Oasis Films Fund - Forecast Pictures

Transcription

OASIS
FILM FUND
www.oasisfilmsfund.com
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.
Forecast Pictures © 2009
Why a Film Fund ?
Oasis Films Fund:

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
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, …

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.
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.
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.

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.

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, ...

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).
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
$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.
Driven by professionals
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
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
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
• 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
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.
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.
INVESTING
Coproductions
Private
Investments
National and
local subsidies
International
sales
• 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
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, …

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.
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




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.
Selection
Committee
Nework of
Industry Experts
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)
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, …
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
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.

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).
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
From North American
revenues
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
0,25
0,25
0,05
0,01
0,52
0,25
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
10%
17%
31%
41%
Projected IRR
over 7 years
Low :
17%
Medium: 31%
High:
41%

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.
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
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
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
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.
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.
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…
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.
the locals
?
?
?
?
Similar films
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Year
Budget
US Box
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Year
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US Box
Office
World Box
Office
World Box
Office
Direction
The producers have chosen a brilliant, upcoming director who will bring
his fresh and unique vision to the movie.
 John McFarlane

Honky Sausages series for BBC and Showtime… and hundreds of
advertising and music videos.
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

O Jerusalem, Harrison’s Flowers, Man on Fire…
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.
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…
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, …
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…
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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
Extract from LE FIGARO 27/12/08
Annex 2
Script Development
Choosing an author
Researches and studies
Treatment and combining author + director
Script versions 1 , 2 , 3 and shooting script
Casting & Budgeting
Initial draft budget based on script
Scout shooting locations
Approach the lead cast and the crew
Final Budget
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
Production
Pre-production
Shoot
Post-Production
Deliveries
Distribution
Presales & sales to local distributors throughout the world
First run exploitation (Theatrical, DVD, Pay TV, Free TV)
Collection of overages
Residual catalog value
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
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)
$37 142 857
Trends in the Motion Picture Space:
A stead y growth
Current
environment
Consistent
Box Office
Growth
Healthy
Attendance
Trends
Stable Annual
Price
Increases
Resistance to
Economic
Downturns
Worldwide Box Office
2001 -2004
•2004 Box Office was flat versus 2003
•2004 Growth in Home Video at 2.5%
•4,3% CAGR since 2000
30
25
20
15
10
5
0
Canada
Latin America
Asia-Pacific
EMEA
USA
2001
•1,9% CAGR over last 11 years
•3,8% CAGR over last 11 years
•Growth in 3 of last 5 recessions
2002
2003
2004
US Home Video Sales & Rentals
40
35
30
25
20
15
10
5
0
Rentals
Sales
2001
2002
2003
2004
2005
Changing Market Dynamics
Breakdown of Studio Film
Revenues
3,0%
14,1%
15,2%
Home Video
52,5%
Domestic Box-Office
International Box-Office
15,3%
Television
VOD
Key Highlights
• Home Video is the dominant source of
studio revenues
• International revenues are increasingly
important
• Growth of domestic and international
cable channels require product to feed
pipeline
• New technologies will continue to create
new markets and distribution channels
(i.e. High definition DVDs, VOD, etc) for
repeated sales of the same content
Box Office Market & Video Universe
Box Office Market
United States
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
05-'09 CAGR
Admissions (Millions)
1 421
1 487
1 639
1 574
1 536
1 540
1 555
1 575
1 595
1 615
% Change
-3,0%
4,6%
10,2%
-4,0%
-2,4%
0,3%
1,0%
1,3%
1,3%
1,3%
Average Price ($)
$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
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
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.
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.
« 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, …
« 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»
7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008
HYPO FOR SIMULATIONS
TOTAL CONSOLIDATED
AMOUNT, FOR THE
WHOLE DURATION OF
THE FUND
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
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
Overheads and expenses from the structure (per Quarter)
- overheads
- developments expenses (1 000 000 USD yearly)
0,25
0,25
0,05
86
43
43
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
- outside services
- internal services
- overheads
FILM 5
0,5232
0,25
430
258
21,5
283,8
Hard
Drive
0,25
0,25
0,05
TOTAL CONSOLIDATED
AMOUNT, FOR THE
WHOLE DURATION OF
THE FUND
Ibn
Battuta
0,0%
- outside services
- internal services
- overheads
Lost
Gospel
0%
Friends &
Money
66,77
0,01
MEDIUM CASE SCENARIO
430
258
21,5
193,5
5%
2,50%
2,50%
0,52
0,25
TOTAL CONSOLIDATED
AMOUNT, FOR THE
WHOLE DURATION OF
THE FUND
PRODUCER FEES SPLIT:
- Fund's executive producer fee :
- Funds' proper Producing fee :
CONFIDENTIAL
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
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 :
M $ USD
50,00
0,00
TARGET Performance :
-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
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
Quarters
Target Simulations
150,00
100,00
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
-100,00
Quarters
08/01/2009 - 16:29
Page 3 / 10
CONFIDENTIAL
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
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
- outside services
- internal services
- overheads
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
MEDIUM
TOTAL
CONSOLIDATED
AMOUNT, FOR THE
WHOLE DURATION
OF THE FUND
Friends &
Money
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%
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
67
430
258
21,5
193,5
86
43
43
- outside services
- internal services
- overheads
08/01/2009 - 16:29
0,25
0,25
0,05
0,01
0,52
0,25
Page 6 / 10
CONFIDENTIAL
TARGET
TOTAL
CONSOLIDATED
AMOUNT, FOR THE
WHOLE DURATION
OF THE FUND
Friends &
Money
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%
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
63
- outside services
- internal services
- overheads
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
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
EXPENSES
- outside services
- internal services
- overheads
-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
- final catalog value
LOST GOSPEL
IBN BATTUTA
ROAD TO DESTINY
FILM 5
FILM 6
FILM 7
FILM 8
FILM 9
FILM 10
FILM 11
FILM 12
FILM 13
FILM 14
FILM 15
-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
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
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
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
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
EXPENSES
- outside services
- internal services
- overheads
-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
LOST GOSPEL
IBN BATTUTA
ROAD TO DESTINY
FILM 5
FILM 6
FILM 7
FILM 8
FILM 9
FILM 10
FILM 11
FILM 12
FILM 13
FILM 14
FILM 15
-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
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
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
08/01/2009 - 16:29
#####
Page 9 / 10
CONFIDENTIAL
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
DEPENSES FRAIS GENERAUX
- outside services
- internal services
- overheads
-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
LOST GOSPEL
IBN BATTUTA
ROAD TO DESTINY
FILM 5
FILM 6
FILM 7
FILM 8
FILM 9
FILM 10
FILM 11
FILM 12
FILM 13
FILM 14
FILM 15
-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
-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
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
08/01/2009 - 16:29
-31 -35,8 -13,8 -24,6 -22,8
-1,6 -5,79
120,85
Page 10 / 10

Oasis Films Fund - Forecast Pictures

Transcription

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