYC to Paris to Saudi Arabia. Kalen was the cinematographer on the feature film (Sebastian) in 2016 that premiered at the Inside Out LGBT Film Festival in Toronto and just recently got worldwide distribution. Most of his early experience is from shooting bts in the fashion world for local brands and magazines as well as luxury brand DANIER. Most recently Kalen wrapped 20 days of shooting EPK on the feature Film (Lifechanger) set to be released in 2018. Mike Donis, Editor Selected editing filmography: Time Out (Short) 2017, Chasing Valentine (Feature) 2015, Pete Winning and the Pirates (Feature) 2015, Asset (Digital Series) 2014, The Blue Seal (Feature) 2010. Selected music videos: Home (Andy Bertelsen) 2016, Angel (HKGN, Dimension) 2015, Living (HKGN, Dimension) 2013. Studio work experience: Studio M Digital (2012 – Present) Interactive & Audience engagementCollaborative Haus team for:
App Developer/Designer UX/UI Developer/Designer Community Manager Collaborative Haus has brought together a diverse team with complementary and phenomenal creative and tech skills. At the heart of all our projects are the fundamentals, usability and function. Our experienced marketing strategists work with clients to determine the best opportunities using a variety of research supports. Our content and graphics professionals create brilliant marketing material and our tech team brings everything together with products that work, websites that are functional, and solutions that perform. |
DEMO
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Night at Station Main is the 90-minute live action digital story that we will make in 2019 and take to market in 2020. This seed-funded project will help us to establish perimeters and a metric on what we can expect financially from selling a digital story (either as a feature film, web series or one-off TV broadcast film) across all territories.
We have relationships with international distributors and sales agents that have requested to see the project when complete. We are prepared to make connections with agents and distributors that we have yet to me. The video to the left is a teaser for Night at Station Main's proof of concept; a piece we are making in November 2018. |
Our free mobile app will be available for all standard devices. The app will allow our community to see where their Mattlabs friends are in the world. Fans can access each other based on the information they give. Through organic and unofficial discussion prompts the app will encourage the community to reach out to each other and discuss their common interests, to value each other, to be human.
The idea behind discussion prompts comes from an experience that one of our founders Ashley Matt had that involved the author Neil Gaiman. In the summer of 2018 Ashley saw one of Neil's re-Tweets from a fan of his who wanted to discuss Neil's book The Ocean at the End of the Lane. Neil knows his Twitter followers are a dedicated, engaged and valuable group. He put the call out to them to discuss the book. Ashley had recently read that book and participated in the discussion. She shared her feelings about the work and read other people's thoughts and takeaways. It was a brief encounter but a meaningful and fulfilling one. These are the kind of genuine connections that Mattlabs can give its audience based on the genuine community we foster from day one.
Opportunity for growth in the app is infinite. As we imagine it we can add it. Our audience is always welcome and can tap in to their community when ever the mood strikes them.
The idea behind discussion prompts comes from an experience that one of our founders Ashley Matt had that involved the author Neil Gaiman. In the summer of 2018 Ashley saw one of Neil's re-Tweets from a fan of his who wanted to discuss Neil's book The Ocean at the End of the Lane. Neil knows his Twitter followers are a dedicated, engaged and valuable group. He put the call out to them to discuss the book. Ashley had recently read that book and participated in the discussion. She shared her feelings about the work and read other people's thoughts and takeaways. It was a brief encounter but a meaningful and fulfilling one. These are the kind of genuine connections that Mattlabs can give its audience based on the genuine community we foster from day one.
Opportunity for growth in the app is infinite. As we imagine it we can add it. Our audience is always welcome and can tap in to their community when ever the mood strikes them.
MARKET
Mattlabs will create a huminized community around mainstream films for an adult audience (older millennials and younger Gen X-ers) that are not solely based in superhero fandom.
Mattlabs will do this with a female-helmed production company that can produce a slate of films over three years. We have the opportunity to reach the international market with projects geared to 25-40 year-old audiences (older millennials and younger Gen X-ers).
Our audience is a group that is searching for emotional clarity and genuine, humanized connections. Our audience are people with shared interests that want to find each other, even if they don't know it. A decade of social media, superhero films that have infantilized adults and apps like Tinder that treat individuals as if they are commodities has left a whole generation feeling useless, empty, cynical and in need of growth. This generation is seeking something meaningful and honest. Our films and shows will tell meaningful and honest stories and our tech will help connect our audience in a huminized way, giving them the opportunity to share their feelings about our work, other work and how the world makes them feel.
When we are honest with our audience they will be honest with us and will share with us, will join us.
Slowly but steadily we will build this audience and fill the gap in the market.
Mattlabs will do this with a female-helmed production company that can produce a slate of films over three years. We have the opportunity to reach the international market with projects geared to 25-40 year-old audiences (older millennials and younger Gen X-ers).
Our audience is a group that is searching for emotional clarity and genuine, humanized connections. Our audience are people with shared interests that want to find each other, even if they don't know it. A decade of social media, superhero films that have infantilized adults and apps like Tinder that treat individuals as if they are commodities has left a whole generation feeling useless, empty, cynical and in need of growth. This generation is seeking something meaningful and honest. Our films and shows will tell meaningful and honest stories and our tech will help connect our audience in a huminized way, giving them the opportunity to share their feelings about our work, other work and how the world makes them feel.
When we are honest with our audience they will be honest with us and will share with us, will join us.
Slowly but steadily we will build this audience and fill the gap in the market.
SOLUTION
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We can develop and produce a product in a year. We will make five projects in three years. Unnecessary overhead and executive red tape are non existent. We keep budgets low by working in Canada, benefit from tax credits and pull from our local resources which increases our chance of a larger profit. We keep our digital story process, our goals and our interactive concept simple and clear.
The benefit of having a slate of films ready to make is that a single investment can be spread across the board increasing the chance of success of one or more of the pieces, because no one can predict what film/TV series will resonate with an audience. It also increases the overall reputation of the company and producers within in the industry. Expectations can build with a company that has more than one project on the burner. Buzz can be generated after the first project, second project, third and so on. People like to anticipate the next work of someone they are following, admiring and connecting to.
Further still, a company that has an interactive element (huminized social app) built in to its core has the capacity to collect and retain lifelong fans.
What makes our interactive app stand out is what connects to it. A-level motion pictures (features and TV series) that go through traditional international distribution channels. We don't make fast content we make well thought out slow burn material that resonates and touches the emotional core of our viewer making a stronger, long lasting impact.
The benefit of having a slate of films ready to make is that a single investment can be spread across the board increasing the chance of success of one or more of the pieces, because no one can predict what film/TV series will resonate with an audience. It also increases the overall reputation of the company and producers within in the industry. Expectations can build with a company that has more than one project on the burner. Buzz can be generated after the first project, second project, third and so on. People like to anticipate the next work of someone they are following, admiring and connecting to.
Further still, a company that has an interactive element (huminized social app) built in to its core has the capacity to collect and retain lifelong fans.
What makes our interactive app stand out is what connects to it. A-level motion pictures (features and TV series) that go through traditional international distribution channels. We don't make fast content we make well thought out slow burn material that resonates and touches the emotional core of our viewer making a stronger, long lasting impact.
Business Model
We make money from the sale of licenses of the film/TV project to distributors, broadcasters and sales representatives, often at film markets and festivals (Asia Television Forum (ATF), Asian Film Market, Baltic Event Co-production Market, BANFF, DISCOP, East Silver Market, En Corto Film Festival International Pitching Market, Guadalajara Film Market, IFP Market, Latino Media Market, Marché Du Film, MeetMarket, MIPTV, Nordic Panorama Market, Shanghai TV Festival, Toronto International Film Festival, Berlin International Film Festival, Palm Springs International Film Festival, American Film Market (AFM), Comic-Con International, Sundance Film Festival).
A minimum guarantee for a film or TV series in one territory can start at $20,000 and can go as high as you please (“Assassination Nation” was bought by Neon for $10 million at Sundance in 2018), depending on seen and unforeseen market interest (buzz, talent involved, perceived appetite from audiences). A sales agent in each territory lays down a guarantee for a license to show the work in that region.
A minimum guarantee for a film or TV series in one territory can start at $20,000 and can go as high as you please (“Assassination Nation” was bought by Neon for $10 million at Sundance in 2018), depending on seen and unforeseen market interest (buzz, talent involved, perceived appetite from audiences). A sales agent in each territory lays down a guarantee for a license to show the work in that region.
CUSTOMER / USER |
Our customers are adults ages 25 - 55 in all territories.
Audiences will be acquired through traditional press and new media marketing of specific projects (each film/TV series will get its own marketing budget) that will simultaneously promote the app. Targeted ad campaigns advertising just the app in a top billing environment once the third project has been acquired by a distributor. Targeted marketing (booths, ads in industry magazines, press) at film markets as early as the seed funding stage through and beyond year 10 to get the industry people interested and engaged. Targeted marketing and founder speaking events at film fan conventions and in film friendly forums to inform general public. Founders to sit on panels and hold talks at relevant events to promote the app and our crossover film venture.
Audiences will be acquired through traditional press and new media marketing of specific projects (each film/TV series will get its own marketing budget) that will simultaneously promote the app. Targeted ad campaigns advertising just the app in a top billing environment once the third project has been acquired by a distributor. Targeted marketing (booths, ads in industry magazines, press) at film markets as early as the seed funding stage through and beyond year 10 to get the industry people interested and engaged. Targeted marketing and founder speaking events at film fan conventions and in film friendly forums to inform general public. Founders to sit on panels and hold talks at relevant events to promote the app and our crossover film venture.
COMPETITION |
Competitors in the film division of the business are production companies that produce live-action mid-range ($1 - 7 million) films/TV series that are marketed to international adult audiences - think Annapurna Pictures (Megan Ellison), Dana Brunetti, Cassian Elwes, Blumhouse Productions.
Competitors (though we wouldn't call them competition, rather allies and peers), in the social interaction and audience engagement division of the business people like Kevin Smith and his legion of SModcasters. Kevin has been huminizing his work long before apps. He has galvanized a community around him because he acted human right out of the gate. Kevin does speaking engagements, video posts and is always honest. People have gravitated to that and are cult followers of his work because of it. Kevin has made big business out of niche markets. He continues to share openly and honestly his feelings (donated money to Women In Film LA as a way to say sorry after having worked with Harvey Weinstein and recently had a heart attack and has openly discussed weight loss because of it and is inspiring many) on top of creating films and developing his personal brand. He does all this and brings his fan-base along for the ride.
The above competition are telling honest, heartfelt and socially enlightening stories that resonate with their audiences, with well-known lead talent and helmed by auteur directors. They are however missing out on the potential of connecting on a separate long lasting plane with their audience. Our added value interactive and audience engagement application will fill that gap. Potentially even as a scale up and growth opportunity we can welcome other production companies in to the fold.
Competitors (though we wouldn't call them competition, rather allies and peers), in the social interaction and audience engagement division of the business people like Kevin Smith and his legion of SModcasters. Kevin has been huminizing his work long before apps. He has galvanized a community around him because he acted human right out of the gate. Kevin does speaking engagements, video posts and is always honest. People have gravitated to that and are cult followers of his work because of it. Kevin has made big business out of niche markets. He continues to share openly and honestly his feelings (donated money to Women In Film LA as a way to say sorry after having worked with Harvey Weinstein and recently had a heart attack and has openly discussed weight loss because of it and is inspiring many) on top of creating films and developing his personal brand. He does all this and brings his fan-base along for the ride.
The above competition are telling honest, heartfelt and socially enlightening stories that resonate with their audiences, with well-known lead talent and helmed by auteur directors. They are however missing out on the potential of connecting on a separate long lasting plane with their audience. Our added value interactive and audience engagement application will fill that gap. Potentially even as a scale up and growth opportunity we can welcome other production companies in to the fold.
FINANCIAL OVERVIEW
Seed fund will last 1 year
Series A funding will last 2 years
Expenses and EBITDA three years out: 2 million (on 5 projects - either film or TV across all platforms)
Revenue three years out: 3 million
Revenue breakdown:
- minimum guarantee from 5 projects (2 million)
- renewed licenses of first and second year projects (300,000)
- film tax credits 700,000
Increased revenue expected in years 4 through 10 as projects attract stars (actor, director and producers), larger budgets and bidding wars for license rights across all international territories.
Series A funding will last 2 years
Expenses and EBITDA three years out: 2 million (on 5 projects - either film or TV across all platforms)
Revenue three years out: 3 million
Revenue breakdown:
- minimum guarantee from 5 projects (2 million)
- renewed licenses of first and second year projects (300,000)
- film tax credits 700,000
Increased revenue expected in years 4 through 10 as projects attract stars (actor, director and producers), larger budgets and bidding wars for license rights across all international territories.
FUNDING
Seed funding of $300 000 for 2019 for first film Night at Station Main and building of online community, app/UI design with interactive element and implementation.
Series A financing of $2 000 000 for 2020/2021 for next two projects, expansion of team, to support overhead and build on audience community.
Series B financing of $4 000 000 for 2021/2022 for next two projects, expansion of team, to support overhead and build on audience community.
Raised $6500 for proof of concept via crowdfunding campaign: fundrazr.com/spythrillerPROOF
Series A financing of $2 000 000 for 2020/2021 for next two projects, expansion of team, to support overhead and build on audience community.
Series B financing of $4 000 000 for 2021/2022 for next two projects, expansion of team, to support overhead and build on audience community.
Raised $6500 for proof of concept via crowdfunding campaign: fundrazr.com/spythrillerPROOF
MILESTONES
February 2019 - Complete proof of concept of Night at Station Main
February 2020 - Complete full 90 minute film Night at Station Main for release to film market for domestic and international sales acquisition. Will use the success of this project as a metric for future projects.
2019/2020 - Develop next projects (two original features, two novel options for adaptation, two original TV/digital streaming mini-series)
2021 - Produce, finalize and sell two of six projects
2022 - Produce, finalize and sell two of six projects
2023 - Produce, finalize and sell two of six projects
February 2020 - Complete full 90 minute film Night at Station Main for release to film market for domestic and international sales acquisition. Will use the success of this project as a metric for future projects.
2019/2020 - Develop next projects (two original features, two novel options for adaptation, two original TV/digital streaming mini-series)
2021 - Produce, finalize and sell two of six projects
2022 - Produce, finalize and sell two of six projects
2023 - Produce, finalize and sell two of six projects
LEGAL STATUS
Lucky Dime Films and Mattfilms are separate corporations in Canada. At the time of seed funding we will incorporate Mattlabs (different name can be considered) in Canada and organize the corporate structure.
