The historical content is provocative, enlightening, and historically taboo. In essence, the three Act documentary explores the apocalyptic driving force of the First Crusade in terms of a Christian military campaign. Only a handful of contemporary historians accept and "preach" this reality. Act I explores the origins of apocalypticism and messianism in Christianity, as well as the social and religious climate of medieval Europe . Act II retells the call to arms by the Pope in 1095 to recapture Jerusalem , and explores the overwhelming Christian response. Act III follows the military campaign of the biblically driven Christians across Europe and Byzantium to Jerusalem , where the crusaders are militarily victorious and spiritually disappointed.

Having meticulously written a moving and informative historical narration, I have spent years researching and collecting filming permissions for over eighty archaeological items from institutions in eleven countries. Every single shot is designed to be visually stimulating and parallels exactly the story being spoken. Nothing is haphazard. The artistic presentation has been meticulously researched in order to present to the viewer the physical and spiritual world of the people being discussed. There are no pieces of artwork which do not coincide exactly with the point in history being discussed, as is otherwise often times the case. The design concept is unique in that the audience's eyes absorb a dazzling array of beautiful visual artwork which is the very substance of the documentary's history. When the narrator is discussing a fact, we see that fact. Furthermore, as each work of art is presented, a yellow "footnote" will briefly appear at the bottom of the screen, showing the date, the creator's name, and the location of the artwork or text being illustrated. In addition to the presentation of genuine artwork, the use of dramatic recreations and map illustrations will be sparingly and appropriately incorporated, as per the working shot list. This documentary is a learning experience which people will wish to view again and again due to its provocative presentation and subject matter.

The communion of the visual and spoken stimulus is an exciting and gripping one. The narration, the pieces of artwork, the cinematography, and the editing have all been deeply considered and planned accordingly to render a final product which is nothing short of brilliant. By the third and final act, the viewer becomes a crusader fervently wielding a sword on the greatest spiritual conquest in History. The working shot list speaks for itself. The tempo of cuts is purposely quick, allowing the eye to effortlessly absorb information and beauty while the ear is enraptured by the narrator's continuous bombardment of raw data coated in melodic, poetic sentences. Furthermore, there is the unique dramatization device of having the narrator portray Pope Urban II delivering a recreation of the super-charged apocalyptic speech at Clermont, the historical birth of the Crusade.

The enthusiastic personnel whom I have been fortunate to collect as collaborators are equally impressive. The Director of Photography, Anna Foerster, has been the cinematographer on cinematic marvels such as "Independence Day," "Alien 4," and "Godzilla." In her letter of interest, she excitedly writes me the following: "Your script has the potential to be an extraordinary visualization… my expertise will become a tremendous asset to your endeavors." With our combined visual styles, she and I will bring an exciting visual edge to the world of documentaries via our concepts of cinematography, from Motion Control Desktop Photography and provocative photography of dramatic recreations, to eclectic choices of film-stocks and formats conducive to creative stylistic choices and post-production effects.

Boston University 's Professor Richard Landes is the colorful historical "guide" of the documentary, explaining and expanding the narration via an interview intermittently cut in at pivotal points. The founder and director of the Center for Millennial Studies, as well as an expert author and professor on Apocalyptic movements through history, Richard Landes is regarded as one of the world's best and most respected Millennial historians. In his letter of interest to me, Professor Landes writes: "I wish to express my full support for Giovanni Zelko's proposed documentary on the First Crusade. The proposal itself is most impressive: the detailed and imaginative scenario he has put together strike me as an excellent way to present this material at a time when such perspectives would provide much needed insight into the dynamics of certain kinds of millennial activity, both in their psycho-cultural manifestations and in their historical evolution."

The accompanying musical composition, as important as any other element in delivering a powerful and compelling cinematic experience, will be created by the composer team of Barry and Mathew Devorzon. Both accomplished classical composers as well as contemporary songwriters and composers for film and television, the Devorzon's are a collective musical powerhouse with extensive credits including a multi-platinum song and a #1 pop hit. In their letter of interest, they write: "We are both very excited and would love to join your team once the time comes for the sound score to be composed… I'm sure [your documentary] will become an important teaching tool for what seems like an incredible historical topic."

At a perfect time with the beginning of a new millennium, this documentary is on the verge of completion. All the elements have been drawn together: a provocative slice of history lyrically revealed in a flowing narration; a meticulously constructed shot list; a complete collection of filming permissions for needed archaeological items; and an enthusiastic all-star crew of personnel. The final element now needed is for a courageous and experienced company to collaborate with the present groundwork and launch the production. Time is ticking. I hope you will join me in my crusade...

Sincerely,

Giovanni M Zelko