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Randy Mandy Productions, LLC seeks $1,750,000 capital to fund the production of MURPH and its ancillary marketing and distribution goals. Randy Mandy Productions, LLC proposes to secure all its moneys from venture capitalists and private investors. Using a conservative, selective revenue projection the Company projects gross revenue of approximately $4.5 million with a net producer/investor income of $300 thousand for MURPH.


See our Spark Pitch Deck      


The budget is $1,750,000.

See the Top Sheet HERE.

Equity is 1.5M. The equity is treated pari-passu.

Investor terms for equity are as follows:

  1. Investors make their money back from foreign and domestic proceeds until they make their money back plus 20%.

  2. All additional revenues are split 50-50, with 50% split prorata between equity investors. The other 50% is split between actors, filmmakers, crew, etc.


The typical timeline for recoupment is 12-18 months from investing.



In 2016, U.S. and worldwide theatrical box offices grossed $11.4 billion and $38.6 billion, respectively. North American DVD sales and rentals reached $8.42 billion, while digital platforms (digital sales, VOD rentals, subscription streaming sites) was $9.52 billion. With this incredible growth, the independent film market has expanded, amounting to North America grosses of over $4.5 billion, 42% of the $10.9 billion U.S. box office total. The strength of independent films in the marketplace and at the box office was reaffirmed at the 2017 Oscars with the Best Picture awarded to MOONLIGHT, the tenth consecutive independent film to win that award.


MURPH incorporates action and comedy elements that will interest a wide audience, regardless of age or gender. Still, the story features characters, plot points, dialogue, and other details that will resonate with and reward several key niche audiences.

The concept itself - an action-comedy featuring an irreverent reporter working on the opioid epidemic - has a broad level of appeal. The mixture of comedy and relevant social issues gives the script multiple elements that could draw in viewers. In addition, the cast is diverse, helping the project stand out. 


To maximize investor return, marketing efforts will target the following U.S. audiences:

PRIMARY AUDIENCE: children and adults, aged 13 to 50.

This group is defined by age and comprises not only the most active moviegoers (ages 17 to 34) but their teachers and parents (ages 35 to 50).

Promotable elements:

  • the film’s reflective, current-day plot frame spotlighting opioid abuse

  • diverse movie soundtrack

  • use of accents and foreign languages by main character


Promotable elements targeted at the younger portion of this group:

  • young stars and influencers in cameo roles

  • strong costume pieces


All promotable elements for both age groups have strong tie-ins to ancillary sales and merchandise.

SECONDARY AUDIENCE: 80s/90s comedy fans.

Many of these 80s/90s comedy fans fans fall into our larger primary market, but defining this niche group more deeply will guide secondary outreach efforts.

Promotable elements:

  • 1980s and 1990s comedy references and homages


TERTIARY AUDIENCE: action film devotees

This distinctive group favors a wide range action titles that include such successful films as Beverly Hills Cop and, more recently, Head Hunters, Spy and The Spy Who Dumped Me. 



June – July 2020 

  • All department heads will be hired. The director will be scouting with the DP and the production designer. The director will spend time casting the supporting roles.

  • Department heads will hire their team. Locations will be locked. Wardrobe department will do fittings and purchases for actors. Production designer will buy all necessary items (set dressing, props). Director will shotlist with the DP and the 1stAD. The AD department will design the schedule for the shoot. We will plan a reading of the script with all the actors and lock the script.

  • The week before shooting, we will do a tech scout (go to every location with all the department heads and talk about challenges and issues). We will do a camera test for overall look as well as hair and makeup. We deal with any last minute scheduling and production issues.



August – September 2020

We know that a well-prepped film means a smooth shoot. While we shoot, our job is to make sure everyone else is doing his or her job. We make sure we are getting good performances from the actors. We make sure the director and DP are getting strong coverage, and enough to have many options in the edit room. We make sure that we are making the day, and that we will not go over the allotted 25-30, 10 – 12 hour days.


October – November 2020

  • We edit for 12 weeks. During this time, we will start screening the film for friends to get feedback on what works, what still needs work. Then we screen the film for film school students and strangers and ask for feedback.

  • After we lock picture, there is a month of finishing work. This includes sound work and color correction.


December 2020 – October 2021

  • A target list of potential distributors for the film will be completed by our first day of shooting. Representatives from these companies will be invited to set to meet the filmmakers and cast.

  • The film festivals most suited for selling MURPH are South by Southwest (March), Nashville (May), and Toronto (Sept).

  • Regional festivals that will be utilized to develop fan buzz for the film's online release will be Atlanta, Terminus, Sidewalk, Beaufort, Indie Grits, Sarasota, and Y'allywood.

  • Our first festival submission will be for SXSW November 2020.

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