OASIS FILM FUND
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FOR INFORMATION ONLY
This memorandum is a business plan. It is not an offering for sale of any securities of the company. It is for your confidential use only and may not be reproduced, sold or redistributed without the prior approval of Oasis Films Fund or Forecast Pictures.
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Forecast Pictures © 2009
Why a Film Fund ? Oasis Films Fund:
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A sustainable and profitable investment fund in international movie production ; a high IRR
A chance to develop the Middle East film industry by bringing international productions to the region
A tool for promoting Arab cinema and Arab culture throughout the World Forecast Pictures © 2009
PROMOTING ARAB CINEMA AND LOCAL INDUSTRY
Oasis Films Fund goal is to develop a profitable, sustainable slate of Films which will contribute shaping the Arab movie industry of tomorrow. By focusing on two types of films, Oasis Films Fund is a highly profitable investment: Highly commercial films (in the like of Indiana Jones, Tomb Raider, Fast & Furious, Ocean’s Eleven, …) to be shot in Arab countries, respecting the Arab culture and to be exploited across the world. These will be staring highly recognizable international talent and directors: international comedies, heist and action-movies, love-stories, …
exemples of proposed films for the Fund : Friends & Money, Lost Gospel, Hard Drive, …
English speaking commercial films inspired by the Pan-arabic culture in the like of The Message, Lawrence of Arabia, The Kite Runner, …
exemples of proposed films for the Fund : Ibn Battuta, Ali Baba, …
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Forecast Pictures © 2009
Hollywood’s productions have helped convey a positive image of America across the world for the last 50 years. In a similar way, Oasis Films Fund will participate in forging a more positive image of the Arab World and culture, like recent movies did for others, such as : Australia, Mamma Mia!, Amelie Poulain, Da Vinci Code, Sex In the City, …
This will counterpart the caricatural image conveyed too often by Hollywood movies today (Iron man, Body of lies, Vantage point, …).
By bringing international productions helmed by experienced directors / producers to the region, Oasis Films Fund will help develop the skills of local technicians & professionals, who will in turn be able to teach their pairs.
The films produced by Oasis Films Fund:
. will have no strong political, religious or controversial content: they will be mainstream commercial movies; . will not denigrate Arab identity and will highlight its many cultural assets; . will involve, when possible, Middle-Eastern directors / writers with international track-record. www.oasisfilmsfund.com
Forecast Pictures © 2009
1.
Benefit of foreign crew training local crews and upgrading the quality of the local service, bolstering the film industry in the Middle East.
2.
Establish a long-term relationship with foreign producers and attract them to shoot international movies in the region.
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1.
Superb exposure for MiddleEastern countries, increasing their appeal for the international audience: this « advertising » will generate millions of qualified contacts through moviegoers, DVD buyers and TV audiences through the world.
2.
Putting the Middle East amidst the hottest film places in the world, with a flourishing media industry and an international appeal to filmmakers and producers. Forecast Pictures © 2009
International Heads of Departments brought to the region will be dubbed with local crews in order to train them: - director of photography, - set designer, set designer & construction manager, - sound & lighting departments, - make-up, hairdresser, costume-designer, stunts, SFX, … - editor, - line producer, production coordinators, accountants, …
Over time the Fund will set a proper local office and production facility: local crews and employees will be trained on the movies by the worlds’ finest professionals.
Oasis Films Fund will ensure talent scouting through the Middle East in order to find and train the high potential individuals.
In the long term, increasing use of local heads of departments and diminushing of foreign ones brought on locations.
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Forecast Pictures © 2009
1.
Over the course of the films shot in the region, Oasis Films Fund will invest and buy equipments instead of renting them.
2.
Through these investments Oasis Films Fund will make available to the local movie industry an up to date and competitive equipment of international standards.
3.
The availability of these equipments will help train local talents, when not used by international productions. These equipments, available locally, will stimulate the local productions and make them more cost-effective in the future, ...
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STRUCTURE OF OASIS FILMS FUND
Oasis Films Fund will participate in the financing of a slate of 10 to 15 internationally commercial movies suitable for theatrical release worldwide.
Oasis Films Fund’s rationalized investment model and decision making process will guarantee minimum risks for maximum profitability.
Oasis Films Fund is raising $80 millions, to be able to finance more than $ 400 million worth of international movie production (over 2 cycles and within 7 years).
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Forecast Pictures © 2009
Average 60% of the financing of each Film is guaranteed by Oasis Films Fund, acting as a combination of: - super-gap - equity
Remaining of the financing provided by a combination of:
Bank facility (up to 20% of the budget of each film);
Presales, including pre-negotiated deals in key territories;
Soft moneys (combination of : tax breaks, local and regional incentives, coproductions, …).
- discount of softmoneys and presales -
Investment will range from 30% to maximum 70% of the budget of each Film.
$80 M Oasis Films Fund
$80 M Bank Gap, Presales and Soft Monies
$160 M Production slate per investment cycle
Business model provides over 2 investment cycles over a total period of 7 years www.oasisfilmsfund.com
$80 M equity to finance over $400 M worth of International Movie Productions over 7 years : Secured
Spread Risk
Short Lifecycle
• Oasis Films Fund recoups right after the bank (when applicable) and before any other participant from all revenues from the world, excluding the few territories pre-sales necessary to the financing of each film. • Secured through the ownership of the physical property of each Picture. • Enhanced value of Pan-Arab exploitation of the movies produced, compared to other international movies
• Risk spread over slates of movies with various profiles • Already developed and secured, ready to go in production, all with A-class talent.
• Potential distribution of • Creative control and input by overages to investors as soon internationally recognized as year three (after first management team. cycle). • The investment policy is • Revolving fund with a supported by an preapproved liquidation economically rational procedure at end of a investment model and each maximum of 7 years. investment can only be made within predefined criteria. • 100% of the fund invested directly in the Productions and 0% in companies overheads.
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Driven by professionals
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Target scenario
Year 1
Year 2
Initial Investment
Recoupment of films from 1st slate
Year 3
Year 4
Year 5
Year 6
Year 7
Overages from films from 1st slate Second Round of investment
Recoupment of films from 2nd slate
Overages from films from 2nd slate
Overages from films from 1st slate Medium Scenario
Low Scenario
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Initial Investment
Initial Investment
Recoupment of films from 1st slate Second Round of investment
Recoupment of films from 2nd slate
Recoupment of films from 1st slate
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Network of investment companies
• A network of companies collecting the investors’ funds from various collecting companies set in North America, Europe and Middle East, … tailor-made upon the investors’ needs
Collecting company
• After the initial investment in the movies, all revenues collected are going through a third party reliable collection account • Major collection company of the fund for the investors set in Barhein for tax-efficiency
Management of the fund
Split of revenues www.oasisfilmsfund.com
• S et in Europe and USA, where most of the films’ commitments will take place • 2,5% management fee • 1% towards securing material and development of properties for the Fund’s production slate (recouped with a Premium inside the budget of the movies , when produced)
• First, in absolute first position, 100% of revenues go towards recoupment of 110% of the investment made by the investors • Then, the net profits are shared: • 80% to the investors, as upside • 20% to the funds’ management, as its success-bonus Forecast Pictures © 2009
Being a steady source of financing for the international movie-industry, OASIS Films Fund will quickly become a brand. Thus attracting more commercial projects and giving more leverage to reach higher level of talents. This will also be an opportunity for investors to communicate around the film industry. Thus investors are given special possibilities to use the Films coproduced by the fund for their own benefit:
One Company Credit for the fund for each movie.
Ability to use visual environment of the movies for Investor’s Company promotion & advertising. Potential product placement.
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Possibility of organizing private specific premiere screenings of the movie
First-look on all projects from Forecast Pictures and other major European and American producers, depending on Producer’s involvement in each Picture.
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INVESTING
Coproductions
Private Investments
National and local subsidies
International sales www.oasisfilmsfund.com
• Co-productions make movies eligible to each country’s benefits /tax rebates /subsidies • Sales to local Distributors (for each coproducing territory) • Split of rights (Theatrical, Video/DVD, PayTV, FreeTV) • Depending on the elements of the Film (theme, locations, nationality of cast & key crew) co-productions between 2 to 5 countries are set up, thus assuring part of the financing and theatrical/media exposure
• Private Equity • Banks (mostly for english-speaking Features)
• National tax incentives and Production rebates schemes • Regional subsidies
• An internationally recognized Sales Agency (approved by specialized banks) will be hired for each film and responsible for setting up Sales Estimates which will back the financing structure of the Film • Up to 2 Major territories (USA, UK, Germany, France, Japan & Italy) and up to 5 minor territories can be presold to help finance the Film • Future revenues estimates should be of minimum 150% of Fund’s investment Forecast Pictures © 2009
OASIS
Other Direct financing Funding sources (30-70%) (30-70%)
Combination of: . Bank gap . Pre-sales and/or coproductions in 2 to 4 major territories left aside from the recoupment schedule . Soft-moneys (regional subsidies, production rebates, local tax-breaks, …)
Recouped in first position after bank gap from world revenues, excluding coproducing territories & presales used for financing. Combination of: . super-gap . discount of pre-sales . discount of soft-moneys: .. regional subsidies, .. production rebates, .. local tax-breaks, … www.oasisfilmsfund.com
Forecast Pictures © 2009
Oasis Films Fund equity investment of $80M over the next 7 years.
First position after the bank until recoupment of [investment + 10% premium] against: - world sales (excluding coproducing territories & pre-sales needed for financing), - overages/profits, - catalog value of the film in coproducing territories.
50% to 100% of overages - after all parties have recouped their participations/investments (total gross less advertising fees, taxes, talent participations and distributor’s & theatre’s shares).
Risk spread over a slate of commercial movies with international value. Second round of¨Pictures as soon as money returns from first movies : revolving fund.
After 7 years, liquidation of the fund on a fair arms-length evaluation (by mutually pre-agreed third party).
Creation of a Brand, which will gain leverage in the international films community.
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Money released for each movie of the Oasis Films Fund to go into production only after:
Completion guarantee • formal letter of intent from a pre-approved completion guarantee (bond) • Insurance’ committment (before any production money is spent, …) Last in • signature of interparty agreement : release of the funds only after 100% of the financing is secured Collection account • pre-approved collection account company to guarantee crystal-clear money flow Sales agent • attachement of an internationaly recognized sales agency to distribute the movies worldwide
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The selection and decision processes are welldefined so as to ensure no investment can be made without the agreement of all of Oasis Films Fund’s directors.
Investment Committee
A selection committee composed of the Fund’s and industry experts will identify the projects. An investment committee composed of the executives of the Fund and representatives of the investors will scrutinize the investment process. An extensive checklist is used to make sure that all the needed elements are in place before any investment is confirmed.
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Selection Committee
Nework of Industry Experts
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Oasis Films Fund executives
• Jean-Charles Lévy • Rachid Slimi Investors representatives • Mustapha Mellouk • Dina Salti • Others named by and reporting to the various investors Industry experts • Insurer (Jean-Claude Beineix – Continental Media) • Entertainment lawyer (Stephen Saltzman, Loeb & Loeb LLC)
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Oasis Films Fund experts • Nicolas Manuel (Forecast Pictures) • Olivier Piasentin (Forecast Pictures) • Fakhita Drissi (Rihla Productions) Industry experts
• Hollywood Studio top-execs : Ileen Maisel , Nick Quested, … • Writers and Directors : Kamran Pasha, Roger Spottiswoode, Nalin Pan, Nadine Labaki, Bader Ben Hirsi, David Marconi, Nayla Al Khaja, … • Actors : Saïd Taghamaoui, … • International Sales Agent : Simon Crowe, Nick Chartier, …
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Phase 1: Selection of projects Artistic Either detailed synopsis (at least 15 pages) or the script Final script (dated) Director Casting: - pre-approved cast list for each role - letters of intent / contracts Head of Departments (DOP, Production Manager, Line Producer, etc.) Biographies / Filmographies of : producers / director / writers Schedule Maximum approved length of final film Financial Total Budget Financing Plan: - letters of intent - executed financing agreements Waterfall (projected) Waterfall (final) Choice of Bank (for cashflow + discount of agreements) Projected cashflow International sales agent (from pre-approved list) - Revenues estimates> 150% of fund's investment (excluding sales agent commission) - 2 major territories or 1 major territory and 2 minor territories presold Insurance Collection Account Legal Chain of Title Legal Opinion Coproduction Agreements Interparty Agreement Preliminary approvals from national authorities E&O Insurance
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Phase 2: Release of funds
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Pending on the investor’s specific tax-breaks needs, the fund and its tax-advisors are able to propose flexible solutions.
These will be discussed individually with the investors and we’ll provide tailor-made solutions.
The investor will add a tax-break benefit to the basic profitability of the fund.
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Forecast Pictures © 2009
The risk of loss in Oasis Films Fund business model is very limited, for two reasons:
The prerequisites to any investment (see Check-list); The recoupment position: . In order for the investment in a Film to be approved, the lower estimates of the Film revenues by the Sales Agency shall be equal to a minimum of 150% of the investment. . For the investment not to be totally recouped, it would mean that not even 2/3 of the Sales Agency most pessimistic estimates are met by effective revenues for ALL of the films. . With all the precautions in the choice of the Films and the internationally renown Sales Agent being also approved by our partner-specialized bank, this is highly unlikely. The statistics shown on the next slide will comfort this assumption regarding sales estimates vs. effective sales. . A particularity of the films produced is that they will have greater value than the average “International Picture” in their Pan-Arabic exploitation (theatrical, payTV & TV).
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Forecast Pictures © 2009
BUDGET (M US$)
EUROPE
EASTERN EUROPE
ASIA
LATIN AMERICA
REST OF THE WORLD
TOTAL SALES (M US$)
ASK Price from Sales agent
TAKE ACTUAL SALES ACTUAL SALES ACTUAL SALES Price from vs ASK vs TAKE vs BUDGET Sales agent
5
2,000
0,160
0,400
0,100
0,175
2,835
4,075
1,940
70%
146%
57%
10
4,600
0,700
0,950
0,450
0,300
7,000
11,300
6,500
62%
108%
70%
15
7,400
1,100
1,400
0,700
0,500
11,100
17,150
10,850
65%
102%
74%
25
12,000
1,800
3,100
1,900
1,000
19,800
25,900
18,900
76%
105%
79%
66%
9%
14%
6%
5%
100%
68%
115%
70%
These statistics have been compiled in 2004-2007 by one of the two most reliable international collection agents, excluding North American revenues.
Average revenues for each movie, expressed as % of the budget : From International revenues
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From North American revenues
Forecast Pictures © 2009
FINANCIALS SIMULATIONS
258
FILM 5
FILM 6
FILM 7
FILM 8
FILM 9
FILM 10
FILM 11
FILM 12
FILM 13
FILM 14
FILM 15
430
Hard Drive
Budgets of the movies produced, per quarter (in MUSD) OVERALL AVERAGE Share of each film’s budget invested by the Fund (% of the budget of films)
Ibn Battuta
Quarter of investment
Lost Gospel
TOTAL CONSOLIDATED AMOUNT, FOR THE WHOLE DURATION OF THE FUND
Friends & Money
Average profile of films slate over 7 years
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
20
50
30
30
10
30
20
50
10
30
20
30
40
10
50
60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60%
Quarterly overheads & development expenses, in M USD Set up costs (including lawyers and tax advisers) : - outside services - internal services Accounting, CPAs, audits, … (per Quarter) Overheads and expenses from the structure (per Quarter) : - overheads - developments expenses www.oasisfilmsfund.com
0,25 0,25 0,05
0,01
0,52 0,25 Forecast Pictures © 2009
Based on a 80 M USD Fund
Low Scenario
Medium Scenario
Producing Fees for the Fund , paid out of the budget of each film (as a % of the budget of each film)
2,5%
Financing Fees for the Fund, paid out of the budget of each film (as a % of the budget of each film)
2,5%
Sales revenues, from presales within 9 months after start of Production (as a % of budget of films) Sales revenues, from sales of the movie upon completion/screening within 18 months after start of
Target Scenario
40%
45%
66%
20%
20%
0%
0%
10%
25%
Production (as a % of budget of films)
Sales / Exploitation revenues collected 3 years after production: final sales & overages (as a % of budget of films) For medium and target scenario, one 10M USD movie and one 50M USD movie are considered “hits” and will generate 50% overages in the slate
Catalog value upon liquidation of the fund, after year 7 (as a % of budget of films)
PROJECTED IRR (Internal Rate of Return) over 7 years www.oasisfilmsfund.com
10%
17%
31%
41% Forecast Pictures © 2009
Projected IRR over 7 years Low :
17%
Medium: 31%
High:
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41%
Forecast Pictures © 2009
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Forecast Pictures © 2009
Year 1 - Oasis Films Fund 1:
Year 4 – Oasis Films Fund 2:
$80 M Equity => $400 M Production value
$200 M Equity => $800 M Production value
Year 8 – Oasis Films Fund 3:
$300 M Equity => $1,2 Billion Production value Information: in 2007, the combined budgets of the 10 biggest Hollywood blockbusters amounted to almost $2 Billion.
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FOUNDERS & MAIN MANAGERS OF OASIS FILMS FUND
Graduated in Political Sciences and Public Financing DES.
Graduated from the Public Management Institute. GwU. Washington DC, USA
Former Banking Analyst at the Crédits Hypothecaire: Mortgage & Real Estate.
Former Head of Cabinet of the National Education Minister.
Former Head of Research at the OCP (Office Cherifien des Phosphates).
Vice-president in charge of Development at the Alakhawayn University.
Former Executive Director for strategy at CDG Group (Caisse de Depots et de Gestion)
Former Senior VP at ONA Group and President of the ONA Foundation.
Former CEO of CDG Development.
Member of the Youth Global Forum @ Davos, Switzerland.
Member of the Mediterranean Global Forum, Tunis.
Member of the Danish-Canadian initiative for the security cooperation in the Mediterranean.
Co-president of the Morocco - Jordanian Economic Comittee.
Senior-advisor to the President of Amideast, Washington DC.
Member of the Comittee for Dialog between Civilizations , under the Patronnage of the UN.
Conducts, on behalf of the Kingdom of Morrocco various diplomatical missions across the world.
Visiting Professor @ L'istituto De Empresa (Madrid) and @ Middle East Studies Institute (Washington DC).
Jean-Charles Levy •Established in 2003, Forecast Pictures is a French production and consulting company dedicated to international movie financing. •Our precise knowledge of moviemaking regulations, tax breaks, subsidies and soft moneys in more than sixty countries worldwide , as well as our proven expertise in financialy-efficient deal-making in the movie industry, allow us to offer new financing opportunities to the producers and to provide tailor-made financing scenarios through alternative combinations of resources. •During its first years, Forecast has also successfully produced, or coproduced, as an independent company the 20 M € epic movie “O Jerusalem” (2006) starring Saïd Taghmaoui, JJ Field, Patrick Bruel and Ian Holm , as well as “Walled In” (2007), a 7 M € psychological thriller starring Mischa Barton (“The O.C.”), Cameron Bright (“Birth”, “X- Men 3”) and Deborah Unger (“The Game”). •After shooting “Mon Beau-Pere”, a 6 M€ French comedy by director Elie Chouraqui, during the Summer 2008, Forecast is currently starting the preproduction on “Lullaby for Pi” with Oscar winner producer Killer Films (“Boys don’t Cry”, “I’m Not There”,…) and starring Rupert Friend (lead of “Cheri”, the new Stephen Frears movie), Clémence Poésy (“Harry Potter”, “In Bruges”, …), Michael Clark Duncan (“Green Mile”, “The Island”, …), Sarah Wayne Callies (Prison Break). •The upcoming slate of production includes “The voyage of Ibn Battuta” staring Saïd Taghmaoui among others , directed by Pan Nalin (“Samsara”, “Valley of Flowers”, …) and written by Kamran Pasha as well as the 25 million Euros adventure thriller “Informer” to be directed by David Marconi (“Enemy of the State, “Mission Impossible 2”), and the preparation of various other movies with budgets and genres, ranging from 2 to 35 million Euros. •In 2009, Forecast also intends to raise its own equity fund dedicated to invest in international features, with high commercial value, and thus allowing to use its network of A-list Hollywood Producers in order to have access to the best material.
•With 20 years of experience in the media industry, JeanCharles Lévy started as financial consultant for Arthur Andersen before joining TF1 for 10 years, including 5 years as President of TF1 USA in Los Angeles. Dealmaker of the TF1Miramax joint venture in France, Jean-Charles is credited as producer on numerous films including O Jerusalem (Ian Holm, JJ Feild), Far From Heaven (Julianne Moore, Dennis Quaid), The Contender (Jeff Bridges, Gary Oldman), Under Suspicion (Morgan Freeman, Gene Hackman) and Scenes of the Crime (Jeff Bridges, Noah Wyle) while at TF1. •He is an accomplished producer and known to be one of the best experts in movie-financing.
Nicolas Manuel •Graduate of the prestigious Sciences Po school of Paris, Nicolas also holds a Master in Audiovisual law from the University of Paris La Sorbonne. In charge of the company’s business affairs, he handles the legal and financial back-office for our clients and performs necessary negotiations, applications and related legal work on their behalf.
Olivier Piasentin •A former business affairs in international distribution, Olivier is responsable for the estimation of picture package: casting, budgeting, scheduling, locations… and the funding solutions for the movie industry. He also handles trading of remake rights between Europe and North America on behalf of independent producers.
First films in proposed slate
Friends & Money
Hard Drive
The Lost Gospel
Ibn Battuta www.oasisfilmsfund.com
Forecast Pictures © 2009
1325. As the sun rises over Tangier, a young muslim scholar that goes by the name of Ibn Battuta prepares himself for his hajj to Mecca. What the young man does not know yet is that this trip will take him much further than what he had expected, from North Africa to China, through Syria, India, Egypt, Irak, Ceylan, East Africa and Central Asia. For 27 years, Ibn Battuta has travelled the muslim world and beyond, a teacher of Islam and student to the World and its cultures. He has encountered friendship, love and pain, and seen what none of his contemporaries ever did see. This epic film follows the journey of the greatest muslim traveller of all times, a man who travelled more than Marco Polo himself. Ibn Battuta takes us alongside his breathtaking voyage around the World, to the discovery of himself, and of the Other. This wonderful script has been written by a top Hollywood writer to make this ancient story come to life and feel modern to today’s audiences around the world.
« Ibn Battuta »
Writer
Director
Saïd Taghma oui
Kamran Pasha
Nan Palin
Synopsis In New-York, Alexander, a young employee of Google Earth in charge of archiving satellite images of our planet, discovers by chance the place where is hidden the loot of the biggest hold-up of the century, which just took place in one of the amazing modern raising cities from the Gulf. Dreams of pristine oceans and palm trees soon blur Alex’s nightmares of bills and apartment hunting. Alex has two ideas. Both of them very bad. First, he decides to go after the loot. Second, he will take his best friends along with him. He might not know yet, but despise the appearances, the second idea will reveal even worse than the first one…
Director
Writer
Elie Chouraqui
Elie & Alexandre Chouraqui
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Forecast Pictures © 2009
THE LOST GOSPEL is a film project to be shot in Jordan that will highlight the country’s remarkable historical and archaeological sites. It is a contemporary movie that focuses on the quest for a “lost gospel” of Jesus Christ, and Jordan is the ideal place to film this story due to its location and historical connection to the birth of Christianity. The central concept of THE LOST GOSPEL is an archaeologist’s quest to find a priceless relic of early Christianity – a Gospel written in Aramaic by James the Just, the brother of Jesus Christ according to the New Testament. The heroes would be seeking to find the Gospel, whose existence would provide the first eyewitness account of Christ’s life and teachings, and whose message could serve as a bridge of reconciliation between Jews, Christians and Muslims. But a shadowy group is working to prevent the Gospel’s discovery. The heroes must risk their lives in a race against these evil forces to get to the manuscript before it falls into the wrong hands.
Writer
Kamran Pasha
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Forecast Pictures © 2009
Before the top car-makers release a new model onto the market, they test the car in the toughest conditions possible. They do this under tight security, because rival car companies will do anything to steal their secrets. Writer / Director This is a movie about a supercar that is brought in under the utmost secrecy.
Bill Bennett
The drivers given the job of testing the vehicle are two former rally drivers. Luke is a three time world champion – Pepper is his co-driver or navigator. They’re no longer racing competitively because Luke had a serious crash, nearly killed Pepper and another driver – now they’re testing cars for a living. End of day one, the car is stolen – it turns out by their arch rival from the rally circuit, the man who Luke nearly killed in his accident. Stephan now works for a Korean car company that’s desperate to get the vehicle and rip off its new features. Luke and Pepper shanghai a hotted up ’68 Monaro GT, driven by a beautiful young girl who’s heading for a Bachelor and Spinsters ball. She travels with them, kicking and screaming – while they push the old Monaro to its limits giving chase to the supercar. The cops are on their tail, thinking they’re car thieves – the Koreans pull out all their weaponry – including choppers and futuristic “roaches” – beetle like cars with guns – to keep them at bay. When the Monaro is shot up by the bad guys, they then commandeer a Hummer driven by a local TV celebrity – what unfolds then is one of the most spectacular series of chase sequences you’re ever likely to see. Aimed squarely at the family market, this is an unashamedly fun and entertaining throwback to the great car chase movies of the 70’s.
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Friends & Money BASED ON A STORY BY ELIE CHOURAQUI & ALEXANDRE CHOURAQUI
NOVEMBER 2008
Synopsis In New-York, Alexander, a young employee of Google Earth in charge of archiving satellite images of our planet, discovers by chance the place where is hidden the loot of the biggest hold-up of the century, which just took place in the UAE.
Dreams of pristine oceans and palm trees soon blur Alex’s nightmares of bills and apartment hunting.
Alex has two ideas. Both of them very bad.
First, he decides to go after the loot. Second, he will take his best friends along with him.
He might not know yet, but despise the appearances, the second idea will reveal even worse than the first one…
Proposed cast alternatives for the role of the lead thief
Gene Hackman
Morgan Freeman
• Enemy of the State, The Quick and the Dead, The Birdcage...
• Deep Impact, Bruce Almighty, Batman Begins...
Gary Oldman
Vin Diesel
• Batman Begins, Hannibal, The Professional, Bram Stoker's Dracula...
• Fast and Furious, Pitch Black, xXx, The Pacifier...
The five friends Alexander
Jonathan
Nick
Mel
Adrian
• Tall, with dark hair, Alex has a very possessive mother. • He is in conflict with his girlfriend’s family who thinks his job is not that… well, his girlfriend’s father is the heir of a dynasty of WASP bankers and he did hope something better than Alex for his daughter Julia. • Alex works for Google Earth where he is part of a team which assists and looks after the various satellites that take photographs of the Earth. He loves his job and is very meticulous in classifying the photographs and getting the program running: thanks to him the whole world can see the planet in its most details.
• Crazy and outspoken, Alex’s brother is a real phenomenon. A 21st century MacGyver, he has all and every new gadget and seems to be better informed than the CIA. Thrifty, not to say stingy, he is medium-sized with brown hair and always wear strange outfits. • His job? Jonathan works for the mysterious “Chipawa” Indian tribe, he has a mysterious position within a mysterious company. To this day, nobody really knows what exactly he does for a living…
• Nick is the group’s artist. He doesn’t know what work is. The son of a wealthy family, he still doesn’t understand that money has to be earned at some point and he keeps spending like there is no tomorrow. • Shy, he has difficulties with women and takes seduction lessons… watching films and TV! He has a particular, thin physique and works hard on his New-York dandy looks.
• A trader in a bank on Central Park West, Mel is only interested in women and basketball. With a preference for basketball! • Thrown out from the “Bachelor’s” casting for sexually harassing the interns, Mel is a tall, handsome young man. Obsessed by his looks, and although he has a nascent baldness, Mel is a born womanizer.
• Adrian is the flabby one. Fired from his previous (now shut down) company for laziness, he now works for a big global computer company that does not yet know that it is now at risk because of him … • Small with a sympathetic face, he just never really woke up. He only wears crumpled clothes, cuts his hair by himself and is always late. He’s never been very lucky either.
Proposed cast alternatives for the five friends
Saïd Taghmaoui
Ashton Kutcher
• Three Kings, O Jerusalem, Hidalgo, Spartan…
• The Butterfly Effect; Dude, Where's My Car; Cheaper by Dozen...
Sean William Scott • American Pie; Road Trip; The Dukes of Hazzard...
Freddie Prinze Jr.
Jerry O'Connell
Wes Bentley
• I Know What You Did Last Summer; Scooby Doo; Freddie...
• Jerry Maguire; Scream 2; Mission to Mars...
• Ghostrider, American Beauty; Four Feathers…
Noah Wyle • ER; Swing Kids; Donnie Darko...
Joshua Jackson
Dominic Monaghan
• Dawson's Creek; Apt Pupil; Scream 2...
• The Lord of The Rings; Lost...
The three girlfriends
Julia
Vanessa
Maria
• Alex’s girlfriend. • She’s a doll: blond with blue eyes and a big bright smile. Messy and plain-spoken, she keeps laughing or crying most of the time. • She’s still a student but spends more time shopping than attending classes…
• Very beautiful with long hair, soft features and an athletic body, she has been Jonathan’s girlfriend for more than 10 years. • An ambitious lawyer with a strong sense of reality, she’s the one wearing the trousers. The only thing she hasn’t been able to get from Jonathan (though she has been pushing for a very very long time) is… a wedding proposal!
• Maria is both crazy and magnificent. Thirty years old, single, she keeps failing her love relationships. Tall, with generous curves and messy short hair, very sexy, she’s the “elder sister” of the group, the long-lasting “best friend”. • A journalist for a sports magazine, she keeps fooling all day and loves nothing more than interviewing the athletes after a game, in the changing-rooms…
Proposed cast alternatives for the three girlfriends
Josie Maran
Gisele Bündchen
• Van Helsing; The Aviator...
• Taxi; The Devil Wears Prada...
Sarah Michelle Gellar • Buffy: the Vampire Slayer; Cruel Intentions; The Grudge; ScoobyDoo...
Piper Perabo
Alicia Silverstone
Leonor Varela
Rose McGowan
Amber Valletta
• Coyote Ugly; Cheaper by the Dozen; The Prestige...
• Clueless; Batman & Robin; Scooby-Doo 2...
• The Man in the Iron Mask; The Tailor of Panama; Tais-Toi...
• Scream; Charmed; The Black Dahlia...
• The Family Man; Hitch; The Transporter II...
The locals The jewelry manager
The taxi driver
The police officer
The hotel owner
• A slim, barely noticable man in his fifties, he’s the owner of the jewelry where the fake robbery takes place. A bit clumsy but with a strong business sense, he operates the biggest jewelry in the biggest mall in town. The friends will meet him again when the girls are on their shopping frenzy.
• The first guy the friends will encounter when arriving in the UAE. In his early thirties, he will become their guide and a friend who will help them in their adventure.
• The guy in charge of the investigation of the case. A middleaged cop with wit, but who is facing the biggest heist in history, which puts him under a lot of pressure.
• A very elegant middle-eastern man. He likes to talk with his guests , is a great seductor, has a great sense of humour and of hospitality. Picture Georges Clooney meets Omar Sharif.
Proposed cast alternatives for the locals
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Direction The producers have chosen a brilliant, upcoming director who will bring his fresh and unique vision to the movie. John McFarlane
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In order to provide him experience and support on set, we have decided to include in the producing team Elie Chouraqui (which has directed ten feature films) who will act as 2nd unit director & technical advisor to the director. Elie Chouraqui
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First estimated budget in euros (see annex for details)
Ibn Battuta
--- Ibn Battuta’s travel --- Marco Polo’s travel
IBN BATTUTA – Project & People The idea of making a feature film out of Ibn Battuta’s life and travels came from Saïd Taghmaoui, the famous French actor of Moroccan origins. After discussing the opportunity of such a project with his Majesty King Mohammed VI of Morocco, Saïd Taghmaoui contacted his friend JeanCharles Levy, President of Forecast Pictures, as he knew that this work would need a Producer with a serious experience in developing and producing high quality international feature films. Under the supervision of Rachid Slimi (President of the ONA Foundation - ONA Group), a special purpose company, Rihla Ibn Battuta Prod, was set up in Casablanca as a subsidiary of the ONA Foundation to help coordinate the development process in partnership with Paris- based Forecast Pictures. In development since 2004, Ibn Battuta came to a turn when writer Kamran Pasha got involved in the project. Kamran, himself a Muslim who already had a great knowledge of the 14th Century traveler, has been able to restitute at best the passion and deepness of the man as well as the wonders of his travels.
ONA is the biggest Moroccan corporation, which activities encompass finance, industries and services. The holding structure manages over 100 companies in the fields of mining, telecoms, food, distribution, real estate, energy and banking, for a yearly turnover of over US$3.7 billion. Its goal is to develop activities while contributing to growth and sustainable development in Morocco and the region. It has investments in Tunisia, Congo, Senegal, Cameroon, Gabon and other African countries. ONA Foundation is a subsidiary of ONA Group which is responsible for the recognition of Morocco at the international level by creating dialogues between Moroccan and foreign artists, developing and promoting cultural diversity and shared universal values. ONA Foundation gears its action towards cultural activities, socio-economic and socio-medical actions. Today, it counts numerous achievements, in the restoration of historical sites, financial support to institutions for the disabled / underprivileged children, organization of art exhibitions and sponsoring of several projects ranging from publishing to audiovisual productions.
www.fondationona.ma www.ona.ma
Saïd TAGHMAOUI
Born in France into a large family of Moroccan parents, Saïd Taghmaoui was one of France best boxer (he ranked number 2 in his weight class) until his strong will to act got him a part in an Olivier Dahan’s 1994 television film, Frères: La Roulette rouge. He later met with director Mathieu Kassovitz and together they wrote the script of the Cannes 1995 Best Director Award winning film La Haine, about the suburban ghettoes of Paris. Saïd Taghmaoui also played one of the main characters in the film and his performance led him to a nomination for Best Actor at the 1996 French Cesar Awards. Taghmaoui then studied foreign languages to become an international actor. After Heroines (1997) by Gérard Krawczyk, he shot Alessandro D'Alatri’s The Garden of Eden (1998) in Italy, and in Germany the television film Last Minute Kasbah. He then appeared in Hideous Kinky, a sentimental drama directed by Gillies MacKinnon, starring Kate Winslet and shot in Morocco. Saïd Taghmaoui became one of the rare French actors who managed to make a name in Hollywood. He is best known in American cinema as the US trained philosophical Iraqi interrogator Captain Said in Three Kings, beside George Clooney and Mark Wahlberg. When he returned to France, Saïd played in none less than eight films in two years. After being a suicidal sniper in Break of dawn (2002) by Alexandre Arcady, he continued his international career appearing in The Good Thief (2002), Spartan (2004), Hidalgo (2004) and I heart Huckabees (2004). Saïd’s talent and strong reputation led director Elie Chouraqui to trust him with the lead part of Saïd Chahine in the 2006 O Jerusalem. Since then he has starred in Mike Forster’s The Kite Runner (2007) and in the upcoming Vantage Point (2008): the attempted assassination of the American president told from five different perspectives. After shooting Jeffrey Nachmanoff’s Trator, and Stephen Sommers’ GI Joe, Saïd is currently set to be the next star in the TV series Lost.
PAN Nalin
Nalin, a self-taught filmmaker, was born in a remote village in Gujarat, India. The richest thing his family gave to him was his spiritual upbringing. As a child, Nalin actively participated in staging folk theater and mythological dramas. However, he only saw his first movie at age of nine since that day he always wanted to make movies. Later, as a teenager, he left his family and village in pursuit of cinema. He traveled widely all over India and finally moved to Mumbai (Bombay) where he started by directing commercials and corporate films. Nalin lived in USA and UK for short time and on returning to India, he roamed the Himalayas in search of his voice. After a long process of unlearning he developed ideas for several feature films. Nalin also made several documentaries. His recent feature length documentary Ayurveda: Art of Being (2001) is at present in theatrical release worldwide. His first feature film Samsara was a huge commercial and critical success worldwide and won him some thirty plus international awards. Samsara has already grossed US$ 20million. Nalin's latest feature film Valley of Flowers has been pres-sold to 40 countries and is currently enjoying theatrical release with critical and commercial success worldwide. Valley of Flowers was filmed in remote, high altitude Himalayas and in Japan and won Best Picture at IFFLA Los Angles, four nominations at IAAC New York including The Best Picture and The Best Director. In 2006 Pan Nalin was awarded Spain's highly prestigious Award Vida Sana for his contribution as a filmmaker to the ecology, thus an earth keeper. Pan Nalin was also a member of the jury for the 6th Marrakech International Film Festival. He is currently working on his first English language epic Buddha. Pan Nalin lives in France & India.
Kamran PASHA
Kamran Pasha is a writer and co-producer for Showtime Network's Golden Globe nominated series Sleeper Cell, about a Muslim FBI agent who infiltrates a terrorist group. An expert on the Middle East, Kamran is one of the few successful Muslim screenwriters in Hollywood. In 2003, he set up his first feature script at Warner Brothers, an historical epic on the love story behind the building of the Taj Mahal. He is currently adapting the Japanese anime Kite, about a teenage girl who works as an assassin, into an action thriller for Rob Cohen, the director of The Fast and the Furious. Kamran is also writing a Hollywood adaptation of the Japanese horror movie Don't Look Up by Hideo Nakata, creator of Ringu and director of The Ring 2. And Kamran is adapting Deepak Chopra's novel Soulmate, a supernatural love story, as a feature film for Anant Singh's production company, Distant Horizon. Pasha sold his first two novels to Simon & Schuster in 2007. The books are entitled Mother of the Believers, a historical epic that follows the birth of Islam from the eyes of Prophet Muhammad's teenage wife Aisha, and Shadow of the Swords, a love story set amidst the showdown of Richard the Lionheart and Saladin during the Third Crusade. Kamran Pasha currently serves as a producer and writer on NBC’s Bionic Woman.
Jean-Charles LEVY
Jean-Charles Levy, 41, started his career as a consultant for Andersen Consulting and quickly became a specialist of the audiovisual sector. He was in charge for two years of handling the diagnosis and detailed conception of the procedures and new information system for assets management, programming and scheduling for the leading French Pay-TV Canal +. For ten years, Jean-Charles worked for TF1, the leading European television network. Among other duties, he was successively appointed President of TF1 USA, then executive VP of acquisitions and coproductions of TF1 International where he was the dealmaker of the TF1-Miramax joint-venture for France. Through these experiences, he has developed a unique network within the distributors, the producers, the financiers and the talent community around the world. He also has created a specific know-how in putting together the creative and the business aspects in order to create an added value in the distribution of movies through all existing medias. Since 2003, he is the President and founder of Forecast Pictures, a company which aims to help producers optimize the financial structure of their International Pictures. The company has slowly moved from a consulting entity to a production company, whose first feature, O Jerusalem, a 20M€ historical film based on the book by Lapierre and Collins has been released in the US on October 14th 2007. Forecast Pictures is currently shooting Walled In, a psychological thriller starring Mischa Barton and Cameron Bright and directed by french helmer Gilles Paquet-Brenner. Jean-Charles’ other features producing credits include Far From Heaven (by Todd Haynes, with Julianne Moore, Dennis Quaid), The Contender (by Rod Lurie, with Jeff Bridges, Joan Allen, Gary Oldman), Scenes of the Crime (by Dominique Forma, with Jeff Bridges, Noah Wyle), Under Suspicion (by Stephen Hopkins with Gene Hackman, Morgan Freeman and Monica Bellucci) and Tempted (by Bill Bennett, with Saffron Burrows, Peter Facinelli).
COMPANY PROFILE
Est. 2003, Forecast Pictures is a French production and consulting company dedicated to international movie financing. Our precise knowledge of moviemaking regulations, tax breaks, subsidies and soft moneys in more than sixty countries worldwide allows us to offer new financing opportunities to the producers and arrange them to provide tailor-made financing scenarios through alternative combinations of resources. During its first years, Forecast has successfully produced as an independent the 20 M € epic movie “O Jerusalem” (2006) starring Saïd Taghmaoui, JJ Field, Patrick Bruel and Ian Holm , as well as “Walled In” (2007), a 7 M € psychological thriller starring Mischa Barton (“The O.C.”), Cameron Bright (“Birth”, “X- Men 3”) and Deborah Unger (“The Game”). After shooting “Mon Beau-Pere”, a 6 M€ French comedy by director Elie Chouraqui, during the Summer 2008, Forecast is currently starting the pre-production on “Lullaby for Pi” with Oscar winner producer Killer Films (“Boys don’t Cry”, “I’m Not There”,…) and starring Michael C. Hall (“Dexter”, “Six Feet Under”), Djimon Hounsou (“Amistad”, “Blood Diamond”) and Olga Kurylenko (James Bond “Quantum of Solace”). The upcoming slate of production includes the 25 million Euros adventure thriller “Informer” to be directed by David Marconi (“Enemy of the State, “Mission Impossible 2”), “The voyage of Ibn Battuta” by writer Kamran Pasha and the preparation of various other movies with budgets and genres, ranging from 2 to 35 million Euros. Forecast is also currently negotiating a new venture with a group of A-list Hollywood Producers in order to raise its own equity fund dedicated to invest in international features, with high commercial value.
IBN BATTUTA – The Travels
The following is a simple biography of Ibn Battuta written by Ross E. Dunn, professor of History at the San Diego State University, one of the World’s most acknowledged specialist of Ibn Battuta’s life and travels. Ross E. Dunn is the author of The Adventures of Ibn Battuta, a
Muslim Traveler of the fourteenth Century. 2nd edition (Berkeley: University of California Press, 2004).
The Travels of Ibn Battuta by Ross E. Dunn Professor of History, San Diego State University
This is the true story of Abu Abdallah Jbn Battuta, one of greatest traveler-adventurers of medieval times. Scholar, courtier, judge, warrior, diplomatic envoy, and companion of kings and princes, lbn Battuta crisscrossed the Eastern Hemisphere in the fourteenth century during the twilight of the Mongol Age. A near contemporary of Marco Polo, he is known to us from the Rihla, or Book of Travels, that he compiled at the end of his traveling career. Discovered by French scholars in North Africa in the nineteenth century, the memoirs of lbn Battuta have been translated into many languages. Born in 1304, the young lbn Battuta grew up in the bustling medieval port city of Tangier on the Moroccan shore of the Strait of Gibraltar. He came from a family of affluent notables, who served the fellow Muslims of their city as judges, lawyers, and religious scholars. The family was descended from the tough Berber stock of northern Morocco, but lbn Battuta came to manhood in an Arabic-speaking world of urban gentility and literate sophistication. His father had him educated in the religious and legal sciences but he also loved the ways of the Sufis, the Muslim mystics. Ambitious, spirited, gregarious, and at the same time a pious student of the Sacred Law, Ibn Battuta found Tangier too confining a town to satisfy his aspirations for a challenging career.
In 1325 at the age of 21 (near the time that Marco Polo died in Venice) he reluctantly left his parents to make the pilgrimage to the holy places of Mecca and Medina and to advance his education in Cairo and other great cities of the Middle East. He departed on foot, all alone and without money, but he soon met traveling companions in Algeria and after a close call with marauding Arab nomads arrived safely in Tunis. There he joined with a pilgrimage caravan, which appointed him, young as he was, its official qadi, or judge. Crossing the Libyan Desert, the caravan arrived in Egypt, principal realm of the Mamluks, the great Turkic slave dynasty of the fourteenth century. Ibn Battuta spent some months in Cairo, a city five times greater than any town in Europe, then traveled up the Nile River with intentions to cross the Red Sea to Arabia. Local insurrection against the Mamluk governor prevented that, so he returned to Cairo and from there journeyed across Sinai to Jerusalem and then to Damascus. In that ancient city he took up legal studies in the Great Mosque and also found time to contract marriage with the daughter of a notable. When he continued his journey to Mecca, however, he Ieft his wife behind. This was indeed the first of several marriages, all of which ended in divorce and in some cases his abandonment of his own young children.
Crossing the Arabian Desert with an enormous caravan of pilgrims, Ibn Battuta’s entry into Mecca was the fulfillment of a lifelong dream. He fulfilled the ceremonies of the hajj, and he might then have been expected to return to North Africa to pursue a career in the Law. lnstead he embarked on a year-long tour of lraq and Iran for no other reason we know of than it was there to be seen. On this journey he sat at the feet of Sufi mystics in Shiraz and
Isfahar and enjoyed an audience with Abu Said, the awesome Mongol Khan of Persia. That interview perhaps first revealed the powers of his personality--affability, wit, earnest piety, and a remarkable ability to ingratiate himself to powerful men. Returned to Mecca again, he learned that the Turkish Sultan of Delhi, the famous Muhammad Ibn Tughluq, was offering employment and riches to educated foreigners willing to give him unquestioned obedience. Adventurer that he was now becoming, the young Moroccan embarked on a sailing ship for Aden on the Arabian Sea, probably with plans to go to India. lnstead, he took ship for East Africa to visit the Muslim trading towns of the coast. He paid his respects to the prosperous, corpulent notables of Mogadishu, then continued as far south as the coast of Tanzania, where he visited the Black African Muslim sultan of Kiiwa in his island palace. He returned north by ship to the desert coast of South Arabia. Here he had his first close brush with disaster. Too impetuous for his own good, he tried to walk between the town of Sur and Qalhat by taking a treacherous overland trail along the coast. He had in his company an Indian friend, but also a malevolent hired guide who tried to rob him, threatened him with his life, and got him lost in the desert with no water. He escaped this ordeal with nothing more than lame feet. After further minor adventures on his way up the Persian Gulf, he finally returned to Mecca again. He was probably still determined to seek his fortune in the Sultanate of Delhi but decided to reach India by a roundabout route through Turkey and the steppes of Central Asia. Returning once again to Syria, he took passage on a Genoese vessel bound for Anatolia. In the mid fourteenth century Asia Minor was a turbulent land where boisterous Turkish princes and their armies of herdsmen-warriors made war, when they were not feuding with one another, against what remained of the venerable Byzantine Empire. Ibn Battuta visited the capitals of more than a dozen Turkish emirs, who lavished him with robes of honor and with presents of gold, horses, and slave girls. He enjoyed this special treatment not because he had any sort of reputation but because he was a learned Arab and a doctor of the Sacred Law, the sort of refined sophisticate rowdy Turkish holy warriors Ioved to entertain.
And it was in Turkey that a transformation began to take place in his circumstances and, more subtly, in his character. He no longer traveled as a young wanderer but now with a small retinue of friends, servants, and slave concubines and with a baggage train of sumptuous possessions. He was no longer the callow North African legal student but a
notable of some means, worldly-wise and more confident of his ability to make his way in the highest circles. His travels might have come to an end in Anatolia when he had a second brush with death. Traveling through upland forests on his way to the Black Sea coast in the dead of winter, he and his party were first accosted and then deserted by another perfidious guide. Snow was falling and the trail disappearing. To save his companions, Ibn Battuta rode on alone through the drifts in the dark of night until he came upon a Sufi lodge. He discovered an old acquaintance who could speak to him in Arabic and who quickly sent a rescue party to bring in the stranded company. He crossed the Black Sea on another Genoese vessel in the midst of a howling gale, landing in the Crimea in the territory of the vast Khanate of the Golden Horde. He then joined the company of a royal officiaI to travel by covered wagon to the camp of Ozbeg Khan, the Mongol ruler of Russia and the Central Asian steppe. Here he was given an unexpected opportunity. The Princess Bayalun, one of the wives of Ozbeg Khan, was just then setting off toward Constantinople with a huge retinue of wagons, armed troops, and slaves to visit her father, who happened to be the Byzantine Emperor. The princess was pregnant and wished to have her child in her father’s palace. Ibn Battuta, probably displaying his genial charm, received the Khan’s permission to go with her to see the great Christian city. The Khan even gave him lavish traveling gifts of robes, horses, and silver dinars. He stayed in Constantinople for about a month, received as an honored guest in the emperor’s palace. Then he returned to the steppe with the princess’s escorts, crossing the Ukraine in the snow and traveling up the Volga valley along the frozen course of the river. In the following months he gradually made his way toward India, visiting another great Mongol khan near Samarkand and witnessing one of the concubines he traveled with give birth to a baby girl. He crossed the towering Hindu Kush into Afghanistan, then, joining a group of merchants driving a herd of 4,000 horses, he descended, perhaps by the Khyber Pass, to the valley of the Indus River, reaching the territory of the great Turkic sultan, Muhammad Ibn Tughluq in 1333. On his way from the Indus to Delhi, capital of the sultanate, he and his party were attacked by Hindu bandits. Ibn Battuta received a slight wound, but his companions fought off the assailants, killing thirteen of them and later affixing their heads to the walls of a government fortress.
Soon after he reached the magnificent city of Delhi, the sultan gave him an official
appointment as a Muslim judge. He was not particularly well qualified for this lucrative post, but he was a literate, pious, Arabic-speaking jurist, the sort of foreign henchman the rulers of Delhi were eager to hire owing to their deep distrust of their Hindu subjects. Now Ibn Battuta became for the first time a man of authority and substance, equipped with house, property, and numerous slaves; but he was also entering the highly dangerous world of Delhi politics. Muhammad Ibn Tughluq was one of me most notorious rulers of the fourteenth century. Reformer, scholar, visionary, warrior, despot, and neurotic, he presided over a glittering court, bestowing stupendous gifts on those who pleased him, subjecting those who did not to heinous tortures and execution. When the sultan entered the city in cavalcade, he had servants mounted on elephants shower bystanders with gold coins. When rebels defied him, he had them thrown to elephants with swords affixed to their tusks. Ibn Battuta lived about eight years in Delhi under the sultan’s protection. He accompanied his Lord on hunting expeditions and military campaigns, adjudicated the Islamic Law, served as chief administrator of a royal mausoleum, and married the daughter of an Indo-Muslim aristocrat. In order to keep up the lifestyle of a member of the Muslim power elite, he piled up huge personal debts, then successfully flattered the sultan into paying them off.
Muhammad Tughluq in fact became increasingly distraught as the years went by. His economic and social reforms all went wrong, a famine raged throughout North India, and insurrections of Hindus or disaffected Muslim generals erupted on all sides. In response, the sultan lashed out at his enemies, both real and imagined. Ibn Battuta, eager, sociable, and too ambitious for his own good, was bound to make a mistake sooner or later. His error was to visit the lodge a Sufi divine of Delhi who repeatedly refused to obey a summons from the sultan to present himself at court. The Sufi was tortured and beheaded for his insubordination. Ibn Battuta was arrested on grounds of being an associate of the miscreant and possibly also because his wife’s father, who ruled a province in South lndia, had risen in rebellion. Held in the palace for more than a week and fearing summary execution at any moment, he recited the Quran straight through each day in prayer to God. Then, for reasons unknown to him, he was suddenly released and subsequently allowed to retreat to a Sufi
monastery to seek spiritual renewal by devoting himself to several months of ascetic fasting and self-denial. Ibn Battuta returned to the royal court to seek permission of the sultan to make another pilgrimage to Mecca (and perhaps simply to escape India!). lnstead, much to his astonishment, the sultan made him the head of a royal embassy to the Great Khan of China, grandson of Kubilai Khan. The new ambassador was to go China by sea in the company of a group of Mongol diplomats who were returning home from Delhi. He was to take charge of a huge caravan of slaves, horses, and extravagant presents to be offered to the Mongol emperor in Peking. The embassy first headed overland to Cambay on the West Indian coast where it was to take ship for China. Not far south of Delhi, however, the Moroccan’s traveling career almost came to an end once again. Riding out one August morning in the company of his fellow officers, he was intercepted and chased by a band of Hindu rebels. No sooner had he escaped them than he was captured by bandits who stripped him of his possessions and threatened to kill him. He managed to get away but then wandered for days in the North Indian plain until some villagers helped him send a message to his companions. The embassy reached Cambay in safety, then sailed on lateen-rigged ships southward to Calicut on the Malabar coast. There the mission was to transfer to a small fleet of oceangoing Chinese junks, but it suddenly ended in disaster when all but one of the ships went aground in a storm, most of the slaves, horses, and gifts destined for the emperor going to the bottom of the sea. Ibn Battuta, as luck would have it, had not yet boarded a ship because he was arranging for a private stateroom for himself and his concubines. So he watched from the shore as his mission, the chance of a lifetime, broke up on the rocks. The one ship that escaped destruction sailed off to the south. A slave carrying Ibn Battuta’s child was aboard it, but he would never see her again.
At this point he could not continue to China, but he was also terrified of facing Muhammad Tughluq back in Delhi. He decided to go up the Indian coast to the port of Honavar, where, during a stopover on the way to Calicut, he had met the town’s ruler, Jamal al-Din Muhammad. This petty sultan was plotting to launch an amphibious assault against the neighboring port of Sandapur (the Goa of Portuguese fame), and he decided to put his Arab guest in command of the campaign. This was the only war that Ibn Battuta ever fought in, but he acquitted himself well, storming the town with his troops and making off with a slave girl as part of his spoils.
He left Honavar for good some months later when the sultan of Sandapur launched a counterattack. Journeyman lawyer that he was, he saw no need to stick by Jamal al-Din in defeat, so he slipped through a siege line and headed back to Calicut. At this point he seems to have decided to visit China on his own, but the ship he took passage on deposited him in the Maldives islands, the archipelago of lovely tropical atolls that lies in the Indian Ocean southwest of Malabar. The people of the Maldives were Muslims and ruled by a queen and the Grand Vizir. Ibn Battuta hoped to make a short anonymous visit, but when the Grand Vizir found out that the new arrival had been a royal officer in the Court of Delhi, he virtually forced him to take the post of chief judge of the realm. At first resisting, Ibn Battuta soon warmed to his job, dispensing rigorous Islamic justice, though utterly failing to oblige pious Maldivian women to give up their habit of going naked from the waist up. He also contracted four marriages simultaneously, all with women of noble families. In Delhi he had had political ambitions, but in this diminutive equatorial paradise he found he could give them free reign. He was soon deeply involved in the power struggles of the Maldivian nobility and making enemies right and left. He even reveals in his narrative that he became involved in a plot involving the South Indian kingdom of Ma’bar to overthrow the queen and hoist himself to power in her place. He precipitately left the islands under shadowy circumstances, presumably to travel to Ma’bar to implement the conspiracy. He divorced all his wives and left them behind. On his way to Ma’bar he made a visit to Ceylon to climb the sacred mountain called Adam’s Peak. On his way across the Gulf of Mannar from Ceylon to the Indian coast, the ship he and his friends and slave companions had chartered got caught in a violent storm and broke up. He got his party to safety, but he spent the night on the sinking ship and was only rescued at dawn by Tamil villagers. In Ma’bar the plot to invade the Maldives went awry owing to Ibn Battuta’s personal aversion to the kingdom’s cruel sultan and to an outbreak of epidemic disease which laid the Moroccan low for some weeks and which ultimately killed the sultan. When Ibn Battuta recovered, he decided to try his luck again with his old patron Jamal al-Din of Honavar. On the way there, however, his ship was attacked and boarded by pirates, who stripped him of everything except his trousers and left him alone and humiliated on a West Indian beach. Irrepressible, he returned to Calicut (where some Sufi brethren gave him hospitality and clothes), collected his wits, and booked passage once again for China. He made a brief return visit to the Maldives with plans to claim a son one of his wives had borne. He was entitled to do this by Islamic law, but when the women pleaded with him not to separate her from her child, he relented, displaying here the tender and considerate side of his character. From the Maldives, he sailed round India and toured Bengal mainly in order to visit a famous Sufi mystic in his mountain retreat. From there he traveled along the Burmese and Malaysian coast (where he claims to have watched a man decapitate himself as a display of affection for his ruler!), then to one of the Muslim towns of Sumatra. He went from there to China, where he claims to have traveled far and wide, though most scholars of his narrative believe that either he spent only a brief sojourn on the South Chinese coast or fabricated the trip to Cathay entirely.
In 1347 he returned to Arabia by way of South India, then back to Damascus where he hoped to locate another long lost son, this one the child of a woman he had married in that city during his first sojourn there. He learned tragically that the boy had died at the age of ten. He also learned from travelers from his homeland that his own father had died in Tangier about fifteen years earlier.
During the next months Ibn Battuta traveled from Syria to Egypt and then to Mecca again, but he did it just when the Black Death was raging across the Middle East and Europe. This epidemic of bubonic and pneumonic plague may have carried away fully a third of the population of both these regions, and Ibn Battuta was a living witness to this ghastly catastrophe. But he came through the crisis untouched, and in 1349 he returned to his homeland by way of Tunis and Sardinia. He spent some time in Fez, Morocco’s fast-growing political and cultural capital, then went on to Tangier, where he discovered that his aged mother had been carried away by the plague the previous year. This was the era of the Spanish reconquista, and in the following months he almost went to battle again, joining warriors from the port of Ceuta to resist a Castilian siege of the still-Muslim fortress of Gibraltar. When he reached the Rock, however, the siege had already been lifted and no fighting was to be done. So he continued on to Granada, the only Muslim kingdom still surviving on the European side of the strait. He appears never to have met the Sultan of Granada nor even visited his palace, the celebrated Alhambra, but he did meet lbn Juzayy, a young literary scholar who a few years later would assist him in compiling the account of his life travels. After returning to Morocco, he set out on his last great adventure, a journey by camel
caravan across the fearful void of the Sahara to the Black African Empire of Mali. It is possible that his Sovereign Lord, the Sultan of Morocco, sent him to the West African Sudan on a clandestine mission. Or he may simply have decided that he could not end his traveling care without a visit to this Muslim kingdom celebrated for its exports of gold. Whatever his motive, he joined one of the great caravans transporting cargos from Sijilmasa, the fabled South Moroccan desert port, to the slave salt mines of Taodenni in mid-Sahara, and from there to the Niger River. The two month journey was accomplished with only minor adventures (a friend got separated from the caravan and was swallowed up by the desert), and Ibn Battuta advanced into the Sudanic savanna lands, crossing the Niger upriver from Timbuktu. His experience of the Mali Empire, however, was an ambivalent one. He was impressed by the Sultan Mansa Sulayman’s peaceful and orderly kingdom, kept that way by a great cavalry army and naval patrols on the Niger. But the casual and egalitarian relationships between West African men and women irritated his strait-laced scholar’s sensibilities, and the failure of the sultan to ply him, during his long stay in the capital city, with gifts, honors, or high-paying posts made him feel unappreciated and contemptuous. After a period of illness, he started his return journey, traveling down the Niger to Timbuktu, then northward in the company of a caravan of several hundred female slaves on their way to North Africa from Hausaland. He crossed the High Atlas Mountains in a winter storm, reaching Fez again in early 1354. Settling in the city for a time and visiting the royal court, he received an order from Ab Inan, the Sultan of Morocco, to write an account of his twenty-nine years of travels. The young Andalusian scholar lbn Juzayy was recruited to help the traveler put his experiences into properly entertaining literary form. The result of the collaboration was the Rihla, which was read by educated North Africans in the later fourteenth century, copied and recopied, and preserved down to modern times. Little is known of Ibn Battuta’s life after his travels came to an end. He is reported to have spent his later years as a judge in a quiet provincial Moroccan town, perhaps telling stories of the Delhi sultanate to aged friends and dreaming longingly of his past loves and his own lost children growing up all across the Eastern Hemisphere. He passed away quietly in 1368 about the age of sixty-four. His tomb is a prominent sight in Old Tangier, but there is no inscription to verify that he actually rests there. In his life he exemplified a type of Muslim scholar-adventurer of the medieval age, traveling, not to strange and remote lands, but through the highly urbanized and sophisticated world of Islam, seeking adventure, love, learning, riches, power, and spiritual enlightenment. He journeyed thousands more miles than Marco Polo did a generation earlier, and his exploits, in so far as he reported them in the Rihla were far more varied and dramatic than those of the Venetian. Ibn Battuta has been called the “Marco Polo of Islam.” We might more aptly dub Marco Polo the “Ibn Battuta of Europe.”
______________________________________________________________
Ross E. Dunn is the author of The Adventures of Ibn Battuta, a Muslim Traveler of the fourteenth Century. 2nd edition (Berkeley: University of California Press, 2004).
The Lost Gospel BASED ON A STORY BY K A M R A N PA S H A
NOVEMBER 2008
THE LOST GOSPEL is a film to be shot in Jordan that will highlight the country’s remarkable historical and archaeological sites. It is a contemporary movie that focuses on the quest for a “lost gospel” of Jesus Christ, and Jordan is the ideal place to film this story due to its location and historical connection to the birth of Christianity. The central concept of THE LOST GOSPEL is an archaeologist’s quest to find a priceless relic of early Christianity – a Gospel written in Aramaic by James the Just, the brother of Jesus Christ according to the New Testament. The heroes would be seeking to find the Gospel, whose existence would provide the first eyewitness account of Christ’s life and teachings, and whose message could serve as a bridge of reconciliation between Jews, Christians and Muslims. But a shadowy group is working to prevent the Gospel’s discovery. The heroes must risk their lives in a race against these evil forces to get to the manuscript before it falls into the wrong hands.
Synopsis T
HE LOST GOSPEL will focus on an archaeologist’s quest to
uncover the Gospel of James, an account of Christ’s life written by his brother James the Just in Aramaic, the language spoken by Jesus. But sinister men who are afraid that the Gospel will undermine Church teachings try to stop him. The movie will combine elements of INDIANA JONES with THE DA VINCI CODE (without the controversy). It will contain exciting adventures through the various archeological sites in Jordan, but will also contain a mystery at the center, as the archaeologist tries to uncover the hidden truth about Jesus Christ’s teachings, and in the process experiences a renewed faith in God. Simon, a British archeologist, has lived like a recluse for several years, but he is called out of personal exile by an old friend, FATHER DEMETRIUS, a Greek Orthodox priest who has made a remarkable discovery. In a secret room inside the Orthodox Patriarchate in Istanbul, Father Demetrius has found an ancient scroll written in Koine Greek – the language spoken by the writers of the New Testament. The scroll contains a coded reference to the hiding place of a Gospel written by James the Just, the brother of Christ and the first bishop of Jerusalem. Father Demetrius wants Simon to help him decode the scroll and find the lost gospel, which would be the first known account of Christ’s life by an eyewitness. Simon is initially reluctant to get involved. But when Father Demetrius is murdered by a mysterious assassin, Simon takes the scroll and escapes. Pursued by the killers, Simon turns to the only
person he can trust – his ex-wife Elizabeth. They work together to decode the scroll and track down the location of the Lost Gospel. Their adventures take them from Istanbul to Rome to Jerusalem and ultimately to the deserts of Jordan where they search for the Gospel of James. They work with (and are sometimes betrayed by) historians, forensic detectives, and shady antiquities dealers, all of who are seeking the Gospel for their own agendas. In Jordan, their search for the Lost Gospel will take Simon and Elizabeth through a plethora of major archaeological sites, including the Temple of Hercules in Amman, the site of Christ’s baptism at Bethany, the Roman ruins at Jerash, the ancient Ebionite settlement at Pella, the Crusader castle at Kerak, and the Islamic fortress of Ajlun. The adventure will climax at Petra, where Simon and Elizabeth will discover the Lost Gospel buried deep inside the mountainside. But when their enemies try to destroy the Gospel, our heroes are buried alive inside a cave. Simon is on the verge of despair. And then, a mysterious miracle happens where Simon has a vision of his dead son, who guides his parents to escape and share the Gospel with the world. The Gospel is translated and contains beautiful teachings by Jesus Christ that do not threaten the doctrines of any religion, but create a bridge of love between people of all faiths. And in the process of finding the Gospel of James, Simon and Elizabeth rekindle their own love, and Simon rediscovers his personal faith in God.
Shooting in Jordan
T
HE LOST GOSPEL
will provide a wonderful opportunity to showcase the archaeological riches of Jordan. And more importantly, its underlying message of love and reconciliation between Jews, Christians and Muslims is symbolic of the policies of His Majesty King Abdullah, who has strived for years to bring peace to the Middle East. This movie will bring international attention to the rich heritage of the Jordanian people, and highlight their important contributions to the world, both in ancient times and today.
Background 1/2 A
ccording to the New Testament and other historical
sources, Jesus had a brother named James the Just who led the early Christian Church in Jerusalem in the immediate aftermath of Christ’s mission. James was a devout Jew who strictly followed the Law of Moses, including eating kosher and praying in accordance with Jewish ritual. He was challenged by Paul, who claimed that salvation came through faith in Christ alone and obedience to the Jewish Law was unnecessary. Paul’s vision of faith would eventually become the basis of modern Christianity, but in the early days of the religion, his views were in the minority. James and the disciples of Jesus remained strictly observant Jews and did not see Christ’s mission as having founded a new religion. Rather, they believed that Jesus was a prophet who had been sent by God as the Messiah of Israel. Their beliefs were similar to how later Muslims would see Jesus, and many Muslims look back with respect at these “Jewish Christians” and see them as predecessors of Islam. The followers of James were known as Ebionites, which means “the poor” in Hebrew. The Ebionites were in deep conflict with Paul, who they claimed was distorting Christ’s teachings by abolishing adherence to the Law of Moses, which Jesus himself followed in his lifetime.
Background 2/2 The Ebionite movement was dealt two major blows in the first century. The movement lost its leader when James the Just was killed by the High Priest of Jerusalem in 62 A.D. And then the Roman armies destroyed Jerusalem in 70 A.D. and the Ebionites, like other Jews, were forced to flee the Holy Land. According to historians, the Ebionites escaped to neighboring Jordan and settled in Pella. The destruction of Jerusalem and the death of Christ’s brother weakened the Ebionite movement and it was never able to compete with Paul’s ministry to the Gentiles. The Ebionites were eclipsed by Paul’s followers, who went on to establish their vision as the mainstream understanding of Christianity. But the Ebionites did not completely disappear. They remained in Jordan, Syria and northern Arabia for hundreds of years, and the leaders of the Christian Church condemned them as heretics. Some scholars believe that Prophet Muhammad may have come into contact with Ebionite Christians, as there are early hadith about the young Muhammad meeting a Christian monk named Bahira who recognized that he would be a prophet, based on a secret Christian book that was passed along for centuries. Early accounts also mention that a Christian in Mecca named Waraqa supported Muhammad’s claim to being a prophet.
The reason these accounts are important is that, according to Church historians, the Ebionites, the followers of James, followed a Gospel that was written in Hebrew. The Church condemned this Gospel as heresy and it was suppressed by the Council of Nicea in 325 A.D. But historians believe that the followers of James continued to use their Hebrew scriptures in secret for centuries. It therefore seems quite possible that Ebionite Christians befriended Prophet Muhammad, as his vision of Jesus as a human prophet was so similar to their own. No trace of the original Hebrew or Aramaic gospels of the early Christians has ever been found. But some scholars believe that the discovery of these original writings would give us the clearest understanding of Jesus and his mission by people that knew him personally. And Jordan is the most likely place that such writings could be found, as the Ebionites took refuge there when the Romans destroyed Jerusalem.
The Ebionite vision of Christ as a practicing Jew who obeyed the Law of Moses would create a common ground of understanding between Jews, Christians and Muslims. In a world where divisions between the children of Abraham have led to much bloodshed, such a common ground is desperately What is significant is that according to the great needed. Muslim hadith scholar Bukhari, Waraqa followed a Gospel written in Hebrew.
Proposed cast alternatives for Simon Masters, the central character The central character of the film is Simon Masters, a British archaeologist who was once considered one of the most respected scholars of Biblical history. But family tragedy has over-shadowed his life. His son died in a terrible accident at an archaeological dig site, and Simon has never completely recovered from this loss. His marriage to ELIZABETH MOREAU, a fellow archaeologist, collapsed from the pain of their child’s death, and Simon withdrew from public life. A formerly devout Christian, his faith in God has been shattered by the terrible turn of events in his life.
Gerard Butler
Daniel Craig
Eric Bana
Adrien Brody
• Nim’s Island, P.S. I love you, 300, The Phantom of the Opera, Dracula 2000…
• Quantum of Solace, The Golden Compass, The Invasion, Casino Royal, Munich…
• The Other Boleyn Girl, Lucky you, Munich, Troy, Hulk, Black Hawk Down…
• The Darjeeling Limited, King Kong, The Jacket, The Village, The Pianist…
Proposed cast alternatives for Elizabeth Moreau
Simon is Elizabeth’s exhusband. She decides to follow him in his adventurous quest.
Rachel Weisz
Eva Green
Amanda Peet
Milla Jovovich
• My Blueberry Nights, Eragon, The Constant Gardener, The Mummy…
• Casino Royale, The Golden Compass, Kingdom of Heaven, …
• Syriana, A lot like love, Melinda and Melinda, Something’s gotta give, Identity…
• Resident Evil, Ultraviolet, The Fifth Element, Zoolander, …
Proposed cast alternatives for Father Demetrius
Father Demetrius is a Greek Orthodox priest and an old friend of Simon.
Gene Hackman
Morgan Freeman
Gary Oldman
Jon Voight
• Enemy of the State, The Quick and the Dead, The Birdcage...
• Batman Begins, Million Dollar Baby, Bruce Almighty, Deep Impact, Se7en...
• Batman Begins, Hannibal, The Professional, Bram Stoker's Dracula...
• National Treasure, Transformers, Manchurian Candidate, Mission Impossible...
Other seekers of the Gospel
Simon and Elizabeth work with and are sometimes betrayed by historians, forensic detectives, and shady antiquities dealers, all of who are seeking the Gospel for their own agendas. For these characters, we will use internationally acclaimed actors, who represent the spirit and the creativity of the region.
Saïd Taghmaoui
Naveen Andrews
Omar Sharif
Nadine Labaki
•G.I Joe, Vantage Point, O Jerusalem, Hidalgo, Three Kings, Hideous Kinky…
•Lost, The Brave One, Planet Terror, Bride and Prejudice…
•Hidalgo, Dr Zhivago, Funny Girl, Lawrence of Arabia…
•Caramel, Bosta, Seventh Dog…
Similar films Title
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• The Recruit • The Bank Job • Dante’s Peak • The Getaway
John McTiernan
• The Bone Collector • Clear and Present Danger • Patriot Games • The Saint
Roger Donaldson
• The Children of Huang Shi • Tomorrow Never Dies • The 6th Day • Under Fire
Philipp Noyce
Roger Spottiswoode
Proposed Directors
• The Thomas Crown Affair • Die Hard • Last Action Hero • Predator
Writer: Kamran Pasha Kamran Pasha is a writer and producer for NBC’s highly anticipated new television series KINGS, which is a modern day retelling of the Biblical tale of Kind David. Previously he served as a writer on NBC’s remake of BIONIC WOMAN, and on Showtime Network’s Golden Globe nominated series SLEEPER CELL, about a Muslim FBI agent who infiltrates a terrorist group. Kamran will soon be a published novelist as well. He has secured a two-book deal with Simon & Schuster’s Atria Books to publish SHADOW OF THE SWORDS, a love story set amidst the Crusades, and MOTHER OF THE BELIEVERS, an historical fiction tale showing the rise of Islam from the eyes of Prophet Muhammad’s teenage wife Aisha, who grew to become a politician and a warrior. Kamran has also made strides in the video game world. He recently wrote BLOOD ON THE SAND for Vivendi Universal, the sequel to hip-hop mogul 50 Cent’s bestselling game BULLETPROOF. An expert on the Middle East, Kamran is one of the few successful Muslim screenwriters in Hollywood. In 2003, he set up his first feature script at Warner Brothers, an historical epic on the love story behind the building of the TAJ MAHAL. He is currently writing an epic film entitled THE VOYAGE OF IBN BATTUTA, which follows the adventures of a famous Arab traveler who journeyed to China in the 14th century. Kamran holds a JD from Cornell Law School, an MBA from Dartmouth and an MFA from UCLA Film School. He spent three years as a journalist in New York City, writing for media companies such as Knight-Ridder. During his time as a reporter, Kamran interviewed prominent international figures such as Israeli Prime Minister Shimon Peres, Peruvian President Alberto Fujimori, and Pakistani Prime Minister Benazir Bhutto.
Producer: Forecast Pictures Jean-Charles Levy
Est. 2003, Forecast Pictures is a French production and consulting company dedicated to international movie financing.
Our precise knowledge of moviemaking regulations, tax breaks, subsidies and soft moneys in more than sixty countries worldwide allows us to offer new financing opportunities to the producers and arrange them to provide tailor-made financing scenarios through alternative combinations of resources. During its first years, Forecast has successfully produced as an independent the 20 M € epic movie “O Jerusalem” starring Saïd Taghmaoui, JJ Field, Patrick Bruel and Ian Holm , as well as “Walled In” a 7 M € psychological thriller staring Mischa Barton (the O.C.), Cameron Bright (Birth, Xmen 3, …) and Deborah Unger (The Game, ...). The upcoming slate of production for Forecast Pictures includes the 25 millions Euros adventure thriller “Informer” to be directed by David Marconi (“Enemy of the State, Mission Impossible 2…), “Tom’s Wait” coproduced with Killer Films (I’m not there, Boys don’t cry, …), “The voyage of Ibn Battuta” and the preparation of various other movies with budgets and genres, ranging from 2 to 35 millions Euros.
Forecast is also currently raising a 50 M Euros equity fund dedicated to invest in international features, with high commercial value.
•With 20 years of experience in the media industry, JeanCharles Lévy started as financial consultant for Arthur Andersen before joining TF1 for 10 years, including 5 years as President of TF1 USA in Los Angeles. Dealmaker of the TF1-Miramax joint venture in France, Jean-Charles is credited as producer on numerous films including Walled in (Mischa Barton), O Jerusalem (Ian Holm, JJ Feild), Far From Heaven (Julianne Moore, Dennis Quaid), The Contender (Jeff Bridges, Gary Oldman), Under Suspicion (Morgan Freeman, Gene Hackman) and Scenes of the Crime (Jeff Bridges, Noah Wyle). Nicolas Manuel •Graduate of the prestigious Sciences Po school of Paris, Nicolas also holds a Master in Audiovisual law from the University of Paris La Sorbonne. In charge of the company’s business affairs, he handles the legal and financial backoffice for our clients and perform necessary negotiations, applications and related legal work on their behalf. Olivier Piasentin •A former business affairs in international distribution, Olivier is Forecast's production executive. He is in charge of the development and funding solutions for in-house movie projects. He also handles trading of remake rights between Europe and North America on behalf of independent producers.
Worldwide Communication Marketing coordination
The Theme Song
During
A US star/band will perform a theme
the production of the movie, we will hire a renowned marketing PR - used to deal with marketing campaigns and releases of Studio movies - to supervise the marketing for the movie. He will be in charge of coordinating the marketing on a global scale (journalists visits to the sets, partnerships and sponsorships management, press releases…) during the production and until the release of the movie.
song specifically composed for the movie. The song will travel around the world and promote both the movie and Jordan scenery. We have included a corresponding amount in our budget and are considering the following artists (non-exhaustive list):
Gwen Stefani Madonna The Police P.Diddy with Rihanna Black Eyed Peas Sheryl Crowe
Financials of the movie Although a difficult exercise with a script non-entirely written yet, we do foresee a cost of the movie (considering the level of talent targeted, the desired production value, the type of film, …) of about 30 to 40 M USD. Once you’ll have approved this preliminary presentation, we’ll be happy to visit you in Jordan in order to talk in details about the creative and financial parameters of the film, as well as detailing the potential financing scenarios that we do have in mind for the film itself. Whatever your final investment, it will be guaranteed by an array of mechanisms, which will ensure you of the crystal-clear financing of the venture, as well as of the flow of revenues: collection account, completion guarantee, budget control and auditing procedures, international distribution by world-renowned sales agent, …
ANNEX
Forecast Pictures
Annex 1
Forecast Pictures © 2009
Extract from LE FIGARO 27/12/08
Forecast Pictures © 2009
Annex 2
Forecast Pictures © 2009
Script Development Choosing an author
Researches and studies
Treatment and combining author + director
Script versions 1 , 2 , 3 and shooting script
Forecast Pictures © 2009
Casting & Budgeting Initial draft budget based on script
Scout shooting locations
Approach the lead cast and the crew
Final Budget
Forecast Pictures © 2009
Financing Choose coproducing partners
Arrange the financing
Close deals (funds released only when financing completed & completion bond is secured)
Collect revenues through third party reputable collection agent & international sales company
Forecast Pictures © 2009
Production Pre-production
Shoot
Post-Production
Deliveries
Forecast Pictures © 2009
Distribution Presales & sales to local distributors throughout the world
First run exploitation (Theatrical, DVD, Pay TV, Free TV)
Collection of overages
Residual catalog value
Forecast Pictures © 2009
Annex 3
Overview of International Sales % Estimated Sales by Territory Europe
Sources of Cash Flow Include
•License rights to domestic distributors •Participation throughout all ancillary markets •Foreign sales •Possible retention of foreign rights •Library sale on exit
Middle East
Benelux
2-3%
Israel
0-1%
France
6-8%
Middle East
0-1%
Germany/Austria/Switzerland
6-8%
Subtotal
1-2%
Greece/Cyprus
0-1%
Italy
5-6%
Asia/Pacific
Portugal
0-1%
Hong Kong
0-1%
Scandinavia
2-3%
Indonesia
0-1%
Spain
3-5%
Japan
5-6%
Turkey
0-1%
Malaysia
0-1%
UK (incl. Ireland)
6-8%
Philippines
0-1%
Other
0-1%
Singapore
0-1%
Subtotal
30-40%
S. Korea
1-2%
Taiwan
0-1%
Thailand
0-1%
Eastern Europe
Foreign Sales Detail
•Foreign sales usually include an upfront minimum guarantee on delivery •May enter into contract before production begins •Retaining rights is riskier but could be more lucrative Major foreign sales markets include: Cannes, Toronto, American Film Market, Berlin…
C.I.S.
1-2%
Other
0-1%
Czech/Slovak/Poland/Hungary
0-1%
Subtotal
5-10%
Serbia/Montenegro/Mace/Bos/Croatia
0-1%
Subtotal
2-5%
Latin America
Other Airlines
3-5%
Australia/NZ
2-3%
Argentina/Paraguay/Uruguay
0-1%
Iceland
0-1%
Brazil
0-1%
India
0-1%
Central America
0-1%
South Africa
0-1%
Chile
0-1%
Other
0-1%
Colombia
0-1%
Subtotal
5-8%
Mexico
1-2%
Peru/Bolivia/Ecuador
0-1%
Venezuela
0-1%
Total International
40-60%
Other
0-1%
Total North America
40-60%
Subtotal
2-5%
Grand Total World
Forecast Pictures © 2009
100%
Focus on Low Budget High Revenue Potential Films Example of Low Budget High Revenue Films Picture
Budget
Box Office Gross Revenues
(w: worldwide; d: domestic)
Video (US rentals)
Do the Right Thing (1989)
$6 500 000
$27 545 445
d
N/A
Boyz 'N the Hood (1991)
$6 000 000
$57 504 069
d
N/A
Menace II Society (1993)
$3 485 000
$27 710 300
d
N/A
Pulp Fiction (1994)
$8 405 000
$212 900 000
w
N/A
Four Weddings and a Funeral ( 1994)
$6 000 000
$244 100 000
w
N/A
$11 000 000
$79 725 000
w
N/A
Fargo (1996)
$7 000 000
$49 082 374
w
N/A
The Full Monty (1997)
$3 500 000
$256 900 000
w
N/A
$15 000 000
$63 686 089
w
N/A
$3 500 000
$6 390 032
d
$21 100 000
Dead Man Walking (1995)
Copland (1997) Gods and Monsters (1998) Varsity Blues (1999)
$16 000 000
$52 885 587
w
$61 700 000
American Pie (1999)
$11 000 000
$201 700 000
w
$68 700 000
She's All That (1999)
$10 000 000
$103 619 509
w
$46 300 000
In Too Deep (1999)
$7 000 000
$14 003 141
d
$17 400 000
Pollock (2000)
$6 000 000
$8 596 914
d
$8 900 000
Memento (2000)
$5 000 000
$25 530 884
d
$59 900 000
Gosford Park (2001)
$15 000 000
$41 300 105
d
$43 000 000
In the Bedroom (2001)
$1 700 000
$35 918 429
d
$33 200 000
Monster's Ball (2001)
$4 000 000
$31 252 964
d
$77 400 000
Mig Big Fat Greek Wedding (2002)
$5 000 000
$356 500 000
w
$65 100 000
Bent it Like Beckham (2002)
$5 000 000
$32 741 519
d
$26 200 000
Whale Rider (2002)
$5 000 000
$20 772 796
d
$11 000 000
City of God (2002)
$3 300 000
$7 563 397
d
$7 100 000
$12 000 000
$25 776 062
d
$14 300 000
$8 000 000
$34 468 224
d
$28 500 000
$130 000
$38 500 882
w
$32 600 000
Saw (2004)
$1 200 000
$55 153 403
d
$35 700 000
Garden State (2004)
$2 500 000
$26 781 723
d
$19 800 000
Hotel Rwanda (2004)
$15 000 000
$23 472 900
d
$27 100 000
$400 000
$44 540 956
d
$43 800 000
White Noise (2005)
$12 000 000
$55 865 715
d
$38 300 000
The Wedding Date (2005)
$15 000 000
$31 585 300
d
N/A
Crash (2005)
$7 500 000
$55 382 847
d
N/A
March of the Penguins (2005)
$5 000 000
$72 846 145
d
N/A
Average
$7 150 588
$71 238 321
Frida (2002) Monster (2003) Open Water (2003)
Napoleon Dynamite (2004)
$37 142 857
Forecast Pictures © 2009
Trends in the Motion Picture Space: A stead y growth Current environment Consistent Box Office Growth Healthy Attendance Trends Stable Annual Price Increases Resistance to Economic Downturns
Worldwide Box Office 2001 -2004
•2004 Box Office was flat versus 2003 •2004 Growth in Home Video at 2.5%
•4,3% CAGR since 2000
30 25 20 15 10 5 0
Canada Latin America Asia-Pacific EMEA USA 2001
•1,9% CAGR over last 11 years
•3,8% CAGR over last 11 years
•Growth in 3 of last 5 recessions
2002
2003
2004
US Home Video Sales & Rentals 40 35 30 25 20 15 10 5 0
Rentals Sales
2001
2002
2003
2004
2005 Forecast Pictures © 2009
Changing Market Dynamics Breakdown of Studio Film Revenues
3,0% 14,1% 15,2%
Home Video 52,5%
Domestic Box-Office International Box-Office
15,3%
Television VOD
Key Highlights • Home Video is the dominant source of studio revenues • International revenues are increasingly important • Growth of domestic and international cable channels require product to feed pipeline • New technologies will continue to create new markets and distribution channels (i.e. High definition DVDs, VOD, etc) for repeated sales of the same content
Forecast Pictures © 2009
Box Office Market & Video Universe Box Office Market United States
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009 05-'09 CAGR
Admissions (Millions)
1 421
1 487
1 639
1 574
1 536
1 540
1 555
1 575
1 595
1 615
% Change
-3,0%
4,6%
10,2%
-4,0%
-2,4%
0,3%
1,0%
1,3%
1,3%
1,3%
Average Price ($)
$5,39
$5,66
$5,81
$6,03
$6,21
$6,40
$6,60
$6,80
$7,00
$7,20
% Change
6,1%
4,9%
2,7%
3,8%
3,0%
3,1%
3,1%
3,0%
2,9%
2,9%
Box Office ($ in Millions)
$7 661
$8 412
$9 520
$9 489
$9 539
$9 856
$10 263
$10 710
$11 165
$11 628
% Change
-2,9%
9,8%
13,2%
-0,3%
0,5%
3,3%
4,1%
4,4%
4,2%
4,1%
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
88,1
90
93,5
97
99,5
101
102,5
104
105,5
107
87,4%
88,1%
88,7%
91,0%
91,8%
92,2%
92,5%
92,9%
93,2%
93,5%
1,2%
3,0%
4,2%
Source: Motion Picture Association of America, PricewaterhouseCoopers LLP, Wilkofsky Gruen Associates
Home Video Universe Category
05-'09 CAGR Home Video Households (Millions) Home Video Household Penetration (%)
DVD Households (Millions) DVD Households Penetration (%)
8,8
18,9
35
60
79
88
95
99
102
105
87,0%
18,5%
33,2%
56,3%
72,9%
80,3%
85,7%
88,4%
90,1%
91,8%
1,5%
4,5%
Source: PricewaterhouseCoopers LLP, Wilkofsky Gruen Associates
Forecast Pictures © 2009
International Markets International Filmed Entertainment Markets • International Revenues are increasingly important with continued expansion of existing markets and expanding New Technologies producing rapid growth and and an increasingly important significant market size. International Box Office & Traditional Home Video Country
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009 05-'09 CAGR
Europe, Middle East, Africa Western Europe % Change
14 828
Central & Eastern Europe % Change
574
Middle East / Africa % Change
264
Total Europe, Middle East, Africa % Change
15 666
Asia Asia % Change
12 341
Latin America Latin America % Change
1 113
Canada Canada % Change
2 255
17 365 17,1%
20 559 18,4%
23 271 13,2%
25 893 11,3%
28 303 9,3%
30 735 8,6%
33 100 7,7%
35 383 6,9%
37 593 6,2%
7,4%
726 26,5%
847 16,7%
892 5,3%
1 059 18,7%
1 179 11,3%
1 308 10,9%
1 443 10,3%
1 584 9,8%
1 729 9,2%
10,0%
284 7,6%
288 1,4%
323 12,2%
349 8,0%
371 6,3%
394 6,2%
417 5,8%
441 5,8%
465 5,4%
5,8%
18 375 17,3%
21 694 18,1%
24 486 12,9%
27 301 11,5%
29 853 9,3%
32 437 8,7%
34 960 7,8%
37 408 7,0%
39 787 6,4%
7,4%
13 196 6,9%
13 722 4,0%
14 503 5,7%
15 375 6,0%
16 184 5,3%
16 951 4,7%
17 763 4,8%
18 506 4,2%
19 237 4,0%
4,4%
1 185 6,5%
1 272 7,3%
1 400 10,1%
1 606 14,7%
1 729 7,7%
1 851 7,1%
1 977 6,8%
2 097 6,1%
2 216 5,7%
6,4%
2 642 17,2%
3 574 35,3%
4 207 17,7%
4 811 14,4%
5 343 11,1%
5 852 9,5%
6 243 6,7%
6 608 5,8%
6 938 5,0%
6,7%
Note: Values calculated at average 2004 rates Source: PricewaterhouseCoopers LLP, Wilkofsky Gruen Associates
Forecast Pictures © 2009
Annex 4
Marketing Addendum
Quality exposure
During the shoot of the film:
Making of, interviews on set, « people magazines and TV programs» around the world showing the stars on locations, …
Organization of specific trips on location for the international press & TVs
Before theatrical release of the film:
Trailers of the movie (on TV, in theaters, …), broadcast on TV of the making of, …
World TV broadcast of the music video of the end-title song of the movie (MTV, radios, …)
World-premiere of the film in the Middle East, and then international premieres worldwide
Theatrical release of the film:
Potential advertising campaigns during the promotion of the movie (shot on the set during the shoot, …)
Contests to win tailor-made prizes (trips to the U.A.E, shopping carts, cars rentals, jewels, …)
DVD release of the film:
DVD pack will contain a specificly dedicated DVD with the Making of and potentialy promotional films
Potential advertising campaigns during the promotion of the movie (shot on the set during the shoot)
DVD release will include contests to win prizes, trips, … could be similar to what will be organized for the Theatrical release
TV exploitation of the film: first runs worldwide and reruns
Maximum exposure to great number of TV viewers around the world
The movie being oriented towards bigger audiences, it will no doubt be broadcasted on prime-time television
Potential advertising campaigns during the broadcasting of the movie (shot on the set during the shoot)
NB: Based on our estimates we anticipate that each film funded could be exposed to over 40M qualified viewers. Forecast Pictures © 2009
Details of quantified exposure
During the shoot of the film:
Before theatrical release of the film:
Average Box Office of similar films :
USA : (36 + 68 + 102 + 69 + 4 + 2)/6 = 46 M USD
=> 6,5 M admissions expected / targeted
Rest of the world : (3 + 52 + 133 + 48 + 16 + 18)/6 = 45 M USD
=> 6,5 M admissions expected / targeted
DVD release of the film (considering an average 2,5 viewer per DVD acquired):
Not possible to quantify
Theatrical release of the film (considering an average 7 USD per admission):
Not possible to quantify
Considering a conservative average of 10% of admissions as a transformation ratio for DVD acquisitions:
USA :
650 000 DVDs
=> 1,62 M viewers targeted
Rest of the world : 650 000 DVDs
=> 1,62 M viewers targeted
TV exploitation of the film: first runs (reruns not accounted for)
USA, minimum targeted prime-time number of viewers
=> 8 M viewers targeted
ROW, with an estimation of USA x 3 (conservative)
=> 24 M viewers targeted
=> Targeted and Estimated 45 Millions viewers of the movie around the world. Forecast Pictures © 2009
« Friends and Money » : examples of potential sponsors, investors & partners
Hotels:
Airline:
Mall:
Real Estate & Banks:
Consumer Electronics:
Used in the movie itself as one of the four main locations . The place where our lead cast & crew could stay also during the shoot.
Part of the movie takes place in the plane during the trip to the U.A.E. + Airline will be tied strongly to our promotion
The place of the initial theft, and then a location used for various scenes of the movie.
Used as some locations during the shoot. Will benefit from the international corporate exposure of the movie.
Will be used throughout the movie and will emphasize the local know-how and showase U.A.E.’s technology to the rest of the world.
Car brands and Car rentals: Cars used in the movie: for the initial heist, 4x4 for the group to look for the loot, …
Jewelery: The place where the initial theft , that is the thread of our story , takes place. Will be present throughout the movie.
All will be either locations and/or products shown as part of the story and/or used for advertising the Picture. Sponsor will be tightly linked to the movie, part of the “making of” in the DVD, used for the Electronic Press Kit distributed to the international press & media, part of contests-prizes when the movie and the DVD gets released, part of the trailers for international theatrical release, viewed on prime-time TV when movie will get broadcasted, … Forecast Pictures © 2009
« 8) Impact on the economic activity and the employment in the Wallonia Region: « …the establishment of a significantly large, yet of a limited size, film studio in or around Liege should engender approximately € 20M of yearly expenditure in the region. » « … the ad hoc studies done in England to measure the economic impact of Pinewood studios (before the merger of Pinewood and Shepperton), and in Germany to measure that of the Babelsberg Studios, deliver an interesting and credible approximation regarding the economic impact of a future Wallon Studio: both studies lead to similar results and demonstrate that for every Euro invested strictly in film production, between 3 and 4 Euros are spent in the local economy. Therefore the creation of a film studio can bring real economic advantages to the region where it’s constructed, even though the studio itself could be unprofitable, and even though its activity depends partially on the implementation of financial aid and/or subsidization devices which represent certain costs for the local authority. Economically speaking the equation can be formalized as follows: P = S + (3,50xS) – SUB – LOSS where
P is the profit for the local authority, S is the sales figure of the film productions spent in the studio (thus studio’s revenue plus all the services in direct relation with the filming even though they are not billed by the studio) 3.50xS is the amount of the expenditure induced by the film production in the local economy LOSS is the probable losses of the studio and the other service providers that are directly involved throughout the filming processes SUB represents the cost of subsidies and various aids provided by the local authority and intended to increase the attractivity of the studio
A recent study prepared in Ireland (whose complete results are quoted in the professional press) shows that S is slightly superior to 4 times SUB (the precise ratio comes up as 4.17) which helps to estimate the profit for the local authority, P as: P = 4 SUB + 14 SUB – SUB – LOSS therefore, P = 17 SUB – LOSS»
Forecast Pictures © 2009
7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008
HYPO FOR SIMULATIONS
TOTAL CONSOLIDATED AMOUNT, FOR THE WHOLE DURATION OF THE FUND Quarter of investment Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD)
430
OVERALL AVERAGE Share invested by the fund (% of the budget of films)
258
Producer fee for the Fund (% of the budget of each film)
21,5
Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films)
172
Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films)
86
Net revenues coming back to the fund, cycle 3 (% of budget of films)
0
Catalog value (% of budget of films)
43
Friends & Money
Lost Gospel
Ibn Battuta
Hard Drive
FILM 5
FILM 6
FILM 7
FILM 8
FILM 9
FILM 10
FILM 11
FILM 12
FILM 13
FILM 14
FILM 15
2 20 60% 5% 40% 20% 0% 10%
3 50
4 30
5 30
6 10
7 30
8 20
9 50
10 10
11 30
12 20
13 30
14 40
15 10
16 50
60%
60%
60%
60%
60%
60%
60%
60%
60%
60%
60%
60%
60%
60%
5%
5%
5%
5%
5%
5%
5%
5%
5%
5%
5%
5%
5%
5%
40%
40%
40%
40%
40%
40%
40%
40%
40%
40%
40%
40%
40%
40%
20%
20%
20%
20%
20%
20%
20%
20%
20%
20%
20%
20%
20%
20%
0%
20%
0%
0%
0%
0%
0%
50%
0%
0%
0%
0%
0%
50%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 9 18 36
Nb of months after initial investment, when Producer fees are paid Cycle 1 : revenues coming 9 monthes after initial investment Cycle2 : revenues coming 18 monthes after initial investment Cycle 3 : revenues coming 36 monthes after initial investment : OVERAGES
9
9
9
9
9
9
9
9
9
9
9
9
9
9
18
18
18
18
18
18
18
18
18
18
18
18
18
18
36
36
36
36
36
36
36
36
36
36
36
36
36
36
69,21 0%
Maximum amount invested by the fund Internal rate of remuneration of the non-used amounts of the Fund (per year)
LOW CASE SCENARIO
CONFIDENTIAL
INVESTMENT CYCLE IS OVER THE FIRST 4 YEARS ONLY VS OVERALL FUND PROFITABILITY IS OVER 7 YEARS
0,0%
Rémunération intermédiaires plaçant le fonds Set up costs (including lawyers and tax advisers) - outside services - internal services Accounting, CPAs, audits, … (per Quarter) Overheads and expenses from the structure (per Quarter) - overheads - developments expenses (1 000 000 USD yearly)
0,25 0,25 0,05
Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films)
86
Net revenues coming back to the fund, cycle 3 (% of budget of films)
43
Catalog value (% of budget of films)
43
Nb of months after initial investment, when Producer fees are paid Cycle 1 : revenues coming 9 monthes after initial investment Cycle2 : revenues coming 18 monthes after initial investment Cycle 3 : revenues coming 36 monthes after initial investment : OVERAGES
Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films)
0
08/01/2009 - 16:29
FILM 6
FILM 7
FILM 8
FILM 9
FILM 10
FILM 11
FILM 12
FILM 13
FILM 14
FILM 15
2 20 60% 5%
3 50 60% 5%
4 30 60% 5%
5 30 60% 5%
6 10 60% 5%
7 30 60% 5%
8 20 60% 5%
9 50 60% 5%
10 10 60% 5%
11 30 60% 5%
12 20 60% 5%
13 30 60% 5%
14 40 60% 5%
15 10 60% 5%
16 50 60% 5%
45% 20% 10% 10%
45%
45%
45%
45%
45%
45%
45%
45%
45%
45%
45%
45%
45%
45%
20%
20%
20%
20%
20%
20%
20%
20%
20%
20%
20%
20%
20%
20%
10%
20%
10%
10%
10%
10%
10%
50%
10%
10%
10%
10%
10%
50%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
0,01
107,5 43
Friends & Money
Lost Gospel
Ibn Battuta
Hard Drive
FILM 5
FILM 6
FILM 7
FILM 8
FILM 9
FILM 10
FILM 11
FILM 12
FILM 13
FILM 14
FILM 15
2 20 60% 5%
3 50 60% 5%
4 30 60% 5%
5 30 60% 5%
6 10 60% 5%
7 30 60% 5%
8 20 60% 5%
9 50 60% 5%
10 10 60% 5%
11 30 60% 5%
12 20 60% 5%
13 30 60% 5%
14 40 60% 5%
15 10 60% 5%
16 50 60% 5%
66% 0% 25% 10%
66%
66%
66%
66%
66%
66%
66%
66%
66%
66%
66%
66%
66%
66%
0%
0%
0%
0%
0%
0%
0%
0%
0%
0%
0%
0%
0%
0%
25%
20%
20%
20%
20%
20%
20%
50%
20%
20%
20%
20%
20%
50%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
10%
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
62,57 0% 0,0%
0,25 0,25 0,05
0,01
0,5232 0,25
Page 1 / 10
TARGET SCENARIO
Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films)
Set up costs (including lawyers and tax advisers) - outside services - internal services Accounting, CPAs, audits, … (per Quarter) Overheads and expenses from the structure (per Quarter) - overheads - developments expenses (1 000 000 USD yearly)
FILM 5
0,5232 0,25
430 258 21,5 283,8
Rémunération intermédiaires plaçant le fonds
Hard Drive
0,25 0,25 0,05
TOTAL CONSOLIDATED AMOUNT, FOR THE WHOLE DURATION OF THE FUND
Maximum amount invested by the fund Internal rate of remuneration of the non-used amounts of the Fund (per year)
Ibn Battuta
0,0%
Set up costs (including lawyers and tax advisers) - outside services - internal services Accounting, CPAs, audits, … (per Quarter) Overheads and expenses from the structure (per Quarter) - overheads - developments expenses (1 000 000 USD yearly)
Nb of months after initial investment, when Producer fees are paid Cycle 1 : revenues coming 9 monthes after initial investment Cycle2 : revenues coming 18 monthes after initial investment Cycle 3 : revenues coming 36 monthes after initial investment : OVERAGES
Lost Gospel
0%
Rémunération intermédiaires plaçant le fonds
Catalog value (% of budget of films)
Friends & Money
66,77
Maximum amount invested by the fund Internal rate of remuneration of the non-used amounts of the Fund (per year)
Net revenues coming back to the fund, cycle 3 (% of budget of films)
0,01
MEDIUM CASE SCENARIO
Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films)
430 258 21,5 193,5
Quarter of investment Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD) OVERALL AVERAGE Share invested by the fund (% of the budget of films) Producer fee for the Fund (% of the budget of each film)
5% 2,50% 2,50%
0,52 0,25
TOTAL CONSOLIDATED AMOUNT, FOR THE WHOLE DURATION OF THE FUND Quarter of investment Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD) OVERALL AVERAGE Share invested by the fund (% of the budget of films) Producer fee for the Fund (% of the budget of each film)
PRODUCER FEES SPLIT: - Fund's executive producer fee : - Funds' proper Producing fee :
CONFIDENTIAL
7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008
YEARLY EXPENSES
ALL AMOUNTS IN USD
Year 1
Other Year
Monthly
Fringes
Yearly
CEO CEO Selection Comittee Advisors Assistant Assistant
France USA Morocco / France To Be Determined France USA
1 1 1 1 1 1
1 1 1 1 1 1
20 000 20 000 10 000 300 000 3 000 3 000
1,6 1,3 1,5 1 1,6 1,3
384 000 312 000 180 000 300 000 57 600 46 800
Internal Legal Production supervisor
France France
1 1
1 1
6 000 6 000
1,6 1,6
115 200 115 200
Office France Office USA
Rental Rental
1 1
1 1
5 000 5 000
1 1
60 000 60 000
Office France Office USA
Insurance, misc, phone, … Insurance, misc, phone, …
1 1
1 1
3 000 3 000
1 1
36 000 36 000
Office France Office USA
Travel & Entertainment Travel & Entertainment
1 1
1 1
7 000 7 000
1 1
84 000 84 000
6
1
1 000
1
72 000
1
1
150 000
1
150 000
Information Technology Yearly outside legal
TOTAL
Part non included in movies budget
2 092 800
08/01/2009 - 16:29
Page 2 / 10
CONFIDENTIAL
SIMULATIONS RESULTS
7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008
Simulations of cumulated net results of the Venture, Excluding Tax Impact
150,00 LOW Performance : Cumulated net result, excluding tax impact
100,00
MEDIUM Performance : Cumulated net result, excluding tax impact
M $ USD
50,00
0,00 TARGET Performance : Cumulated net result, excluding tax impact
-50,00
-100,00
Quarters
Low Simulations Cumulated Net Resluts,exc Taxes
80,00 60,00 40,00
Cumulated quaterly interests
M $ USD
20,00
0,00 -20,00
1
2
3
4
5
6
7
8
9
10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
-40,00
LOW Performance : Cumulated net result, excluding tax impact
-60,00 Quarterly net revenues, excl taxes
-80,00 Quarters
M $ USD
Medium Simulations 140,00 120,00 100,00 80,00 60,00 40,00 20,00 0,00 -20,00 -40,00 -60,00 -80,00
Cumulated Net Resluts,exc Taxes
Cumulated quaterly interests
1
2
3
4
5
6
7
8
9
10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
MEDIUM Performance : Cumulated net result, excluding tax impact
Quarterly net revenues, excl taxes
Quarters
Target Simulations Cumulated Net Resluts,exc Taxes
150,00
100,00
Cumulated quaterly interests
M $ USD
50,00 0,00
1
2
3
4
5
6
7
8
9
10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
-50,00
TARGET Performance : Cumulated net result, excluding tax impact Quarterly net revenues, excl taxes
-100,00 Quarters
08/01/2009 - 16:29
Page 3 / 10
CONFIDENTIAL
7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008
CALCULATION OF IRR
2009 Apr-June
LOW IRR CALCULATION MEDIUM IRR CALCULATION TARGET IRR CALCULATION
08/01/2009 - 16:29
1 -0,5 -0,5 -0,5
2010 July-Sept
Oct-Dec
2 3 -13,323 -42,806 -13,323 -42,806 -13,323 -42,806
Jan-March
4 -58,79 -58,79 -58,79
2011 Apr-June
July-Sept
Oct-Dec
Jan-March
2012 Apr-June
July-Sept
Oct-Dec
Jan-March
2013 Apr-June
July-Sept
Oct-Dec
Jan-March
2014 Apr-June
July-Sept
Oct-Dec
5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 -67,773 -52,756 -58,739 -53,7224 -69,206 -55,189 -59,172 -48,155 -55,638 -62,622 -49,105 -59,088 -35,071 -27,854 -2,6376 -66,773 -49,256 -53,739 -47,2224 -62,206 -46,689 -49,672 -36,155 -43,138 -46,622 -27,105 -35,588 -6,5712 0 0 -62,573 -34,556 -32,739 -23,9224 -46,806 -30,989 -35,772 -13,755 -24,638 -22,822 -1,6048 -5,788 0 0 0
2015
2016
Jan-March
Apr-June
July-Sept
Oct-Dec
Jan-March
Apr-June
July-Sept
Oct-Dec
Jan-March
Apr-June
July-Sept
20 0 0 0
21 0 0 0
22 0 0 0
23 0 0 0
24 0 0 0
25 0 0 0
26 0 0 0
27 0 0 0
28 0 0 0
29 0 0 0
30 65,5472 113,047 120,847
Page 4 / 10
CONFIDENTIAL
TOTAL CONSOLIDATED AMOUNT, FOR THE WHOLE DURATION OF THE FUND Quarter of investment Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD) OVERALL AVERAGE Share invested by the fund (% of the budget of films) Producer fee for the Fund (% of the budget of each film) Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films) Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films) Net revenues coming back to the fund, cycle 3 (% of budget of films) Catalog value (% of budget of films) Nb of months after initial investment, when Producer fees are paid Cycle 1 : revenues coming 9 monthes after initial investment Cycle2 : revenues coming 18 monthes after initial investment Cycle 3 : revenues coming 36 monthes after initial investment : OVERAGES Maximum amount invested by the fund Internal rate of remuneration of the non-used amounts of the Fund (per year)
7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008
LOW
Friends & Money
Lost Gospel Ibn Battuta
430 258 21,5 172 86
2 20 60% 5% 40% 20%
3 50 60% 5% 40% 20%
43
10%
10%
4 30 60% 5% 40% 20% 20% 10%
3 9 18 36
3 9 18 36
3 9 18 36
Hard Drive
FILM 5
FILM 6
FILM 7
FILM 8
FILM 9
FILM 10
FILM 11
FILM 12
FILM 13
FILM 14
FILM 15
5 30 60% 5% 40% 20%
6 10 60% 5% 40% 20%
7 30 60% 5% 40% 20%
8 20 60% 5% 40% 20%
9 50 60% 5% 40% 20%
11 30 60% 5% 40% 20%
12 20 60% 5% 40% 20%
13 30 60% 5% 40% 20%
14 40 60% 5% 40% 20%
15 10 60% 5% 40% 20%
10%
10%
10%
10%
10%
10 10 60% 5% 40% 20% 50% 10%
10%
10%
10%
10%
10%
16 50 60% 5% 40% 20% 50% 10%
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
69,2056 INVESTMENT CYCLE IS OVER THE FIRST 4 YEARS ONLY VS OVERALL FUND PROFITABILITY IS OVER 7 YEARS
Rémunération intermédiaires plaçant le fonds Set up costs (including lawyers and tax advisers) - outside services - internal services Accounting, CPAs, audits, … (per Quarter) Overheads and expenses from the structure (per Quarter) - overheads - developments expenses (1 000 000 USD yearly)
08/01/2009 - 16:29
0,25 0,25 0,05
PRODUCER FEES SPLIT: - Fund's executive producer fee : - Funds' proper Producing fee :
0,05 0,025 0,025
0,01
0,5232 0,25
Page 5 / 10
CONFIDENTIAL
7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008
MEDIUM
TOTAL CONSOLIDATED AMOUNT, FOR THE WHOLE DURATION OF THE FUND Quarter of investment Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD) OVERALL AVERAGE Share invested by the fund (% of the budget of films) Producer fee for the Fund (% of the budget of each film) Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films) Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films) Net revenues coming back to the fund, cycle 3 (% of budget of films) Catalog value (% of budget of films)
Friends & Money
Lost Gospel Ibn Battuta
Hard Drive
FILM 5
FILM 6
FILM 7
FILM 8
FILM 9
FILM 10
FILM 11
FILM 12
FILM 13
FILM 14
FILM 15
2 20 60% 5% 45% 20% 10% 10%
3 50 60% 5% 45% 20% 10% 10%
4 30 60% 5% 45% 20% 20% 10%
5 30 60% 5% 45% 20% 10% 10%
6 10 60% 5% 45% 20% 10% 10%
7 30 60% 5% 45% 20% 10% 10%
8 20 60% 5% 45% 20% 10% 10%
9 50 60% 5% 45% 20% 10% 10%
10 10 60% 5% 45% 20% 50% 10%
11 30 60% 5% 45% 20% 10% 10%
12 20 60% 5% 45% 20% 10% 10%
13 30 60% 5% 45% 20% 10% 10%
14 40 60% 5% 45% 20% 10% 10%
15 10 60% 5% 45% 20% 10% 10%
16 50 60% 5% 45% 20% 50% 10%
Nb of months after initial investment, when Producer fees are paid Cycle 1 : revenues coming 9 monthes after initial investment Cycle2 : revenues coming 18 monthes after initial investment Cycle 3 : revenues coming 36 monthes after initial investment : OVERAGES
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
Maximum amount invested by the fund Internal rate of remuneration of the non-used amounts of the Fund (per year)
67
430 258 21,5 193,5 86 43 43
Rémunération intermédiaires plaçant le fonds Set up costs (including lawyers and tax advisers) - outside services - internal services Accounting, CPAs, audits, … (per Quarter) Overheads and expenses from the structure (per Quarter) - overheads - developments expenses (1 000 000 USD yearly)
08/01/2009 - 16:29
0,25 0,25 0,05
0,01
0,52 0,25
Page 6 / 10
CONFIDENTIAL
7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008
TARGET
TOTAL CONSOLIDATED AMOUNT, FOR THE WHOLE DURATION OF THE FUND Quarter of investment Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD) OVERALL AVERAGE Share invested by the fund (% of the budget of films) Producer fee for the Fund (% of the budget of each film) Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films) Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films) Net revenues coming back to the fund, cycle 3 (% of budget of films) Catalog value (% of budget of films)
Friends & Money
Lost Gospel Ibn Battuta
Hard Drive
FILM 5
FILM 6
FILM 7
FILM 8
FILM 9
FILM 10
FILM 11
FILM 12
FILM 13
FILM 14
FILM 15
430 258 21,5 283,8
2 20 60% 5% 66%
3 50 60% 5% 66%
4 30 60% 5% 66%
5 30 60% 5% 66%
6 10 60% 5% 66%
7 30 60% 5% 66%
8 20 60% 5% 66%
9 50 60% 5% 66%
10 10 60% 5% 66%
11 30 60% 5% 66%
12 20 60% 5% 66%
13 30 60% 5% 66%
14 40 60% 5% 66%
15 10 60% 5% 66%
16 50 60% 5% 66%
107,5 43
25% 10%
25% 10%
20% 10%
20% 10%
20% 10%
20% 10%
20% 10%
20% 10%
50% 10%
20% 10%
20% 10%
20% 10%
20% 10%
20% 10%
50% 10%
Nb of months after initial investment, when Producer fees are paid Cycle 1 : revenues coming 9 monthes after initial investment Cycle2 : revenues coming 18 monthes after initial investment Cycle 3 : revenues coming 36 monthes after initial investment : OVERAGES
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
3 9 18 36
Maximum amount invested by the fund Internal rate of remuneration of the non-used amounts of the Fund (per year)
63
Rémunération intermédiaires plaçant le fonds Set up costs (including lawyers and tax advisers) - outside services - internal services Accounting, CPAs, audits, … (per Quarter) Overheads and expenses from the structure (per Quarter) - overheads - developments expenses (1 000 000 USD yearly)
08/01/2009 - 16:29
0,25 0,25 0,05
0,01
0,52 0,25
Page 7 / 10
SIMULATIONS LOW PERF
CONFIDENTIAL
2009 Apr-June 1
2010
2011
2012
2013
7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008
2014
2015
2016
July-Sept 2
Oct-Dec 3
Jan-March 4
Apr-June 5
July-Sept 6
Oct-Dec 7
Jan-March 8
Apr-June 9
July-Sept 10
Oct-Dec 11
Jan-March 12
Apr-June 13
July-Sept 14
Oct-Dec 15
Jan-March 16
Apr-June 17
July-Sept 18
Oct-Dec 19
Jan-March 20
Apr-June 21
July-Sept 22
Oct-Dec 23
Jan-March 24
Apr-June 25
July-Sept 26
Oct-Dec 27
Jan-March 28
Apr-June 29
July-Sept 30
-0,05
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
Rémunération intermédiaires plaçant le fonds EXPENSES Set up costs (including lawyers and tax advisers) - outside services - internal services Accounting, CPAs, audits, … (per Quarter) Overheads and expenses from the structure (per Quarter) - overheads - developments expenses (1 000 000 USD yearly)
-0,25 -0,25
-0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25
P&L PAR FILM FRIENDS AND MONEY - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value LOST GOSPEL - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value IBN BATTUTA - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value ROAD TO DESTINY - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 5 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 6 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 7 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 8 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 9 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 10 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 11 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 12 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 13 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 14 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 15 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value
-12,0 1,0 8,0 4,0 1,2 -30,0 2,5 20,0 10,0 3,0 -18 1,5 12,0 6 6 1,8 -18 1,5 12 6 1,8 -6 0,5 4 2 0,6 -18 1,5 12 6 1,8 -12 1 8 4 1,2 -30 2,5 20 10 3 -6 0,5 4 2 5 0,6 -18 1,5 12 6 1,8 -12 1 8 4 1,2 -18 1,5 12 6 6 1,8 -24 2 16 8 8 2,4 -6 0,5 4 2 2 0,6 -30 2,5 20 10 10 3
Average development expenses, re-imbursed in the budget of each movie (200x1,5)
RESULTAT TRIMESTRIEL OPERATIONNEL, HORS FISCALITE Cumulated Net Resluts,exc Taxes
0,3
0,3
0,3
0,3
0,3
0,3
-0,50 -0,50
-12,82 -13,32
-29,48 -42,81
-15,98 -58,79
-8,98 -67,77
15,02 -52,76
-5,98 -58,74
5,02 -53,72
68,71
55,88
26,40
10,42
1,43
16,45
10,47
15,48
Quarterly net revenues, excl taxes LOW Performance : Cumulated net result, excluding tax impact
-0,50 -0,50
-12,82 -13,32
-29,48 -42,81
-15,98 -58,79
-8,98 -67,77
15,02 -52,76
-5,98 -58,74
5,02 -53,72
MONTANT INVESTI
-0,5
-13,3
-42,8
-58,8
-67,8
-52,8
-58,7
-53,7
INTERETS LIES A UTILISATION DE PART DE FONDS "DORMANTE" PART DE FONDS DORMANTE Intérêts trimestriels Cumulated quaterly interests
08/01/2009 - 16:29
0,3
-15,48 -69,21
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
14,02 -55,19
-3,98 -59,17
11,02 -48,16
-7,48 -55,64
-6,98 -62,62
13,52 -49,10
-9,98 -59,09
24,02 -35,07
7,22 -27,85
25,22 -2,64
7,22 4,58
1,22 5,80
14,22 20,01
-0,78 19,23
-0,78 18,45
5,22 23,66
7,22 30,88
1,22 32,10
9,22 41,31
-0,78 40,53
25,02 65,55
14,02
10,03
21,05
13,57
6,58
20,10
10,12
34,13
41,35
66,57
73,78
75,00
89,22
88,44
87,65
92,87
100,09
101,30
110,52
109,74
134,75
-15,48 -69,21
14,02 -55,19
-3,98 -59,17
11,02 -48,16
-7,48 -55,64
-6,98 -62,62
13,52 -49,10
-9,98 -59,09
24,02 -35,07
7,22 -27,85
25,22 -2,64
7,22 4,58
1,22 5,80
14,22 20,01
-0,78 19,23
-0,78 18,45
5,22 23,66
7,22 30,88
1,22 32,10
9,22 41,31
-0,78 40,53
25,02 65,55
-69,2
-55,2
-59,2
-48,2
-55,6
-62,6
-49,1
-59,1
-35,1
-27,9
-2,64
65,55
Page 8 / 10
SIMULATIONS MEDIUM PERF
CONFIDENTIAL 2009 Apr-June 1
2010
2011
2012
2013
7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008
2014
2015
2016
July-Sept 2
Oct-Dec 3
Jan-March 4
Apr-June 5
July-Sept 6
Oct-Dec 7
Jan-March 8
Apr-June 9
July-Sept 10
Oct-Dec 11
Jan-March 12
Apr-June 13
July-Sept 14
Oct-Dec 15
Jan-March 16
Apr-June 17
July-Sept 18
Oct-Dec 19
Jan-March 20
Apr-June 21
July-Sept 22
Oct-Dec 23
Jan-March 24
Apr-June 25
July-Sept 26
Oct-Dec 27
Jan-March 28
Apr-June 29
July-Sept 30
-0,05
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
Rémunération intermédiaires plaçant le fonds EXPENSES Set up costs (including lawyers and tax advisers) - outside services - internal services Accounting, CPAs, audits, … (per Quarter) Overheads and expenses from the structure (per Quarter) - overheads - developments expenses (1 000 000 USD yearly)
-0,25 -0,25
-0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25
P&L PAR FILM FRIENDS AND MONEY - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value LOST GOSPEL - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value IBN BATTUTA - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value ROAD TO DESTINY - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 5 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 6 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 7 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 8 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 9 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 10 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 11 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 12 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 13 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 14 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 15 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value
-12,0 1,0 9,0 4,0 2,0 1,2 -30,0 2,5 22,5 10,0 5,0 3,0 -18 1,5 13,5 6 6 1,8 -18 1,5 13,5 6 3 1,8 -6 0,5 4,5 2 1 0,6 -18 1,5 13,5 6 3 1,8 -12 1 9 4 2 1,2 -30 2,5 22,5 10 5 3 -6 0,5 4,5 2 5 0,6 -18 1,5 13,5 6 3 1,8 -12 1 9 4 2 1,2 -18 1,5 13,5 6 6 1,8 -24 2 18 8 8 2,4 -6 0,5 4,5 2 2 0,6 -30 2,5 22,5 10 10 3
Average development expenses, re-imbursed in the budget of each movie (200x1,5)
RESULTAT TRIMESTRIEL OPERATIONNEL, HORS FISCALITE Cumulated Net Resluts,exc Taxes
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
-0,50 -0,50
-12,82 -13,32
-29,48 -42,81
-15,98 -58,79
-7,98 -66,77
17,52 -49,26
-4,48 -53,74
6,52 -47,22
-14,98 -62,21
15,52 -46,69
-2,98 -49,67
13,52 -36,16
-6,98 -43,14
-3,48 -46,62
19,52 -27,10
-8,48 -35,59
29,02 -6,57
8,72 2,15
30,72 32,86
9,22 42,08
6,22 48,30
14,22 62,51
2,22 64,73
1,22 65,95
5,22 71,16
7,22 78,38
1,22 79,60
9,22 88,81
-0,78 88,03
25,02 113,05
68,71
55,88
26,40
10,42
2,43
19,95
15,47
21,98
7,00
22,52
19,53
33,05
26,07
22,58
42,10
33,62
62,63
71,35
102,07
111,28
117,50
131,72
133,94
135,15
140,37
147,59
148,80
158,02
157,24
182,25
Quarterly net revenues, excl taxes MEDIUM Performance : Cumulated net result, excluding tax impact
-0,50 -0,50
-12,82 -13,32
-29,48 -42,81
-15,98 -58,79
-7,98 -66,77
17,52 -49,26
-4,48 -53,74
6,52 -47,22
-14,98 -62,21
15,52 -46,69
-2,98 -49,67
13,52 -36,16
-6,98 -43,14
-3,48 -46,62
19,52 -27,10
-8,48 -35,59
29,02 -6,57
8,72 2,15
30,72 32,86
9,22 42,08
6,22 48,30
14,22 62,51
2,22 64,73
1,22 65,95
5,22 71,16
7,22 78,38
1,22 79,60
9,22 88,81
-0,78 88,03
25,02 113,05
MONTANT INVESTI
-0,5
-13,3
-42,8
-58,8
-66,8
-49,3
-53,7
-47,2
-62,2
-46,7
-49,7
-36,2
-43,1
-46,6
-27,1
-35,6
-6,57
INTERETS LIES A UTILISATION DE PART DE FONDS "DORMANTE" PART DE FONDS DORMANTE Intérêts trimestriels Cumulated quaterly interests
08/01/2009 - 16:29
#####
Page 9 / 10
CONFIDENTIAL
7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008
SIMULATIONS TARGET PERF 2009 Apr-June 1
2010
2011
2012
2013
2014
2015
2016
July-Sept 2
Oct-Dec 3
Jan-March 4
Apr-June 5
July-Sept 6
Oct-Dec 7
Jan-March 8
Apr-June 9
July-Sept 10
Oct-Dec 11
Jan-March 12
Apr-June 13
July-Sept 14
Oct-Dec 15
Jan-March 16
Apr-June 17
July-Sept 18
Oct-Dec 19
Jan-March 20
Apr-June 21
July-Sept 22
Oct-Dec 23
Jan-March 24
Apr-June 25
July-Sept 26
Oct-Dec 27
Jan-March 28
Apr-June 29
July-Sept 30
-0,05
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
-0,01
Rémunération intermédiaires plaçant le fonds DEPENSES FRAIS GENERAUX Set up costs (including lawyers and tax advisers) - outside services - internal services Accounting, CPAs, audits, … (per Quarter) Overheads and expenses from the structure (per Quarter) - overheads - developments expenses (1 000 000 USD yearly)
-0,25 -0,25
-0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25
P&L PAR FILM FRIENDS AND MONEY - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value LOST GOSPEL - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value IBN BATTUTA - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value ROAD TO DESTINY - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 5 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 6 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 7 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 8 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 9 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 10 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 11 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 12 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 13 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 14 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value FILM 15 - funds' investment into the movie - Executive producer fee to the fund - share of incomes going to the fund, cycle 1 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value
-12,0 1,0 13,2 5,0 1,2 -30,0 2,5 33,0 12,5 3,0 -18 1,5 19,8 6 1,8 -18 1,5 19,8 6 1,8 -6 0,5 6,6 2 0,6 -18 1,5 19,8 6 1,8 -12 1 13,2 4 1,2 -30 2,5 33 10 3 -6 0,5 6,6 5 0,6 -18 1,5 19,8 6 1,8 -12 1 13,2 4 1,2 -18 1,5 19,8
1,8 -24 2 26,4
2,4 -6 0,5 6,6
0,6 -30 2,5 33
3
Average development expenses, re-imbursed in the budget of each movie (200x1,5)
RESULTAT TRIMESTRIEL OPERATIONNEL, HORS FISCALITE Cumulated Net Resluts,exc Taxes
-0,5232 -0,25
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
0,3
-0,50 -0,50
-12,82 -13,32
-29,48 -42,81
-15,98 -58,79
-3,78 -62,57
28,02 -34,56
1,82 -32,74
8,82 -23,92
-22,88 -46,81
15,82 -30,99
-4,78 -35,77
22,02 -13,76
-10,88 -24,64
1,82 -22,82
21,22 -1,60
-4,18 -5,79
34,42 28,63
7,82 36,45
38,22 74,66
3,22 77,88
9,22 87,10
4,22 91,31
5,22 96,53
3,22 99,75
-0,78 98,96
-0,78 98,18
-0,78 97,40
-0,78 96,61
-0,78 95,83
25,02 120,85
68,71
55,88
26,40
10,42
6,63
34,65
36,47
45,28
22,40
38,22
33,43
55,45
44,57
46,38
67,60
63,42
97,83
105,65
143,87
147,08
156,30
160,52
165,74
168,95
168,17
167,39
166,60
165,82
165,04
190,05
Quarterly net revenues, excl taxes TARGET Performance : Cumulated net result, excluding tax impact
-0,50 -0,50
-12,82 -13,32
-29,48 -42,81
-15,98 -58,79
-3,78 -62,57
28,02 -34,56
1,82 -32,74
8,82 -23,92
-22,88 -46,81
15,82 -30,99
-4,78 -35,77
22,02 -13,76
-10,88 -24,64
1,82 -22,82
21,22 -1,60
-4,18 -5,79
34,42 28,63
7,82 36,45
38,22 74,66
3,22 77,88
9,22 87,10
4,22 91,31
5,22 96,53
3,22 99,75
-0,78 98,96
-0,78 98,18
-0,78 97,40
-0,78 96,61
-0,78 95,83
25,02 120,85
MONTANT INVESTI
-0,5 -13,3 -42,8 -58,8 -62,6 -34,6 -32,7 -23,9 -46,8
INTERETS LIES A UTILISATION DE PART DE FONDS "DORMANTE" PART DE FONDS DORMANTE Intérêts trimestriels Cumulated quaterly interests
08/01/2009 - 16:29
-31 -35,8 -13,8 -24,6 -22,8
-1,6 -5,79
120,85
Page 10 / 10
