T-MACK THE OTHER SIDE MOVIE PROSPECTUS

TABLE OF CONTENTS DISCLAIMER

3

SYNOPSIS

4

PRODUCTION SUMMARY

5

BIO: OMAR GOODING

6

BIO: WILLIAM l. JOHNSON

10

BIO: THOMAS HARRIS

13

LETTER OF INTENT: OMAR GOODING

14

LETTER OF INTENT: WILLIAM L. JOHNSON

15

SUPPORTING CAST: SEAN BLAKEMORE

16

SUPPORTING CAST: AARON D. SPEARS

17

SUPPORTING CAST: DE’AUNDE BONDS

18

SUPPORTING CAST: GARY ANTHONY STURGIS

19

PRODUCER/DIRECTOR BIO: ISHMAEL HASSAN

20

PRODUCER BIO: JEREMY A SETTLES

21

BUDGET

22

MARKETING SUMMARY

27

DISTRIBUTION STRATEGY

28

FINANCIAL PROJECTIONS

29

FEATURE FILE COMPARABLES

32

THE MOTION PICTURE SUPPLY CHAIN

33

DISCLAIMER This memorandum does not cons tute an offer to sell, or a solicita on of an offer to purchase securi es. This business plan has been submi ed on a confiden al basis solely for the benefit of selected, highly qualified investors and is not for use by other persons. Neither may it be reproduced, stored or copied in any form.

PRODUCTION BUDGET FOR THE OTHER SIDE IS S 150,000 FOR 14 DAYS OF SHOOTING IN THE FORMAT OF RED HIGH DEFINITION

PRODUCTION LOCATIONS : LOS ANGELES, CALIFORNIA AND LAS VEGAS, NEVADA

EIGHT (8) WEEKS PRE‐PRODUCTION SCHEDULE FOR TWENTY‐FOUR (24) PRODUCTION DAYS EMPLOYING SIX (6) DAY WEEKS TWELVE (12) WEEKS POST‐PRODUCTION SCHEDULE

SYNOPSIS On behalf of Akbar Globle Entertainment & Thomas Harris, We would like to thank you for taking the me to review this prospectus, and for considering sponsorship in our produc on.

The Other Side features the story of a young street hustler who a empts to run from his past in the a empt to break a genera onal curse in hopes of finding his future. His thirst for quick wealth leads him down a dark path and on a collision course with his des ny, when his past ul mately catches up to him.

Pharaoh, AKA Tut, was born into undesirable condi ons as the fatherless child of a drug dependent mother who has to navigate through the social ills of the ghe o of South Central Los Angeles. Tut, along with the help of his crew; which includes his best friend Sa n, a empt to stage a deadly robbery of a local drug stash house belonging to a Mexican Cartel organiza on.

With the help of an elder neighborhood friend, Tut and Sa n flee from Los An‐ geles to lay low in the confines of the urban areas of Las Vegas, Nevada and hook up with Black Casper, a mysterious figure who heads an illegal criminal empire.

Due to a lower than expected take from their South Central Robbery; they plot to make quick money in Las Vegas. Along the way, they befriend two local pros‐ tutes, Olivia and Tara, who work for a club that generates a high level of monthly revenue gained by organized criminal ac vi es. Seeing this as an op‐ portunity to make one final big score, Tut and Sa n solicit inside informa on from Olivia and Tara, who assist them in robbing the club. However, unbe‐ knownst to Tut and Sa n, the club is secretly owned by Black Casper.

PRODUCTION SUMMARY PRODUCTION MODEL The produc on model strategy for this film is to minimize above the line ex‐ penses while maximizing on screen produc on value. In order to accomplish this strategy, the producer aims to implement a business model the focuses on keeping costs under control. By ensuring that costs remain low creates the poten al for a lucra ve post‐produc on distribu on deal.

THE TOOLS Typical high‐end HD camcorders have 2.1M pixel sensors and record with 3:1:1 color sub‐sampled video at up to 30fps. RED offers a Super 35mm cine sized sensor, which provides 4K (up to 30 fps) capture with wide dynamic range and color space. At 4K, that’s more than 5 mes the amount of infor‐ ma on available every second to offer a vastly superior recording quality. In addi on, you get the same breathtaking Depth of Field and selec ve focus as film cameras using equivalent 35mm P/L mount lenses. Using a RED Camera helps keep the project shoo ng on me.

LOCATION Las Vegas and Los Angeles will be the loca ons u lized for produc on. These loca ons offer a budget‐friendly way for produc on staff to stretch available funds while s ll working to ensure the highest amount of professionalism and produc on value for the picture.

ACTOR BIO: OMAR GOODING Date of Birth: 19 October 1976, Los Angeles, California, USA Height: 6' (1.83 m) Omar M. Gooding (born October 19, 1976) is an American actor and rapper by the name Big O. He is the younger brother of veteran actor Cuba Gooding, Jr. and the son of singer Cuba Gooding, Sr.

Gooding is best known for appearing in television shows such as Hangin' with Mr. Cooper, Smart Guy, and Playmakers, and also the films Ghost Dad and Baby Boy for which he received critical praise for his role as "Sweetpea." He was one of the original hosts of the Nickelodeon television show Wild & Crazy Kids from 1990 to 1992.

Gooding played D.H., a running back, on the ESPN show Playmakers in 2003. He played the character Odell in the 3rd season of Deadwood. In 2005, he took the role of Chicago barber Calvin Palmer, Jr. in Showtime's Barbershop: The Series, based upon the 2002 film of the same name. Coincidentally, he also appeared on the UPN sitcom One on One as a barber in Flex Washington's barber shop.

He appeared in an episode of Grey's Anatomy in the episode of "Superfreak" From April 2010 to July 2010 he starred as trauma charge nurse, Tuck Brody, in the Bruckheimer television series Miami Medical.

Omar Gooding recently premiered and stars in the first season of Family Time. This is a television series which is shown on TV One. This is another show created by Bentley Kyle Evans. Omar plays a comedic father name Anthony Stallworth, alongside Angell Conwell, who plays Mrs. Stallworth. Currently the show has televised 6 episodes.

Omar Gooding played a main role as character 'Carter' alongside Cam'ron playing his best friend 'Ant' in the 2013 film Percentage.

ACTOR RESUME: OMAR GOODING

ACTOR (41 TITLES)

2014

Monica (post‐produc on): Black

2013 Percentage : Carter Bolden! (post‐produc on): Willie Cornish Holla II :Marty The Devils Dozen:

2012 Christmas in Compton : Derrick Hollander Family Time (TV series) : Anthony Stallworth Episodes:  Gray Area(2012)  When a Woman's Fed Up(2012)  The Note(2012)  No Happy Ending(2012)  There Goes the Neighborhood/Pilot(2012)

Single Ladies (TV series): Presley's Boyfriend Episode List:  Deuces (2012)  The Fabric of Our Lives(2012)

2011 Chase (TV series) Francis Washington



The Man at the Altar (2011)

2010 Grey's Anatomy (TV series):Danny  Superfreak (2010)

Miami Medical (TV series):Nurse Tuck Brody  Medicine Man(2010)  Down to the Bone(2010)  Time of Death(2010)  Diver Down(2010)  Like a Hurricane(2010)

ACTOR RESUME: OMAR GOODING

2009

Alpha Males Experiment  Russell Can Openers 

(TV movie) Darryl

2008

 The Candy Shop Antwon Lemieux

2007 

2003‐2006 Playmakers (TV series): Demetrius Harris  Game Day  Piss Man  Choice: Part 1  Choice: Part 2  Hal ime  Man in Mo on  Talk Radio  Down & Distance  The Ou ng  Tenth Of a Second  Week 17

2005 Barbershop (TV series) Calvin  Crimes of the Heart(2005)  The Poli cs of Money(2005)  Debates and Dead People(2005)  Family Business(2005)  A Black Man Invented the Stop Light(2005)

The Gospel: Wesley

Mysterious Island (TV movie): Neb

Lord Help Us (video) Man in Church

2006 CSI: Miami (TV series):Mr. Ice  Death Pool 100(2006) Deadwood (TV series): Odell Marchbanks  Unauthorized Cinnamon(2006)  A Rich Find(2006) Eve (TV series):Lazy G  Donovan on the Brink(2006)

2002‐2003 One on One (TV series) Malik/Mark  Where Everybody Knows Your Name(2003)  Take This Job and Love It(2003)  The Test(2003)  The One About Friends (2003)  Daddy's Other Girl(2003)

2002

The Division (TV series) Dom Cabrillo  Welcome Home(2002)  Journey(2002)  This Thing Called Love(2002)

Verbal Communica ons Leo Craven

Touched by an Angel (TV series) Ben McCloud

The Perfect Game(2001)

Baby Boy: Sweetpea

2001

Zoe, Duncan, Jack & Jane( TV series): Doug Anderson

ACTOR RESUME: OMAR GOODING 1999‐2000

1997‐1999

Batman Beyond (TV series) Jared Tate / Trey  Armory(2000)… Jared Tate (voice)  Hidden Agenda(1999)… Trey( voice  Spellbound(1999)… Jared Tate (voice)

Smart Guy (TV series)  Morris L. 'Mo' Tibbs / Morris Tibbs  Never Too Young(1999)  The Graduate?(1999)  The Soda Wars(1999)  Cross Talk(1999)  Crushed(1999)  45 addi onal episodes

2000 Freedom Song (TV movie) Charlie Sta c Shock (TV series):Wade

1992‐1997

     

Hangin' with Mr. Cooper (TV series) Earvin Rodman

Ge ng Personal(1997) Party, Party(1997) Lifesaver(1997) The Swami(1997) One on One(1997) 33 Addi onal Episodes

1994 Thea (TV series) Dwayne Who's Zoomin' Who? (1994)

1993 The Ernest Green Story (TV movie) Marcus

1991‐1992 Blossom (TV series) Brad / Tyler  The Making of the President(1992)  Hot for Teacher (1992)  The Test (1992)  Honor? (1991)… Tyler

1992 The Royal Family (TV series) Art  Mo' Money(1992)  Status, Bro(1992)  The Sneakin' Deacon (1992)

Empty Nest (TV series)  Jason Sayonara (1992)

1990‐ 1992 Wild & Crazy Kids (TV series) Nickelodeon Host  Episode dated 17 July 1992(1992)  Episode #2.1(1991)  Episode #2.2(1991)

1990 Just the Ten of Us (TV series) Scout  Perfect Date(1990)

Ghost Dad: Stuart

ACTOR BIO: WILLIAM L. JOHNSON William L. Johnson's mission rises above the fame and fortune that usually rewards a successful music/ac ng career. His goal is to rein‐ vest the majority of his earnings into a structured business that sup‐ ports the advancement of the urban community. By spreading the message of self‐reliance and providing opportuni es to qualified individuals from disadvantage backgrounds, he hopes to break the cycle that keeps genera ons impoverished. William Johnson may be seen in over twenty film projects and has already generated a buzz on the underground circuit from anxious fans awai ng his na onal exposure.

His upcoming feature Destroy the Light, directed by Preston Whitmore III and starring Boris Kodjoe, and Giancarlo Esposito, may prove to be the spark that ignites his mainstream popularity. He has held starring and prominent roles in theatrically released projects.

His performance as a lead in director Craig Ross' Blue Hill Avenue helped the movie garner top honors at the Acapulco and Black Hol‐ lywood film fes vals.

Johnson also starred in the independent produc on Sweet Oranges and was featured in Ross' Mo ve starring Shemar Moore, Vivica Fox, Golden Brooks, and Victoria Rowell. Johnson's ac ng diversity has been displayed in several independent short films and features such as Move, Wanted: Soulful Energy Xchange with Gary Dourdan and Mari Morrow, director Tony Spires' Two Degrees starring Don "DC' Curry, and Nikita Blues from Foremost Entertainment. He also performed a scene‐stealing role in Show me's A Spider's Web with Stephen Baldwin and Carrie Weir.

Equally important to Johnson is his passion to deliver conscious messages through his music via his stage persona "Brotha Bill". Brotha Bill's essence is a lyrical flow that sets him apart from other neo‐soul ar sts. Those who have experienced his fusion of poe c verse and energe c R&B funk are sure to cherish the kine c vibe in their own home. His CD contains up‐tempo songs as wells as succulent cuts that feed the desire for real, soulful music. Upon reloca ng to Los Angeles in 1998 Johnson quickly gained a name for himself as a very talented and versa le actor starring in films that have won accolades at top film fes vals. Claiming Gary, Indiana and Chicago, Illinois as hometowns, Johnson has steadily improved his cra in the Los Angeles entertainment scene for the past six years.

His music career was spawned at an early age upon matricula on to Emerson Visual and Performing Arts High School. Soon a er gradua on he formed a group, Black to Black, which was nurtured by notable manager Jimmy Newton. In 1999, Johnson and prominent producer/engineer Booker T. Jones conceived BaldHeadDread, which gar‐ nered significant exposure when they scored the movie soundtrack for Ragdoll. Both projects were stepping stones to help him launch his solo ventures for his career.

ACTOR RESUME: WILLIAM JOHNSON PRODUCER 3 TITLES Truth Among Men (Short)( Associate Producer)

2013

Tons of Love (Video) (Associate Producer)

2009

Marco Polo (Co‐Producer)

2008

ACTOR (34 TITLES) 2013 Dolls of Voodoo—Blazi Truth Among Men (Short) — Dad

2012 Broke as a Joke (Short)‐ Don

2010

2008

Expendable (Video) ‐Arnold The Confidant Detec ve ‐Moore Trapped: Hai an Nights ‐ Blazi

Marco Polo‐ Jared

2007

2006

The Mannsfield 12‐‐ Gu a Traci Townsend‐‐ Singer Mo ves 2: Behind the Scenes (Video Short)‐‐ Ray All of Us (TV series) ‐‐Brian He's Got Game(2007)… Brian

Crossover Aub‐‐(as William Johnson) Restraining Order‐‐ Thug

ACTOR RESUME: WILLIAM JOHNSON (CONT) 2005

2004

Tears of a Clown‐ Kenny Lang View in Black & White ‐James

Doing Hard Time (Video) Mo ves (Video) ‐Ray

2003

2002

Sweet Oranges (Video) ‐Jamal Jenkins Cradle 2 the Grave‐ Black Diamond Carrier Armored Driver‐ (Un‐credited Role)

Spider's Web Conman‐ Jerry Move (Short) Johnny ‐ Clayton – Rod Wanted: Soulful Energy Xchange (Video Short) ‐Marcis

2001

2000

Sacred Is the Flesh Blue Hill Avenue‐ E. Bone The Steve Harvey Show (TV series) ‐Emcee – ‐Not the Best Man (2001 ‐ Emcee Our Journey (Short) Nikita Blues‐ J‐Smooth Room for Seven‐ Gabe Ashe Two Degrees‐ Terry

Killjoy (Video)‐ Lorenzo When the Time Comes (Short) The Playaz Court‐ Lorenzo

1999 Ragdoll Gene (as William Johnson)

ACTOR BIO: THOMAS HARRIS Thomas Harris, AKA T. Mack is renowned for his dedi‐ ca on and passion for crea ng change in the lives of Las Vegas Youth. While The Other Side is his ac ng debut; he is deeply connected to story as it illustrates his life story. Growing up in gang infested neighbor‐ hoods as a youth, he witnessed many of life’s painful stories and struggles and wondered if he was ever go‐ ing to escape. It was his love of classic automobiles and his desire to make a personal change that led him to become a successful entrepreneur in automo ve repair industry. Through that success, he felt inspired to give back and be a mentor to other individuals who were facing similar circumstances. Mr. Harris has be‐ come a local legend who has strived to curtail gang violence and unite rival gangs. Thomas’ role in The Other Side as a person that ques ons external and in‐ ternal influences of evil amongst us and how it will im‐ pact the decisions we make in not only our lives but the lives of others.

Harris will play the role of a good boy gone bad; a person who once had a conscience but now he has changed for the worse. He is a man with no restric ons, no rules, no remorse as his heart has turned cold. His quest is for money, power, and to rule everything at the Top. Howev‐ er, what comes up must come down and this story serves as a lesson to those who strive for easy money though the lifestyle of hustling, slanging, and gangbanging.

This story is designed for reveal the truth about what really goes on in the streets. This is reality and not just a glorified version of the Movies on TV. The Other Side is a message to society and our youth to wake up and become aware of their : responsibility, commitment, honesty, and smell the coffee. This mo on picture has a great poten al to not only inform but it will make history as being one of the first major films set in the city of North Las Vegas, the underside of glamorous Sin City. We encourage your par cipa on in the filming of “The Other Side". This will give you a very good perspec ve of what could happen, if you decided to walk on the dark side.

LETTER OF INTENT: OMAR GOODING

M&A M. Joseph Miller II. & ASSOCIATES

BUSINESS, POLITICAL, ENTERTAINMENT & LEGAL MANAGEMENT CONSULTANTS

LETTER OF INTENT

Omar Gooding (hereinafter "Actor") hereby expresses interest in playing a starring role in the film project of the working title, "The Other Side" under development by Thomas Harris (hereinafter "Producer").

This interest is subject to the Actor's availability and the future agreement to terms of employment between the Actor and Producer.

This letter does not bind either Producer or Actor to an employment contract, but grants Producer permission to use Actor's name and likeness in the pre-production development and marketing of this project and in seeking financing for this project, for a period not to exceed one year.

Signed and dated this -=26-=--_day of July, 2013

Omar Gooding

LETTER OF INTENT: WILLIAM L. JOHNSON

COPYRIGHT 2013 — THOMAS HARRIS & ISHMAEL HASSAN

SUPPORTING CAST: SEAN BLAKEMORE

Other Soap Roles  GENERAL HOSPITAL 2011‐present  DAYS OF OUR LIVES (ex‐Peter, 2009; ex‐Barney, 2008)  YOUNG AND RESTLESS (ex‐Ben, 2004)

Born in St. Louis, Missouri, Blakemore is the fi h of seven children. Before moving to Los Angeles in 1998, he worked as a model. When he did move to L.A. it was, he says simply, "to act." He did quite a bit of research on the subject once in L.A., asking around about legi mate ac ng classes, reading the trade papers, the best agents for a newcomer, and ge ng to know the vast city.

Originally, Blakemore found work in student films, short films, and plays.

He also worked as a page on sitcoms doing crowd control. It took him a few years to get going, but when he did, Blakemore took off. His credits include the films Dahmer, Big Ain't Bad, Keeping It Real, Woman Thou Art Loosed, the TV shows Monk, The Shield, Cold Case, the O.C., CSI: NY, ER, NCIS, SGU Stargate Universe, Bones, Band the miniseries Into the West.

In 2003, Blakemore received an honor at the Hollywood Black Film Fes val for his portrayal of an unfaithful boyfriend in Big Ain't Bad. Before being cast on General Hospital in 2011, Blakemore played Ben on The Young and the Restless in 2004, and in 2009, he did some work on Days of Our Lives. So he was familiar with the fast pace of the genre when he joined General Hospital in 2011. Blakemore was an immediate hit with viewers. He admits, however, that while he likes TV, his first love is film because of the in macy of the medium.

TV Roles  NCIS (Jerome, 2011)  SGU STARGATE UNIVERSE (Reginald, 2010)  LIE TO ME (FBI Agent Irving, 2009)  BONES (Grayson, 2009, 2008)  K‐VILLE (Ken, 2007)  ER (Mario, 2007)  CSI: NY (Nick, 2006)  INVASION (Coast Guard Lt., 2006)  THE UNIT (African Soldier, 2006)  THE O.C. (Trauma Doctor, 2005)  INTO THE WEST (Ben, 2005)  THE SHIELD (John, 2005)  COLD CASE (Clyde, 2005)  MONK (Spyder Cell Guard, 2004)  MOMENTUM (Floor Cop #2, 2003)  THE DISTRICT (Achmed, 2002)  SOUL OF THE GAME (Grace's Husband, 1996)

SUPPORTING CAST: AARON D. SPEARS Actor/Producer Aaron D Spears was born on July 10, 1971 in Washington, DC. He received his primary educa on in Prince Georges County Maryland and later graduated from Delaware State University with a degree in Computer Science. At the insistence of one of his college professors, Aaron tried out for a part in the school play. One small part turned into six and the ac ng bug had taken effect.

A er gradua ng from Delaware State University and turning down an opportuni‐ ty to make the New York Jets roster, Aaron moved to Los Angeles, California in the fall of 1994 to pursue his ac ng career. A few years passed and by 1998 he landed his first movie role in an independent film called Cappuccino. In his most notable role to date, he portrayed “Money” in the film Blue Hill Avenue, released in 2001.

Aaron D. Spears has come a long way. As a Washington D.C. na ve, Aaron has exhibited his natural talent in sports which have given him the tenacity, perseverance and inner strength that has helped launch him into a career in film, and television.

Aaron's television appearances include: BET’s Being Mary Jane, shows NCIS, Castle, Boston Legal, Lincoln Heights, Bones and Criminal Minds. His film credits include the Academy Award nominee Babel; blockbuster hit I Love You, Man and independ‐ ent films 35 and Ticking, Disrupt/Dismantle.

In 1997, Aaron established his own company which brings a new facet of spoken‐word poetry and thought provoking film to Hollywood. Teaming up with his long me friend and director, Craig Ross, Jr on their fourth project together, Aaron also shines as an Execu ve producer on The Mannsfield 12. He not only starred in the film, addi onally, Aaron composed the lyr‐ ics to and performed the tle track as he did for two other films he appeared in. Aaron's latest big screen effort came in the form of a role as Officer Lance in the Academy Award nominated film Babel. In an effort to channel his crea ve energy into other talents, Aaron established a produc on company, Henna, LLC. The company strives to develop mul ple facets of enter‐ tainment including Spoken‐Word and thought provoking films. To date, Aaron has composed and released two Spoken‐Word CDs, Thoughts of an Untamed Mind and Incep on.

Currently he portrays “Jus n Barber” on the cast of CBS’ Emmy Award winning, The Bold and the Beau ful, which reaches 35 million + viewers worldwide. He is a 2010 and 2011 NAACP Image Award nominee for Outstanding Actor in a Day me Drama.

SUPPORTING CAST: DE’AUNDRE M. BONDS De'Aundre M. Bonds was born on March 19, 1976, in the City of Los Angeles, California. Bonds has mostly appeared as a guest actor on television shows; however, he was also featured in the Spike Lee film Get on the Bus, Tales from the Hood and the Rick Famuyiwa film The Wood.

He has a produc on company called Take Off Pro‐ duc ons with fellow actor Francis Capra

Filmography  1995 Tales from the Hood  1995 Chicago Hope  1996 Sunset Park  1996 Get on the Bus  1999 The Wood  2000 3 Strikes  2000 The Heist  2000 Lockdown  2001 Flossin  2003 Black Ball  2013 Gangster Squad

SUPPORTING CAST: GARY ANTHONY STURGIS Gary Anthony Sturgis is a New Orleans born actor/writer/director best‐known for his portrayal of the villain in two of Tyler Perry's big‐ gest hit films, "Diary of A Mad Black Woman" (as Jamison Jackson) and "Daddy's Li le Girls" (as Joseph Woods). He also co‐starred op‐ posite Terrence Howard in "Pride", as the charming yet sinister pimp/drug dealer Franklin Washington. Recently, he has stepped out the role of bad guy to co‐star in the comedy "Chicago Pulaski Jones" with Kel Mitchell and Cedric the Entertainer.

Also a professional voice ar st, Sturgis has voiced network promos for UPN, CBS, PBS and ABC, cartoons and video games (Sta c Shock, Batman, Scooby Doo and The Cyber Chase, Fairly Odd Parents, Spi‐ derman) and is heard on countless commercials for radio and televi‐ sion. His raspy bass‐baritone voice that the women find hard to resist has even been heard on na onal movie trailers and promo ons for; "Bones", "Two Can Play That Game", "The Others", "The Brothers" and "The Wood" to name a select few. In addi on, he is also the voice for the History Channel's "K‐9 Cops". For another surprise, Gary also pro‐ duces and writes rap music and has a successful recording under the moniker Illumina called Fahrenheit, which is s ll available on iTunes.

As a writer/producer, Gary is producing some of his own feature‐length screenplays (he has wri en more than ten), and has packaged his works into three and four picture deals and commenced to shopping them around town for fi‐ nancing and distribu on. We have only scratched the surface of this mul ‐faceted crea ve soul.

Since Sturgis had been wri ng for years, the next natural progression was to direct. A er direc ng "Lend A Hand", a 90 ‐second short film for the American Black Film Fes val (ABFF), Gary realized that direc ng was yet another feather he could s ck in his talented cap. He also exercises his wri ng chops daily as a regular staff writer on the number‐one urban comedy in the history of cable television, "House of Payne" and the latest Tyler Perry series, "Meet The Browns", on which he also plays a recurring character.

Gary will be direc ng two of his own films, a comedy, "The Inheritance" and an ac on drama, "Le Bon Temps Rouler", in the near future as the first two films from his produc on company, GEMFilmworks. The mul ‐hyphenated talent is already respected as an actor and plans to make an even bigger mark in the entertainment business while he perpetu‐ ally broadens his horizons.

PRODUCER/DIRECTOR BIO: ISHMAEL HASSAN It is a pleasure to introduce myself.

My name is Ishmael (aka) Mr.Ish I am also the CEO and founder of Akbar Globle Entertain‐ ment/Ghozt Town Recordz, a film company‐ rec‐ ord label.

I have been in the film‐making/entertainment business for the la er part of my adult life. One of my latest projects is the “T‐Mack Story” I di‐ rected and produced (links below).

Addi onally, I am embarking on a new venture, the mo on picture “The Other Side “and “Prison to Pres ge.”

I have worked on many other independent projects such as: commercials for Tow‐ bin Dodge, Las Vegas; music videos for Top Notch Records featuring Bun B; a docu‐ mentary tled, “All American Strippers, Las Vegas Style” and commercials for The Love Bou que (Hustler/Larry Flynt).

As a part of these produc ons, Mr. Ish has had the good fortune to observe and work closely with highly talented individuals to gain a vast amount of knowledge and experience in: music videos, film wri ng, direc ng, and post‐produc on. As a producer, Mr. Ish brings a strong drive, posi ve energy, and crea ve talent to‐ wards his endeavors. He is commi ed to bringing a quality product, a efficient process, and profitable economic poten al to “The Other Side”

PRODUCERS BIO: JEREMY A SETTLES When Jeremy was nineteen he accepted a job as a carpet cleaner for the busiest produc on company in town and interned there as well. There he learned how to operate not just as a team, but a highly efficient commercial machine. Jeremy has been fortunate enough to learn all aspects of produc on. As an intern they would shoot three to five commercials a day ‐ run and gun. When you only have one chance to do it, you have to know how to light, do the audio, set up and shoot. Jeremy never went to film school.

Reading books, watching movies and working is what he's done.

While working mostly as a gaffer, grip and electrician on huge blockbusters, Jeremy simultaneously made his debut as a produc‐ er in 1995 with "Mr. Ice Cream Man", a low budget independent full length mo on picture, distributed interna onally by now de‐ funct Dead Alive Produc ons. With the founding of Guru Produc ons in 1996, he followed with the fea‐ ture mo on picture "Creep", currently distributed by Troma Releasing and Got Films. By 2002 Jeremy had established himself as a camera operator and began shoo ng commercials, TV shows and music videos.

In 2005, he received "Best Cinematography" for the short film "Ego", in the Vegas leg of the 48 Hour Film Project. In 2003 He completed his last feature film with Guru Produc ons tled "Trans‐American Killer" aka "Switch Killer", released in 2005 by Lions Gate, and got married. His wife Rhonda handles booking and scheduling. Jeremy has over 20 years of experience and is the new breed of Jack ‐ of ‐ all ‐ trades in the film and television produc on industry. Jeremy is efficient and hard working. His client roster is im‐ pressive and as an established DP, Sound Mixer and Gaffer, each résumé is extensive. Jeremy has also worked on a plethora of corporate, industrial and music video projects. For a complete résumé please download his résumé app or email jeremyse lesdp@gmail.com.

DP: NASCAR, America's Most Wanted, Forensic Files, Inside the Octagon, DICE, RV Countdown, CNN Cinema Con Sound Mixer: American Restora on, Pawn Stars, Vegas Strip, Sin City Cars, Flipping Vegas, Wife Swap Gaffer: Pharmacare, The Captains, Top Chef, Bands in the Run, She House Cinema, the Celes ne Prophecy, 41st Annual Academy of Music Awards, Feature Films. Television. Commercials. Music Videos. Documentaries.

Shorts. Conven ons, Corporate Videos. Interviews. Event Coverage. Internet. News. Sports. EPK. Press Junkets. Red Carpets

BUDGET SHOOTING DAYS: 14 TBD SAG ULTRA LOW BUDGET CONTRACT FEATURE FILM

Pre‐Produc on Personnel $8,500.00

SERVICE

QTY

UNIT

NUMBER OF UNITS

Line Producer

1

1

$ ‐

Writer

1

1

$ ‐

Director

1

1

$ 2,500.00

$ ‐

Loca on Manager

1

1

$ 2,500.00

Producer

1

2

$ 2,000.00

$ ‐

Producer

1

1

$ 2,000.00

$ 4,000.00

Execu ve Producer Fees

1

1

$ 2,000.00

COST/UNIT

TOTAL COST

BUDGET (CONT)

Produc on Personnel SERVICE

QTY

$ 72,850.00

UNIT

NUMBER OF UNITS

COST/UNIT

TOTAL COST

Director

1

1

10,000.00

$ 10,000.00

Producer

1

2

3,000.00

$ 6,000.00

Producer

1

1

3,000.00

$ 3,000.00

Director of Photography

1

14

300.00

$ 4,200.00

Gaffer

1

14

250.00

$ 3,500.00

Best Boy

1

14

200.00

$ 2,800.00

Rigger

1

$ ‐

Camera Assistant ‐ 1st

1

14

200.00

$ 2,800.00

Camera Assistant ‐ 2nd

1

$ ‐

Camera Assistant ‐ Loader

1

$ ‐

Key Grip

1

14

200.00

$ 2,800.00

Grip‐Swing

1

14

175.00

$ 2,450.00

Grip

1

14

150.00

$ 2,100.00

Grip

1

$ ‐

Wardrobe Director

1

14

175.00

$ 2,450.00

Wardrobe Assistant

1

14

$ ‐

Produc on Manager

1

14

200.00

$ 2,800.00

Produc on Assistant ‐ Key

1

14

150.00

$ 2,100.00

Produc on Assistant

1

14

125.00

$ 1,750.00

Produc on Assistant

1

14

125.00

$ 1,750.00

Produc on Assistant

1

14

$ ‐

S ll Photographer

1

14

$ ‐

Videographer

1

14

$ ‐

1st Assistant Director

1

14

200.00

$ 2,800.00

2nd Assistant Director

1

14

$ ‐

Script Supervisor

1

14

150.00

$ 2,100.00

Produc on Designer

1

14

250.00

$ 3,500.00

Art Director

1

14

200.00

$ 2,800.00

Art Assistant

1

14

$ ‐

Sound Mixer

1

14

250.00

$ 3,500.00

Boom Operator

1

14

100.00

$ 1,400.00

Key Make‐Up Ar st

1

14

200.00

$ 2,800.00

Hair Stylist

1

14

150.00

$ 2,100.00

Stunt Coordinator

1

3

450.00

$ 1,350.00

BUDGET (CONT) TALENT $ 20,000.00 SERVICE

QTY

UNIT

NUMBER OF UNITS

COST/UNIT

TOTAL COST

On‐Camera

1

1

$ 20,000.00

$ 20,000.00

Voice‐Over

$ ‐

EQUIPMENT $ 13,800.00 SERVICE

QTY

UNIT

NUMBER OF UNITS

COST/UNIT

TOTAL COST

Camera Package Rental

1

1

$ 1,500.00

$ 1,500.00

Ligh ng Package Rental

1

1

$ 2,500.00

$ 2,500.00

Generator

1

1

$ 500.00

$ 500.00

Dolly Rental

1

1

$ 650.00

$ 650.00

Cube Truck Rental

1

1

$ 650.00

$ 650.00

Jib Operator

1

2

$ 350.00

$ 700.00

Steadycam Operator

1

4

$ 200.00

$ 800.00

Loca on Fees

1

1

$ 5,500.00

$ 5,500.00

Loca on Permits

1

1

$ 1,000.00

$ 1,000.00

BUDGET (CONT) POST‐PRODUCTION SERVICES $ 10,850.00 SERVICE

QTY

UNIT

NUMBER OF UNITS

COST/UNIT

TOTAL COST

Edi ng System/Editor

1

1

$ 3,000.00

$ 3,000.00

Graphics/Anima on

1

1

$ 850.00

$ 850.00

Color Correc on

1

1

$ 2,500.00

$ 2,500.00

Film Development

1

1

$ ‐

Video Transfer/Dailies

1

14

$ ‐

Sound Mixing/Foley/ADR

1

1

$ 2,250.00

$ 2,250.00

Music

1

1

$ 2,250.00

$ 2,250.00

BUDGET (CONT).

Produc on Services

SERVICE

QTY

$ 24,000.00

UNIT

NUMBER OF UNITS

COST/UNIT

TOTAL COST

Film Stock

1

14

$ ‐

Audio Tape Stock/DAT

1

14

$ ‐

Video Master Tape Stock

1

1

$ ‐

Video Master/Tape to Tape

1

14

$ ‐

SAG Pension & Health

1

1

$ 3,400.00

$ 3,400.00

Field Produc on Crew Meals

1

14

$ 275.00

$ 3,850.00

Insurance‐ Produc on

1

1

$ 1,750.00

$ 1,750.00

Insurance‐ Errors & Omission

1

1

$ ‐

Transporta on

1

1

$ 8,250.00

$ 8,250.00

Wardrobe

1

1

$ 3,000.00

$ 3,000.00

Props

1

1

$ 3,500.00

$ 3,500.00

Walkies & Headsets

1

1

$ 250.00

$ 250.00

Expendables. Misc.

1

1

$ ‐

Nega ve Blow‐Up D.I.

1

$ ‐

Distribu on

Film Fes val/Screening Fees

1

Marke ng/Promo onal Fees

1

Grand Total

$ 150,000.00

MARKET SUMMARY There are several successful films that have been produced that are similar in budget and content that is comparable with “The Other side” . Three of the following are listed below:

A) Boys in the Hood, directed by John singleton which had revenues of $100,000,000 and received an ini al investment of $6,000,0000.

B) Menace to Society, directed by the Hughes Brothers, which had revenues of $33,000,000 and received an ini al investment of $9,000,000.

C) Friday, directed by Ice Cube, which had revenues of $22,000,000 and re‐ ceived an ini al investment of $2,500,000.

Revenues for these films are largely higher in gross and profit. These figures were compounded within a year of their release. They do not include home video gross, profits from sales, etc. Expecta ons of gross revenues from the Mo on Film “The Other Side” are based on the above files and their populari‐ ty with the marketplace. The success or failure of this Mo on Film Screen Play depends heavily upon adequate financing for produc on to assure proper dis‐ tribu on and reviews.

Addi onally, there is a marke ng strategy that will u lize social media, and other distribu on channels that will ensure the maximum profits from this Mo on Film Screen Play.

DISTRIBUTION STRATEGY

Once the film is complete, we will begin the final stage of our journey – the distribu on of The Other Side to na onal audienc‐ es. We will sell and license rights to The Other Side to distribu‐ on companies and/media outlets, ensuring that it will be seen by the greatest number of people and thus have the greatest fi‐ nancial success.

Selling or licensing rights are the typical manner in which a small film finds a wider audience. The Other Side will be in line with successful independent cinema of the past, mimicking strategies used by box‐office hits such as Hustle & Flow and City of God.

The Other Side’s marketability comes not just from the strength of the story or the ar s c talent that we are employing, but The Other Side touches on themes that resonant in our society in the current moment – poverty, the family, and the pursuit of happiness. We will be targe ng a very key market (Adults 18+), the largest consump on market in the U.S. Furthermore, rent‐ al giants NetFlix and Redbox have both created an en re de‐ partment devoted to independent cinema, and indie hits such as Juno are among the most popular films in recent memory.

FINANCIAL PROJECTIONS • In a licensing scenario, a company would purchase limited rights to the film for a specific purpose for a spe‐ cific amount of me. For example, a theater chain or dis‐ tribu on company may wish to license theatrical rights for one year. They may pay an upfront purchase price for the license, or they may pay a percentage of profits a er their costs, or a combina on of the two.  The proceeds of the purchase price would be distribut‐ ed to the investors in accordance with the terms of the opera ng agreement.

THE OTHER SIDE Buyout projec ons

Modest Scenario

Good Scenario

Buyout Price

$750,000

$3,000,000

Return of Ini al Investment

($200,000)

($200,000)

THE OTHER SIDE Total Net Profit

$550,000

$2,800,000

Investor Payout 50%

$275,000

$1,400,000

INVESTMENT SHARES BREAKDOWN

*Produc on Company and Investor(s) will split 50/50, 100% of the net profits. *1‐4 investors will own 12.5%‐50% of the film’s net profits, broken down as follows:

*Shares will be purchased in increments of $50,000.00. *Minimum share: $50,000 = 12.5% ownership of the film. *Maximum shares: $200,000 = 50% ownership of the film.

With this in mind, the producers of The Other Side have developed the following crea ve proposal. It is our intent to approach the project in a viable and conserva ve manner with the objec ve of minimizing risk, while maximizing return on investment, and speeding up payback.

Once an investment has been made, funds will be secured in an escrow account with a bank TBA, the financial ins tu on which will be used by The Other Side, LLC for the film The Other Side. This is to ensure the safety of investments and guarantee the good faith use of all investment funds by the producers. Once two hundred thou‐ sand ($200,000) dollars of investment capital have been secured, the escrow account will release the funds so that the producers can begin produc on. All investment funds will be exclusively u lized to produce, market, and distribute the film, The Other Side. Our investors will bear no liability to the producers of The Other Side or third par es beyond their ini al investment. Once the movie has been distributed, investment(s) will turn to profit.

Available net cash flow will be paid to investors in propor on to the percentage of their financial contribu on un‐ l they have received one‐hundred‐percent (100%) of their original capital contribu on. Once the investors have been paid back 100% of their investment all investors will receive 50% of the profit and the producers will receive 50% of the profit. Both the investors as a group and the producers each receive fi y‐percent (50%) of all Net Cash flow available for distribu on during the remaining life of The Other Side. An investors’ por on of the Net Cash flow will be distributed in propor on to his or her membership interest. If there is one sole investor for the pro‐ posed $200,000 film budget, then the investor will share half of the net profits or poten al loss with the produc‐ ers.

Special alloca on of Net losses will flow through to investors in propor on to their membership interests. These losses can be used to declare a loss on taxes. However, we have made it our top priority to ensure profitable re‐ turns and to make the film The Other Side a produc on that is financially safe, as well as an enjoyable experience.

Feature Film Revenue

A film generates revenue in a series of exhibi on windows in order to maximize the total return on investment.

The exhibi on windows are staggered, making the commercial life cycle of a mo on picture very long.

The flow of revenue for a distributed feature film in North America has an established order through the exhibi‐ on windows described below. Addi onal revenue opportuni es are available through such ancillary markets as merchandising and licensing, music rights, educa onal markets, airlines, product placement, etc., and from for‐ eign markets. All of these rights can be licensed individually.

FEATURE FILE COMPARABLES There are several successful films that have been produced that are similar in budget and content that is comparable with “The Other side” . Three of the fol‐ lowing are listed below:

A) Boys in the Hood, directed by John singleton which had revenues of $100,000,000 and received an ini al investment of $6,000,0000.

B) Menace to Society, directed by the Hughes Brothers, which had revenues of $33,000,000 and received an ini al investment of $9,000,000.

C) Friday, directed by Ice Cube, which had revenues of $22,000,000 and received an ini al investment of $2,500,000.

Revenues for these films are largely higher in gross and profit. These figures were compounded within a year of their release. They do not include home video gross, profits from sales, etc. Expecta ons of gross revenues from the Mo on Film “The Other Side” are based on the above files and their popularity with the marketplace. The success or failure of this Mo on Film Screen Play depends heav‐ ily upon adequate financing for produc on to assure proper distribu on and re‐ views.

Addi onally, there is a marke ng strategy that will u lize social media, and other distribu on channels that will ensure the maximum profits from this Mo on Film Screen Play.

THE MOTION PICTURE SUPPLY CHAIN

FEATURE FILE COMPARABLES There are several successful films that have been produced that are similar in budget and content that is comparable with “The Other side” . Three of the following are listed below:

A) Boys in the Hood, directed by John singleton which had revenues of $100,000,000 and received an ini al investment of $6,000,0000.

B) Menace to Society, directed by the Hughes Brothers, which had reve‐ nues of $33,000,000 and received an ini al investment of $9,000,000.

C) Friday, directed by Ice Cube, which had revenues of $22,000,000 and re‐ ceived an ini al investment of $2,500,000.

Revenues for these films are largely higher in gross and profit. These fig‐ ures were compounded within a year of their release. They do not include home video gross, profits from sales, etc. Expecta ons of gross revenues from the Mo on Film “The Other Side” are based on the above files and their popularity with the marketplace. The success or failure of this Mo on Film Screen Play depends heavily upon adequate financing for produc on to assure proper distribu on and reviews.

Addi onally, there is a marke ng strategy that will u lize social media, and other distribu on channels that will ensure the maximum profits from this Mo on Film Screen Play.

MARKET SUMMARY There are several successful films that have been produced that are similar in budget and content that is comparable with “The Other side” . Three of the following are listed below:

A) Boys in the Hood, directed by John singleton which had revenues of $100,000,000 and received an ini al investment of $6,000,0000.

B) Menace to Society, directed by the Hughes Brothers, which had reve‐ nues of $33,000,000 and received an ini al investment of $9,000,000.

C) Friday, directed by Ice Cube, which had revenues of $22,000,000 and re‐ ceived an ini al investment of $2,500,000.

Revenues for these films are largely higher in gross and profit. These fig‐ ures were compounded within a year of their release. They do not include home video gross, profits from sales, etc. Expecta ons of gross revenues from the Mo on Film “The Other Side” are based on the above files and their popularity with the marketplace. The success or failure of this Mo on Film Screen Play depends heavily upon adequate financing for produc on to assure proper distribu on and reviews.

Addi onally, there is a marke ng strategy that will u lize social media, and other distribu on channels that will ensure the maximum profits from this Mo on Film Screen Play.