Oliver’s WingsFilm project

All you need to know about life after death...

...CHALLENGE THE AUDIENCE ...LEAVES THEM WITH A MESSAGE

...MAKES THEM PART OF A WONDERFUL DREAM AND SENDS THEM HOME WITH SPIRIT OF ADVENTURE IN THE HEART AN

EXPERIENCE THEY WILL WANT TO REPEAT AGAIN WITH THEIR FAMILY AND FRIENDS

THIS IS A STORY THAT...

OLIVER'S WINGS

•

• a pure fantasy tale that explains the origins ofthose inventions that, during the 1900scharacterized the leap in the evolution of modernperiod in less than 70 years

• a Matter of love, life and death

• Other examples: The Neverending Story; TheChronicles of Narnia; Hook

is a gothic fairy tale that combines adventure and fantasy, historical facts and odd characters

• a child hero of a melodramatic and adventurousnovel

• a wide audience range: from the very young to the adults•

an extraordinary and dangerous journey into the underworld

here dreams and wishes have no borders, and everything is possible• fear, solitude, courage, determination and love

•• a warning: it could happen to you!

Can  we  sell  this  story?  

•• 25-55: cinematography and locations, eclectic dialogues, ironic mix of

humor and drama, adventure, thrill and historical references• Women: love story• North American, European, Middle Eastern, Chinese and

Russian markets: contents and entertainment

WE  COVER  THEM  ALL!  

10-25: for young heroes, action, fantasy, attractive cast

Who will come?

• Studio – expensive (£150M) – no control

• Genre companies – dumb down the story to make a quick buck

• European co-production – cumbersome, too many strings

• Combination with PRIVATE EQUITY

Who should produce it?

• Private Equity• Tax rebates (free money)• Studio co-production services• Product Placement• Deferrals, in-kind investments

• Presales financing

• PRACTICAL SAVINGS

Financing sources

INVESTING IN FILMS

Unrelated to economy HIGH RISK

HIGH RETURN

Studio Execs make £30-100M a year in bonuses (even when the film loses money on paper)

STUDIO vs. INDEPENDENT

STUDIOS SPEND A LOT MAKE A LOT

• INDIES SPEND LESS• MAKE MORE

PROPORTIONALLY INDIES MAKE MUCH MORE Earnings are better

••

Investing into OLIVER'S WINGS

WE ARE MAKING A £150M MOVIE FOR £15M

Film title Production budget Worldwide Ratio Box Office

Paranormal Activity 1 15,000 195,000,000 13,000.0 Full Monty 3,500,000 25 7,000,000 73.4 Four Weddings and a Funeral 3.550,000 250,000,000 71.4 My Big Fat Greek Wedding 5,000,000 356,000,000 71.2 Paranormal Activity 2 3,000,000 178,000,000 59.3 Paranormal Activity 3 5,000,000 207,000,000 41.4 Juno 7,500,000 227,000,000 30.3 Pulp Fiction 8,000,000 213,000,000 26.6 Black Swan 13,000,000 328,000,000 25.2 Slumdog Millionaire 15,000,000 362,000,000 24,1 Borat 18,000,000 260,000,000 14.4 Crouching Tiger, Hidden Dragon 15,000,000 209,000,000 14.0 Seven 33,000,000 350,000,000 10.6 Taken 25,000,000 224,000,000 10.0 American Pie 2 30,000,000 276,000,000 9.2 Midnight in Paris 17,000,000 155,000,000 9.1 Bridesmaids 32,500,000 287,000,000 8.8 The Help 25,000,000 212,000,000 8.5 Silver Lining Playbook 21,000,000 179,000,000 8.5 District 9 30,000,000 211,000,000 7.0 No Country for Old Man 25,000,000 159,000,000 6.4 Kill Bill 30,000,000 178,000,000 5.9

INVEST IN YOUR FUTURE

MAKE PROFIT AS YOU

MAKE THE KIND OF FILM YOU WANT TO SEE

AND YOU WANT AUDIENCE TO SEE

Revenue streams IN PROPORTION OF THE U.S. BOX OFFICE

• Adventure, Fantasy, Action, Family

• Challenge - Dream - Suspense

• Social message: A story that explains how thin is the line betweenreality and fantasy; how important and decisive is the quality of ourthoughts for our life, the importance of cultivating our dreams; howimportant is to BELIEVE AND TRUST IN LIFE!

• All demographics covered

What we have

Comparison chart THE CHRONICLES OF NARNIA: The Lion, the Witch and the Wardrobe

• Children heroes• All audiences• Adventure, Family, Fantasy• Budget: £120M• U.S. domestic gross: £193M• Worldwide gross: £493M

OLIVER'S WINGS

• Child hero, Social message,• All audiences• Adventure, Fantasy, Family• Budget: £15M• Comparable

Oliver's Wings can produce comparable income with 1/8 of the investment – investors can make 8 times profit

• Planned budget £15M

• More investment allows high end stars or self-distribution

• Lower investment may be complimented with other revenuesources

Investment £500k-£15M

The investment classes

• Class A – Development fund.• High risk – high return 100%+100%• First spent – first paid• Maximum £500k

• Class B – Production fund– Lower risk – paid in second place 100%+20%– Must reach minimum before used– Insured by Completion Bond– £5-15 Million

Both funds participate in the Net Profits

TRANSPARENT FLOW OF REVENUES TO INVESTOR

Sources of RevenuesDomestic

Tv Network

Investors

Recoupment Distributable Revenues

DVD/BLU RAY Home Video

Other Ancillary (Pay Tv, Tv, Syn, etc.) Foreign (All Media)

After Investor has received 120% of ROI

Until Investor has received 120% of ROI

100% 60% 40% 50% 50%

Production

Until Investor has received 100% of ROI

Good and Bad sources

• Tax rebates - free money

• Product Placement - non refundable• Studio co-production services - refundable• in-kind investments – like equity

• Deferrals – higher than upfront pay, POINTS

• Presales (banks loans) – costly + bad deals + strings

• PRACTICAL SAVINGS

Guaranteed soft monies

       ~1.8MM        ~      .7MM)  

   ~      .5MM  

25% tax credit in Hungary 20% tax credit in Czech Rep. Origo Studio equity Total in place ~  3.0MM  

Possible additional funds

European co-production funds Presales/Gap financing

 ~      £1.5M  +  ~       £500k  +  

Funding Scenario 1. £15M  budget  

• EquityInvestment  

 10M  • Tax  rebates      3.0M• Film  Funds      1.5M• Presales   500K  

Recoupment  • Recoup  +  bonus 12M• Refundable          0.0  • Refundable          0.0  • Refundable          0.0  

*OpXon  to  raise  addiXonal  funds  for  self-distribuXon

Total  recoupment  before  Net  Profit:  £12M  

Funding Scenario 2. £15M  budget  

Investment  

• Equity  5.0M  • Deferrals  2.0M  • Film  Funds• Gap/Bank

• Tax  rebates

1.5M    3.5M    3.0M  

Recoupment  

• Recoup  +  bonus  6.0M• Refunds     4.0M  • Refund 0.0M  • Principal+     4.5M  • Refundable  0.0M  

*Bureaucracy,  delays  –  bad  distribuXon  deals - we  are  losing  points  in  the  end

Total  recoupment  before  Net  Profit:  £14.5M  

Product PlacementOption 1

The Yellow Package (£50,000)

- Product Placement into one scene- Brand mention in media talk shows, podcast ect.- Support Orphans and kids projects- Get your LOGO displayed on the official Film Website & Film Advertising - Featured in the Film Credits under special thanks

The Green Package (£250,000)

- Product Placement into a major scene (Spoken-product, service or correlation) - High End Cinematic Advertisement produced and created by Filmstar Entertainment includes Concept, Production and Post-production- Brand mention in media talk shows, podcast ect.- Equity in the film- Support Orphans and Kids projects - Get your LOGO displayed on the official film Website & Film Advertising - Featured in the Film Credits under special thanks

Product PlacementOption 2

The Red Package (£5M+)

- Co-Executive Producer credit for "Oliver's Wings" feature film- Equity in the film- Product Placement in more than two scenes (Spoken-product, service or correlation)- High End Cinematic Advertisement produced and created by Filmstar Entertainment includes Concept, Production and Post-production- Brand mention in media talk shows, podcast ect.- Support Orphans and Kids projects- Get your LOGO displayed on the official film Website and All Film Advertising - Get your LOGO and Company name displayed on the opening titles - Featured in the Film Credits under special thanks

Product PlacementOption 3

Categories for Product Placement

• Coat - Jacket

• Car

• Airplane Company

• Bank

• Electric Company

• Alcoholic Beverage

• Soft Drinks

• Watches

• Jewelry

• Luxury Historical Hotel

• Bags

• Sunglasses

• Clothes

• Fast Food

• Pharmaceutical

• Toys brand

• Food/Sweets/Crackers

• Consumer Electronics

• Others• Newspaper - Magazine

MerchandisingNo longer is film merchandise merely a promotional tool used to boost the fortune of a film at the box-office. Worldwide, it has proved to be a successful hook for film studios, itself making healthy contributions to a film’s revenue streams and sometimes (albeit rarely) generating even more than the box-office collections themselves.Consider this — tied along with the release of Harry Potter and the Sorcerer’s Stone, the worldwide sale/licensing of Harry Potter merchandise has touched US $ 1 billion – figurines, food tie-ups, posters, accessories, comic strips, stationery to magic kits and home furnishings featuring Harry and friends from the Hogwarts school. And, who can forget Ghost Busters, Jurassic Park, ET-The Extra-terrestrial – ‘stuff’ that legends are made of, literally, for they stood out for their innovative merchandise, as much for their box-office collections.Synergy is now the key, as web technology is linking the producers and merchandising in ways never thought possible before. Web viewers are already able to link from devoted sites to buy their favorite toys.

More recently, there have been much-hyped auctions of film posters-jazzed up/rare/or sometimes purely common-selling as pop or kitsch art. The future of film merchandise however, lies not in auctions catering to a minuscule audience and generating even more minuscule monies, but in identifying, introducing, producing, retailing, promoting creative mass merchandise options in films. A new generation of Independent Producers/Filmmakers are also beginning to look at merchandise seriously and some have already had a reasonable degree of success.The spectrum of merchandise that it could promote – board and video games, posters, accessories, comic strips (why, even an open ended one, propose your ‘own’ end to the story. The best option is released yet again!). Small budget, crossover nullifying doubts that merchandise is a big film phenomenon – no it isn’t. It is a “great promotion”, phenomenon. And obviously, a “great film” phenomenon too. Let’s look at how multiplexes too, besides offering a world-class cinema experience to the filmgoer bring about new possibilities: a) They present a filmmaker a viable option – release niche films targeted to an urban audience, thus changing the tilt,b) Form an ideal platform for retail/display/ promotion of film merchandise.

Sustained efforts from the film industry have recently resulted in lowering of entertainment tax in many key centres, such as Delhi, not just bringing more people into cinema halls and more often, but also ‘freeing’ a certain notional amount from the filmgoers budget, that could now be manoeuvred towards merchandising options.Like multiplexes, other emergent retail options in the form of malls, food-courts, coffee bars, gift outlets, pubs, similarly present ready channels for retail/promotions. Technology is not too far behind, with Internet penetration increasing rapidly and online ticketing kiosks coming up at prominent city centres, usage of which would certainly not be limited to dispensing tickets.

Income “Waterfall”

1. Theatres,  distributors

2. Class  A  members  100%+100%

3. Class  B  members  100%+20%

4. In-Kind,  Deferrals  and  other  costs

5. Net  Profit

Net Profit Distribution

INVESTORS HALF distributed among Class A and B members

in proportion of their contribution

PRODUCERS HALF Distributed among the filmmakers according

to their contract (points) MANAGERS  DON’T  GET  PAID  UNTIL  EVERYBODY  ELSE  IS  PAID  

OLIVER'S WINGS REVENUE/PAYOUT PROJECTION

(£15M BUDGET)

Low Estimate Medium High BlockbusterUS Box Office Revenues 5,000,000 50,000,000 100,000,000 200,000,000 Pay/Cable TV, VOD (% Of Box Office) 80.0% 4,000,000 40,000,000 80,000,000 160,000,000 Home Video/DVD (% Of Box Office) 120.0% 6,000,000 60,000,000 120,000,000 240,000,000 Syndication/Free TV (% Of Box Office) 30.0% 1,500,000 15,000,000 30,000,000 60,000,000 Online sales & rentals (% of Box Office) 40.0% 2,000,000 20,000,000 40,000,000 80,000,000 Total US Revenues 18,500,000 185,000,000 370,000,000 740,000,000

US CostsTheatres' take from U.S. Box office 50.0% - 2,500,000 - 25,000,000 - 50,000,000 100,000,000 Guild Residuals (% of US Revenues LESS Theatrical) 5.0% - 475,000 - 3,750,000 - 9,500,000 19,000,000 Prints & Advertising (% Of US Box Office) 30.0% - 1,500,000 - 15,000,000 - 30,000,000 60,000,000 Distribution Fee - (% Of Revenues) 30.0% - 5,550,000 - 55,500,000 - 111,000,000 222,000,000 Total US Costs - 10,025,000 - 99,250,000 - 200,500,000 401,000,000

NET US REVENUES 8,475,000 85,750,000 169,500,000 339,000,000

Foreign RevenuesForeign Box Office (% of US Box Office 120.0% 6,000,000 60,000,000 120,000,000 240,000,000 Foreign Ancillary (% of Foreign Box Office) 120.0% 7,200,000 72,000,000 144,000,000 288,000,000

Foreign CostsDistribution/Sales Fee (% of Foreign Revenues) 30.0% - 3,960,000 - 39,600,000 - 79,200,000 158,400,000 Guild Residuals (% of Foreign Revenuesl) 5.0% - 660,000 - 6,600,000 - 13,200,000 26,400,000 Overhead (% of Foreign Revenues) 2.5% - 330,000 - 3,300,000 - 6,600,000 13,200,000 TOTAL Foreign Cost - 4,950,000 - 49,500,000 - 99,000,000 198,000,000

NET FOREIGN REVENUES 8,250,000 82,500,000 165,000,000 330,000,000 NET WORLD REVENUES 16,725,000 168,250,000 334,500,000 669,000,000

PROFIT PAYOUT PROJECTIONS (15M budget)Class A Funds initial recoup (100+100% on 500K) 1,000,000 1,000,000 1,000,000 1,000,000Class B Funds Initial recoup (100+20% on 10M) 12,000,000 12,000,000 12,000,000 12,000,000 Investors profit participation, additional 50.0% 1,862,500 77,625,000 160,750,000 328,000,000 Creative participants appr. 30.0% 1,117,500 46,575,000 96,450,000 196,800,000 Producers appr. 20.0% 745,000 31,050,000 64,300,000 131,200,000 Total investor payout: 14,862,500 90,625,000 173,750,000 341,000,000 Total Profit Payout including bonus 6,225,000 157,750,000 324,000,000 658,500,000

Where are we now?

• Script

• Research

• CasXng

• Crew

• LocaXons

Casting in progress

Up and coming Stars +

Name cameos

CAST

GrandPa (Old Oliver)

C. Walken

Darko

Noah

Orville Wright

Undertaker / Mr. Thompson

Rutger Hauer CONFIRMED

Ireland

Baron / Doc. Hermer

Mrs Thompson

Oliver’s Mother

Edgar Burke

Clark Middleton

Nikola

George (Oliver’s Father)

Mrs. Sophie Van Buren

Oliver

Crystal

D. Agron

Violette

Professor Hamilton

R. Knepper

Edward

Artful

J.P. Barford

J. MccarthyCONFIRMED

J.M. AsherCONFIRMED

K. MarkhamCONFIRMED

A. NovakCONFIRMED

E. SchumacherCONFIRMED

K. MiloradCONFIRMED

Seann William Scott

T.L. BjarkeCONFIRMED

DJ Qualls

Paul Giamatti

B. BouchetCONFIRMED

D. Sutherland

A. DeevaCONFIRMED

The Team Enthusiasm - Experience - Expertise

Dante Spinotti: Multi Award Winning Cinematographer (The Chronicles of Narnia, L.A. Confidential, The Insider)

Michel Klochendler: Cezar Award and Multi Award Winning Film & Sound Editor(Camille Claudel, The taste of others, Camille Redouble)

Misha Segal: Emmy Award and Multi Award Winning Composer

(The Phantom of the Opera, The Human Centipede III, The Last Dragon)

Bojana Nikitovic: Multi Award Winning Costume Designer(A Good Day to Die Hard, The November Man, Ghost Rider: Spirit of Vengeance)

Marco Cabriolu: Writer/Director

(Mosaic, The Crane, Bouncing Back)

Other personnel

ALAN MUNRO: Multi Award Winning EFX and VFX supervisors (Beetlejuice, The Addams Family, Sleepy Hollow)

FERNANDO SABELLI: Multi Award Winning Live Special EFX (The English Patient, Luther, Facing Windows)

DENNIS MAGUIRE – 1st Assistant Director (Indiana Jones and the Last Crusade, Misery, Rambo III)

PEDRO JIMENEZ - Sound Engineer Founder/Owner Benchmark Sound Services at Universal Studios

(Unbroken, Jurassic World, The Hunger Games, Frozen, The Lone Ranger)

Key Locations

• Keleti train station in Budapest• Countryside areas, Danube River (Budapest), etc.• Budapest - Buda city side (streetcars, Széchenyi Chain Bridge, etc)• Studio facilities in Budapest and Prague

• Ervin Szabo Library, Budapest

Keleti train station - Budapest

Széchenyi Chain Bridge - Budapest

Ervin Szabo Library - Budapest

Barrandov Studio Prague

Barrandov Studio Prague

Barrandov Studio - Prague

Barrandov Studio - Prague

ORIGO Studio - Budapest

Origo studio interior

Studio editing facilities

Benchmark Sound Studio

Origo equipment room

Distribution

• NegaXve  pickup  with  a  studio

– Easy,  but  not  always  the  best  deal

• Specialty  distribuXon  (Weinstein  Company)

– Using  the  fesXval  circuit

• Self-distribuXon  with  sales  agents

– Requires  addiXonal  investment

Marketing models

Studio  • Media  blitz  –  force-­‐feeding

the  audience• Quick  and  expensive  (can  be

as  much  as  the  budget)

Independent  • Social  Media  –  word  of

mouth  –  audience  decides• Have  to  start  early  –  much

cheaper.

Social Media

• Campaign  starts  at  the  same  Xme  of producXon

• Social  media  campaigns  to  “influencers”

– Facebook,  blogs,  twiWer

– Lead  actors’/actress’ followings

– Expedited  Word  of  Mouth

– Young  audiences  start  tweeXng  right  away

OLIVER'S WINGS=

A FINANCIAL INVESTMENT &

INVESTMENT INTO OUR FUTURE

Production comPany: Filmstar

director: marco cabriolu

original story and screenPlay: marco cabriolu

cinematograPher: DANTE SPINOTTI

Film editor: michel Klochendler

VFX editor: ALAN MUNRO

music comPoser: MISHA sEGAL

Production designer: JacK taylor

Production status: in develoPment

language: english

locations: budaPest (hu) - PRAGUE (CZ)

genre: adventure Fantasy Family

budget: £15 mil

time: 1993 / 1923