Hours Of Service: 8:30 a.m. TO 8:30 p.m. 7 Days a Week Service Area: Southern California |
CALL: 323-219-7407 EMAIL: casting@duewest-es.com |
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THE TOURISTERS By J.P. Linde |
The Touristers By J.P. Linde Executive Producers: Willie Bolin Jr Dianna Liner Independent Film Action / Comedy Shoot/Start Date: TBA Pay Rate: Scale Location: SOUTHERN CALIFORNIA Matt Zettell - Director Keiko Nakahara - Director of Photography Produced By: Willie Bolin Jr JP Linde - Writer / Co- Producer Randy Saucedo - Associate producer Willie Bolin Jr - Casting Director Leading a caravan of RVs into Baja California is not the relaxing summer job middle-aged gym teacher, Marion C. Carlson, was hoping for. His rebellious seventeen year old daughter, Carolyn, is the least of his worries. A brief pause at a rest stop finds Carlson relying on his trusty baseball bat to fend off members of the notorious "Peligroso" motorcycle gang. Potential Cast: Bruce Willis - (Marion C. Carlson) Known for: The Sixth Sense / Die Hard / The Fifth Element Tom Hanks - (Marion C. Carlson) Known for: Saving Private Ryan / Forrest Gump / The Green Mile Liam Neeson - (Marion C. Carlson) Known for: Schindler's List / Star Wars: Episode I - The Phantom Menace / Batman Begins Russell Crowe - (Marion C. Carlson) Known for: Gladiator / A Beautiful Mind / L.A. Confidential John Travolta - (Marion C. Carlson) Known for: Pulp Fiction / Grease / Face/Off J.K. Simmons - (Marion C. Carlson) Known for: Spider-Man / Juno / Spider-Man 2 Jeff Daniels - (Marion C. Carlson) Known for: Dumb & Dumber / Good Night, and Good Luck. / Speed Steve Guttenberg (Marion C. Carlson) Known for: Police Academy / Diner / Police Academy 2: Their First Assignment Attached: Victoria Pratt (Sal) (Known for: Brotherhood of Blood / Mutant X: The Shock of the New (Pilot) / Mutant X: Fool for Love Attached: M. Emmet Walsh (John) (Known for: Blade Runner / My Best Friend's Wedding / Romeo + Juliet) Attached: George Takei (himself) ( General Hospital / Star Trek: The Wrath of Khan / Star Trek IV: The Voyage Home ) Attached: Cassie Fliegel (Scorpia) ( Known for: Bureaucracy / Kissing Strangers / The Office: Night Out ) Hulk Hogan (Doc) (Known for: WrestleMania III / WrestleMania / WrestleMania VI) Attached: Dallas Malloy ( Lizard ) ( Jerry Maguire / Eli Stone: Two Ministers / Burning Hollywood: Lucky Town) |
IN DEVELOPMENT Are you ready for the ride? |
| DWES |
The Touristers Business Plan |
Highly Confidential |
Highly Confidential Movie Investment Business Plan Willie Bolin Jr Executive Producer / Casting Director Due West Entertainment Services And The Touristers LLC 15507 S Normandie #499 Gardena, Ca 90247 323-219-7407 Fax 310-217-1084 willie@duewest-es.com www.duewest-es.com This Business Plan is not deemed an offer or sale of securities, which are being offered pursuant to a private placement to a small group of select accredited Investors. The Touisters Movie 2010 A Due West Entertainment Production Movie Investment Business Plan September 16, 2009 Risk Statement: This memorandum describes the formation and operation of a limited partnership to engage in the business of production and exploitation of a motion picture. The contents of this memorandum are confidential and are disclosed pursuant to a confidential relationship and may not be reproduced or otherwise used except for the purpose intended herein. The partnership interests described in this memorandum will not be registered under the Securities and Exchange Act of 1933 or any local securities law and are described for investment only and not with a view to resale or distribution. The purchase of partnership interests described herein entails a high degree of risk and is suitable for purchase only by those who can afford a total loss of their investment. Further, risk factor as contained in this memorandum (which does not include all possible factors) should be carefully evaluated by each prospective purchaser of a limited partnership interest herein. The contents of this memorandum are not to be construed by any prospective purchaser of a limited partnership interest as business, legal, or tax advice and each such prospective purchaser will be required to demonstrate that he or she has the ability to evaluate the purchase of the limited partnership interest described herein or has retained the services of a representative who has such knowledge and expertise as may be necessary to evaluate said purchase. This memorandum is neither an offer to sell nor a prospectus, but is informational in nature. THE BUSINESS OF THE PARTNERSHIP 1. The intention of the partnership is to finance, produce, and cause the distribution of a feature-length, HD color motion picture, Titled, The Touristers 2. The anticipated rating for the motion picture from the Motion Picture Association of American is: PG 3. The anticipated date for completion of the picture is: 3/18/2010 4. The total capital required from the limited partners, $6,000,000 for the film production and $8,000,000 for print and advertisement. Also please note, it is possible to make two movies with $14,000,000, with a good distribution deal which will, make the ROI faster and a much higher dollar amount. 5. The Stages of production through which the partnership investment will finance the making of the film: Casting, Location, preproduction, Production and Postproduction 6. THE NUMBER OF YEARS THE PARTNERSHIP WILL RUN: The Partnership shall commence as of the date of this Agreement and shall continue in existence until [5years], or unless it is sooner terminated, liquidated, or dissolved as provided below. 7. DISTRIBUTION OF REVENUES AND ALLOCATION OF PROFITS AND LOSSES: A. The box gross receipts received from, domestic and foreign theatrical distribution. Will first go to the payment, of any possible production cost that exceeded the capital contributed by the limited partners,{ loans, extended credit, deferred payments to major talent, technical facilities and partnership overhead expenses. B. The balance partnership distribution cash, which is usually divided equally, half going to the general partner and the other half to the limited partners. For an additional incentive for all investors, the general partnership offers an accelerated rate of payback. The payback rate will be 60/40, until all investors have received 100 percent of there investment and any additional profit sharing percentages (Class A investors 100% and Class B investors 25%). C. .1 The amount of net profits and net losses of the Partnership to be allocated to and charged against each Partner shall be determined by the percentage set opposite his or her name in Exhibit "A." .2 The term "profits" is hereby defined to mean income or gain of whatsoever kind actually incurred by the Partnership or which, because of generally accepted accounting procedures, must be deemed to have been incurred by the Partnership. .3 The term "losses" is hereby defined to mean any deduction, expenditure, or charge actually incurred by the Partnership or which, because of generally accepted accounting procedures, must be deemed to have been incurred by the Partnership. .4 Cash, when available, may be distributed by the General Partner to all Partners in the same ratio as profits and losses are shared. a. Cash distributions from the Partnership may be made by the General Partner to all Partners without regard to the profits or losses of the Partnership from operations; provided, that no cash distributions shall be made that will impair the ability of the Partnership to pay its just debts as they mature. b. The General Partner shall determine when, if ever, cash distributions shall be made to the Partners, pursuant to the provisions and the tenor of this Agreement. c. There shall be no obligation to return to the General Partner or the Limited Partners, or to any one of them, any part of their capital contributed to the Partnership, for so long as the Partnership continues in existence. D. No General or Limited Partner shall be entitled to any priority or preference over any other Partner as to cash distributions. e. No interest shall be paid to any Partner on the initial contributions to the capital of the Partnership or on any subsequent contributions of capital. 8. SALES OF THE PARTNERSHIP INTERESTS: The general partner shall not assign, pledge, encumber, sell or otherwise dispose of the general partner’s interest as General Partner in the Partnership, except that the General Partner may assign, pledge, encumber, sell or otherwise dispose of the General Partner’s Interest in the cash distributions of the Partnership. 9. SALES OF THE FILM: Occasionally, the producer of a film does not sell the film outright but will grant a distributor a “license to exhibit” or a “license to use.” In this situation, the producer must collect sales tax unless the distributor has acquired the “license to exhibit” or “license to use” for resale. In this case, the distributor must furnish a properly completed Form ST-120, Resale Certificate, to the producer. It should be noted, however, sales tax is not imposed on the outright sale of a film or the granting of a license to exhibit or use the film to a distributor or broadcaster, when the film is delivered electronically or digitally, whether such delivery takes place within or without California. In some instances, a “right to reproduce” a film will be granted. The granting of a “right to reproduce” is not a sale or license to exhibit and the transaction is not taxable. Temporary possession or custody for the purpose of making the reproduction is not a transfer of possession that would convert the reproduction right into a license to use. Generally, when a producer makes a film for the purpose of granting a “right to reproduce,” the producer is not making a film or tape for sale. Thus, sales tax must be paid on all purchases of tangible personal property used in the production of the film, services to such tangible personal property, and fuel, utilities, and utility services used in connection with the production of the film. However, if a producer makes a film with the intent of granting both a “right to reproduce” to one or more parties and a “license to exhibit or use” to one or more other parties either inside or outside of California, then the producer will be entitled to purchase qualifying tangible personal property and services used in producing the film exempt from sales and use tax. 10. TAX CONSEQUENCES: Tax consequences of an investment in the partnership may vary depending on the investors’ personal tax status, and the general partner is not in a position to give tax advice or evaluate the tax consequence of this investment for any of the limited partners. According to the IRS, a “partnership” is any venture in which two or more parties combine to carry on a trade, profession, or business and which the parties share the profit and/or losses from that venture. The general partnership, recommends that all prospective limited partner consult their personal tax advisers regarding the projected tax consequences of the investment. 10a. how your investment is guaranteed a return of 50-100% by December 31, 2009. If you are an individual Investor, Private Equity Firm, Hedge Fund, HNW Investor, Asset Manager, Fund Of Fund, Or Regional Company and are looking for a high-yield, absolute-return alternative investment that also can generate substantial Federal and State Tax Incentives, Credits, Cash Rebates, while at the same time be part of a structured film finance opportunity that can offer an absolute return of 50-100% on capital before revenues, offer long-term multiple exit strategies, and liquidity options, then continue reading... Minimizing Investor Risk Through United States Film Subsidies The American Jobs Creation Act Of 2004 and the 2004 enactment of Section 181, marked an unprecedented change in U. S. policy toward the phenomenon known as "Runaway Production" for the film industry. Hollywood, like many American industries, had grown tired of the high cost of labor and taxes in the United States. Canada and other countries identified the potential financial benefit and took advantage by successfully luring American film and television production onto their soil, taking outrageous amounts of production dollars with them. The government’s reaction was to include Section 181 within the American Jobs Creation Act of 2004. Section 181 offers tax incentives for investors in independent film and television productions produced within the United States. Under Section 181 an investor may deduct the money which is invested in a film or television production from his or her passive income earned in the same year. If the investor is actively involved in the operation of the production, he or she may deduct the amount of investment from all active income earned in the same year. Productions with budgets below $15,000,000 (up to $20,000,000) which have at least seventy-five percent 75% of its production completed within the United States qualify under Section 181. Investors can be either individuals or businesses. PRODUCER'S STATEMENT: “Investing in our motion picture projects includes a level of safety investors haven’t experienced before in the entertainment industry. We’ve taken the time to research recent tax legislation, and we’ve hired a consultant who can explain how your investment is 100% tax deductable. We’ve gone through the steps to make sure the IRS will recognize your deduction. Therefore, you’re risking approximately 50-60 cents on the dollar. How many investments in this market and in this economy, can promise that a significant portion of your money is completely protected? After reviewing the tax deduction information on this website, we will be happy to share with you how we’re going to make an exceptionally good movie with attractive profit potential" NOTE FOR INVESTORS: The first thing you as an investor want to know is how an entrepreneur will protect your money. Once that issue is addressed then you want to hear about profits and exits. Investors invest for a variety of reasons, but a unifying concept for all investors is simple. Many Investors are fearful of losing their money. This fear often overrides the desire for profits. The fear of losing money is a stronger motivator than the desire for profits. Most entrepreneurs assume an investor wants to hear about a massive ROI (return on investment). They start talking about exit strategy (the method in which investors extract their capital from a successful venture). This is putting the cart before the horse. Tax rebates and incentives for money spent on film or television production within a particular state combined with the benefits of Section 181 allow an investor (working with cooperative film producers), to greatly minimize his or her risk on what would ordinarily be a somewhat risky investment. For example, if a tax payer is in the thirty-five percent (35%) tax bracket and a qualifying film is shot in Michigan which has a tax credit of up to forty-two percent (42%), an investor will be eligible to recapture seventy seven percent (77%) of their investment in a qualifying production. This recapture is realized before the film is even released and/or makes its first dollar. In today’s economy this type of investment assurance is hard to come by. SECTION 181: You’ve heard of farming subsidies. A few years back savvy film lobbyists created subsidies for the film industry. As they outlined the dangers of runaway film production to Canada, Eastern Europe and Australia, Congress passed legislation that resulted in Section 181 of the IRS Tax Code. Put simply, Section 181 states that investment in a motion picture shot in the US is 100% tax deductable for the investor in the same year invested. Now, Section 181 should have been easy to understand. It hasn’t been and that’s why few people understand it and even fewer use it. In 2007 the IRS finally released a regulation interpreting the tax code. Here are some Investor broad strokes for the Section 181 Tax Deduction: -100% of the motion picture costs are deductible in the same year of investment. - 75% of the motion picture must be shot in the US to qualify for Section 181. - There is a 15 to 20 million dollar budget cap. - There is no minimum film production budget cost. - TV pilots, TV episodes (up to 44), short films, music videos and feature films all qualify for Section 181. - Section 181 can be applied to active income or passive income. - Investors can be either individuals or businesses. - Section 181 is retroactive. - There is no expectation for film distribution or film completion. - Section 181 expires December 31st, 2009 (pending extension). All films instigated prior to expiration are eligible for annual 181 deductions until film completion. - The motion picture’s corporation issues Schedule K-1’s to the investors so they can take advantage of Section 181. GOVERNMENT SPONSORSHIP: State Film Incentives passed onto Investor In addition to the Section 181 tax deduction, the motion pictures we produce will be filmed in a state with rebates or transferrable tax credits. The Producers will then pass this subsidy onto our investors at the completion of production. As an example, if a $1,000,00.00 movie shoots in New Mexico and spends every penny in the state (or, through a pass through corporation that pays state taxes) the state of New Mexico will issue a 25% tax rebate, worth approximately $250,000.00, that can be sold for a little less than face value. That check is then passed onto to the investor(s). This is a considerable risk minimization for the Investor. With state film incentives alone, the investor is only risking 75 cents (average) on the dollar, if the project is produced in New Mexico…or 62 cents on the dollar if produced in Michigan. Iowa now has a 50% rebate. In essence, you are making an investment in our movie for only 75 cents on the dollar, and the government is picking up the rest of the tab, on a delayed time table. There are currently 38 states in the United States that have some type of tax credit or rebate plan. Here is a current List of State Film Incentives with updated information provided by Entertainment Partners. MARRIAGE of Gov't Sponsorship and Section 181: Combine Section 181 with a state film tax rebate. By coupling the two together you can reduce an investor’s risk by 50- 100%. Think about that. It does depend on how much the investor earns annually, how much they’ve invested in the movie and where your movie will be produced…but, it is possible that an investor could invest in our motion picture…and risk nothing. Conservatively, the risk will be 50% of your investment. That means for investing $100,000.00 you are guaranteed to recoup $50,000.00 in tax deductions and rebates. Depending on the math and the possible film pre-sales to foreign territories (based on the talent) Investors could recoup 100% of their investment before the film is distributed. Here is an example. Our movie needs 2,000,000. Investor X wants to invest 1,000,000 into our film. Their annual income is 5,000,000 and they have 10M in assets. Their annual taxes are approximately 1.75 M (35% tax bracket) and they have absolutely no tax write-offs to take advantage of. If they invest $1,000,000 they’ll be risking $650,000.00 investment in the motion picture, and will have saved themselves approximately $350,000 in federal income taxes. So, that means the investor is risking 65 cents on the dollar. But, wait! The movie is going to shoot in the state of Michigan. Michigan will give you a 40% rebate. They’ll kick in an extra 2% if you shoot it in one of the numerous Special Economic Zones they have throughout the state. So, you shoot in Detroit and spend over $1,000,000 in Michigan. That means they’ll grant you a 42% tax rebate on your gross spend in Michigan, minus tax rebate broker fees. That’s around $350,000. This rebate belongs to our investor. Investor X will now be getting approximately $700,000 in tax deductions and rebates from the Federal Government and the State of Michigan for their $1,000,000 investment in our motion picture. They’re actual risk is less than 30 cents on the dollar. And the upside is, the investor will receive revenue from distribution sales and licenses of the motion picture. Additionally, 9% of the future gross revenues are non-taxable under Section 181. INVEST BEFORE SECTION 181 EXPIRES: You have until December 31, 2009 Section 181 has been extended to Dec. 31, 2009. If the tax law is not extended again, and to assure that taxpayers still qualify for Section 181 benefits, the film or television project must be in meaningful pre-production before the end of the day on December 31, 2009. The project will then be "grandfathered" and can be completed under 181 guidelines in the subsequent year(s) with the 100% tax deduction allowance for investment in the following year(s). In order to optimize this opportunity and be successful, interested investors should contact the film producers as soon as possible with their introductions. In order to comply with Section 181, an investor will need to complete the required IRS filings along with their normal tax forms. A qualified accountant and/or attorney are always a good idea when utilizing the benefits of Section 181. 11. THE GENERAL PARTNER: Production Team: Matt Zettell - Director JP Linde - Writer / Co Producer Kipp Tribble - Producer Noel Vega - Producer Randy Saucedo - Associate producer Willie Bolin Jr - Executive Producer / Casting Director “The Touristers“ Executive Producer / Casting Director Biography: Willie Bolin Jr. Has a young boy will started singing in school and church choirs, he was also able to make the cut in several school plays, Willie was lucky to get a supporting role in each play he auditioned for. As you can see Willie found a real love for performing in front of large crowds. Willie has also participated in several team sports during Junior High School and High School, which include Football, basketball and track & field. In college Willie studied Business Management, Music and acting. Willie started his own business as a Professional mobile DJ back in 1983. The service was called “Party-Train Express mobile DJ Services”. Entertainment Skills included: Exceptional entertainment planning experience for Weddings, wedding reception, Anniversaries, House Parties, Reunions and More! With a strong attention to detail, in all areas of party planning and celebrations of all kinds of once-in-a-lifetime events! Whether it was a Birthday party, Sweet 16 Party, a corporate Christmas Party, team building event, a fun-filled theme party or highlighting a special couple with an unforgettable Anniversary celebration, Willie spent many hours in the planning process, listening to the costumer’s ideas and implementing them on the big day! He has worked at many hotels, halls, homes, lakesides and beaches in Southern California for 24 years. Willie started managing models for local talent shows in 2003 as part of his DJ service. Then in 2004 he went on to become a Talent Manager and managed several actors and actresses, also managed singers, rappers and comedians. In 2008 Willie was given an opportunity to work on his first movie, called “Tune Up / Tatman's Garage"; which became his first Casting Director and Associate Producer job in the film industry. Casting skills includes: Negotiating for the services of actors, script break down by role, characteristics, and age, Compiling list of potential candidates, checked their availability, contacts agents, and schedules all auditions and call backs. The faces Willie picked for the movie turned out to be a perfect fit for the characters for movie. Seeing that he had a gift for the art of casting and producing a film, Willie decided to drop all of his clients in 2008, except for writers; to go into making movies as a career. Willie’s Associate producers skills include: Helping the Tune Up’s producer/writer with all aspects of the production, including the scheduling of production, hiring crew, ordering all equipment for the shoot and finding locations. Next stop a very well written script called " The Touristers ", this time around Willie‘s titles are Executive Producer and Casting Director. His training in business and talent management played a big role in Willie’s Executive Producer position. His duties include: overseeing the financial, administrative and creative aspects of The Touristers production. Due West Entertainment projects: In Development The Touristers – JP Linde Option property / script The Trouble With Women Kill the Eagle – Joe Wallace Martial Arts- Myke J. Friscia “The Touristers“ Executive Producer Biography: Dianna S. Liner Dianna S. Liner is the President/CEO of Liner Entertainment Group. Ms. Liner has been in the Music Business for over 15 years. She currently holds a BA Degree in Mass Communications and a Certificate of Music Business. She started her career as a singer. She began as a backing vocalist for various bands. Ms. Liner later went on to work in radio in promotions, marketing and producing. She worked for 2 of the top pop radio stations in Houston Texas. She has been on tour with bands such as Journey, Nsync, The backstreet Boys, The Hothouse Flowers and more... She has been in various movies, and TV, as well as an actress of the stage. She is also the former MS. PLUS HOUSTON. Ms Liner is a well respected Music Executive in the Music Industry. Working with Top Multi-Platinum Producers and A-List Artists. For three years, Ms Liner worked as a music reporter for MTV Networks and through this, Liner Entertainment Group, Inc was created. She is also a former Marketing Rep for Aware Records (sister label to Columbia Records) with great artists, such as JOHN MA YER, FIVE FOR FIGHTING, and more. She currently has clients such as, but not limited to Alicia Keys, Mary J. Blige, Ne-yo, Bow Wow, Lady GaGa and more… Ms Liner is also an Executive Movie Producer for Indie and major indie feature films. She has also worked with Tommy Boy Record and Artist “Everlast” and “Amber”. Through her years of Business, she has seen the good and bad side of the music industry; therefore she is dedicating her life to helping dreams come true. She is honest, and is a woman of great integrity. “The Touristers“ Writer / Co Producer Biography: JP Linde As a stand-up comedian, J.P. Linde has performed in clubs and colleges throughout the United States and most of Canada. In 1989, he made his national television debut on Showtime's Comedy Club Network. Along with a weekly newspaper column, his writing includes the play, "Opposing Poles" and the librettos for the musical comedies "I Lost Me at the Movies" and "Wild Space A Go Go". J.P.'s first novel, “The Holographic Detective Agency," is now available at Amazon. Com. His screenplay for "The Touristers" is a natural-born culmination of his love for the written word, movies, action and comedy. “The Touristers“ Biography: Director Matt Zettell Matt Zettell has spent over 15 years in the entertainment industry. He has Directed, Produced, and 1st Assistant Directed over 35 feature films, 20 Television series, 40 stage productions, and 100’s of commercials, music videos and infomercials. He began in the theatre, directing across the country and building two renowned pre-professional actor training programs for young actors. After moving to Los Angeles, he then shifted his focus towards directing television and feature films. Matt combines a strong artistic vision with a unique understanding of the practical and financial demands of production, while maintaining a keen insight into the acting process. THE CELLAR DOOR won Best Actor, Best Actress and Audience Favorite Award at the Shriekfest Film Festival in Los Angeles and was voted one of the top 10 horror films of 2007 on best- horrormovies.com. The film sold in 13 days and was sought after by 35 top distributors. He recently produced the documentary feature, JUNK DREAMS, and directed the thriller RESURRECTION COUNTY, which shot in Northwest Arkansas. RESURRECTION COUNTY recently won best feature film at the Bare Bones Film Festival. He has worked with talent such as Steve Martin, Jack Black, Brian Cox, Hugo Weaving, Jack Davenport, Sean Young, John Corbett, Tyra Banks, Dash Mihok, Jeremy Renner, Oscar Nominee David Stratharin and Oscar Winners Timothy Hutton and Ernest Borgnine. Mr. Zettell is slated to direct THE TOURISTORS (Action-Comedy) and TUNE UP (an Urban Comedy) in 2009/10 and is in development for several other feature films with his own production company, Six Sense Productions. “The Touristers“ Associate Producer Biography: Randolph C. Saucedo Born and raised in Southern California, Randolph C. Saucedo lived most of my life in City Of Commerce California and Alhambra, California. Randolph attended St. Alphonsus grammar School for eight years and moved to the city of Alhambra. After attending Alhambra High School for four years, He married his high school sweet heart and was married for a few years. Randolph attended East Los Angeles College and took his pre- requisites for nursing... After attending college for two years, Randolph work as a paramedic for one and half years. He enjoyed working as a medic and decided to study nursing at U.S.C. where he worked in Multi Specialty medicine for several years. From there Randolph was offered a job in the nursing department in the Emergency room at, San Gabriel Valley Medical center in San Gabriel, California. After a few years or more in the medical field, Randolph felt he had his feet planted in the ground pretty good. Randolph decided it was time to get involved in the film or music industry, which was something he always wanted to try. So, with a little help from his uncle Anthony Quinn, He was pointed in the right direction. Randolph went back to school and studied Audio Engineering. After that he was hired on his first film gig at A.F.I., as a boom operator and after that the rest is history. Randolph C. Saucedo has been in the film industry sense 1988 as a Production Sound Recordist, ADR Recordist, Voice over Mixer, Re-Recording Mixer, and still going Strong. Randolph is Happy to say he has met a lot of Good people in the industry and he could not have done it without them. 12. RIGHT AND OBLIGATIONS OF LIMITED PARTNERS All limited partners are advised to consult the limited partnership agreement for a complete understanding of the rights and obligations of the general partner. 13. SUMMARIZED RIGHTS: * The General Partner, or his or her assignees, shall be entitled in consideration of the General Partner's expenses and services in the location, purchase, and ultimate sale of the Partnership's property, There are no additional fees to be paid to the general partner for the production, all cost and salaries are in the budget. The general partners will participate in the profit sharing of the distribution cash. But any general partner backend participation will not come out of limited partner share of distribution cash. * At all times during the continuance of the Partnership, the general partner shall keep or cause to be kept, full and true books of account in accordance with the methods used for reporting of Federal Income Taxes. The General Partner may make such elections for federal and state income tax purposes as it deems appropriate. The partnership will file a federal partnership return of income (Form 1065) and related statements with the IRS for each calendar year. * All of said documents shall at all times be maintained at the principal executive office of the Partnership or at the office of the Partnership’s accountant and shall be open during reasonable business hours for the reasonable inspection and examination by the Limited Partners or their representatives upon reasonable notice. The limited partners or their representatives shall have the right to make copies thereof at their own expense. A reasonable charge for copying may be charged to the requesting Limited partner. * Statements of Partnership Operations: Production progress reports will be sent to the Limited Partners every twenty to thirty days. Distribution cash flow information, will be sent to the Limited Partners every fourteen to thirty days after the motion picture is release and receipts start to come. 14. CONFLICT OF INTEREST: The Limited Partnership understands, The General Partnership is an nonexclusive partnership: In this connection, the parties hereby acknowledge that the General Partner may be the manager or general partner of other partnerships and may continue to manage other partnerships, and may continue to engage in other distinct or related business. 15. THE MOTION PICTURE PROJECT: “The Touristers“ Dear investor, Independent Film Action / Comedy Tentative Shoot/Start Date: 9/28/2009 Pay Rate: Scale Budget 6 million Location: SOUTHERN CALIFORNIA Thank you for your time and consideration, I’m happy to say we have a movie script that is worth every minute of your time and every investment dollar you can add to our production. The Touristers is a summer RV vacation gone wrong. That puts a revenging motorcycle gang, hot on the trail of a bunch of easy going, life loving vacationers. When push comes to shove, The Touristers band together and put motorcycle gang, exactly where they want them. Face down in the dirt, and wishing they were back at their favorite watering hole, sipping on a cold beer. The Touisters Synopses: The Touristers By J.P. Linde Leading a caravan of RVs into Baja California is not the relaxing summer job, grade school gym teacher, Marion C. Carlson, was hoping for. His rebellious seventeen-year-old daughter, Carolyn, is the least of his worries. A brief pause at a rest stop finds Carlson relying on his trusty baseball bat to fend off members of the notorious "Banshee" motorcycle from two of his charges. The conflict swings Carlson's way and the bested biker's retreat. The rigid Carlson meets up with his Baja vacationers at a freeway rest stop between Los Angeles and San Diego. Making up his modern wagon train of eccentrics, Harve and Henrietta Holstein, owners of the least successful musical organ store in Southern CA. Sales plummeting, these two are in desperate need of a vacation. Two feuding sisters have also signed up for the trip. Sal Brickhauser loathes men while her sister, Val, is desperately hoping she might snag one along the way. The young, dysfunctional cast of "Road Raves" is forced to join the excursion when their MTV-style reality show is abruptly cancelled. Forced to ride along, with this hormone crazed posse, is the constantly exasperated celebrity guest, George Takei. For the elderly John and Dot the vacation is a last ditch hope of finding restored health by locating the mythical healing waters of Laguna San Ignacio. The Baja Adventure, spanking new RV included, is a honeymoon present from proud parents. The attractive newlyweds remained chaste until the marriage ceremony. Now, any time is the right time for this horny couple. Introductions are cut short by the untimely arrival of two burly representatives of the Loco Y Peligroso motorcycle gang. Carlson is forced to intervene when the bikers intimidate the Groom and an oblivious Harve inside the restroom. With the aid of his trusty baseball bat, the conflict swings Carlson's way and the bested biker's retreat; but not without one last uttered threat of revenge. The bikers return to their desert clubhouse. Their leader Scorpia, steroid enhanced evil in a comely female form, rallies her outlaws with a bellowing call for retribution. The full might of the Banshees roar south in search of the caravan. When the reality of a total summer spent with an indifferent father becomes frightfully apparent, Carolyn ditches Carlson just across the Mexican border. Hitching a ride north, she happens upon two Banshee's scouts and overhears the biker’s plan. It is decision time for the rebellious teen: Freedom for the rest of the summer or alerting her father of the unforeseen dangers ahead. The Touristers confront the full might of Banshees on a deserted stretch of Highway 1. Before tension escalates to bloodshed, the Federales, led by Carolyn, appear in the nick of time. The Banshees retreat in a cloud of dust into the desert. Planning their next move is made easier when a Banshee spy, Lizard, is caught inside Carlson’s camp. Thanks to an interrogation by Henrietta and the women, the spy spills his guts. The location of the Banshee camp is revealed and Carlson, hoping to even the odds, leads a small force on a daring night raid on the Banshee camp. The raid is a trap and Carlson is captured. Scorpia confronts a bound Carlson and unleashing deadly scorpions to seal his fate. Before she can kill him, Carolyn arrives to rescue her father. The Banshees in hot pursuit and hell-bent on evening the score, attack while the caravan of RVs speed down the coastal highway. The final battle ensues atop the roofs of the racing RVs. Carolyn hostage, Carlson and Scorpia square off. The gym teacher tricks the biker leader and Scorpia plummets over the side. Carlson and daughter, enjoying a restored relationship, led everyone to their destination in what has turned out to be a genuine Baja Adventure. - End- 16. Potential cast: For our lead role {MARION C.CARLSON} Steve Guttenberg (Known for: Police Academy / Diner / Police Academy 2: Their First Assignment) Michael Madsen (Known for: Reservoir Dogs / Kill Bill: Vol. 1 / Vol. 2) Also, we are in talks with: Victoria Pratt (Val) (Known for: Brotherhood of Blood / Mutant X: The Shock of the New (Pilot) / Mutant X: Fool for Love George Takei {himself} (Known for: General Hospital / Star Trek: The Wrath of Khan / Star Trek IV: The Voyage Home) Hulk Hogan (Doc) (Known for: Muppets from Space, Spy Hard, Mr. Nanny) Cassie Fliegel {Scorpia} (Known for: Bureaucracy / Kissing Strangers / The Office: Night Out) Dallas Malloy {Lizard} (Known for: Jerry Maguire / Burning Hollywood / Eli Stone: Two Ministers) M. Emmet Walsh (John) (Known for: Blade Runner / My Best Friend's Wedding / Romeo + Juliet) When we have the funds in escrow and providing the potential actor is available for the film’s shooting schedule, getting talent attach will be no problem. I have talk with most of actor’s agents and they are waiting for proof of funds before we can do the necessary paperwork. 17. LEGAL AND ACCOUNTING SERVICES: Attorney at Law William VU 415-531-1972 wvuesq@yahoo.com Corporate, generalist attorney and business affairs executive with in-house experience. Focus on entertainment/media, intellectual property and employment matters. Expertise in production, distribution, acquisitions, advertising and business development for film, television, home video and new media clients. Manage worldwide intellectual property portfolios, including prosecution, licensing and litigation. Advise clients in labor and employment matters, including SAG, DGA and WGA issues, discrimination, wage and hour and unemployment. Negotiate employment agreements for executives and talent, including compensation, benefits, equity/stock options and severance provisions. William Vu’s Specialties: Employment agreements for talent and executives, domestic and international licensing agreements in all digital platforms and consumer products, production, distribution and financing, copyright and trademark. Attorney Law Offices of William Vu (Sole Proprietorship) (Sole Proprietorship; Law Practice industry) July 2004 — present (4 years 11 months) Manage law practice focusing on entertainment, intellectual property, and employment matters. Advisee clients working in film, television, music and new media. Structure, negotiate and draft acquisition, production, licensing and distribution agreements. Handled transactions, trademarks, litigation, production review and clearances for law firms and entertainment companies. Some representative companies include Geneon Entertainment, G4 and Current. Vice President, Business Affairs National Lampoon (Public Company; 11-50 employees; NLN; Entertainment industry) October 2007 — October 2008 (1 year 1 month) Provide business and legal advice regarding film production, acquisitions, distribution, websites and book publishing. Business and Legal Affairs consultant Geneon Entertainment (USA) (Privately Held; 11-50 employees; Entertainment industry) October 2006 — October 2007 (1 year 1 month) Reviewed, drafted and negotiated agreements involving acquisitions, program sales via television, digital and mobile platforms, merchandising, music, strategic alliances and services. Director, Business and Legal Affairs TechTV (Privately Held; 201-500 employees; Broadcast Media industry) October 2000 — July 2004 (3 years 10 months) Directed all aspects of business and legal affairs for cable television network and website providing videogame/technology news, information and entertainment. Reviewed, negotiated and drafted agreements, including original series production, acquisitions, talent deals, licensing, distribution, strategic alliances and advertising. Managed outside counsel, on worldwide intellectual property matters. Provided in-house training, in copyright and defamation to executives and programming teams. Legal consultant Universal Worldwide Television (Public Company; 51-200 employees; Motion Pictures and Film industry) February 1998 — December 1999 (1 year 11 months) Conducted M&A due diligence and document review on behalf of entertainment/media companies, regarding purchase and sale of film and television properties, including Universal’s acquisition of PolyGram. Reviewed copyright, trademark and patent chain of title; analyzed existing intellectual property rights and valuations; and resolved conditions precedent to sale and integration issues. Attorney at Law Julian Chan 117 N. Gale Dr, PH5 Beverly Hills, CA 90211 (p) (310) 995-9006 (f) (310) 861-5049 Julianchan@msn.com Mr. Julian Chan, graduated Magna Cum Laude from Brown University with a degree in business economics, as well as political science. He subsequently graduated from The University of Pennsylvania Law School. He began his career at a small software services start-up, Peritus Software Services, Inc (Peritus). As a senior officer and acting General Counsel at Peritus, he helped grow it to a firm with over 500 employees and offices in five locations and four countries. He negotiated approximately $100 million in complex software licenses, service agreements, service licenses and software development agreements. He managed multiple rounds of venture capital totaling in excess of $20 million. He negotiated the acquisition of several companies for a total compensation in excess of $90 million and managed the integration of their legal teams and processes. Mr. Chan led legal efforts resulting in a 1997 IPO on NASDAQ. Mr. Chan later founded the Wellspring Angel Fund and the Idealflow Angel Fund (Idealflow) along with the founders of Intel, Global Crossing, JDS Uniphase, and Gemstar. He ran its incubator, managed review of all potential investments, negotiated investments in twelve start-ups, and led a team of four personnel in order to develop ideas originated by partners of the fund. Later Mr. Chan served as the C.O.O. and General Counsel for Univessence Digital Studios, Ltd. (Univessence). Univessence, a Bermuda company with 25 subsidiaries in China, Hong Kong, Japan and the US, and approximately 300 employees, is one of the largest distributors of games in China. As of 2005 it had approximately $50 million in yearly revenue. While there Mr. Chan incorporated the parent company and several key subsidiaries. Additionally, he handled the complex merger of the parent company with Junnet, Inc, a BVI company, and conducted due diligence on its 20 Chinese subsidiaries. Approximately $30 million in international venture capital financing transactions were handled by him. Furthermore, he oversaw the negotiation and drafting of key agreements with major game companies. For a period of four years, he oversaw production at Media Revolution LLC, one of the largest interactive marketing agencies in Los Angeles with clients such as Sony, Walt Disney, Warner Bros, Coca-cola and Kyocera. He negotiated all internet marketing agreements, entertainment marketing and distribution agreements, traditional entertainment production agreements, and wireless content creation/distribution agreements during his time there. Mr. Chan has served as the General Counsel of the National Association of Asian American Professionals and has worked to review distressed charities on behalf of the United Way. He is a member of the Massachusetts and California Bars. Jacobson Group / Entertainment Accountant The Jacobson Group has the capacity to manage a broad spectrum of payroll needs, from small to large. Included in our diverse client base are some of the more difficult payroll requirements of entertainment industry companies and entertainment related businesses. We are experts in California and national wage and hour laws. The Jacobson Group has the experience and resources to stay up-to-the-minute as both federal and multi-state tax provision and reporting requirements change. When the Jacobson Group acts as employer-of-record, we provide the following services: Prepare all paychecks Cover employees’ Workers' Compensation and handle all related claims Respond to all unemployment claims, benefit audits and employment data requests 48-hour turnaround on all payrolls Submit union benefit contributions Calculate and prepare residual payrolls Track 401(k) or other insurance plan/dues deductions Make tax deposits File all Quarterly and Year End reports Prepare and mail W-2s Workers' Compensation/Risk Management We handle Workers’ Compensation coverage for all US and productions abroad We take charge of all claim reporting and claim management, relieving you of any additional overhead to handle these matters We supply proof of Workers' Compensation coverage necessary for all productions and locations We work with our clients and risk management specialists to ensure the safest possible working environment Consider us your payroll partner. We’ll work with you to attain maximum efficiency and profitability. You’ll save time and overhead costs associated with preparing your payroll in-house, and the assurance that your tax deposits and reporting are accurate and timely. The Jacobson Group also helps with risk management, making sure you know what you need to know to avoid employee injuries. By working together to create a safer working environment, we are able to reduce the overall cost of Workers’ Compensation. The Jacobson Group can also service your account as non-employer-of-record. Non-employer-of-record services: Prepare all paychecks from your payroll account Prepare and submit federal and state payroll tax deposits Submit deposits electronically, or create manual tax deposit checks for your review and signature Complete and file all Quarterly and Year End reports and returns under your employer ID numbers Process W-2s for distribution to your employees File W-2s transmittals Track 401(k), medical insurance, and other deductions Call The Jacobson Group 310 444-5255. 18. Distribution: We will name our distributor at a later date. At this day and age, presaleing a movie is very unlikely. Distributor would rather see the project on film before they make a commitment. After we have a finish product and a trailer, distribution should follow shortly there after. We will try to get a distribution deal, when financing is in place and all bankable Talent is attached. The general partners will use its best efforts to obtain as distribution deal for the film that, in the opinion of the general partner, will be in the best interests of the partnership. We are shooting for a theatrical release at 500 or more screens. 19. BUDGET: A. Total above the line Production: $2,464,200 Total below the line Production $2,056,429 Post-Production: ----- $403,150 Below The line other $1,076,221 Domestic P&A 3mil $3,000,000 Foreign P&A 5mil $5,000,000 $14,000,000 20. Our Budget Goal: Class A and Class B limited partnership units We are seeking an investment of 6,000,000 dollars for the production of our film. We are seeking an initial investment of $800,000 which is called first blood money. This money is used to attach bankable talent, Director, casting cost, Legal fees, taxes, PR and development cost paid by the Executive Producer, etc. to create what is know in the industry as a complete package. Whoever invests the fist (Class A, investor) $800,000 will make double their money back. We are willing to offer (Class B investors) a 25% return on your investment. Our next goal is 8mil for print and advertisement; By having the P&A money secured it would make a distribution deal more attractive to the distributor. 21. RETURN OF INVESTMENT The rate of Return for Investors will be a negotiated percentage that reflects industry standards. This will also consist of a “preferred return” (order of re-payment for investment), a fixed bonus amount, share in profits and screen credit. Currently, we are planning to offer investors 100% return on their principal investment and 25% profit participation in addition to a company screen credit, or an executive producer credit determined by the number of investors and the structure of the funding. Principal repayment and profit participation will be paid through various revenue streams, which include Box office returns, DVD Sales, Pay-per-view, Cable, Network and Syndicated Television, and all other ancillary revenue streams. When you are ready, I can have my lawyer take care of the necessary paperwork. If you can’t invest the total amount, we have other investment returns options, terms and rates as you can see Below: $800,000 first blood money, to attach star talent and for development cost 200% 1 million to $14 million 25% ROI Class A First Investors - First Blood Investment $800,000 100% payback $800,000 ROI+100% 1,600,000 Class B Investors Investment 1mil to 14mil 100% payback 1mil to 14mil ROI + 25% I hope these terms fit in your investment budget, if not let us know right way, all the terms are negotiable. 22. California Film & Television Tax Incentive Program "Independent Film" with a minimum budget of one million dollars ($1,000,000) and a maximum budget of ten million dollars ($10,000,000) that is produced by a company that is not publicly traded and that publicly traded companies do not own more than 25% of the producing company. Mini-series and Movies of the Week may be considered an Independent film provided they meet the above requirements. A.) A "Qualified Motion Picture" must be one of the above eligible types of productions (as seen in Section II.C.) AND meet one of the following conditions: 1. Seventy-five percent (75%) of total principal photography days must occur wholly in California. Principal photography days in California do not include the filming of primarily backgrounds, visual effects, action and/or crowd scenes by the second, stunt, or visual effects units; OR 1. Seventy-five percent (75%) of the "Total Production Budget" must be incurred and used for goods, services and/or wages within California. This can be determined by evaluating if 75% of your "Total Production Budget" - including both qualified and non-qualified expenditures such ATL wages, out-of-state spend and rights will be spent as described above. Only financing fees and completion bond fees can be excluded when assessing budget threshold amounts. B. Budget Thresholds for Independent and Feature Films 1. As noted in this guideline, the tax credit program has maximum budget thresholds for "Independent Films" ($10 million) and "Feature Films" ($75 million). The addition of completion bond fees may in some cases make a production ineligible if it increases the Total Production Budget beyond these thresholds. 2. If the completion bond fee affects the eligibility of a production to qualify for the Tax Credit Program, then this fee may be deducted from the Total Production Budget. However, if the Applicant omits the completion bond fee for the purpose of falling below the $10 million or $75 million dollar thresholds, then the bond fee will not be considered a Qualified Expenditure for the purposes of this program. C. Allowable Tax Credit for Qualified Productions 1. Qualified “Independent Films” are eligible to receive 25% of qualified expenditures as a transferable tax credit. $6,000,000 X 25% = $1,500,000 this money usually takes nine months to a year to get back from the state. Half of this money will be used to pay back investors and the other will go to unpaid production cost if any. -------------------------------------------------------------------------------------- -------------------------------------------------------------------------------------- ---------------------------------------------- 23. Return time: The estimated production time including casting, pre production, production and post production is Ten months. The approximant release date is usually six to nine months after post production. So, all investors are looking at sixteen to twenty months, before the movie is release. Six to eight weeks after the release date, your investment money should start making a return to your pocket. You will receive a monthly check for a portion the amount you put into the project, the monthly process will be divided according to the percentage you put in. If you are the only investor you will receive a bigger percentage of the monthly receipts. Your total pay back time can be six to twenty-four months. You the investor will receive one hundred percent of your investment; plus the agreed return percentage. In addiction to the return on your money, you will also receive an Executive producer’s credit, but only if you want it. 24. Timetable: This timetable will be put in effect, two weeks after the financing is secured. 1st week Casting Location scouting 7th week Casting completed, Locations secured Begin preproduction Crew allocation Allocate equipment, Props, costumes Lock down production- - schedule Begin rehearsal 14th week Begin principal photography Begin postproduction Editing 20th week end principal- Photography 21st week Editor’s cut completed 29th week Director’s cut complete 33rd week Final cut completed Begin sound editing Spot sound effects Spot music Order titles & optical 37th week Score music 38th week Sound editing completed Mix sound Transfer sound to- Optical track Begin negative cutting 39th week Negative cutting completed Color timing 40th week Screen first trial composite Answer print 25. The General unpredictability of Motion Pictures: Investing in a feature film is a very unique type of investment. There are many risks associated with this type of industry’ that is not necessarily associated with other kind of industries like real estate, banking etc, etc. It’s always a good idea to investigate this market and consult your local investment banker or lawyer. The motion picture investment entails a high degree of risk even when the picture is substantially packaged prior to financing. Recoupment of the investment and additional profits are largely a function of the film’s cost of production and distribution in relation to its public appeal. The extent to which a picture will appeal to the public is largely dependent upon unpredictable critical reviews and public taste. Unless otherwise stated, the investors in an unsuccessful picture will have no opportunity to recoup their investment by any investment in, or cross- collateralization with, any other picture. A substantial portion of motion pictures do not achieve profitability. 26. Movie market place: Although the world is in a recession, the entertainment industry proceeds are up 18% over last year and slowly building. You could say that the entertainment industry is a recession proof business. The Touristers is a movie that will do well in many age groups, genders and race. Our project is an “Action / Comedy / adventure, which really appeals to teens, the family crowds and adults of all ages. Below you can see a short “Movie Industry Analysis “for a better understanding of present Box office figures. 27. Movie Industry Analysis: Summer sets box office record 2009 is highest-grossing summer ever It's not even Labor Day weekend yet, but 2009 has already become the highest-grossing summer ever at the domestic box office. Through Sunday, summer B.O. revs were $4.17 billion, compared to $4.16 billion for summer 2007, the previous record holder for best summer sesh. The Labor Day weekend should add another $100 million or more to the total tally, meaning the summer would be up at least 3% in grosses over 2007. Three tent poles lead the pack of top domestic performers: Paramount's "Transformers: Revenge of the Fallen" ($399.4 million), Warner Bros.' "Harry Potter and the Half- Blood Prince" ($294.3 million) and Disney/Pixar's "Up" ($289.6 million). Pics performing significantly better than expected include Warner’s comedy "The Hangover," which has run up $270.2 million in domestic ticket sales, by far the best gross for an R-rated comedy. Pic places No. 4 on the top 10 summer chart. Auds were also in love with Disney's Sandra Bullock-Ryan Reynolds romantic comedy "The Proposal," which earned $160.2 million to become the highest-grossing summer romantic comedy of all time. Film is No. 9 on the summer domestic roster. Several franchises got an infusion of fresh blood: Paramount's "Star Trek" grossed $256.7 million to come in fifth for the season, while Twentieth Century Fox's "X-Men Origins: Wolverine" grossed $179 million to rank No. 7. Fox also took spots No. 6 and No. 8 with "Ice Age: Dawn of the Dinosaurs" ($193.3 million) and "Night at the Museum: Battle of the Smithsonian" ($176.5 million). Sony's sequel "Angels and Demons" rounds out the top 10 list at $133.4 million, although Paramount's "G.I. Joe: The Rise of Cobra" will likely overtake "Angels." "G.I. Joe's" domestic come through Sunday was $132.2 million after grossing $7.7 million for the weekend, its ------------------------------------------------------------------ 17 Again (2009) Comedy / Drama Budget • $20,000,000 (estimated) Worldwide Latest gross: $109,099,065 USA Latest gross: $60,799,065 (27 May 2009) UK Latest gross: 11,069,155 (15 May 2009) Non-USA Latest gross: $48,300,000 ---------------------------------------- Next Day Air (2009) Action / Comedy / Crime more » Budget • $3,000,000 (estimated) USA Latest gross: $9,092,382 (22 May 2009) Paul Blart: Mall Cop (2009) Action / Comedy / Crime / Family more » Budget • $25,000,000 (estimated) Worldwide Latest gross: $178,581,053 Non-USA Latest gross: $32,500,000 -------------------------------------------------------- The Spirit (2008) Opening Wknd: $6.46M (USA) Worldwide Latest gross: $29,781,879 USA Latest gross: $19,781,879 (16 January 2009) UK Latest gross: 2,032,139 (9 January 2009) Non-USA Latest gross: $10,000,000 ------------------------------------------------------------- The Wrestler (2008) Drama / Sport Budget • $7,000,000 (estimated) Worldwide Latest gross: $31,536,603 USA Latest gross: $26,236,603 (8 May 2009) UK Latest gross: £1,592,098 (23 January 2009) Non-USA Latest gross: $5,300,000 ------------------------------------------------------------- Taken (2008/I) Action / Crime / Drama / Thriller more » Budget • 30,000,000 (estimated) Worldwide Latest gross: $219,540,399 USA Latest gross: $144,540,399 (15 May 2009) UK Latest gross: 6,277,639 (31 October 2008) Non-USA Latest gross: $75,000,000 ------------------------------------------------------------- Juno (2007) Comedy / Drama more » Budget • $7,500,000 (estimated) Worldwide Latest gross: $226,992,840 USA Latest gross: $143,492,840 (13 June 2008) UK Latest gross: $9,240,584 (14 March 2008) Non-USA Latest gross: $83,500,000 All of these numbers tends to indicate that the cost of production is not the key factor in gaining audience interest. It has become clear then, that a producer with a well-written script, bankable cast and well thought out production plan, has a chance at success, and a shot at even more substantial financial success when they maintain a reasonable budget couple with high production values. -------------------------------------------------------------------------------------- -------------------------------------------------------------------------------------- -------------------------- THE FACT THAT THESE FILMS GENERATED THE STATED INCOME DOES NOT CONSTITUTE A GUARANTEE THAT “THE TOURISTERS” WILL GENERATE SIMILAR, OR ANY REVENUE. "The good thing about investing in film is that you have an asset that continues to generate revenue on pay TV, free TV and in every country around the world." ------------------------------------------------------------- 28. Investment future with Due West Entertainment. Another thing to consider, if you plan to invest with Due West, is we have several scripts that are ready to make the transition from paper to film. Our goal is to make four to six movies a year and that’s every year. With help from the movie investors, Due west will be able to make a lot of good movies for years to come. Below you will find loglines and synopsis of future film project ready for development and production. 28a Kill The Eagle. TITLE: Kill the Eagle GENRE: Action Adventure LOGLINE: A secret service agent discovers that the U.S. government is a facade. SYNOPSIS: In the not too distant future, what if---? America has changed. No longer is it the shining city on the hill with a government of the people but one that is full of corrupt, self-serving politicians who don’t give a damn about those they represent. Money changers who owe their souls to the unsavory underbelly of politics and their own wallets. Even so, Willie Garcia, America’s first Latino President, has done his best trying to change the course that the country has taken. Terrorism has become common place rather than the exception and the Fed seems powerless to stop it. But in spite of the times and in spite of the dire straits of the country, President Fishbine is all but assured of re-election that is, until the day he picks his grandkids up from school and there is an assassination attempt on his life. Robert Pybus, a secret service agent assigned to the Presidential security detail, saved the President’s life that day, and he also saved the lives of the kids. A few weeks later, during an address to the nation in which he was to announce his bid for re-election, President Garcia instead stun the country by angrily announcing his withdrawal. That started the collapse. In the days following, three presidential candidates announced their withdrawal from the presidential race, another was assassinated and one had a mental collapse during a speech at a rally in Texas. It is at about this time, that Agent Pybus is sucked into the Frey. He is drugged then kidnapped from his home in the middle of the night and is taken to an underground bunker where he comes face to face with the President After thanking him for his selfless heroism during the assassination attempt , the President tells Pybus that the government is filled with rogues. Congressmen and Senators sent to Washington as a result of rigged elections---paid off public servants who owe their political existence to a group of blueblood families that have existed since before the revolutionary war who, through the years have molded the government to suit their purposes---this Group of Eight. They now feel that with the emergence of third world countries and all the untold wealth and power, it is time for the U.S. to go the way of the dinosaur. Their plan is incredibly simple---reach the presidential elections without a candidate, throw the country into a constitutional crisis and watch the country fold up like a house of cards. President Fishbine tells Pybus that it’s not hopeless---that one of the Family Members wants to end the reign of the Group of Eight and place the government of the country where it belongs; in the hands of the people. He asks Pybus to be a patriot---to step forward and, with the help of those in the shadows, find a consolidated candidate for President, one that will be acceptable to both political parties in order to thwart the Families’ plans. A few days later, Pybus meets with the chairmen of the Democratic and Republican committees but leaves with the reassurance that this impending crisis is just a game that the families always play when the stakes are high. As he steps into the hallway, the room explodes. During a clandestine meeting with the rogue Family member, Frank Arnold---a direct descendant of Benedict Arnold uses a metaphor to graphically describe the condition of the country. What if the last great Bald Eagle, the symbol of the U.S. Government, had an egg in the nest then became ill and in pain. Wouldn’ t it be best to kill the eagle and put your faith in the egg? Over throw the government? Pybus is then asked to meet with Dr. Lawrence Beaumont, a Professor of political science at Georgetown University and is acceptable to both Democrats and Republicans as a consolidated candidate. Pybus does as he is asked but, a few days later during a rally in which Dr. Beaumont was supposed to officially announce his candidacy; he is killed by a suicide bomber. As a last resort, Pybus attends a Governor’s conference at the Watergate hotel in Washington D.C. with the hope that one of them will step up and toss their hat into the ring. Instead, he is met with anger and ridicule. But in spite of the adversarial atmosphere, the Governor of California step up to the plate and offers himself as a candidate. The meeting then becomes a confrontation---a struggle for power between the governors. Fistfights break out, then gunfire. Pybus exits the hotel, takes out his cell phone and dials. “Mister Arnold? It’s Agent Pybus. I’ve done all I can and I’ve failed.” Pybus glances up at the Stars and Bars as it flaps gently in the breeze atop the flagpole in front of the Watergate hotel. “We have no choice, sir. We must kill the eagle.” The call goes out…ordinary people arm themselves, stepping up to be patriots. Together, the military and ordinary citizens put the Group of Eight out of business and place the country where it belongs for the first time in two hundred years…in the hands of its people. End -------------------------------------------------------------------------------------- ------------------------------------------ 28b. Yardboy By J.P. Linde TITLE: Yardboy GENRE: Action / Sci-Fi / Comedy Logline: Fighting crime that’s mostly imagined, a ten-year-old boy dons cape and cowl and patrols nightly the yards of unsuspecting property owners. Synopsis: David Church comes from polite, unconcerned parents, possesses more enemies than friends, and has a 4th grade teacher, Miss Siedlebaum, who’s very troubled about a certain student’s obsession with super hero comic books. What all of them fail to realize, David’s alter ego is actually a masked costumed hero named Yardboy, who’s nightly patrols through the yards of unsuspecting property owners is a never-ending quest for truth, justice and the neighborhood way. On his last patrol, Yardboy discovers a benevolent alien being, Digital Man, who plots to take over the world utilizing the local cable company. Assisting Digital Man is Judy Deetz, an attractive recruit from the cable company’s subscription outbound call center. Judy’s desire to ditch her minimum wage paying job for an executive position works to the alien’s advantage. Dodging Judy Deetz, Lyle and Al, two zealous representatives from a local neighborhood rent-a-cop company and his arch nemesis’s, bullies Ed and Mike, the notorious Beachcomber Brothers, Yardboy, with some unwilling assistance from Miss Seidlebaum, finds himself in a race against time to stop Digital Man before the entire brainwashed neighborhood completes Digital Man’s scheme of world domination through deregulated digital cable. When his zombie-like neighbors complete a giant pyramid of cable boxes to summon Digital Man’s alien cohorts, Yardboy ascends and battles the Beachcomber Brothers in precarious hand-to-hand combat high above the city. The Beachcomber’s vanquished and the pyramid collapsed, the desperate alien kidnaps Miss Siedlebaum and Yardboy is forced to confront Digital Man at the local library. Following an electrifying chase through the shelves of rocketing books, Yardboy tricks Digital Man, trapping the rampaging alien in the library’s digital copy machine. A wailing Digital Man is immediately faxed to the nearby federal penitentiary. The neighborhood is saved, order is restored and Miss Seidlebaum learns the value of a local ten-year-old super hero. -End- 28c Martial Arts TITLE: Martial Arts GENRE: Action LOGLINE: A Martial Arts expert must prove he is the best fighter in the world in order to save his family from a greedy gangster. SYNOPSIS: LU WONG has mastered the art of Kung-Fu. And a greedy Gangster named Mr. Lee makes him to prove it. After moving to L.A. To begin a teaching career in Martial Arts and help his family run a restaurant, Lu quickly runs into trouble. He learns his father is deep in debt to a greedy gangster. Lu uses his skills to stand up to an army of thugs, but they just won’t quit. Lu is then presented with the opportunity of a life time: Prove he’s the best, and be given 100 million dollars. Realizing money is the only thing that will make the gangsters go away, Lu travels to a rich mans private island to go toe to toe with other martial arts masters of all shapes and sizes from all over the world. But when his family is kidnapped to make him throw a fight, Lu comes up with a plan to save his family, get the money, and win the affection of a beautiful girl. What could be more perfect? Martial arts is non-stop martial arts fighting action from beginning to end. Set in a ultra-violent world where all conflicts are settled by the fist! It’s a story of courage, honor, love, and just plain fun. 28d. The Dukes TITLE: The Dukes GENRE: Drama LOGLINE: A salt and pepper rock band traveling through the south in the summer of 1965 is caught up in the civil rights movement. SYNOPSIS: When Monroe Morgan went to audition for Duke Langley’s rock band, he didn’ t know that three of the musicians were black. When he found out, he swore that there was no way in hell he would ever work with a bunch of spooks. That is, until he heard them play. The Dukes is a drama about relationships between blacks and whites and the metamorphosis of a young man’s character which takes place during a six week period as the group travels through the south during the summer of 1965, climaxing in the civil rights explosion in Selma, Alabama. The story is not intended to be a sermon. No lessons are taught and there is no moral, but it is filled with adventure and emotion---love and hate, sympathy, suspicion but most of all, fear. What will the future hold? Will there be a race war…another civil war? As the band struggles to keep its commitments, both internal and external influences threaten its very existence---the loss of the band’s lead guitar player to the civil rights movement after he witnesses white police officers beating a brother after a confrontation in the night club where they were playing. There are heated discussions between the black and white musicians about the civil rights movement as it escalates and there are more and more violent confrontations. Most of all, The Dukes is the story of the band’s young white saxophone player and his evolving relation with the black musicians as he evolves from a bigot, learning the lessons of racial maturity using music as the universal language. In the end, Monroe comes full circle and learns the most painful lesson of all. That racial prejudice works both ways. Never in his wildest dreams did he ever dream that he would fall in love with a black woman. But he did. He did, and he asked her to marry him. She said no. It wasn’t because she didn’t love him. She did. It was because he was white and she was black. Her folks would never accept him as part of the family. So---when the trip is over and Monroe goes home, he goes home broken-hearted. But he is wiser, more mature and most of all understands that skin color is just that and not the measure of a man. The End 29. Projection of Potential Income The Tourister Negative cost Scenarios Box Office gross $14million Low $30,000,000 $14million Moderate $90,000,000 $14million Better $180,000,000 -40% Less Exhibitors $12,000,000 $36,000,000 $72,000,000 Gross Film Rentals $18,000,000 $54,000,000 $108,000,000 -25% Distributions fees Print & Advertising cost $4,500,000 $3,000,000 $13,000,000 $10,000,000 27,000,000 $16,000,000 US Theatrical Net Proceeds $10,500,000 $31,000,000 $65,000,000 Approximately how much of your ticket price kept by the exhibitors, and how much is forwarded to the distributor? Between 10 and 65 percent of a film's box office gross stays in the local community. The first week a film is in release, the typical theatre's cut is 10%, the second week it's raised to 20%, third week-- 30%, etc. US After Market Sales Pay/cable $9.8 million $21.mill $55.5mil Merchandising $7,500,000 $31,183,000 $66,004,000 PPV/ VOD / Non-Theatrical Venues $11,000,000 $27,000,500 $71,000,000 US Ancillary Gross Distribution Fees - 25% After distri. fees $20,800,000 -$5,200,000 $15,600,000 $79,183,500 -$19,795,875 $59,387,625 $192,504,000 -$48,126,000 $144,378,000 US Home DVD Market Distribution Fees / Cost of Goods -35% After distribution fees $43,000,000 -$15,050,000 $27,950,000 $90,000,000 -$31,500,000 $58,500,000 $148,000,000 -$51,800,000 $96,200,000 US market Net proceeds $43,550,000 $117,887,625 $240,578,000 Foreign Markets Foreign Box Office Foreign P&A Foreign Rentals after P&A Foreign home DVD Foreign Ancillaries Aggregate Foreign Markets Less Distribution/ Licensing / Fees-25% $16,700,000 $5,111,250 $11,588,750 $9,700,000 $5,700,000 $26,988,750 $6,747,187 $48,000,000 $11,657,500 $36,342,500 $23,970,000 $13,700,000 $74,012,500 $18,503,125 $96,000,000 $17,000,000 $79,000,000 $65,250,000 $29,960,000 $174,210,000 $43,552,500 Overseas Net Proceeds $20,241,562 $55,509,375 $130,657,500 Worldwide Gross Proceeds $74,291,562 $204,397,000 $436,201,562 -4% Less Interest $2,971,662 $8,175,880 $17,448,062 Total Income to Producer $71,319,899 $196,221,120 $418,753,499 -13% Less Negative $9,271,586 $25,508,745 $54,437,954 Total Gross proceeds $62,048,313 $170,712,375 $364,315,544 {The Term for these Scenarios is five years} 30. Merchandising Ideas. 1. Soundtrack 2. Poster 3. T-shirts 4. Key chains 5. Motorcycle Jackets with Banshee logo 6. Action figures 7. Hats 8. Water bottles and coffee mugs 9. Fast Food merchandise with Burger King or McDonalds’ 10. Toy RVs and motorcycles from the movie. “The compound annual growth rate of the Indie film industry is expected to be 15% over the next few years,” say some the industry top film executives. Films (big or small) no longer depend only on one avenue for revenues — film producers have found several ways to recoup their investment — from satellite rights, in-flight entertainment rights, music and overseas rights to home video and merchandising. Most filmmakers can actually make their money before the release. “Non-traditional sources of revenues will contribute to a significant amount: given that films have earned as much as Rs 1 core from wireless rights. Airborne rights are also gaining in importance and there is a lot of revenue there. Overseas box-office will grow as more prints of films will be released globally, and might contribute to 40% of a film’s revenue. Internet-based rights (movie/music downloads) are big sources of revenue.” As this year producers could make a good amount of money then the next year they can invest more and with feeling comfort. Seeing the financial success new producers may come to the industry which is also good news for Hollywood. In addition, the investment in the movie or film based business will definitely be increased in the next year Film producers and distributors rarely manufacture film-related products themselves, but license the right to sell these products to other companies (called licensees). In most instances there is no risk to the producer or distributor (the licensor) because the licensee incurs all manufacturing and distribution expenses. The producer/distributor typically receives an advance payment for each product, as well as royalty payments, often between 5 and 10 percent of gross revenues from sales to retailers (in other words, the wholesale price). If the movie does not succeed and the products do not sell, the manufacturer is responsible for the loss (Cones, 1992). The owners of licensable film properties are most often the major film studios. Special licensing divisions often are organized to handle the company's own copyrighted properties, and sometimes those owned by others as well, for example, Warner's Licensing Corporation of America (LCA) and Disney's Consumer Products division. But even smaller successful film producers sometimes become involved in licensing, as represented by Lucas film Licensing. Studios' revenues from merchandise vary greatly depending on the films released in any one year. However, these companies have serious interests in merchandising and consumer goods, as indicated by the $2.5 billion revenues reported by Disney's Consumer Products division in 2004, and the 3,700 active licensees handled by Warner Bros. Consumer Products division. The major studios realize that not only can the sale of movie-related products generate substantial revenue, but the presales of merchandising rights can sometimes contribute to a film's production budget, as in the case of Lord of the Rings, when 10 percent of the budget for the trilogy was apparently raised by selling rights to video games, toys, and merchandise companies. In addition, these products can be useful in promoting films and thus movie-based merchandise is often part of the massive, coordinated promotional campaigns often started months before a film's release. Typically, 40 percent of movie merchandise is sold before a film is released. Thus, for many films, licensing represents a potential source of income to film companies and merchandisers. The potential merchandising bonanza represents sizable profits as sales of merchandise licensed from movies continue to grow. While the first Batman in 1989 grossed $250 million at the box-office and earned $50 million in licensing fees, subsequent films have generated even more products and produced even more revenues. Recently, the Lord of the Rings trilogy is said to have attracted over $1.2 billion thus far in merchandising revenues. The Touristers Movie is open for your business, please lets us know if this proposal fits in your investment budget plans. Thank you for your time and consideration. Best regards, Willie Bolin Jr Executive Producer / Casting Director Due West Entertainment Services And The Touristers LLC 15507 S Normandie #499 Gardena, Ca 90247 323-219-7407 Fax 310-217-1084 willie@duewest-es.com www.duewest-es.com Executive Producers Willie Bolin Jr Dianna Liner Independent Film Action / Comedy Shoot/Start Date: 10/19/2009 Pay Rate: Scale Location: SOUTHERN CALIFORNIA Matt Zettell - Director Keiko Nakahara - Director of Photography Produced By: Willie Bolin Jr JP Linde - Writer / Co- Producer Noel Vega - Producer Kipp Tribble - Line-Producer Randy Saucedo - Associate producer Willie Bolin Jr - Casting Director Leading a caravan of RVs into Baja California is not the relaxing summer job middle-aged gym teacher, Marion C. Carlson, was hoping for. His rebellious seventeen year old daughter, Carolyn, is the least of his worries. A brief pause at a rest stop finds Carlson relying on his trusty baseball bat to fend off members of the notorious "Loco Y Peligroso" motorcycle gang. In talks with: Steve Guttenberg (Marion C. Carlson) Known for: Police Academy / Diner / Police Academy 2: Their First Assignment William Forsythe (Marion C. Carlson) Known for: The Rock / Once Upon a Time in America / Deuce Bigalow: Male Gigolo Michael Madsen (MARION C. CARLSON) Known for: Reservoir Dogs / Kill Bill: Vol. 1 / Vol. 2 Attached: Victoria Pratt (Sal) (Known for: Brotherhood of Blood / Mutant X: The Shock of the New (Pilot) / Mutant X: Fool for Love Attached: M. Emmet Walsh (John) (Known for: Blade Runner / My Best Friend's Wedding / Romeo + Juliet) Attached: George Takei (himself) ( General Hospital / Star Trek: The Wrath of Khan / Star Trek IV: The Voyage Home ) Attached: Cassie Fliegel (Scorpia) ( Known for: Bureaucracy / Kissing Strangers / The Office: Night Out ) Hulk Hogan (Doc) (Known for: Wrestle Mania III / Wrestle Mania / Wrestle Mania VI) |