January 4, 2008
Dear Go West Team;
We had a surprising development this morning. I spoke by telephone to Ian Christensen, Vice President of Pure Touch Media, whom I met through Film Gravity. This is our second conversation -- the Pure Touch studio facility is in Phoenix, Ariz (you can see all this at their website) and Ian has relocated to Hollywood to start building a facility there.
He evinced interest in FRUIT OF THE POISON TREE and DEATH OF A SHINING STAR, and he's reading both at this time. But I also told him about GO WEST and what we're trying to do with it, and this morning he surprised me by saying he has worked extensively in Prague, Austria and Germany, has already discussed the project with the President of the company, and wants to handle the European production of the film.
You'll be getting my letter to him following this one; he knows the whole story and will be reading the script this week, he's offered to fly to San Francisco next week to meet with us about the production.Frank, you might let your people at Top Cat know about this; Ian said he would like to talk to them soon as well, and with Rob Simpson. This came out of the blue, and could be just what we're looking for.I will keep you posted!
Blessed Be, Debora
Dear Rob;
We are still hoping to work with Vision Angels in 2008. It was a disappointment when Top Cat Productions decided they couldn't afford the investment in GO WEST, YOU IDIOT!, but Ian Christensen at Pure Touch Media is now coordinating the production and he has other ideas about that, so hopefully we can pull it together for the March application deadline.
I haven't heard from Chad Davis at ScriptBroker lately; the last I heard they were trying to get their investors back after the debacle with Jetta Consultants. We have about a half-dozen production companies interested in our other true-life scripts, FRUIT OF THE POISON TREE and DEATH OF A SHINING STAR. I heard from two of them this morning, so I'm hoping to get work on those started this month, with the March funding deadline in mind as well. I just wanted you to know we haven't dropped out...still working on it!
Sincerely, Debora Hill
January 9, 2008
Debora,
I have been talking to some directors and producers that might be good for the part forGo West You Idiot. I do have a question. Do we have a budget in place that a Line Producer has prepared based on the script? If not, I have several people who are more than qualified to get that accomplished. We are going to need it at some point and it is a prerequisite in the pre-production arena for lining up key personnel. Do you have a budget for this? Or is this coming out of the funding from Vision Angels. I would guestimate it would cost about $5k.
Sincerely, Ian Christensen
Ian;
No, we don't have a budget at this point. We never saw the one that was prepared in Europe; the one that was prepared here was woefully inadequate to the job, as I explained to you before. Now, regarding funding. There is none at this point. We are only the writers; everything required in the way of monetary needs will have to come from the production companies and be reimbursed from Vision Angels funding. I know a budget is required for submitting to Vision Angels for funding; we just don't know how to accomplish that -- that's why we need you guys!
Blessed Be, Debora
January 10, 2010
Dear Rob;
We are still hoping to work with Vision Angels in 2008. It was a disappointment when Top Cat Productions decided they couldn't afford the investment in GO WEST, YOU IDIOT!, but Ian Christensen at Pure Touch Media is now coordinating the production and he has other ideas about that, so hopefully we can pull it together for the March application deadline.
I haven't heard from Chad Davis at ScriptBroker lately; the last I heard they were trying to get their investors back after the debacle with Jetta Consultants. We have about a half-dozen production companies interested in our other true-life scripts, FRUIT OF THE POISON TREE and DEATH OF A SHINING STAR. I heard from two of them this morning, so I'm hoping to get work on those started this month, with the March funding deadline in mind as well.I just wanted you to know we haven't dropped out...still working on it!
Sincerely, Debora Hill
Hello, Ian;
Sorry to overwhelm you with this, particularly after last night's barrage of communication and information, but...We have a few other production companies interested in working on DEATH OF A SHINING STAR and/or FRUIT OF THE POISON TREE. I heard from two this morning and have sent them the information about applying for funding. Are you still interested in either or both of these scripts, or would you like to concentrate on GO WEST?
Sincerely, Debora Hill
Deb,
I would be available for any and all of the scripts. It has been a pleasure working with you so far and I plan to continue our relationship by helping you produce many movies here in the future.
Ian
Deb,
I might have somebody to finance the remaining 10-20% in cooperation with Vision Angels. He is asking for more details. I reckon the best would be if he can communicate directly with Rob Simpson to clarify the finance structure. I don't know if this will work. But we should give it a shot. There's nothing we can lose. He is asking for Business Plan, Cash-flow projection, LOI, CIS, Board Resolution ... Stuff that's usual in project funding but we don't have anything like this. Can Rob send him email and explain how it's working and what we have at the moment? His name is Mark Williams. Please ask Rob to copy me. Thanks. His email is attached to this message.
Frank
Frank and Scott;
Ian Christiansen of Pure Touch Media will be the Production Coordinator for Go West and two of our other scripts, DEATH OF A SHINING STAR and FRUIT OF THE POISON TREE. A number of producers have indicated interest in these; if Ian wants to bring them into Go West perhaps he will. He indicated to me today that he will be contacting the people we have sent him thusfar, and Pure Touch has some investors; he's going to be talking to them as well. I like him being fairly close to us; one of the problems with ShadowHawk was that they were so far away -- also, Tom has verified Pure Touch's credentials and they do have an impressive studio setup in Arizona. Basically, Ian will be talking to a lot of people in the next week to put together a production team for Go West. Frank, please send him anyone you feel could help with the investing part of this. I will keep everyone apprised of all developments; I don't want anyone left in the dark, as happened with ShadowHawk.
Blessed Be, Debora
Hello again, Ian;
A lot's going on, I know...I wanted to let you know what else is going on. Chad Davis and Ahmed Lucan are producing our script THE DANGER CLUB (there is also a novel). They have already talked to Rob Simpson and have the budget and executive summary ready, but they lost their investors when the deal with the Structured Funding Group didn't work out. They have been trying to get them back again; don't know how they're doing. Fred Cox of NoisyFred Productions (UK) is writing the music and lyrics for our children's film, THE GREAT RUBBER DUCKIE ADVENTURE (there is also a stage version). I haven't done any other work on this project yet; haven't figured out how to market a script for a children's movie yet! So in the future, you might want to jump in on these as well...but I don't want to weigh you down toooooooooo much -- just how many assistants do you have??? Talk soon!
Blessed Be, Debora
January 15, 2008
Debora,
Ok, here is the plan. We get this movie up and running before it is too late. Step 1- Get a commitment from a director and producer for the project. Step 2- Secure the funding. Step 3 - finalize budget, schedule, and get distribution agreement Step 4- Go Into pre production. Step 5 Produce the film. Step 6- Edit the film. Step 7- Make millions of dollars and we all get out of the poor house.
*Side note- Vision Angels has committed to $27M and they are under the impression that the film (GO WEST, YOU IDIOT!) costs $30M. If we can actually get the budget to come in at $27M (which I think we can) We can have somebody put up #3M and get it back after the $27M comes in. It might take some thin line walking but, might be a possibility.
Ok, I have just had a dinner meeting tonight with some really great people well connected in the industry. Christine Bonnem and Dawn Snyder. (Please look them up on IMDB as well as the rest of the people listed here) Basically, here is the story. Now is the time to get movies produced in Hollywood with all the A list directors and producers due to the writers strike. They are busy, however they have much more time available now than ever. We have to strike now. I have sent them the scripts and we are meeting this weekend to strategize and put a pitch together for them. We are scheduling meetings with 7 heavy hitters. They are going to call in all the favors for us. However, we would need to use them on the project. Christine is a location manager. Dawn is a production designer. As you can see, they are well qualified for this job. (However, they are under the impression that the funding is 100% secure. I am not going to disclose that info until we get a commitment from a producer and or director. With these people onboard, it would be much easier to secure the additional 10%)
Ok, time to list all the producers and directors. 1) Greg Mottola - Directed SUPERBAD and ARRESTED DEVELOPMENT. He is the most sought after director in Hollywood. He has declined 3 offers that I know of from Sony and Paramount. He is only interested in working with independent companies like us. Score!2) Debra Greco-Bergman- She is the head of production for Columbia and Sony. I will see if they are willing to put up the additional 10% if this goes well. 3) James Franco- Actor Director, writer. Don’t know much about this person yet. 4) Ken Kwapis - Director. 5) Dara Weintraub - Producer for SUPERBAD. If we get her with Greg, we have hit a home run. 6) Joel Carnahan - Director. 7) Preston Whitmore - Director.
As you can see, there is a lot of opportunity here. Everybody good is looking for work. Guess what? We have good work for them. Feel free to pass this email along to Frank and Sandra. I can come up to SF if you would like. Just let me know when. In the mean time, I am just going to work on getting support above the line.
P.S. I am more anal about my punctuation knowing that you are a literary scholar. So, my emails take longer to create. Pretty funny huh?
Sincerely, Ian
Hello, Ian;
OK, wow. This was a helluva letter to get first thing in the morning! You are one determined little bugger...love it! If possible, could you come up early next week, or anytime next week and we could all sit down and go over everything and all the possible projects -- there will be several more letters coming to you this morning and then you'll see why I felt like a hammer hit me in the head! I'm like Elasta-girl from The Incredibles! This all looks great --keep going and let us know what you need! Here's what we need --operating capital! I don't know if I can buy back my house or even, at this point, if it is what is going to be best for us. But, we do require something --an advance, a loan, whatever you can arrange against what is happening, and I know that's a lot! So...think on that, wouldja?
Should we draw up an agreement between Lost Myths Ink and Pure Touch? Or you personally? Please let us know what you think about this...do you need something that officially states that you are our Production Coordinator? Again, let me thank you so very much for the offer of your house in Arizona! Are you the nicest guy alive? If so, what are you doing in Hollywood???
Blessed Be, Debora and the Lost Myths Inkians
p.s. literary scholar! hehehehehe
Hi Frank,
Yes, I am still interested in getting involved. In terms of assisting with raising funds out of Australia, my previous comments are still relevant. If the amount to be spent in Australia would be over $15 million then we could look to getting 15% of the Australian spend. However, I assume it would not be at that level so if we were able to qualify the film as an official co-production it is possible we could raise 20-30% of the Australian spend. On the other hand, depending on who the creative talent involved were (ie their nationality) then it could be possible to qualify the film as Australian without the need for a co-production. We could possibly shoot the majority of the film here with some 2nd unit material in Europe. Assuming we can spend 80% of the budget in Australia we could look at raising 30% of that 80% here which would amount to 24% of the budget. If you want to proceed to explore these ideas let me know more details of the funding and where we are at with the choice of creative talent etc.
Regards, Don
January 19, 2008
Hello, Rob;
Ian Christensen is now working with us as our Production Coordinator (I may have already told you this). He was wondering if you would be willing to work with another funding company in Hollywood for them to put up part of our financing for several films and for you to put up part. Is this feasible?
Thanks much!
Sincerely, Debora Hill
Debora,
Possibly, as long as our loan was paid back first before other investors as that is the Trust's terms.
Thanks, Rob
FIRST WEEKLY REPORT/Vision Angels and Pure Touch Media
January 21, 2008
GO WEST, YOU IDIOT!
Currently being read by Daniel Zuta of Zuta Productions
He can film in Europe and Australia
Can he put in the last 10%? Doubtful
Don Reynolds of Silver Screen
Interested in putting in last 10% conditional on Australian filming
Will be available for telephone meeting Tuesday the 22
Beyond Entertainment and Beckers
Australian production companies that have evinced interest in the past
Unknown at this time regarding current contact by Ian
FRUIT OF THE POISON TREE
Ralph Figaro of Beholder Films wants to produce
Can he put in the last 10% Doubtful
THE DANGER CLUB
Chad Davis and Ahmed Lucan of ScriptBroker want to produce
Can they put in the last 10%? Unknown
THE GREAT RUBBER DUCKIE ADVENTURE
Music and lyrics being written by Fred Cox of NoisyFred Productions
Bill Recinos of ShadowMotion Productions interested in production
not committed as of this date
DEATH OF A SHINING STAR
Debora sent letters to the network on Friday the 18th regarding interest for 2008 production
REGARDING ALL
LMI had a letter last week from Rob Simpson at Vision Angels
They still want to work with us in 2008;
Rob said he will assist Ian any way he can in the funding process
The first quarter deadline for funding application is March 20th; we're aiming for that
Ian had several meetings over the weekend regarding financing/production/staffing a team for the scripts with the current emphasis on FRUIT OF THE POISON TREE and THE DANGER CLUB.
At this time our biggest focus is on securing working capital for the continuation of all these projects. Please send me any updates for the 1/28 weekly report by Sunday the 27th
We submitted our first funding proposal to Vision Angels on the 25th and got word that Rob submitted it to the fund on the 26th. This came from Ian the same day.
Dear Team,
I just spoke to Rob. He did get the info from Frank and did send it off to the Hedge Fund. We should have an answer by Friday. If we do not, then I will call him again. I also asked him if he had a chance to look at the entire package we submitted and he briefly looked over it. He does has a girl in his office that went through it with a fine tooth comb and did not see anything that was missing or out of the ordinary. So, it looks good from Vision Angels so far.
Ian
SECOND WEEKLY REPORT
January 28, 2008/New Items Only
Overall: Ian has decided to look for financing in Los Angeles starting with The Danger Club
Beyond Entertainment and Beckers
Australian production companies that have evinced interest in the past: Unknown at this time regarding current contact by Ian
Andreas Gruenberg: German producer
He was interested in working with us during the ShadowHawk debacle: I will contact him his week
THE GREAT RUBBER DUCKIE ADVENTURE
Fred has established a website with the music in-progress; access is limited to LMI as of now
Bill Recinos sent me a report yesterday; Duckies not suited to animation;he feels it should be live action and computer generation;
I had a letter from NoisyFred Productions this morning and, like us, this is how he saw the film as well. I will be marketing in that direction.
ONE NIGHT IN SAN FRANCISCO and MURDER AT WORLDCON
1/24 Elizabeth Dominguez of Acorn Productions interested in these
either with Vision Angels or direct buyout
DREAM LOVERS and THE CHOCOLATE SPY
Kurt Gustafson reading as of 1/15; he has financing in place
January 29, 2008 to ScriptBroker
Gentlemen;
Our new Production Manager, Ian Christensen, has received a 100% financing offer for LMI scripts from Rob Simpson of Vision Angels. The film must have a budget of over 10 million -- THE DANGER CLUB qualifies.
I haven't heard from you in a couple of months. We need an Executive Producer to submit the budget, executive summary and timeline to Vision Angels -- you already have some of this in place; do you feel ScriptBroker is in a position to take on the role of Executive Producer of THE DANGER CLUB?
If you do, please contact Ian immediately and arrange to meet with him. He has opened a Pure Touch Media office in Hollywood (their studios are in Arizona). His email address is: ian@puretouchmedia.com and his telephone number is: 602-796-2262. The studio number is: 480-539-0846.
Thank you.
Blessed Be, Debora Hill
An interesting short note from Michael Currie on the 28th of February.
Hello Debora,
Congrats on your 100% financing. If you want your 100% to go stretch farther please let me know maybe I can help. Hey -- I wanted to let you know I am constantly being bugged by Larry W. He is a real pain in the ass.
I hope all is well, Michael
And that was why I never communicated with Larry Withowski again.
***
I started to hear from people again, who were excited about the possibility of 100% financing for our films. The first letter was from Chad Davis of ScriptBroker.
Debora,
How are you? Thanks for writing us as we are very excited to hear the great news. We would love to talk more about this newfound progress in depth tomorrow in the AM if possible. Are you available? We still maintain the utmost interest in your project. As you know, we have been undergoing restructuring as well and this opportunity would fit right in nicely should everyone agree. I guess we can talk more tomorrow and work over a few details. We look forward to hearing about such great new.
Wishing the Best, Chad Davis
THIRD WEEKLY REPORT
February 4, 2008
Overall: January 28th Rob Simpson offered 100% financing on films budgeted at over 10 million u.s.
GO WEST, YOU IDIOT!
Currently being read by Daniel Zuta of Zuta Productions
He can film in Europe and Australia
Debora wrote to him on Feb. 3rd regarding Exec. Producer slot
Feb 4th Deb received letter from Lance Hool of Silver Lion Productions. Currently filming THE CUP in Dubai, Dublin and Melbourne -- definitely interested
sent script
Deb wrote to about half of network contacts on Feb 3rd regarding funding situation; will finish this week
FRUIT OF THE POISON TREE
Ingo Storm (currently in Malasia filming Jungle Spirit)
Very interested; read script over weekend
Will contact Ian on Feb 4th.
Ralph Figaro wants to work on production.
Will be in Hollywood Feb. 15th
THE DANGER CLUB
Chad Davis and Ahmed Lucan of ScriptBroker want to E.P.
Waiting for Ian to send collaboration agreement
Working on budget, Executive Summary
ONE NIGHT IN SAN FRANCISCO and MURDER AT WORLDCON
1/24 Elizabeth Dominguez of Acorn Productions interested in these
either with Vision Angels or direct buyout
DREAM LOVERS and THE CHOCOLATE SPY
Kurt Gustafson reading as of 1/15; he has financing in place
***
In February there was another one of those situations that teaches us something through someone being an asshole. In the film industry, there are many of these ‘a-ha’ moments – far too many, as far our experience goes. This particular asshole was Jenni Gold of Gold Films. I received a letter from her on the 10th of February.
Dear Debora,
We received an e-mail from you pitching "Death of a Shining Star." In this e-mail you mentioned a 90/10 deal with a fund called Vision Angels and you said that it was backed by a family trust. This caught our attention because we are currently doing business with a fund of a different name that is also 90/10 and also backed by a family trust. In the film business there are hundreds of scams and I'll never understand why. I can't understand what thrill a film fund scammer gets out of it pretending to be able to fund films unless they find a way to steal the 10%. It, of course, worries me to hear of another deal which is extremely similar to ours because it make one wonder if this is just the latest scam going around. I truly hope that both your fund, Vision Angels, and mine are both legit. However, I'd like to discuss it with you just to make sure. Please call me at the number below or e-mail me. I look forward to talking to you.
All the best, Jenni
Hi, Jenni!
Well, I know Vision Angels is legitimate, but we never wound up working within their 10$ deal because in January we hired a Production Manager and then on the 28th we were offered a 100% financing deal from Vision Angels. They do take a higher percentage of the film, but on one of our films, GO WEST, YOU IDIOT!, it's a 40 million u.s. budget with filming in Eastern Europe and Australia, and Vision Angels is still interested in financing it...we have two films that are going to be submitted by the end of February, GO WEST and THE DANGER CLUB.
Would you like to talk to our Production Manager? His name is Ian Christensen, and he's with Pure Touch Media, based in Arizona but he is in Hollywood now setting up an office there. His phone numbers are: 310-295-1108 x702 (office) or 602-796-2262 cell. He might be able to shed more light on how the process is working...I'm not sure how the financing company would be able to steal your 10% investment...I believe it is kept in an equity account until the rest is funded; at least, that's how it works with Vision Angels.
Sincerely, Debora Hill
Hello Debora,
Thanks for the response. Yes, I'd love to talk to you or your PM. I will give him a call. If you don't mind me asking why are you pitching your project via e-mail if you already have 100% of the funding. What is it that you are looking for?
All the best, Jenni
Hello again, Jenni!
Here's the story; we have this deal with Vision Angels, and we need production companies! We have one company in Los Angeles who are going to produce our action/comedy THE DANGER CLUB and we have an investor in Australia who is going to become the Acting Producer for our international production, GO WEST, YOU IDIOT! But we don't have anyone who has come onboard to produce DEATH OF A SHINING STAR or our environmental drama FRUIT OF THE POISON TREE, although there are a couple interested in the latter.
Bottom line here, we are writers! This has come to us in a rather strange, roundabout way, so we're basically looking for colleagues to work with. But, we have to be careful as well, because we lost pretty much everything we had in a failed deal with a start-up Irish film and distribution company. So please do call Ian, and if you think you would be interested in working with us, let me know and I'll send you the script.
Thank you.
Sincerely, Debora Hill
Ian;
Jenni from Gold Pictures will be calling you. They're part of Universal Studios and I'm hoping she'll be interested in DEATH OF A SHINING STAR. Just a head's up...talk us up, wouldja?
Cheers, Deb
Hello again, Jenni;
It was good to talk to you this afternoon. Were you able to talk to Ian, and did you ever get to the office? I am sending you short synopses for the scripts we discussed -- if you send me the releases for United Artists tomorrow please cc Ian. Also, you said you had been producing thrillers lately -- so I am attaching synopses for two more scripts, entitled MURDER AT WORLDCON and SUPERGIRLS.
Hoping to talk again soon,
Sincerely, Debora Hill
February 12, 2008
Hello, Ian;
I haven't spoken to you in about a week -- just wondering what's happening. Frank said he sent you the draft of the Executive Summary; have you had a chance to work on it? What do you think about it? I sent the collaboration agreement to Chad and Ahmed at ScriptBroker a week ago today, and Ahmed wrote back to say he got it and would get back to me in a couple of days...but nothing yet.
Jenni Gold told me when I spoke to her this afternoon that she was going to send me two releases -- Gold Pictures is part of United Artists, so even though she realizes we should not have to do so in this situation, they require a release in order to read scripts. Did you have a chance to talk to her today as well? You told me this morning that you had a very busy day today -- do you feel that your other business is taking up enough of your time now that you don't have time to work with us any longer?
Sincerely, Debora
Hey Deb,
No, it is not taking me away from my work here. In fact it is all the better because I need to put together a team on people that can help us out on the production end. That is all I have been working with in meeting with other production companies, producers and directors.
Jenni called and left me a voice mail. I will call her tomorrow morning. The paperwork is already sent off to Rob a couple of days ago. I talked to Rob today and re-sent the paperwork again today just to make sure he got it already. We should know by the end of the week on that.
I am meeting with a casting director tomorrow. Finally, we can get some talent!!!
Cheers, Ian
On February 19th I was given three months to move out of my house in Cotati, California. While this was illegal, the German bank that bought my little house at auction had somehow managed to pay someone in the Santa Rosa Superior Court to not deliver a vital document to me – this meant I did not know when I was scheduled to appear in court, and never had notice that the sheriff would be taking my house.
Sandra and Tom and a group of friends including Jasmine, her boyfriend Wyatt and a number of their friends helped me pack up everything. A lot of it went into storage in a friend’s basement, a lot more went to Wyatt and Jasmine, who had moved into a little townhouse together, and I moved to Tom and Sandra’s little house in Santa Rosa. Unfortunately, Sandra’s extended illness and forced brain surgery and Tom’s hoarding tendencies had made the house almost uninhabitable. Tom was now working as a chauffeur, so Sandra and I tackled the house, cleaning out the spare bedroom first. I had completely lost my momentum and most of my energy, but I forced myself to make some progress everyday. My computer was inaccessible for about a month after that, and I was much too depressed and dispirited to do anything except throw out garbage, so Tom tried to keep things going. Add to that, the day after we managed to get everything moved, which required something like ten or twelve trips down to my friend’s basement with the ‘kids’, Sandra and I succumbed to a bad flu. Wyatt and Jasmine already had it and still spent those three days, ten hours a day, helping me salvage my belongings. Ian’s responses the same day are in bold type.
February 22, 2008
Hello, Ian;
At this time we don't have access to Debora's computer, and some of the information in her OutLook Express. I have a few questions:
You said Rob Simpson accepted the paperwork for GO WEST and submitted it to the fund. What is the time frame for their decision? They have responded and sent Frank some paperwork to fill out for more info.
Have you spoken to Daniel Zuta? A week ago he contacted us and said he was back from the Berlin Film Festival and ready to proceed with GO WEST. We, Scott Ferguson and Frank will need to sign a Writer's contract with the Managing Producer and we want to do that as soon as funding is approved, so everyone can be paid when funding is available. I have spoken to Daniel, but, not in a while. I will have the proper paperwork ready when the funding comes in.
Have you spoken to Chad and Ahmed regarding THE DANGER CLUB? We were hoping, since their paperwork is essentially ready, to have this project submitted to Rob by the end of February, but they haven't even signed the collaboration agreement yet. We had a note from Ahmed at the end of last week --he had a death in the family and would get back to us about the agreement this week, but neither of them has done so. I have not heard anything from them since the collaboration agreement. He seemed a little difficult to deal with when I spoke to him on the phone. So, who knows at this point what their intentions are.
Have you heard yet from Jenni Gold or Shalene Portman? Both are interested in FRUIT OF THE POISON TREE; Jenni is interested in THE GREAT RUBBER DUCKIE ADVENTURE for Gold Pictures; Shalene in DEATH OF A SHINING STAR. I spoke to Jenni and we are going to meet early next week. She does have some good resources that we can utilize.
We are attempting to keep things moving and progressing here, but need regular input from you on how you are progressing as well.
Sincerely, Tom
***
Thanks, Ian -- regarding #2 below -- Debora has already written a contract for the writers' fee; basically we are requiring the entire fee to be paid as soon as funding is available, since we found the funding source, rather than the normal method of 1/3 or 1/2 at a time. It will be the same for all films funded through Vision Angels. Do you want me to send it to you now?
Tom
On February 26th Ian Christensen sent us a draft producer’s agreement for himself regarding GO WEST, YOU IDIOT!. We signed it and Tom returned it the same day. Everyone involved at that point in THE DANGER CLUB, including Ian, signed a collaboration agreement on the 28th.
WEEKLY REPORT
1. BY Debora
March 3-10, 2008
GO WEST, YOU IDIOT!
Entered for financing, Hedge Fund to decide on final approval this week
Daniel Zuta evinced interest in becoming the Managing Production company -- Zuta Productions
THE DANGER CLUB
Chad Davis and Ahmed Lucan of ScriptBroker want to E.P.
Collaboration agreement signed by all parties
Ahmed working on budget revision and other required docs
FRUIT OF THE POISON TREE
Jenni Gold of Gold Pictures and Shalene Portman reading with a view to production
ONE NIGHT IN SAN FRANCISCO and MURDER AT WORLDCON
1/24 Elizabeth Dominguez of Acorn Productions interested in these
either with Vision Angels or direct buyout
DREAM LOVERS and THE CHOCOLATE SPY
Kurt Gustafson reading as of 1/15; he has financing in place
2/28 Ben Galera reading THE WHITE LAMBORGHINI and MURDER AT WORLDCON
He is in Los Angeles and will arrange a meeting with Ian.
Update From Ian Christensen, March 3rd.
I just got off the phone with Rob. Apparently he submitted a billion dollar real estate deal to the hedge fund recently. Thet hedge fund is currently working that deal asz it was supposed to close last Friday. Apparently with all the lawyers working on it, it has been taking longer than expected. They are wanting to close that real estate deal before they continue of the movie fundings. We are immediately following. So, we have to wait another couple of days of so. Ill call him on wed.
Cheers - Ian
On the 13th of March Ian received a somewhat complicated questionnaire from Rob, which had to be filled out with everyone involved listed by position. Over the next few days that was accomplished and returned to Rob. The entire process was complicated by the fact that Ian was forced to move back into his house in Arizona. He was in bad shape financially just as we were, having completely overextended himself a couple of years earlier and lost a restaurant, a wife and a custom-designed house over it. Now he was left with one smaller house (I should have been so lucky, I thought at the time) that was rented out. He lost his roommates at the condo in Los Angeles earlier than expected, so he was headed back to his little house in Phoenix. We got this letter from him on March 15th.
Dear Debora,
My mind has been swirling lately. I am actually moving back to AZ this weekend. I am currently co-oping with some other people here and they are moving to a place that I will not be able to afford. I am not able to get my own place because my credit is so bad. I was hoping that we would have our movie funded before I would have to move out. I still would like to work on it when it does fund even though I will not be in LA locally. I guess it doesn’t really matter because the production will be done on location anyway. In which case I will be able to travel to that location. So, I guess we are all going through some difficult times here and we are all trying to do the best we can. I do love working with you as well as Tom, Sandra, and Frank. I do want to continue my working relationship with you guys in the future. And I hope that you will want me to be a part of this as well in the future.
So, unfortunately, I had to cancel my meetings with Ben and Jenny Gold for next week. I do plan to speak to them on the phone to get better acquainted with them to see if their involvement can be supportive.
I love you guys and thank you for your support so far.
Sincerely, Ian
Dear Ian,
Oh, shit, oh shit, oh shit!!! We thought you were settled until the money came through -- you poor baby! Wow, do we understand...write to Jenni and Ben and I will do so as well, and there's no reason we can't still bring them into the fund and then you can meet with them later, or we all will, once Go West is funded.
Are you planning to stay in Phoenix during the production of Go West? As you said, it's not important for you to be in Los Angeles for that, but once funding comes through perhaps you could go there for a few days at a time to meet with people IF they are truly serious about coming into the fund. Also, once Danger Club goes into the fund perhaps Chad and Ahmed will need you there, or perhaps not until it starts filming, which will be here in Northern Cal. Anyway, I am so very sorry -- but we'll get you back there! Write when you get home and settled in...
Blessed Be, Debora
On the 20th of March Ian had a short note from Rob Simpson saying that everything had been submitted to the trust for funding, but that the trustees were now having second thoughts about the film fund route. Apparently the Writer’s Guild Strike was scaring everyone in the industry, even those only peripherally involved. But, the renewal of the contract was scheduled for June and we wouldn’t be able to begin filming on GO WEST, YOU IDIOT! Until at least September. Also, because we would be filming in Eastern Europe and Australia, we were of the opinion that the strike in the u.s. shouldn’t affect us that much.
March 23, 2008
Dear Debora,
I just got off the phone with Ben Gelera. He has been working on some smaller budget films recently and in the past. However, he does have some good experience as a assistant to the director. He also has some line producing capabilities for budgeting and scheduling. He is very eager to work with us and I do think that he can bring some good things to the table for us. He also does have many resources for camera crews, directors, DPs and more. When we get funding in. I would like to get an office set up for 3 months for pre production. We can bring him in to help us out at that time. I figure that he can help us out on the first film that gets funding. I would like to get a team of people that we can work with, so when we get movies that fund, we can use the same crew for pre production, production, and post.
Thanks, Ian
Hey, Ian,
This sounds like a great plan. Have you spoken to Shalene Portman yet? She said she was going to be contacting you and Rob this week. She just finished a film that will wrap on April 15th and would like to work with us as well.
Scott Ferguson called me today and said he spoke to someone in Hollywood about the actor's strike and they are now predicting it won't happen. Hopefully Rob will pass along our suggestions and such to the fund; he did say last Friday that he expected them to make us the offer this week. Are you planning, after GO WEST and THE DANGER CLUB, to produce one of our films yourself under your new Gemstone Pictures? That might work if you are able to assemble your production team as you outlined in your letter and perhaps, if you set up the office for the pre-production of GO WEST, you can keep it and use it for THE DANGER CLUB and future productions...ya think? Anyway, waiting for word...as you are! Let me know if you talk to Jenni or Shalene...
Blessed Be, Debora
Deb,
We are going to need an office for pre production and we can use that for all of our films. It would be easier that way. Yes, I would use Gemstone films. And yes, I have access to production teams just the same as being with Pure Touch Media. I have the option to use them as well but I am not obligated to which makes it easier for us to use multiple production teams. That is what is going to happen with Go West because it is shot in 2 different continents.
Shalene left me a voice mail but did not leave her number. Do you have it so I can call her back? I also left Jenni a voice mail and I am waiting for her to call me back.
Cheers, Ian
The end of March brought some definite disappointments with Rob Simpson; what would be the first of many. The first came from Frank, when it really should have come from Rob.
Deb,
Just got off the phone with Rob. Apparently, the original hedge fund did decline our submission. That is why he submitted it to the Israeli equity fund. I asked why he did not send it to all 6 different hedge funds. He told me because that are only doing real estate deals now and not entertainment. The only fund that was doing entertainment has in fact declined Go West. We are in a holding pattern with the Arab equity fund and we may know something by the end of the week. I am disappointed by Rob’s follow up and communication on the progress and status of the submissions. I do think that we should explore other opportunities for funding. Lets all start to make some calls to see what we can uncover for our own funding.
Frank
Rob;
We are more than a little confused about what is going on. What, exactly, is the deal with the Israeli fund? Will they also do the 30-day funding? This is the only way we can operate at this point. Ian indicated to me that they are not a hedge fund but rather a private consortium of billionaires who want to invest in films? Also, is there any point in submitting The Danger Club to the hedge fund if they have already declined Go West? Chad and Ahmed will want to know why that film was declined, don't you think?
Also, Ian has been talking to a couple of other producers in Hollywood, including Jenni Gold, who has offered us the use of her facilities at Universal Studios and is also interested in producing one of our scripts. Where does this leave all these people? We are seriously looking for funding for a number of projects -- do you feel the hedge fund is still viable, or would your Israeli billionaires work for us?
We don't honestly know what to do at this point. Ian is considering going back to work for Pure Touch Media in sales again, which he really doesn't want to do. What we need to know is whether there is a realistic chance that this may go forward soon. If not, we have no choice but to shut down operations entirely.
Sincerely, Debora Hill
We apparently hadn’t yet learned enough from our debacles with ShadowHawk and SFG/Larry Withowski, because March of 2008 was when we should have cut ourselves loose from Rob Simpson and Vision Angels. But he was more personable and persuading than Larry Withowski, and appeared to know what he was doing. We never had an explanation of why GO WEST, YOU IDIOT! Was denied funding through the first fund, except that we had not yet attached any ‘a’ list actors.
Deb,
I get the same emails from other production companies but you must understand with the impending SAG Strike in June (whether it happens or not) and the recession, many of these investors are becoming extremely selective and it makes my job even harder. I pushed hard with GO West -- very hard -- but they declined and they never specify as to why they only speak in general terms and simply said it was not right for them, so I have submitted it to the Isreali Group and we will see what they say. It could easily take two weeks before they arrive at a decision. I understand your needs and I wish I could be more helpful. I am not a Rainmaker or a Miracle Man, I have these well nurtured, top tier investors and they make the final decision. I have some other conduits that I will try but at the end of the day, it's not my decision to make.
Thanks, Rob
Rob,
We're not blaming you. We, Ian, Frank, everyone involved in this is really up against the wall. But I do understand your position as well -- I know you're doing your best. So, what is your advice on The Danger Club? Do you want Chad and Ahmed to submit now? Do you want to send it directly to the Israelis? We were wondering if they could be a multiple-fund for us -- perhaps it would be important to them to know that Ian is going to be managing several productions for us with different companies.
Also, I heard from Jenni Gold and Shalene Portman today. Shalene is interested in producing my script DEATH OF A SHINING STAR -- she wants to talk to you and Ian this week. Jenni Gold is interested in FRUIT OF THE POISON TREE and our family/chidren's film THE GREAT RUBBER DUCKIE ADVENTURE, and she is going to be discussing those with me this week.The bottom line is that we need funds to do this...any of this.
I know you are doing your best...please let it be good!
Blessed Be, Debora Hill
April 4, 2008
Debora,
Had a good conversation with Sharlene. She has a ton of contacts in LA that would be good for any of the projects. She could bring in a casting director that specializes in international sales. She also has connections to international distribution companies. This would be good for us to follow up with to find out what kind of international sales we would have for Go West. These companies are: EBS International, New Films Intl., AFM, Kathy Morgan Intl., Regent Entertainment, and Unistar. If we get good international sales estimates, the funding source would have a better idea of projected revenues. So, let’s call them and see what we can get. I also sent her Danger Club because it is the type of film that is right up her alley. The main focus right now is getting funding. So, let’s focus on that. No money no film.
Cheers, Ian
Deb,
The Isreali Group did a turn around and voted by committee has been one that is now only financing film slates with A-List and are extremely selective. Look, financing for films is drying up and every one knows this so if you can't bring in 20%, which is low by most investor's standards, I can keep looking for you but if you had the 20% in, we could see funding in 30 days. It's your choice to make.
Thanks, Rob
PS: If you have any film slates that are over $300M and have all A-List and Distribution and 35% in, the pension fund will finance the other 65% in 45 days.
So now we were back to the ‘bring in money first, we’ll use it to leverage the remaining money required’. ‘We’ll take half the equity in the film, we want a heavy interest rate and we want to be paid back all our money before anyone else gets any’. But we kept trying, this time Frank had some ideas (which should have been frightening, given the past). But he had a connection to a company in London that was interested in putting in the remainder of the funding we needed; he sent him our material. And also Daniel Zuta, who at that time was under consideration as the Managing Producer for GO WEST, YOU IDIOT!, told Frank he could bring in 20% of the financing required.
Deb,
I should have response from them this week. The director was away last week and his PA said they come back to me this week. If they are not able to finance the project then I ask them if they can bring 20%. The other option might be Daniel. When spoken to him about a month ago he said he can bring that kind of money. Ian, can you please talk to him? Daniel is not able to have the conference call so early. You talk to him first and then I will talk to Ian.
Frank
April 15, 2008
Deb,
I had a chat with Daniel. As he said earlier, he is able to bring the remaining 20% but it is coming from the government and it will take about 3 months to put together. Also Rob's finance company might require hard cash from the other side before they move on (they usually do) and this could be a problem with the government financing.
Ian, can you please talk to Daniel today and let him know the terms of Rob's investor? Probably the best would be if Rob & Michael Currie can come to some agreement. It would be definitely faster. Daniel is available later today. He is going out 4:30pm his time for about a hour and then he's back in the office.
He also told me he met with his Australian associates in Cannes and they want to be involved.
Frank
Hi, Ian;
ok, I left messages at all three of Chad's numbers. Rob asked me again about the budget and final draft of the Business Plan for The Danger Club. Now Frank has asked for them, as he is considering presenting our other films to Prescience (London investors) in addition to Go West, for a fee. Michael Currie saw the budget last year, but now it will be changed, and he hasn't seen the rest of the package at all. I really am in a quandary about this; what on earth could be going on with those two?
Debora
April 16, 2008
Hello, Rob;
Ian has the budget and Executive Summary/Business Plan for THE DANGER CLUB and is reviewing it now. Frank has a possible funding source in England; he will be speaking to them this week, and we're hoping they will also be interested in going in with Vision Angels on a percentage of the funding for GO WEST, YOU IDIOT! He will also present THE DANGER CLUB to them, but as they are in England we're not sure if they will be willing to fund even part of a U.S. production.
I have written to Michael Currie at Rushlight to explain the situation. Ian will be talking to him, and I'm hoping you will call him as well, as he has already offered to put in part of the funding for our films. So that's the situation today.
Sincerely, Debora
April 17, 2008
Debora,
Good to hear from you. Please have Rob email me with info on the project and I will look at it. But just let him no that so we are not wasting anyone’s time, he MUST have some money on his project -- a minimum of 20% to 30%. Which b/w 6 and 9 Million dollars (CASH) and I can raise the other 21 to 24 Million. This is a loan which must be paid back in 3 years. If they only want me to raise 6 Million, its too small for my financiers. What they could do is bank the 80% they already have financed and pay off the loan early or they need to bring me more films (Slate of films or bigger budgets). I also require an Exec. Producer and Company credits and fees, which would come to what we normally charge which is 4% of the money I raise, but with a 30% deposit my fees are covered by my financiers. * If they only want to bring me 20% then our fees increase and would be paid by the production instead which could go as high as 5%.
If Rob has any interest and does In fact have a min of 30% in Cash and is prepared to sign documents verifying he does then please have him get in touch with me. Larry pretty much left me alone, after I said his rep was not good and I don’t have time to waste with people who can’t and don’t deliver.
Michael
In case that double-speak wasn’t entirely clear to you, Michael Currie was a ‘leverager’. I’ve attempted to explain that elsewhere in this book, but briefly it means that his company takes the 20-30% required down, as he said 6-9 million u.s. and used it to leverage the remainder of the loan. There were no real investors involved, just banks, and there was no real investment risk on anyone’s part except whoever put in the seed money. So in essence Michael Currie was Larry Withowski, just a more intelligent, charming, capable version. And his system wouldn’t work with Rob’s. But Rob and Michael did have a telephone conference on the 18th, and Michael sent this letter to Rob:
It was great chatting with you today. I talked with some of my colleagues today and we decided before I send any information out to you, we think it would be best if Mr. Owen Kelly, who handles our finance and business affair end of our company, give you a call. We are extremely busy and just so we are not wasting anyone’s time, Owen can help streamline any particular questions or concerns you might have. Please email Mr. Owen Kelly (owen@rushlightentertainment.com) and let him know a time that works best for you, even if you have some time tomorrow. I will be out of town on the weekend but will be back next week.
Thanks for your time and have a great weekend.
Michael Currie
Debora,
I talked with Rob today and I have talked with my partners. I really need your help making sure Rob emails and set up a time to talk with Owen. Owen handles this and since we represent different funds, Owen will be able to streamline what Rob wants and find out if we can indeed help or not.
Personally, I think we can help, but to make things move faster I need Rob to talk to Owen, so if you can help facilitate that then that would better from my end. I will be away for the weekend, but please let me know on my voice mail if Rob could talk to Owen over the weekend.
Thanks, Michael
Strange things happen in film-making, and by extension film financing. When Frank Cmero’s financiers in London found out we were considering Daniel Zuta as the Managing Producer of GO WEST, YOU IDIOT! They immediately withdrew from consideration as funders. This was the only explanation he received:
Deb,
I had a talk with Paul Brett of Prescience. First he was keen to talk to Rob, then he had some questions and I mentioned Daniel Zuta. He said he met Daniel and it's not appropriate for them to get involved if he is even under consideration as one of our producers. Don't know why. Maybe Daniel can tell us more. So we have just Rob & Rushlight. Hope they talk soon.
Frank
As far as I was concerned, that sent up a red flag on Daniel Zuta. He sent us an explanation, but it didn’t really ring true. Dear Debora and Frank,
I am very angry and disappointed by Paul Brett, as he has withdrawn from a project he promised to finance, at the very last minute, after we had worked a year to finance the rest. He is simply a greedy liar and he does neither have guts nor money. That's definitely the reason why he is interested to use Rob’s financing tools for his projects. He knows that I know that and I am sure he is not interested in Go West... but in Rob.
Monday night I talked to Rob and understand the way they are financing. You need an experienced producer who is able to take the risk behind the financing of the film. I am willing to do that, but I doubt that Rob will accept to work with an European contractual partner. So if Paul Brett is in, I am not going to participate any more. If you find another producer, or another partner, I am willing to use my skills to finance the missing 20% and produce the film on a very high level. Just let me know and I will tell you more precisely how to go on.
Best, Daniel
There are certainly two sides to everything, but I was
beginning to feel as if we were plagued by bad luck. I’d feel that a lot more in the next couple of years. The next piece of bad news involved Rushlight. We would eventually realize that we should have left them behind after they failed to even start their engines the first go-round, but we were still newbies at this game. I had a letter from Michael Currie on the 23rd.
Debra,
As you know, Owen talked with Rob and found out that he needs the money sooner than 168 days. But as I always find when producers say no but when time comes 168 days they still don’t have the money and should have put it through the program, but whatever ( know this sentence is particularly badly written, so I have left it intact). I know Owen and Rob were looking at other sources that Rob has and that will work better with our funds. Thanks again for the hook up.
Michael
Michael;
Actually, this isn't from Rob. We don't have the resources to wait six months for funding; that's why Rob found us investors on his end who will fund in 30 days if we can come up with the remainder. Sorry, it's just too long a time frame; we lost everything before we started working with Larry Withowski, and what has happened since, both with Larry and after, has driven us further down into a hole. Waiting six months for funding simply isn't feasible on our end. It has nothing to do with Rob. For the first film, at least, we have to have a quick turnaround. Hopefully Rob and Owen can work something out that will work for everyone.
Debora
April 24, 2008
Debra,
The only way it might work to get you the money in 30 days is if you invest the whole 80%. 24 Million, then we might be able to get the 6 Million. The way it works is if the cant raise the amount by that time they would give back the 80% plus a premium. But also let me give you a hypothetical scenario, if they put the 80% in a dual fund/investor account, they can still look for other avenues while the money is being invested, so the money is at least making money. And if they have to take it out for another opportunity then we can process that.
Nothing ventured nothing gained. If that is an avenue that might be of interest let me know and I can talk with the fund and we would all have to work very quickly and the paper work would have to be in order.
Michael
Oh, well then...I’ll get on that right away, Michael. I have 24 million just lying around...doesn’t everyone? This man was getting to be so annoying.
Michael,
This would be an acceptable scenario for Go West team. The question is obviously if Rob is in the position to put those 80% into the program. If yes, how long the program runs and what's the profit. From my experience with European banks 24 million should generate more the 6 million for the duration of the program.
Frank
Ian;
I just got off the phone with Rob Simpson. Is everything ok with you? I haven't heard from you this week, and your mobile voice box has been full for days. I know you haven't had very long to get the material together for DC, but Rob said he needs to have it as soon as possible for this new fund, which is $100 million but has already had three films taken out of it. He's trying to arrange a co-financing deal with Michael Currie in Canada, and they are willing to do this for both Go West and DC, but it has to be soon.
Please let me know where you at today, if possible.
Blessed Be, Debora
Michael,
This would be an acceptable scenario for Go West team. The question is obviously if Rob is in the position to put the 80% into the program. If yes, how long the program runs and what's the profit. From my experience with European banks 24 million should generate more the 6 million for the duration of the program.
Frank
Debora,
I talked to Owen and he said he talked with Rob about this scenario and it apparently wont work with his 80%.
Michael
Michael;
I'm on the phone with Rob Simpson and he's not sure what this means. He said he was under the impression that he and Owen had everything arranged; he has the documents Owen needs to prove Vision Angels part of the financing. He is sending them to Daniel Zuta, the Managing Producer for Go West, today. Do you want them as well?
Debora
Ian Christensen began to pull away from us right around the time of this letter. He sold his partnership in Pure Touch Media, and took a job in media sales. We hadn’t heard from him because he’d been in training all week, but he said he would have the budget finished for THE DANGER CLUB by the following Monday. Since the boys from ScriptBroker had essentially disappeared, we decided to start looking for a new Managing Producer for the film.
We also started to receive POF letters for the 80/20 funding with Vision Angels. Rob sent the first letter to Daniel Zuta, who then asked for a term sheet or deal memo. Rob responded with this:
To All Concerned,
This is the Soft P.O.F. that the 80% Lender must see prior to approving your financing on the 80% debt loan. Who ever is the head producer, should be responsible for filling this out and getting it back to me a.s.a.p.
Thanks, Rob Simpson
Michael Currie started to behave like a jerk again pretty soon, and it became obvious why he was impossible to work with. He went from polite to supercilious and ‘more important than any of you’ in the blink of an eye.
Debora,
To be honest, I think this is all getting mixed up. My partners don’t have the time to deal with this stuff at the moment. Owen talked with Rob and Rob knows what financing will work and what won’t work with us. If all of this other stuff continues it will become a waste of our time with the P.O.F; then we are not interested in moving forward.
Michael
I was beginning to wonder what the hell good these people were to anyone. On the 27th we received a letter from Daniel Zuta that started the first crack in our trust in Rob.
Dear Frank,
I am very sorry, but my lawyer and my accountant do not want to sign. Both have warned me. They know that "system" and had bad experiences before. They say that this serves only Rob, who will earn money by arranging the deal. But we will never see money. Has anybody worked with Rob before? Which experiences have they
made? Sorry for being so fussy, but I do depend on my consultants. Hope you find another way to get these guarantees. Let me know.
Best, Daniel
Rob:
I wanted to input on the resent effort to arrange a POF with Daniel Zuta on the 20% deficit or bridge funds for the "Go West" project funding. My own feeling is that Daniel Zuta's people may see the POF format sent to them as more an initial commitment to fund $2M specifically for the "Go West" film and not a proof of funds (POF) available. Likewise they may also be resistant to the form, in its current wording, as a means to take the instrument to the 80% principles and collect a finder’s fee or broker fee and walk. I’m sure That scenario is not what you intended - still, they may see that as a possibility. Anyway, have you gone back to Daniel Zuta and perhaps requested he or his people put together a basic POF format that they would be more comfortable with?
Regards. Scott Ferguson
The 19th was a day of revelations in several ways. I had a strange correspondence string with Rob Simpson in which he though Rushlight was the name of a movie, and when I expressed amazement that he couldn’t remember the people he’d been talking to for weeks, he told me he was swamped by numerous projects and couldn’t remember anyone unless they kept in constant contact with him. It made me more than a little uneasy, but it had only been two months since I had to leave my little house and move in with Tom and Sandra, and I don’t think any of us were anywhere near a recovery. Sandra and I got over the awful flu we’d gotten in February, and we were spending a lot of our time attempting to clear Tom’s 20-year accumulation of garbage out of the house, starting with the guest bedroom where I was now sleeping.
I wrote to Owen, Michael Currie’s associate, to try to get a handle on what had happened with Rushlight.
Dear Owen;
We haven't met yet; I am one of the writers working with Rob Simpson at Vision Angels. I received this note from him today and we were hoping you had made some progress towards a collaboration -- we are about to submit our second feature for financing.
Sincerely, Debora Hill
Hi Debora,
Nice to get in contact with you as well. I did have a good starter conversation wth Rob in discussing possible co-financing and buisness directions that we could both work on. I did tell him, however, that the resources I could partner any of his current financing resources and relationships with are more the
sort that would work out in the long term, able to provide funds in turn-around times ranging from 6 months to a year. The firms and financing facilities I am mostly in touch with are very market based (investment market based that is) in both their approaches and capital raising strategies. One is a bridge loan facility that is operated by a very small number of executives which raises funds from a closed number of privately managed investors. As they already are pushing through a small handful of deals with funds originating from Asia, as well as one from North America that my partners and I assisted in ushering in, it will likely take them some time (around 8 months) to be able to provide co-financing from the time that any party would be able to draft a co-financing deal with them.
The other is a trading based capital growth platform and executive team that works with many companies in many other industries, including entertainment. A few film producers and executives have derided their approach as too complex to make any sense of or gain capital from. But this is because the platform itself relies on trading based practices that not many film types grasp or have the patience to learn about. Unless of course we're dealing with the Investor Relations department over at Time Warner or Universal. Then I'd have a lot to talk about with them as they're as sophisticated financially as the big companies and blue chips out there who have some spare investment assets to place in a program like this for additional future cash flow and project expediture capital.
Rob has some overview info I sent him and will look it over to see if there are any financing resources or relations he can get both he and I on a call with to see if there is any opportunity for future collaboration. The quick angel method of investment financing for films is not so much our specialty and is not one we believe has as much viability as the longer term approaches. We've just found too many producers and execs returning back in our direction after months of not finding any finishing funds to consider such quick turnstyle investment raising practices.
I look forward to any collaborations between us, should there be any compatibilities. Thanks so much for the personal introduction Deborah. Always good to have them when offered.
Kind regard, Owen Kelly.
Hi, Owen;
Thank you for such a prompt response. Apart from our projects, it might be beneficial for you and Rob to collaborate long-term. Of course we would like it to work out for us as well. I am sending the material for our second feature, THE DANGER CLUB, to Rob tonight; the budget for it is a little over 12 million u.s. If you and Michael would like to receive it as well, please let me know.
Sincerely, Debora
Deb,
You have two choices through my financing vehicles: 1. Provide 25% in Liquidity and we have a Equity Group that will cover the other 75% yet they will take a healthy stake in the profits on the back end (amount yet to be determined and it is on a case by case basis) or, 2. Provide 20% on a debt loan and the Lender will provide 80% and the loan is a three year fixed loan, interest is between 10%-14% so these are the two choices we have available at this time. See what works best for you and we can go from there.
Thanks, Rob
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