In a world where only a fraction of films that go into production every year are ultimately released, differentiating one motion picture company from another can be a difficult proposition. However, consumers of filmed entertainment find it easy to differentiate one film from another, based on their individual tastes and preferences. In many ways, potential writers, directors and artists should find it as easy to differentiate Camelot Films from the pack of film production companies with the same ease with which consumers can tell the difference between Pluto Nash and the Blair Witch Project. Much of this difference comes from Camelot's view of how films are currently made, versus how films can be made and, in the opinion of the Company, how films should be made.

Nearly every major studio, small and medium sized production company and even pure independent productions approach the motion picture commercialization process as having two major steps: production and distribution. Under this view, production consists of all the elements required to create a negative, including acquiring or developing a screenplay, pre-production activities such as renting or scheduling studio, locations and equipment, contracting with production personnel and talent, principal photography and post production. Distribution consists primarily of advertising the film product and preparing release prints.

Camelot views the motion picture commercialization process as involving three major steps, each of which bears a symbiotic relationship to the costs, creative value and profitability of every film to be released by the Company. These three steps are development, production and distribution. Under the Camelot model, development includes not only of screenplay acquisition and development, but also a carefully constructed and unusually elongated pre-production phase. This process was developed as a result of the direct experience and observations of Camelot's management, in producing and financing more than 30 feature films over several decades. 		 

  Camelot's management made a number of deductions that proved true
for virtually every film project undertaken:		  


 
Developement and pre-production activities had the largest impact on both the quality (or creative content) and the cost of creating a motion picture.
Few motion picture productions invested adequate resources in developement and pre-production activities. Instead, many developement and pre-production activities involved sorting through and acquiring projects in the case of major studies, and pitching for financing and talent in the case of independent productions.
The industry-wide resistance to investing heavily (in terma of time and money) in developement and pre-production activities reflected a pervasive culture that
emphasized moving projects towards principal hotography (the most expensive phase of motion picture production ) as quickly as possible.
 


In the absence of an organization like Camelot Films, these weaknesses may appear rational. For major studios, a pipeline of film projects ready for release is an essential component of managing earnings. Therefore, the closer production executives are to getting a film “in the can” the more secure their positions with the studio are. For an independent production, commitments of investor funds are generally tied directly to the stage of production. With commitments from actors and directors tied to financing, proximity of a project to principal photography can often mean the difference between a project falling apart or becoming a completed film. As a result, all of these groups end up spending far more during the production process than they would otherwise have to spend if proper planning, scouting and revisions occurred before shooting the film began.

By viewing the development phase as a distinct and major component of the motion picture creation process, Camelot is building a culture that encourages its producers, writers and directors to focus their efforts and expertise on creating world-class pictures before the first day of shooting begins. When combined with the Company’s unique methods of attracting, compensating and retaining cutting edge talent beyond the radar of Hollywood, an unusually beneficial cost advantage is expected to emerge.

  

 
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