The Cast OUR HELL'S ANGEL FROM HEAVEN
Joan ]ett, who plays the rale of Slierry the Biker Roommate in The Sweet life, was born in Philadelphia; Pennsylvania, and moved with her family first to Baltimore; and later, when she was twelve, to Los Angeles.
In LA., passionate about Rock and Roll, she met song writer Kari Krome, and together they came up with the idea of a five-girl, teenage band playing the kind of aggressive lock that until then had been reserved only for guys. Dubbed "The Runaways" and featuring Jett on guitar and vocals, the group achieved a formidable reputation, and released their first album via Mercury Records in 1976,
By '71 they had soon-to-be-huge bands Cheap Trick and Tom Petty and The Heart breakers opening for them. A tour of Japan was an enormous success. Member came and went, though Joan remained consistent. In the Spring of 79, "The Runaways" dissolved.
Jctt toured solo, released a single in Holland, and produced the "Germs" highly acclaimed First" album, "Gl", After this, and a six week hospital bout with heart valve Infection, came a fateful meeting with producer /songwriter Kenny Laguna. With Kenny as her manager, they formed Blackheart Records. In December, 1981, the album "I Love Rock-n-Roll" was released. The title song single climbed the charts to #1 in America, the first song by a female-fronted band to do so, and it remained there for seven weeks. The album sold over ten million copies worldwide.
In 1985 Jett acted in Paul Schrader's Light of Day opposite Michael}, Fox. In 1989, the song "I Hate Myself For Loving You" was nominated for a Grammy, and "Up Your At fey/' her album from which the song came, went platinum.
In '92 she portrayed the villainous Felicia Martinez In the television series "Highlander". In '95 she appeared on the television programs "Unsolved Mysteries" and "America's Most Wanted" to further the investigation into the brutal '93 sex murder of Mia Zapata, one of Seattle's most talented and popular performers. In '96 she appeard in the documentary "Not Bad For a Girl", about hard-rocking women. Starting in '98, amid constant touring work and live appearances, she began hosting "Independent Eve", a showcase of indie films for Maryland Public Televison. '9? saw the release of Joan Jett and Ttie lllackhearts'Compilation CD "Fetish".
In 2000, after guest starring on the popular TV series "Miiker, Texas Ranger", loan ascended the Broadway Stage as Columbia in the successful revival of"The Rocky Horror Show." She left in May of '2001, and by |u[y was essaying her colorful tour de force In The Sweet Life. We were thrilled to have her: her generous spirit and professionalism added greatly both to the experience of making the movie, as well as in making it come alive in post production.
budget top sheet The optimum budget - the one for which producers strive- is the magic figure that will result ill a maximum return on tire invested dollar without compromising the quality of the film. The Producer attempts to divine this balance of expenditure against the projected income the film will generate, lit the past,a standard industry rule of thumb maintained that a picture must gross approximately three times its negative cost to break even. "This multiple of three took into account the Exhibitor's (theater owner) cut, the Distributor's cut, and the distributor^ costs in promoting the film and striking prints, it didn't take iirto account Exhibitor and Distributor bookeeping 'sleight of hand', an appalling prospect to which all filmmakers are subject.
The Sweet Life will cost J250,000 both to complete and to take as far as distribution. Another $100,000 may be raised depending on various contingencies once we reach that point. A total of $350,000.
However, times liave changed dramatically in the last two yeai"s. In some instances there may be no Distributor and no Exhibitor involved in the dissemination of the film to the paying public. The Internet and Broadband Cable TV haive seen to that. And, as explained In the "Why Video?" section of this memorandum, there is no longer necessarily even a Negativel
So...what once was a figure of three times the monies spent as a goal for recoupment has to be substantially reduced to reflect the changing marketplace. No ti~ue figures are available at this time: the industry as It is presently evolving is just too current to have generated detailed studies. However, individual cases suggest that with a budget as low as ours, it would not be outside the realm of possibility to lecoup all expenses - and bring the investors to the level of profit participation - from earnings of between $400,000 and $700,000.
Until recoupment is reached, all monies received by The Sweet Life Productions LLC will go to the investors. After this breakeven point is reached, profits will be shared equally by Investors and producers.
Following is the 'Budget Top Sheet', which summarizes the various categories of the Development, Pre-production, Production, Post-production, and Securing Distribution phases of the film. It will continue to evolve and shift during production, but will always stay within that magic number.
DEVELOPMENT Memorandum, opening bank account. Quick Books, stationary, legal fees, test shoot for video fot registration, etc 10,000.
PRODUCTION Produced Unit 10,900
Director of Photograhy's Unit 17,000
Sound Recordist's Unt -5,300.
AH DiiKtor Unit 5,100.
Dialogue Coach - Nicole Potter - lehearais -t- several days 1/500.
Rehearsal food S trans 500-
Equipment Rental M Purchase J2/D00.
DigiÈera shooting stock 60 hr. X 20 Ij200.
Locations (include construction, rraterab) 7,000.
Costumes, piops, make-up 5,000.
Markets & Timetable
the sweet life
The Sweet Life has many markets from which to earn revenue. These include: Domestic theatrical
Non-theatrical (colleges, airlines, armed forces)
Foreign tele vision
Home Video (VHS, DVD)
"Making of" documentary
Any one of these markets could recoup the entire investment, considering our low budget.
the sweet life The Development stage of the Production is already over. We are now in Pre-production.
Time Table This will continue through a week of rehearsals in mid-July.
Production will begin on July 23rd, twenty-six days of shooting over a five week period, ending late in August, to be followed by a week of Sound pickups.
Then the meticulous Post-production process, begun during the shoot, continues until late in the year By 2002 we will have our finished film, ready to begin to showing in strategic Film Festivals, at Marketing Conventions, and to various Distributors.
An Awareness of Risk
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