International Feature Film STRICTLY CONFIDENTIAL The Messenger of Peace November 2008 Presentation...

International Feature Film

STRICTLY CONFIDENTIAL

The Messenger of Peace

November 2008

Presentation to Select Potential Co-Investors

I. Introduction 2

II. Investment Structure 5

III. Film Industry Overview 12

IV. Islamic Market 15

V. Production Team 18

VI. Timetable 20

VII. Financial Overview 24

VIII. Appendix 32

2

I. Introduction

Introduction

The image of Islam needs to be accurately conveyed in the current context of accelerated

globalization and its resulting impact on perception of general public

The spread of Islam, one of the largest religions in the world with over 1.5 Billion people has

not been matched by the number of dedicated films made. While the Christian faith has

provided the subject matter for over 30 international films, Islam has produced only 1 movie

That film was titled THE MESSAGE and was made 32 years ago. It is time to renew and

continue this Message

This project is an effort to redress the media balance and to positively project Islam with its rich

and strong values

Hence, the birth of “The Messenger”

3

I. Introduction

Executive Summary

This historical epic is set during the birth of the Islamic faith and shows the impact on ordinary

people of the values of Muslim faith

The Islamic Market is huge and exceeds 1.5 billion people who form the natural core market

for the film

“The Messenger” will appeal to a global audience of Muslims and Non-Muslims alike

The investors of the movie will participate in a € 75+ million priority investment, which will be

recouped 100% before the Producers participate in revenues to recoup their subordinated

investment of up to € 25 million

The movie will be produced for an € 100 million budget and based on revenues generated by

previous religious epics, investors may achieve a return of over 200%

The investments and the film itself will be Sharia compliant

In addition to normal distribution channels, the producers intend to exploit merchandising

channels in order to maximize revenues

The promoters have earmarked up to 10% of profit to be donated to Islamic charities, subject

to the approval of investors

4

I. Introduction 2





VI. Timetable 20


VIII. Appendix 32

5

II. Investment Structure

Investment Structure

6

Co-Investors Promoters

Rights Company Production Company

Distribution Sales Agent

Escrow Account1

2 3

4

5

Co-Investors will sign a conditional subscription agreement and transfer their funds into an escrow account

Co-Investors and the Promoters will enter into an agreement in respect of the Rights Company (which will be based in an offshore jurisdiction and structured to minimize tax implication for its shareholders) within a period specified in the subscription agreement

Upon satisfaction of the conditions in the subscription agreement as to execution of the documentation, the funds will be released from the escrow account to the Rights Company

The Rights Company will enter into an agreement with the Production Company, which it may, wholly or partially, own, to produce the movie

The Production Company will contract a form of guarantee in favor of the Rights Company that the film will be delivered and that any cost over-runs will not be the responsibility of the Rights Company so that there can be no further call on the Investors

The Rights Company will own the Film, the copyright and distribution rights and will enter into the agreements with agents and other third parties. To the extent the Production Company owns any copyright, it will assign such to the Rights Company

1

2

3

4

5

©

Completion Bond

4*

4*


Indicative Timetable of Events for Investors

7

Now 2 weeks 4 weeks 6 weeks

Indication of interest in the project

Interest parties to receive subscription documents

Follow up with Co-Investors

Signing of project documentation

Transfer of funds to the Rights Company upon signing of film documentation

Start of the Project

Roadshow to Co-Investors Promoters, advisers and

production team visiting select investors

General presentation of the project: concept, business plan and Q&A

Transfer of funds Investors will transfer committed funds to an

escrow account Circulation of draft project documentation


Organizational Structure

Organizational Structure

Intellectual Property Rights will be put into an single purpose ring fenced tax neutral special

purpose vehicle based in an offshore jurisdiction (“A”)

(“A”) licenses single purpose production vehicle (“B”) to make the movie for a fee of 10% to ring

fence any potential production liability

(“A”) instructs (“B”) to deliver finished film to Onshore Film Distribution Company (“C”) located in UK

to benefit from the UK’s network of anti-withholding and double tax treaties

(“C”) markets the film for distribution around the world for a fee of 22.5% and irrevocably instructs

end users and distributors to pay all monies to a segregated Collections Account

8

Financing Structure

The Film Budget is € 100 M of which Investors will participate in a minimum of € 75 million and

Promoters will contribute up to € 25 million as shall be necessary

Investors will recoup their investment in priority, before the Promoters. The profit thereafter

shall be distributed on the basis of 75/25 respectively (subject to a 10% override to Islamic

Charities if Investors unanimously agree)

All revenues earned will be irrevocably directed into a segregated collections account for

automatic distribution to investors in accordance with their entitlement

Financial controls and adequacy of investment will be achieved through the Completion Bond

guaranteed by Completion Bond Insurance provided for in the Budget

9


Revenue Collection and Distribution

Collecting Bank receives directly from all the parties irrevocable instructions to pay monies

from the Collection account (after deducting its 0.5% administrative fee) as follows:

First to pay the Sales Agent fees of 22.5% foreign and 10% domestic (USA)

Second to pay €75 million pro-rata to the Investors

Third to pay €25 million to the Promoters and thereafter

To pay creative Profit Participants (such as directors, actors etc.) such a percentage of revenues

as per properly signed

To pay all remaining monies as a Profit Participation : 75% to Investors and 25% to the Promoters

(subject to the 10% override to Islamic Charities if agreed by all Investors)

10


Investors’ Assurances and Guarantees

Investors’ Assurances and Guarantees:

Religious correctness will be ensured because the script will be approved by the Sharia board of

the Dubai Islamic Bank (Dar Al Sharia) and leading Islamic scholars from around the world

Financial controls and adequacy of investment will be achieved through the Completion Bond

guaranteed by Completion Bond Insurance provided for in the Budget

The Revenue stream will be 100% controlled by the Collecting Bank through irrevocable

instructions obtained from the Distribution Company

The Distribution to the Investors will be 100% controlled by the Collecting Bank through the

collection account for return of capital as well as profit distribution

11


I. Introduction 2





VI. Timetable 20


VIII. Appendix 32

12

The Film Industry Overview: 2007

The Film Industry continues to be strong:

Worldwide box office continued to grow in 2007 and reached US$ 27 billion after a 5% gain

The US box office also continued to grow in 2007 and reached US $ 9.7 billion after 5% gain

Worldwide admissions reached over 7 billion people in 2007

Investments continues to pour into the industry:

The average cost to make and market a major film was US$ 106 million

The Number of Digital Screens continues to increase dramatically:

The number of digital cinemas worldwide increased from 848 in 2005 to 2,996 in 2006 to reach

6,455 in 2007 an increase of nearly 100%

The DVD players sales increased from 46% of US households in 2003 to a staggering 98% of

US households in 2007

13

III. Film Industry Overview

The Film Industry Overview

III. Film Industry Overview

Digital Cinemas Worldwide Worldwide Box Office Revenue (USDbn)

14

8.83 9.14 9.63

7.478.49

8.92

5.73

6.66.921.06

1.241.25

23.09

25.4726.72

2005 2006 2007

US & Canada EMEA Asia Pacific Latin America

190 334848

2996

6455

2003 2004 2005 2006 2007

I. Introduction 2





VI. Timetable 20


VIII. Appendix 32

15

The Spread of Islam – Islam vs. Other Religions

Source: Adherants 16

IV. Islamic Market

Million followers

Christianity 2100 31%

Islam 1500 22%

Secular 1100 16%

Hinduism 900 13%

Chinese traditional 394 6%

Buddhism 376 5%

Primal Indegenous 300 4%

African 100 1%

Other 56 1%

Sikhism 23 0.3%

Judaism 14 0.2%

Christianity32%

Islam22%

Secular16%

Hinduism13%

Chinese traditional6%

Buddhism5%

Primal Indegenous4%

African1%

Other1%

Sikhism0.3%

Judaism0.2%

The Spread of Islam – Islam Around the World

17

IV. Islamic Market

Geographic split

Asia and Middle East 1,036,595,121 69%

Africa 411,062,526 27%

Europe 42,659,090 3%

North America 7,364,660 0.5%

Latin America 1,805,873 0.12%

Oceania 512,730 0.03%

Grand total 1,500,000,000 100%

Asia and Middle East70%

Africa27%

Europe3%

North America0.5%

Latin America0.12%

Oceania0.03%

I. Introduction 2





VI. Timetable 20


VIII. Appendix 32

18

V. Production Team

The Current Production Team

19

Writer/Director

Executive Producer

Oscar E. Zoghbi Producer

Associate Producer/Controller

Subhiya Mohamed Mahmoud Abu Elheja

Mohammad Nour Dardari

Ramsey Thomas

Party Role

I. Introduction 2





VI. Timetable 20


VIII. Appendix 32

20

VI. Timetable

Typical Timetable of a Movie

21

Investors commit to the film project

The new entity is created for this film project

All parties equitable interest in that new company decided and secured

Investors deposit funds into production

accountSecuring script

options

Producer will secure an agreement with the writer for the rights to his script and will pay the writer for it from the Production Account

The final script will need to be approved by the Sharia Board of the Dubai Islamic Bank and other leading scholars

Securing the stars and the director

The casting process can take as long as four to five months or as short as two months

6 Months

Financial controls are put in place

Guarantee of investment that film will be made on time and on budget is put in place through the Completion Bond insurance

VI. Timetable

Typical Timetable of a Movie (cont'd)

22

At this point the Script, Actors and Director and the costs to each will have been approved

The pre-production process includes the scouting of locations for the shoots, the production design and many other elements that need to be completed before “actual” production begins

During this process, the shoot locations will have been approved

During this period, the Investor is welcome to be “onset” for the entire process, so that they can experience the actual film making process and see the creation of their film as it occurs

The post production process is where the film actually comes together

The post production/editing of the film is where all of the raw footage that was shot is put into sequence, sweetened, music is added and the magic of film editing takes place

There is no standard timing for the sale of film projects to distributors

Some great films are sold very early, while some Academy award winning films are sold at a later date to distributors

The key to maximizing the sales potential for our film projects is to have (a) a tremendous, accomplished Producer orchestrating the films, (b) spectacular scripts, (c) great actors in the project, (d) a first rate Director (e) great editing of the final product

Pre - production

Production

Post productionSale / licensing of

the film

9 Months9 Months

VI. Timetable

Project Timetable

23

Months Nov Dec Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Jan Feb

Development phase 6

Investor Commitment

Fund deposit into production account

Securing script options

Securing stars and director

Preproduction Phase 3

Scouting of locations for the shoots

Identifiaction cast members, costumes,

special and visual effects

Hiring of crew

Construction of sets

Principal Photography 6

Filming

Viewing by director

Wrapping

Post Production 9

Assembly by film editor

Sound buildup

Review by target audience

Protential additional edits

Distribution and Exhibition 4

Delivery to Distributors

Release to cinemas

Release to DVD

2008 2009 2010 2011

I. Introduction 2





VI. Timetable 20


VIII. Appendix 32

24

VII. Financial Overview

Financial Proposal

The film has a budget of €100 million which includes standard contingency and a completion

bond guaranteeing completion on time and within budget

Financial plan

Consortium of Investors to provide a minimum of €75 million

Producer’s Company’s contribution will be up to €25 million to complete the €100 million budget

Recoupment

First: Investor consortium

Second: Producers/Talent consortium

25


Budget – Above the Line and Other Costs

Cash flows are estimated for each phase of the project

The production phase is the most expensive and

accounts for around 80% of the total cost

Completion bond and contingencies expenses are taken

into account in the budget

26

Above-the-line expenditures are those that are negotiated

or spent before filming begins. These costs can include

rights for the material on which the screenplay is based;

and the salaries for the screenwriter, producer, actors,

director, and assistants to directors

Script and screenplay screen play fees are currently

being negotiated with selected writers. Latest proposal is

included in appendix

Budget summary

Above the line and administrative costs

Category Preproduction Production Post Prod. Total

Total "Above the Line Costs" 1,032,456 18,217,053 775,193 20,024,704

Total "Below the line" Costs 6,142,572 52,197,086 6,030,984 64,370,642

Total " Finance/ Admin Costs" 4,049,766 9,315,730 2,239,154 15,604,650

Total Production Costs 11,224,794 79,729,869 9,045,331 99,999,996

Cashflow Requirement

Category Preproduction Production Post Prod. Total

Story and Script 257,263 257,263

Producer Fees 581,395 581,395 581,395 1,744,186

Director Fees 193,798 193,798 193,798 581,395

Principal Artists 17,441,860 17,441,860

Total "Above the Line Costs" 1,032,456 18,217,053 775,193 20,024,704

Finance and Legal Fees 2,953,488 2,953,488

Overheads 834,414 7,090,515 819,256 8,744,185

Contingencies 1,162,791 1,162,791

Completion Bond 261,864 2,225,215 257,107 2,744,186

Total " Finance/ Admin Costs" 4,049,766 9,315,730 2,239,154 15,604,650



Budget – Below Line

Below-the-line costs include:

the salaries of the non-starring cast members

and the technical crew,

use of the film studio and its technical

equipment

travel, location, and catering costs

Most of these costs are incurred during the

production phase

Estimates are benchmarked to movies with similar

technical requirements and quality

27

Category Preproduction Production Post Prod. TotalProduction Unit Salaries: 1- Production Management 267,509 2,140,075 267,509 2,675,093 2- Asst. Directors and Continuity 769,505 769,505 3- Technical Advisers 85,236 85,236 4- Camera Crews 1,153,769 1,153,769 5- Sound Crews 251,888 251,888 6- Editing Staff 464,181 464,181 928,362 7- Stills Camera Staff 114,771 114,771 8- Wardrobe staff 225,860 562,024 787,884 9- Makeup Artists 179,718 179,718 10- Hairdressers 101,990 101,990 11- Casting 111,580 61,412 172,992 12- Production Accountancy 260,530 993,650 260,530 1,514,710 13-Projectionists 43,819 43,819 87,638 14- Foreign Unit Technicians 4,595,652 4,595,652Art Department Salaries: 993,340 993,340Artists: 1- Cast Other than Principals 2,576,234 2,576,234 2- Stand-ins, Doubles, Stuntmen 1,649,524 1,649,524 3- Crowd 1,710,428 1,710,428Musical direction, Musicians etc.. 614,590 614,590Costumes and Wigs 1,280,439 1,280,439Misc. Productions stores(excl sets) 256,625 256,625Film Stock and Digital intermediates 1,527,110 692,527 2,219,637Studio rentals 944,387 944,387Equipment 2,093,890 2,093,890Power 19,342 19,342Travel and Transport-Location 2,681,266 6,566,855 1,340,633 10,588,754Hotel and Living expenses 1- Location 744,695 4,414,548 5,159,243 2- Studio 731,034 731,034Insurances 2,951,945 2,951,945Social Security Charges etc 134,543 1,295,365 134,543 1,564,451Publicity Salaries and Expenses 905,233 2,715,700 3,620,933Miscellaneous Expenses 189,479 1,824,289 189,479 2,203,247Sets and Models 1- Labour Construction 1,185,711 1,185,711 2- Materials- Construction 915,080 915,080 3- Labour- Dressing 1,396,966 1,396,966 4- Labour- Operating 319,567 319,567 6- Lighting and lamp spotting 644,602 644,602 7- Properties 3,483,045 3,483,045Special Effects 1,210,925 1,210,925Special Location Facilities 617,495 617,495

Total "Below the line" Costs 6,142,572 52,197,086 6,030,984 64,370,642



Revenue Scheme – Base Case Scenario

28

Total targeted income for investors is 2.7x their initial investment, implying a net profit of 173% over a period of three years

Description (%) Total Income Exhibitor Distributor Islamic Charity Investor Producer Costs

+ US Box Office 277,725,000

+ Foreign Box office 227,229,545

= Total Gross Box Office 504,954,545 504,954,545

- Exhibitor's share 50% (252,477,273) 252,477,273

= Net Box Office Income 252,477,273

- Distribution Fees 30% (75,743,182) 75,743,182

- Distribution Expenses (100,000,000) 100,000,000

- Sales Agents Fees-US 10% (14,710,750) 14,710,750

- Sales Agents Fees-Foreign 22.50% (27,081,153) 27,081,153

= Net Distribution Income 34,942,188

+ DVD Income less 30% fees 176,734,091 176,734,091

+ TV income less 10% fees 72,000,000 72,000,000

+ Ancillary income less 30% 56,000,000 56,000,000

- sales Agents Fees (47,614,702) 47,614,702

= Total Net Worldwide Profit 292,061,577

Distributed as follows:

Reimbursement of production costs (100,000,000) 75,000,000 25,000,000

Profit for distribution (192,061,577)

Islamic Charity 10% (19,206,158) 19,206,158

Profit distribution (75/25) 75% (172,855,419) 129,641,564 43,213,855

Total Distribution Made - 809,688,636 252,477,273 165,149,787 19,206,158 204,641,564 68,213,855 100,000,000


Return Scenarios

29

Breakeven for the movie is realized with around € 158 million in the box officeIn the best case scenario, net profit can reach 347% of initial investment in three years

Description (%) Target Upside Breakeven

+ US Box Office 277,725,000 462,875,000 87,343,777

+ Foreign Box office 227,229,545 378,715,909 71,177,378

= Total Gross Box Office 504,954,545 841,590,909 158,521,155

- Exhibitor's share 50% (252,477,273) (420,795,455) (79,260,578)

= Net Box Office Income 252,477,273 420,795,455 79,260,578

- Distribution Fees 30% (75,743,182) (126,238,636) (23,778,173)

- Distribution Expenses (100,000,000) (100,000,000) (100,000,000)

- Sales Agents Fees-US 10% (14,710,750) (27,671,250) (5,096,980)

- Sales Agents Fees-Foreign 22.50% (27,081,153) (50,940,256) (9,283,077)

= Net Distribution Income 34,942,188 115,945,312 (58,897,653)

+ DVD Income less 30% fees 176,734,091 294,556,818 55,582,404

+ TV income less 10% fees 72,000,000 81,000,000 72,000,000

+ Ancillary income less 30% 56,000,000 63,000,000 56,000,000

- sales Agents Fees (47,614,702) (68,524,503) (24,684,751)

= Total Net Worldwide Profit 292,061,577 485,977,627 100,000,000

Distributed as follows:

Reimbursement of production costs (100,000,000) (100,000,000) (100,000,000)

Profit distribution (75/25) (192,061,577) (385,977,627) (0)

Less 10% to Islamic charities (19,206,158) (38,597,763) (0)

Profit distribution (75/25) (172,855,419) (347,379,864) (0)

Capital 75,000,000 75,000,000 75,000,000

Profit Distribution (75/25) 75% 129,641,564 260,534,898 0

Total Return on Investment 2.7x 4.5x 1.0x

Net Profit over 3 years 173% 347% 0%

Project Cashflows

Return to Investors


Success of Religious Movies: Selected Examples

The Passion of the Christ (2004) US$ 870mm

Al Risala (1976) US$ 250mm

The Ten Commandments (1956) US$ 240mm

30

Film Revenues

*For a more comprehensive list of film performances , please refer to attached appendix31

Historical Film Performances (expressed in Millions of US Dollars)*

I Am Legend 328 256 584 158 88 829 2008

Indiana Jones and the Kingdom... 326 253 579 156 87 822 2008

Iron Man 249 289 538 145 81 764 2008

National Treasure: Book of Secrets 234 220 454 123 68 645 2008

The Golden Compass 294 70 364 98 55 517 2008

Alvin and the Chipmunks 141 217 358 97 54 509 2008

Enchanted 207 128 335 90 50 475 2008

Horton Hears A Who 136 153 289 78 43 410 2008

Bee Movie 160 127 287 78 43 408 2008

other

Gross Box officeTotal

Income Release

Foreign USTotal Box Off.

DVD


I. Introduction 2





VI. Timetable 20


VIII. Appendix 32Historical Film PerformancesManagement Background

32

Film Revenues

33

VIII. Appendix

Historical Film Performances (expressed in Millions of US Dollars)

Indiana Jones and the Kingdom... 326 253 579 156 87 822 2008

Iron Man 249 289 538 145 81 764 2008

National Treasure: Book of Secrets 234 220 454 123 68 645 2008

The Golden Compass 294 70 364 98 55 517 2008

Alvin and the Chipmunks 141 217 358 97 54 509 2008

Enchanted 207 128 335 90 50 475 2008

Horton Hears A Who 136 153 289 78 43 410 2008

Bee Movie 160 127 287 78 43 408 2008

10,000 BC 174 95 268 72 40 381 2008

Juno 84 144 227 61 34 322 2008

The Chronicles of Narnia: Prince Caspian

101 126 227 61 34 322 2008

Jumper 141 80 221 60 33 313 2008

Titanic 492 601 1092 295 164 1551 1997

Star Wars 377 461 838 226 126 1190 1997

Shrek 2 357 437 794 214 119 1127 1977

E.T. : The Extra Terrestrial 356 435 791 214 119 1123 2008

Star Wars Episode I: The Phantom Menace

353 431 784 212 118 1113 1982

Pirates of the Caribbean: DMC 346 423 770 208 115 1093 1999

Spider-Man 330 404 734 198 110 1042 2008

Total Income

ReleaseForeign US

Total Box Off.

Gross Box office

DVD other

Film Revenues

34


Star Wars Episode III: ROTS 311 380 691 187 104 982 2008

LOTR: The Return of the King 308 377 685 185 103 973 2008

Spider-Man 2 306 373 679 183 102 964 2008

The Passion of the Christ 303 370 673 182 101 956 2008

Jurassic Park 292 357 649 175 97 922 2008

LOTR: The Two Towers 279 341 619 167 93 880 1993

Finding Nemo 278 340 618 167 93 877 2008

Spider-Man 3 275 337 612 165 92 869 2008

Forrest Gump 270 330 599 162 90 851 2008

The Lion King (including 2003 Imax) 269 329 597 161 90 848 1994

Shrek the Third 263 321 584 158 88 829 1994

Transformers (including Imax) 261 319 580 157 87 824 2008

Harry Potter and the Sorcerer's Stone 260 318 577 156 87 820 2008

LOTR: The Fellowship of the Ring 257 314 571 154 86 811 2008

Star Wars Episode II: AOTC 254 311 565 153 85 802 2008

Pirates of the Caribbean: AWE 253 309 563 152 84 799 2008

Return of the Jedi 253 309 562 152 84 798 2008

Independence Day 251 306 557 150 84 791 1983

Pirates of the Caribbean 250 305 555 150 83 788 1996

Total Income

ReleaseForeign US

Total Box Off.

Gross Box office

DVD other

VIII. Appendix

Film Revenues

35


The Chronicles of Narnia 239 292 530 143 80 753 2008

The Empire Strikes Back 238 290 528 143 79 750 2008

Harry Potter and the Goblet of Fire 237 290 527 142 79 749 1980

Iron Man 236 289 525 142 79 746 2008

Home Alone 234 286 520 140 78 738 2008

The Matrix Reloaded 230 282 512 138 77 727 1990

Meet the Fockers 228 279 508 137 76 721 2008

Shrek 219 268 487 131 73 691 2008

Harry Potter and the Chamber of Secrets

214 262 476 129 71 676 2008

The Incredibles 214 261 475 128 71 675 2008

How The Grinch Stole Christmas 213 260 473 128 71 671 2008

Jaws 213 260 473 128 71 671 2000

I Am Legend 210 256 466 126 70 662 1975

Monsters, Inc. 209 256 465 126 70 661 2008

Indiana Jones and the Kingdom Skull 207 253 460 124 69 653 2008

Batman 206 251 457 123 69 649 2008

Night at the Museum 205 251 456 123 68 648 1989

Men in Black 205 250 455 123 68 646 2008

Total Income

ReleaseForeign US

Total Box Off.

Gross Box office

DVD other

VIII. Appendix

I. Introduction 2





VI. Timetable 20


VIII. Appendix 32Historical Film PerformancesManagement Background

36

VIII. Appendix

Subhiya Mohamed Mahmoud Abu Elheja (Executive Producer)

Subhyia was raised in the difficult years when Palestine became Israel under the auspices of the United Nations. Educated to be a teacher and from a land owning family she was always more interested in preserving her family's patrimony by internationalizing their investments than in struggling locally against the tide of history

Whilst her brothers concentrated on local businesses, Subhyia became naturally the person responsible for investments ( mostly ) in real estate developments spread from Brazil to Britain , from America to Africa to Australia

In the last two decades she successfully partnered the family's wealth with the activities of the Warner Village Road show cinema group buying up "old" style cinemas in town centres and redeveloping the sites into shopping malls while creating multi screen Cineplexes

These cinema related relationships led to investment diversification directly into film financing and successful participations in the Silverscreen movie partnerships with Disney and Warner. Through Subhyia there were a limited number of investments made in real estate spin offs from the cinema studio theme parks developed in Florida

More recently Subhyia has been investing in cinema and TV related real estate opportunities in Morocco and Asia as well as having invested directly in films that were made pursuant to both the UK and German investment incentive schemes

Subhyia is passionate in her belief that the work of Mustafa Akkad with "the Message" 35 years ago must be continued and modernized. The Muslim faith is a conduit for peace amongst mankind providing it is understood by Muslim and non-Muslim alike. It is for that reason that Subhyia is showing her faith with a major financial contribution to the cost of "the Messenger". ( +/- 20%) which is subordinated in recoupment to all other investors

37

VIII. Appendix

Ramsey Thomas (Writer/Director)

Ramsey Thomas attended one of the most prestigious film schools in the United States, the University of Southern California. He completed his Masters Degree by writing and directing two award winning short films, “The Doomed” and “Tomorrow May Be Dying.” Both films were produced with a scholarship awarded by the Directors Guild of America

As a professional filmmaker, Mr. Thomas’s career exemplifies his tremendous creative skill with story telling in the visual medium. His exceptional insight into the business of making movies is underscored by a thorough understanding of production costs, film budgeting, scheduling, marketing and distribution

Mr. Thomas’s professional work with Mr. Mustapha Akkad spanned a period that preceded “The Message,” and continued through the production of “The Message,” “Lion of the Desert” and the “Halloween” series. Mr. Thomas worked closely with Mr. Akkad in Los Angeles and London as writer, director, screenplay consultant & producer for over 25 years

As a Creative Executive in Mr. Akkad’s Falcon International Films, Mr. Thomas supervised all screenplays in the company portfolio. Among the most notable screenplays were “The Message,” “Lion of the Desert,” “Ben Amer” by Academy-Award winner Robert Bolt, and “Saladin” by John Hale. Moreover, Mr. Thomas held the position of VP Creative Affairs

Mr. Thomas worked with filmmaker James B. Harris as a producer and a screenplay consultant on such films as “Boiling Point,” “Fastwalking,” and “Some Call It Loving”

Mr. Thomas has also worked with other creative talent, including Charles Roven (most notable as a Producer of “Twelve Monkeys” and the current Batman film “Dark Knight”), Mark Lipsky (Executive Producer of multiple Eddie Murphy movies while an executive in Eddie Murphy Productions), Roland Emmerich (Director of “1000 BC,” “Independence Day,” “Stargate”), Producers and Actors Dennis Hopper and Zalmon King, and a number of actors including Viggo Mortensen, Wesley Snipes, James Wood, Richard Pyror and Lolita Davidovich

Mr. Thomas is actively involved in independent film work as a writer, producer and director. He is attached as Director on “The For Earth Club,” a children’s movie for Mark Lipsky’s Who’s On First Productions in New York. As a producer with James B. Harris Productions, Inc., he is active in the pre-prep, and development of “Four Kinds of Rain,” “Mr. White’s Confession” and “No Rest for the Dead”

38

VIII. Appendix

Oscar E Zoghbi (Producer)

Oscar Zoghbi studied Finance and Accountancy in a prestigious French school in Lebanon and then travelled to Paris to continue his studies where he qualified as a Chartered Accountant in 1972 . For over a period of 12 years he worked in the Audit field with Whinney Murray Ernst & Ernst, Arthur Anderson and Saba & Co. During that period he undertook major jobs in Europe and the Middle East such as: the electrification project in Saudi Arabia, the audit of petroleum companies such as Sonatrach in Algeria, Aramco in Saudi Arabia and British Petroleum in the UK and France

Oscar got involved in various financing projects but this page will focus only on his film experience. In fact his interest in Films started in 1973 when he was assigned to represent the Arab governments who financed the film of “The Message”, then titled “Mohammed The Messenger of God”. His assignment was central to the whole operation as no money could be spent without his signature. As a result of that assignment he acquired a deep understanding of the movie making process at all levels and in all departments especially that it was shot in 2 versions Arabic and English. Following The Message, he was assigned to represent the Libyan government in the production of the film Omar Mukhtar which was released under “The lion of the Desert”. This was also shot in Arabic and English

As a result of those assignments, Oscar became close to Mustapha Akkad and became his right hand man to control all this affairs including the film side. So The TV series “ Nasser” was created. It was narrated by Hassanein Haykal. This was followed by a 5 movie deal with with a Kuwaiti private consortium for producing and distributing them worldwide then Salaheddin, and Ben Amer,

During that period the Halloween films were being produced and distributed . Oscar was instrumental in creating a US distribution company to distribute the Halloween movies together with other movies. And he is still monitoring the distribution of Halloween, The Message and The lion of the Desert till today. He was also instrumental in creating a Foreign distribution arm based in London

Oscar was also heavily involved in Twickenham Film Studios in London participating in the restructuring process and bringing it into the digital age

Independently of Mustapha Akkad, Oscar owned a Community Television Program in California called Arab American Television which covered the issues facing the Arabic community in the USA

He is currently a consultant to various film companies in the USA and the UK, including Trancas International Films

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VIII. Appendix

Mohammad Nour Dardari ( Associate Producer/Controller)

Filmography

Avatar (2009) post production – production controller

Spider Man 3 (2007) production controller

Memoirs of a Gheisha (2005) production controller

Spider Man 2 (2004) production controller

Terminator 3- Rise of the Machines (2003) production controller

A Man Apart (2003) production accountant

Unconditional Love (2002) production accountant

Men In Black II (2002) production accountant

Turn it Up (2000) production accountant

Nurse Betty (2000) production accountant

The Big Tease (1999) production accountant

Being John Malcovich (1999) production accountant

Your Friends and Neighbors (1998) production accountant

Stargate (1994) production accountant

Boiling Point (1993) production accountant

Halloween 5 (1989) assistant production accountant – post-production accountant

Halloween 4 (1988) assistant production accountant

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