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REMEMBER MINNESOTA - Crew the Movie

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									                             REMEMBER MINNESOTA
                    SOMETIM ES BEIN G A HERO CAN TAKE YOU B Y SURPRIS E
                    SOMETIIMES BEIING A HERO CAN TAKE YOU B Y SURPRIISE...
                    SOMET MES BE NG A HERO CAN TAKE YOU B Y SURPR SE




    It is sunrise at the 1986 Intercollegiate Rowing Association Championships, a formal
event that includes the best teams in the country, and also pays homage to the oldest
competitive sport in the world. This year, like every year, it is a spectacle of Gucci and
Armani, caviar and champagne, and the most chiseled, bronzed athletes the Ivy League has
to offer. The elite stand motionless on the shore as the muscled rowers snap into action.
    Meanwhile, fifteen hundred miles away in Bismarck, North Dakota, Brad Melby, 18, sits
in his cherished red Camaro with his friend Terry, smoking pot and listening to Poison. Brad
has spent his high school years stoned at the top of the bleachers, and he hopes that
college will be different for him. To everyone’s surprise, he’s been accepted to the University
of Minnesota’s General College, the junior college within the university.
    When he arrives, Brad is overwhelmed by the size of the campus, and soothes himself in
the only way he knows how. Stoned again, he stands outside the closed cafeteria yelling
through the glass at Lottie, the girl inside, a beautiful, hip young woman despite her hair
net. She thinks he’s cute, but won’t let him in regardless.
    Not knowing what else to do, Brad sits outside a dorm hoping to catch sight of Vanessa,
a sophomore, also from Bismarck. He has harbored a crush on her since childhood, one that
leaves him tongue-tied in her presence. She is beautiful, smart, confident, graceful, and
unattainable. She is also the coxswain for the men’s crew team, and she emerges from the
dorm off to a recruitment meeting. Brad tags along, and once there, his attention is split
between Vanessa and the six-foot long sub sandwich stretched across the table.
    Brad’s interest in sports has been limited to watching. He isn’t athletically inclined. He’s
never competed in anything. And he’s not in shape. However, in this room Brad has one
thing going for him: he’s tall. And this year, the U of M Men’s Crew needs a few tall men.
    At the University of Minnesota, rowing is a club sport, and team members have to pay to
be a part of it. There are no tryouts, just the hope the team can recruit athletes who have
been cut from other sports. Or lure an unexpected hero with the promise of a good
sandwich.
    The lights dim and Coach Gleason, a small man with a large presence, shows an
emotionally charged film meant to portray the sport in all its luster and glory. Gleason
knows this glory well. He led his team to an Olympic medal as coxswain.
    Brad is enraptured by the absolute beauty and purity of rowing, and of Vanessa. This is
the new beginning he was hoping for, and his best chance of getting closer to Vanessa who
is unaware of his affections. Vanessa is skeptical of his ability to commit to the demands of
the sport.
    Brad’s father is equally skeptical and reluctant to support Brad in anything that distracts
him from getting an education. Nonetheless, Brad shows up for practice, undeterred.
    The first few weeks, however, are grueling, and the video fantasy of rowing is in stark
contrast to the club sport atmosphere at the university. The crew’s equipment is housed in
an abandoned maintenance shed, its rusted, corrugated tin an eyesore on the banks of the
Mississippi behind the power plant. Brad doubts his ability to stay with it but his desire to be
close to Vanessa buoys him.
     He meets Lottie after workouts on the loading dock behind the cafeteria. She is kind
enough to feed him after hours. Brad inhales his food and recounts his day, unaware that
Lottie is developing feelings for him.
     As the fall season unfolds, Brad fights to secure an open seat in the varsity boat with his
rival Mitch, an aggravating, egotistical, heavy-chested savage. When Vanessa chooses Mitch
in a straw poll, Brad admits his love for her and is rebuffed. Now, with no varsity seat and
no chance with Vanessa, Brad’s motivations are gone. But he realizes that rowing has given
him something he has never had before, ambition. He quietly admits to Lottie, “If I don’t
row, how will I found out where my edge is?”
     Just before Christmas Break, a varsity crewman suffers an unfortunate accident, leaving
his seat open for Brad. But there is trouble at home. Brad has been so distracted that his
grades are not up to par, and Dad refuses to pay for his return unless Brad quits the team.
Instead, Brad sells his coveted Camaro and returns to claim his varsity seat.
     Unfortunately, his hopes are dashed once again by the appearance of a transfer
student, a Columbian Adonis with rowing experience. It may not be good news for Brad, but
Coach Gleason finally foresees his best spring season ever. It’s enough for Gleason to take
out a second mortgage on his home in order to purchase the “Nietzche,” a sleek, fast,
magical rowing shell from Italy.
     The crew arrives in Texas for the first race of the spring season. Mitch’s attitude wears
on them all, and Gleason is forced to make the ultimate sacrifice. He sends Mitch packing
knowing that with Brad, he will not have his winning season. Brad has never been the
strongest rower. But in rowing a crew isn’t limited by its weakest member; a rower who
makes a team great is better than a great rower. Finally in the varsity boat, Brad wins his
first victory ever. He also comes to the realization that he’s been chasing the wrong girl all
along. He arrives back on campus with his sights on Lottie.
     The spring season finds the team sailing from one victory to the next, defeating all
comers, including their hated rivals Wisconsin, and earning an invitation to the 1987
Intercollegiate Rowing Association Championships. Now it is the University of Minnesota
taking its place alongside Gucci and Armani, caviar and champagne, and the most chiseled,
bronzed athletes the Ivy League has to offer.
     In their first heat, our Golden Gophers surprise them all and earn the prestigious center
lane at the finals. Even so, they are shunned by the elite teams. In a moment of hubris, our
heroes suffer an accident that destroys their powerful shell, the Nietzche.
     Now on the eve of the finals, and without a shell, they sit in despair until Brown
University comes to their rescue with a spare boat. They desperately struggle to rig the boat
in time, and show up at the finals, tired, frustrated, and nearly defeated already.
     In the spirit of Invincible, Miracle, Chariots of Fire, and Breaking Away, Remember
Minnesota is the heartwarming drama of one young man’s inability to understand the word,
No. It is the against-all-odds story that asks the question, can an unexpected hero lead an
unlikely team to an unforgettable triumph at the most prestigious collegiate championship in
the country?
     Yes!



                     UNEXPECTED.. UNLIIKELY.. U NFORGETTAB LE..
                     UNEXPECTED UNL KELY U NFORGETTAB LE

                             REMEMBER MINNESOTA
                                                              Chace Crawford

BRAD MELBY
    Brad, a recent high school graduate, has an important
choice to make. He can leave his well-earned slacker
reputation behind and remake himself in college, or he
can float along exactly as he has, a bit lost, somewhat
directionless, and filled with hope but not enough
motivation to carry him through.
                                                              Gossip Girl
    Brad has never won anything, not even the girl. The
truth is, he never tried. So the tests and challenges that
face him require a fortitude and commitment to which he       Jared Padelecki
is unaccustomed. And as Brad finds out, rowing
introduces him to untapped reserves of power and
tenacity that help him surpass his every limitation.
Perhaps it is the grueling nature of the sport. Or perhaps,
more importantly, it is the purity of rowing, the complete
and utter selflessness, which demands each crewman
operate in perfect sync, a unit of the whole.
    Initially, everyone doubts Brad and his abilities. Even
his coaches wonder what will happen when he stops
giving a hundred and ten percent. To everyone’s surprise,     Supernatural, Cry Wolf,
particularly his own, he never does. As a result, he          Gilmore Girls
discovers inspiration, confidence, and love, though not in
ways he could have imagined.                                  Matt Dallas




Garrett Hedlund



                                                              Kyle XY

                                                              Taylor Kitsch




Friday Night Lights,
Four Brothers, Troy, Eragon



                                                              Friday Night Lights (TV)
                                                                Jena Malone

 VANESSA CHURCHILL
     Vanessa moved to Bismarck in elementary school, and
 Brad was the first person she met on the playground. She
 always liked him but came to disregard him as he
 developed friendships with underachievers. Originally
 from Boston, Vanessa grew up on the banks of the
 Charles River. This spawned her love of rowing, which
 was then nurtured by her father.
     Vanessa’s soft beauty and petite frame hide the fiery      Into the Wild, The United
 bulldog inside that, once unleashed, becomes an                States of Leland
 unrelenting force. Athletic in her own right, it is being a
 coxswain that best combines all of her considerable gifts      Emma Roberts
 – intelligence, tenacity, intuition, and in no small
 measure, a commanding way with men. She enjoys the
 seductive power and respect she holds with the team.
     As coxswain of the U of M Men’s Crew, Vanessa is the
 brain and nerve center of the team, serving as both
 dictator and motivator. More than merely steering the
 boat and calling its pace, she must assess the competition
 on the fly, and determine the plan of attack. A master
 strategist, her instincts in the boat often surpass those of
 her coach.


                                                                Nancy Drew

Kate Mara                        Kristen Stewart                Lucy Hale




Shooter, We Are Marshall,       Jumper, Into the Wild,
                                                                Bionic Woman
Brokeback Mountain              Panic Room
  COACH KIP GLEASON
   The coach of the Men’s Crew seems to have the deck        Bill Nighy
stacked against him. He has limited recruitment options
and second-rate equipment. Even the weather opposes
him, preventing his crew from training properly in the
winter in order to be competitive during the prized spring
season.
   When we meet this former coxswain, his chest glitters
with medals won in pursuit of his greatest passion.
Though he has dreamed of coaching a winning season,
the gifts of rowing, and of coaching rowing, far outweigh    Pirates of the Caribbean
victory. Confidence. Trust. Camaraderie. Solidarity.
Integrity. Unlike any other sport, this one instills life    Jeff Bridges
lessons that seem to propel its participants toward
greatness. And that has always been enough for Gleason.
Until this season.
   As the year unfolds, Gleason sees an opportunity for
something special in his team, and he’s willing to put up
his own money to purchase a shell that will help them be
competitive. For a moment, his ambition gets the best of
him until he hears his own words repeated back to him:
“In rowing, you are not limited by the weakest member of
your team, rather you can surpass the capabilities of the
strongest man.”
                                                             Fearless, The Big Lebowski,
                                                             Seabiscuit, The Fisher King

                                                             Jeff Daniels
Hugh Laurie                  Michael Keaton




                                                             Good Night and Good Luck,
House                       Batman, The Company              Terms of Endearment, The
                                                             Squid and The Whale
                                                              Nikki Reed
LOTTIE SOMMERS
    A girl like Lottie sneaks up on you. Quirky, quiet,
and wise beyond her years, she is substance over
flash. Until she opens her mouth to sing. Then she’s all
flash and everyone sees it. A scotch drinker, a smoker,
and a siren in men’s pajamas, Lottie’s confidence lies
beneath the surface, which you have to scratch to get
to.
    A bit self-protective, she knows what it’s like to feel
worthless. It may not be the most obvious attraction
but it is something she shares with Brad. Unlike Brad         Thirteen, The O.C.
though, she has spent her youth trying to be perfect,
which she has determined is not all it’s cracked up to        Amanda Bynes
be.




Hillary Duff




                                                              Hairspray, She’s The Man,
                                                              What I Like About You
Material Girls, Cheaper By The Dozen 2,
Outward Blond, Lizzie McGuire
                                                              Blake Lively

Ashley Tisdale




                                                              Elvis and Annabelle,
                                                              Accepted, Sisterhood of
The Suite Life of Zack and Cody,                              the Traveling Pants
High School Musical
MITCH MCMILLAN
                                                         Michael Cassidy
    Mitch has six-pack abs. And he makes sure you
know it. He has enormous raw, physical ability without
even trying. With all of Brad’s commitment and even
with perfect technique, Brad could never out-row him.
Mitch’s sense of humor makes you laugh out loud,
though it comes at other people’s expense. From the
very first moment they meet, only circumstances keep
Brad from popping this guy. But in a real fight, Mitch
wouldn’t do very well.


                                                          Smallville, Hidden Palms,
Penn Badgely                                             Zoom, The O.C.

                                                         Thomas Dekker




                                                         The Sarah Conner Chronicles
Gossip Girl, John Tucker Must Die,
Forever Strong, 3 lbs.                                   Chris Hemsworth

Matt Barr




                                                         Home and Away
One Tree Hill,
Commander in Chief
HOWARD MELBY
  A practical man worried about his son’s frivolous
pursuits, Howard sees the world as an unsafe place.
He has been happy watching from the bleachers and
can’t understand why his son wants to take so many
chances. But as his son’s strength grows, he sees that
sometimes its best not to cut back but to cut loose.




John Carroll Lynch (attached)




Zodiac, Fargo, Confidence, The Good Girl,
Volcano, The Drew Carey Show
Tess Clark – Manager, Producer, Screenwriter
Tess has been successfully producing and managing national television advertising
campaigns for nearly twenty years. As a counterpart to running her own production
company, she guided the setup and implementation of the first internet-based television
advertising agency, Spot Runner, and served as its first Creative Director. As a producer,
Tess was at the helm of a sports series on ESPN featuring world-renown athletes, and
her short film The Middle Passage won numerous film festivals before finally earning a
spot on the short-list for the 1994 Academy Awards. Tess has written documentary
films, pilots for episodic television series, and hundreds of commercials. She spent three
years cutting her sitcom teeth at Paramount Studios on Family Ties and Cheers. Her
award-winning screenplays have been recognized by the Academy Award Foundation’s
Nichol Fellowship, Sundance Institute, the Telluride Independent Film Festival, and
purchased by both independent producers as well as major studios. Tess is the co-writer
of the screenplay Remember Minnesota.


John Carroll Lynch – Manager, Producer, Screenwriter, Actor
John began his acting career as a member of the Guthrie Theater Company in
Minneapolis where he appeared in over 30 productions. His feature film credits include
Fargo, The Good Girl, Pushing Tin, Face/Off, Volcano, Confidence and Gothika, as well
as this year’s Zodiac and Things We Lost In The Fire. Lynch has worked with some of
the most experienced producers in independent film including Joel and Ethan Coen, Ben
Berenholtz, Matthew Greenfield, Shana Stein and Robert Lawrence. John has served as
a corporate officer for Eye-4-2 Productions, Inc. since 1997. In that capacity he has
been responsible for decisions regarding budgeting, payroll, and tax planning. He is the
co-writer of the screenplay Remember Minnesota. He will be playing Howard Melby in
the film.


Brad L. Melby, CFP® – Manager, Producer
Brad’s experiences as a rower on the University of Minnesota’s Men’s Crew, where the
Gopher’s varsity four achieved their highest finish in history at the Intercollegiate
Rowing Association Championship, are the basis for the screenplay. Melby began his
work life in Bismarck, North Dakota at age 14 as a stained glass artist. He joined the
United States Army Reserve on the G.I. Bill where he served from 1986-1994. In
addition, he received his BA degree in Communications at the U of M. Brad’s work
opportunities since college have given him a strong background running a small
business as well as organizing both large and small events with various budgets. Since
1990, he as been a senior financial advisor with a strong analytical focus. He is a CFP®
(Certified Financial Planning Practitioner) and is highly recognized as a top financial
planner, regularly hired as a guest speaker throughout the country and a professional
contributor for both local and national media outlets. A North Dakota native, Brad
currently resides in East Bethel, MN.
John Stout – Manager, Attorney, Executive Producer
John Stout is an officer and shareholder of Fredrikson & Byron, a 200 plus attorney
firm with offices in Minneapolis, London and Monterey, Mexico, practicing principally in
governance and finance. Stout chairs the firm’s Corporate Governance Group, and co-
chairs the firm’s Advertising, Media and Entertainment Group. His initial feature film
representation was Jonathan Livingston Seagull. Since then he has worked on the
financing of more than 70 independent feature films, the most recent being A Prairie
Home Companion, written by Garrison Keillor and directed by Robert Altman, for which
he served as a Co-Executive Producer and attorney for the limited partnership which
financed a portion of the film’s budget. He co-founded New Front Films, which
produced six feature films. During the 1980s, Mr. Stout was engaged by American
Playhouse, New York, to establish a for-profit subsidiary, Playhouse International
Pictures, and finance a slate of specialized films. He has producing credits on five
feature films. Mr. Stout co-founded the Minnesota Film Board in 1981, currently serves
as a director and its pro bono legal counsel, and continues to volunteer substantial
time and energy to the growth and development of the film and television industry in
Minnesota. He has been recognized by former Governor Perpich and the Minnesota
Legislature for his service to Minnesota’s film industry.


Mikael Salomon – Director
Mikael Salomon began his film career as a cinematographer, and was trusted with his
keen eye behind the camera for notable directors like James Cameron (The Abyss),
Steven Spielberg (Always), and Ron Howard (Far and Away, Backdraft). He launched
his directing career with Reese Witherspoon in the adventure A Far Off Place, followed
by Morgan Freeman and Christian Slater in the action thriller Hard Rain, and has gone
on to helm highly esteemed television series and miniseries like The Andromeda
Strain, A Band of Brothers, Rome, The Company, The Fugitive, and Alias among them.
He’s a two-time Academy Award nominee for cinematography (The Abyss, Backdraft),
an Emmy Award winner for his direction of A Band of Brothers, and a Directors Guild
Award nominee for The Company.


Richard Hicks – Casting Director
Before Richard started casting, he worked as an actor at the Guthrie Theater in The
Imaginary Invalid, Leon and Lena and Lenz, and The Misanthrope. He has been
nominated for several casting awards including the Emmy. His credits include: The No.
1 Ladies Detective Agency, Harold & Kumar Escape from Guantanamo Bay, Charlie
Bartlett, Hairspray, Lars and the Real Girl, Curb Your Enthusiasm, Dude Where’s My Car,
Shall We Dance, A Mighty Wind, The L Word, The 4400, Further Tales of the City and
Waking The Dead among others.
Julie Hartley – Unit Production Manager, Line Producer
Julie has been production managing and producing entertainment and media projects
for the past twenty-two years. Her career began at Twin Cities Public Television (PBS).
She managed the Prairie Home Companion series live via satellite to the Disney Channel
and worked for Australian Broadcasting Corporation in the TV Features Department. Her
independent feature film production experience includes Old Explorers, World and Time
Enough, With or Without You, and Wooly Boys. She has worked for several studio
feature films including Prairie Home Companion, My Cousin Vinny, A Simple Plan, Joe
Somebody, and most recently, Lackawanna Blues and Dave Barry’s Complete Guide to
Guys.

Susan Austin – Media & Investor Relations
Susan Austin, an independent marketing consultant based in Minnesota, launched her
company Austin Media & Marketing after spending seven years as a member of the
Corporate Affairs and Communications Department at Amerprise Financial. She has over
15 years of experience in the television news industry, working as an award-winning
anchor and reporter in the Savannah, GA, Davenport, IA, and Minneapolis/St.Paul
television markets. Prior to her stint at Ameriprise Financial, Susan was the Director of
Marketing Communications for the Mall of America, the nation’s largest retail
entertainment center located in Bloomington, Minnesota. Susan is a member of the
Public Relations Society of America, and a former member of the NAVA Public Relations
Task force assembled in 2004 to provide balance to media coverage of the annuity
industry.
                                           RETURN ON INVESTMENT COMPARISON
                                                                     Domestic                                            Project
Title/Distributor                                                    Box Office          Global Box Office               Budget
                                                                     ($ in MM)              ($ in MM)

                 Sports Genre Champs
Rocky (United Artists, 1976)                                     $               117.2   $              120.5        $           1.1
Chariots of Fire (20th Century Fox, 1981)                        $                59.0   $               59.0        $          5.5
Bull Durham (Columbia TriStar, 1988)                             $                50.9   $               51.0        $          7.0
Bend it Like Beckham (20th Century Fox, 2002)                    $                32.5   $               60.0        $          6.8
Million Dollar Baby (Warner Bros., 2004)                         $              100.5    $              144.5        $         30.0
Remember the Titans (Buena Vista, 2000)                          $              115.0    $              124.7        $         30.0
The Rookie (Buena Vista, 2002)                                   $                75.6   $               76.2        $         24.0
A League of Their Own (Columbia, 1992)                           $              107.5    $              114.7        $         40.0
Coach Carter (Paramount, 2005)                                   $                67.3   $               72.9        $         30.0
                                    Average of above films $                     80.6    $               91.5    $             19.4

                 Recent Indie Champs
Napolean Dynamite (Fox Searchlight)                              $                44.5   $               46.1        $          0.4
My Big Fat Greek Wedding (IFC Films)                             $               241.4   $              368.7        $          5.0
Garden State (Fox Searchlight)                                   $                26.8   $               35.8        $          2.5
Transamerica (Weinstein Company)                                 $                 9.0   $               13.4        $          1.0
Borat (Fox)*                                                     $               128.5   $              207.4        $         18.0
Little Miss Sunshine (Fox Searchlight)*                          $                59.6   $               86.6        $          8.0
Sideways (Fox Searchlight)                                       $                71.5   $              109.3        $         16.0
                                    Average of above films $                     83.0    $              123.9    $                 7.3


                 Recent Studio Champs
Da Vinci Code (Sony/Columbia)                            $                      217.5    $              756.7        $        125.0
Pirates of the Caribbean: Dead Man's Chest (Buena Vista) $                      423.3    $            1,065.4        $        225.0
                Recent Studio Red Inks
All the King's Men (Sony/Columbia)                               $                 7.2   $                8.9    $             55.0
Basic Instinct 2 (Sony/Columbia)                                 $                 5.9   $               35.4    $             70.0
My Super Ex-Girlfriend (Fox)**                                   $                22.5   $               52.0    $             65.0
A Good Year (Fox)                                                $                 7.5   $               29.4    $             35.0
Poseidon (Warner Bros.)                                          $                60.7   $              181.7    $            160.0


Note: Except where noted, ROIs are rough estimates based on the assumption that 50% of box office receipts were returned to the studio,
yielding the following standard equation: (revenue/2)-budget = net revenue; net revenue/budget = return on investment. These figures
do not include ancillary (DVD, video, TV, etc.) earnings, and serve only as a guide.
* Numbers are as of 3/1/07, as film is still in theatres.
** Budget is estimated.

								
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