motivis.commotivis.com/motivis4films/documents/Motivis -BusinessP… · Web viewTV & FILM PRODUCTION. CANADIAN DREAM . FOR EASTERN-EUROPEAN IMMIGRANTS. 2025 Ambridge Court, Unit

TV & FILM PRODUCTION

CANADIAN DREAM FOR EASTERN-EUROPEAN IMMIGRANTS

2025 Ambridge Court, Unit 23Mississsauga, ON, L5J 1S4

Phone: 416.721.2597eMail: [email protected]

Web: Http://www.motivis.comPrepared by: Llyane B. Stan (Owner)Date: January 2009

MOTIVIS LTD. – TV & Film Production | Businesses Plan by Llyane B. Stan Page

http://www.motivis.com/

TABLE OF CONTENTS

Index for Section B

A – Cover Sheet......................................................................................p. 1B – Table of Contents..............................................................................p. 2C – Executive Summary......................................................................... p. 3 D – Management.....................................................................................p. 7E – Mission Statement.............................................................................p. 14F – Business description..........................................................................p. 15G – Marketing Plan..................................................................................p. 18H – Operations.........................................................................................p. 39 I – Registrations and Regulations...........................................................p. 43J – Finances.............................................................................................p. 47K – Appendices........................................................................................p. 50


EXECUTIVE SUMMARY Index for section C

1. Main points to describe the business:a. Name of Businesses......................................................................... p. 4b. Products and services........................................................................p. 4c. Location..............................................................................................p. 4d. Marketing summary............................................................................p. 4e. Management expertise.......................................................................p. 4f. Reasons why the business will succeed............................................p. 5g. Business goals ..................................................................................p. 5

2. Summary of financial needs and application of funds.............................p. 53. Summary of earnings projections ...........................................................p. 64. Summary of potential return to investors ................................................p. 65. Security you are prepared to pledge........................................................p. 6


MOTIVIS LTD. is a corporation fully owned and operated by Llyane Stan (see resume in Appendix 02), based in Mississauga, Ontario.

Products and services(1) To create, import and promote films, documentaries, docu-dramas and televised theatre related to or made by Canadians of East European background, with specific focus on: (a) Inter-generational communication between Canadian Immigrants; (b) promoting Canadian artists of Eastern European background – educating younger generations about their culture and its integration in the Canadian cultural mosaic; (c) serving Baby Boomers of Eastern European background – reflecting their specific problems and values; (d) supporting the culture of gay and lesbian Eastern European Canadians; (e)Commercials made for other industries that target the same demographic groups. The products will be distributed via film festivals, TV channels, and multi-disciplinary shows. (2) To Develop the “Cinemateque Online” new media (marketing and distribution) proprietary technology to offer access to the above products via membership – using e-mail marketing and e-commerce technologies, offer incentives for membership, and pay-per-view options.

Marketing summaryThe following marketing methods will be used: Canadian and International television in collaboration with external partners; contacting museums, galleries and artist-run centers, libraries, individual consumers and collectors, cinemas; creating relationships with Festivals and artists from other disciplines; international marketing; building a media arts website; marketing new media works through the Online Cinemateque multi-media technology; building awareness and visibility for the media arts by organizing multi-disciplinary shows; national and international touring programs; sponsorships and strategic alliances; memberships and newsletters; print advertisement in newspapers, flyers and posters; networking groups; radio and TV commercials; pay per click on Google and Facebook.

Management expertiseThe owner has a theatre and film diploma and 3 well-regarded certificates including film production and directing courses and workshops, as outlined in the resume (Appendix 02). To stay competitive, the owner keeps up to date with the latest technologies and trends in the film industry through volunteering and ongoing workshops. The owner co-produced 4 feature films and 4 promo DVDs, she is part of the production team at “WILDsound International Film and Screenwriting Festival” and she volunteered for “TORO Arts Group International Film Festival”. The owner's sales and marketing experience includes (done in English, French and Romanian): sales and co-producer for Theatre as a Metaphor and Buftea Film Production Network; retail sales for The Shopping Channel; industrial sales for Riesling, Patlon, and Logitech; eMail marketing for


Yesmail; acquisition and retention cold and warm calls for MADD Canada.Reasons why the business will succeed There are over 2 million Eastern European Canadians in Ontario and 1/3 of this group live in the GTA, including a large majority of Romanian-Canadians. In this context, the owner's cultural (Romanian) and professional background and experience, combined with the company's goal to target under-served Canadian demographic groups of Eastern European background make a strong mix, in the current national effort to build a wider audience in the Canadian cultural mosaic, to propel the multi-cultural Canadian art internationally as well as the Canadian international commerce and tourism. To be successful, Motivis Ltd. should break even in the first 6 months, and it should include the owner's draw thereon.

Business goals The short term goals (0-2 years) are: commercials done at the rate of 15 / month; musical shorts done at the rate of 15 / month; film screenings done every 4 months; the sales increase 20% from year to year; to break even within the first 6 months, and cover the owner's draw thereon. The medium term goals (3-5 years) are: introducing production of short films (documentaries or dramatic) to be sold to distributors or broadcasters; the sales increase 20% from year to year; minimum net profit $50,000 per year. The long term goals (over 5 years) are: introducing feature film productions; the sales increase 20% from year to year; minimum net profit $100,000 per year

Summary of financial needs and application of funds

Security the owner is prepared to pledgeThe owner is prepared to invest the net profit back in the business up to the first 6 months to a year of business. A dramatic turn needs to be taken (or a part time) when the owner's draw is affected for more than 6 months in a row.


Summary of earnings projections

Summary of potential return to investors Investors will be considered after 3rd year of business.


MANAGEMENT

Index for section D

1. List of owners/shareholders...................................................................p. 82. List of key personnel..............................................................................p. 83. List of Support Business Advisors..........................................................p. 8

a. Banks and other lenders...............................................................p. 8 b. Accountant and bookkeeper.........................................................p. 8 c. Lawyers........................................................................................p. 8d. Consultants..................................................................................p. 9e. Professional Associations...........................................................p. 10f. Mentors........................................................................................p. 12

g. Other support, resource people/organizations............................p. 12 4. Summary of employee regulations and policies....................................p. 13


Owners, shareholders, key personnel

MOTIVIS LTD. is a corporation fully owned and operated by Llyane Stan (see resume in Appendix 02).

Support Business Advisors are the people and organizations who will formally offer business advice.

Banks and other lenders

Royal Bank (220 Lakeshore Road West, Mississauga, ON L5H 1G6Telephone: 905-274-3180). The owner has an existing business account for the previous corporation, ImagineWeb Inc. (which was renamed MOTIVIS LTD.). For the time being, the owner wishes to continue the relationship with this bank and build more history for the new business.

CIBC (Lana Masri - 1745 Lakeshore Rd. W, Mississauga, Phone: 905-822-3757). The business owner has been a customer of CIBC since 1993, using products like personal checking account, personal line of credit and VISA; the business owner uses the line of credit for the initial business expenses.

American Express (905-474-0870) - The owner has a gold business card and a gold reward unlimited charge card. The business owner considers continuing using this product for MOTIVIS LTD. and taking advantage of the good credit history built.

Accountant and Bookkeeper

Larry Rich - RICH ROTSTEIN LLP. Chartered Accountants, 175 Bloor Street East, South Tower, Suite 303Toronto, Ontario, M4W 3R8 PH: (416) 863-1400, FAX: (416) [email protected]

The owner worked with Larry Rich since 1998, having a very relaxed relationship and Rich Rotstein LLP proved to be a very reliable business partner. The book keeping service will be handled internally by Rich Rotstein LLP.

Lawyers

Entertainment Lawyer Arlene Rimer Phone: [email protected]


mailto:[email protected]


Tax Lawyer David RotfleischRotfleisch & Samulovitch - Barristers & Solicitors121 Richmond St. W. Suite 803, Toronto, Ontario, M5H 2K1Phone 416-367-4222, Fax [email protected]

The owner worked with David Rotfleisch for more than a decade; his expertise and prompt responsiveness is appreciated and very productive.

Consultants

Business Coaches

Barbara Finlay – JobSkills Mississauga55 City Centre Drive, Suite 701Mississauga, Ontario L5B 1M3Ph: 905-306-7104, Fax: [email protected]

John Fisher – MBEC301 Burnhamthorpe Rd.W.Mississauga, ON, L5B 3Y3Phone: 905.615.3200 x 4410, Fax: [email protected]

Yolanda FitzpatrickBusiness Development Centre1151 Bronte Rd., Oakville, ON, L6M 3L1Phone: 905.825.6000 x 7732 or 1.800.442.5866Fax: [email protected]

Home and Car Insurance Brokerage Business RiderMeloche Monnex Financial Services2161 Yonge St, 4th Floor, Toronto, ON, M4S 3A6Phone: 416.484.1112

Film Production ConsultantLance Carlson – instructor@ George Brown College College, 200 King Street EastToronto, Ontario, M5A [email protected]




Health Insurance AgentRadha McIsaac350 Rutherford Road S, Unit 7 - Plaza 1Brampton,ON L6W 3P6Tel.: 905-457-1044, Ext. 241, Fax: [email protected]

IT Specialist (Computer troubleshooting)Vahid SaidiPhone: (905) 821-9696

Life Insurance AgentRadha McIsaac350 Rutherford Road S, Unit 7 - Plaza 1Brampton,ON L6W 3P6Tel.: 905-457-1044, Ext. 241, Fax: [email protected]

Talent AgentTeri Boyack – Hines Management, 477 Richmond Street West, Suite #504Toronto, Ontario, M5V 1X9Tel. (416) 463-8773, Fax (416) [email protected]

Kinetic Video – Film DistibutorFrances M. Broome http://www.kineticvideo.com/CANADA 511 Bloor St. W, Toronto, ON, M5S 1Y4Phone: (416) 538-6613 or (800) 263-6910, Fax: (416) 538-9984USA 255 Delaware Avenue, Buffalo, New York 14202Phone: (716) 856-7631 or (800) 466-7631, Fax: (716) [email protected]

Professional Associations

Academy of Cinema and Television172 King Street EastToronto ON M5A 1J3Tel: (416) 366-2227, Fax: (416) 366-8454 [email protected]








Canadian Film and Television Production Association160 John Street, 5th FloorToronto, ON, M5V 2E5Tel: 800-267-8208 or 416-304-0280, Fax: [email protected]

Commercial Production Association of TorontoFront/Jarvis (M5W1G6)Tel: 416.729.3265, Fax: 416-729-0019 [email protected]

Film Ontario625 Church Street, 2nd FloorToronto, ON, M4Y 2G1Phone: [email protected]

Liaison of Independent Filmmakers in Toronto (LIFT)1137 Dupont StreetToronto, Ontario, M6H 2A3 CANADATel: 416.588.6444, Fax: [email protected]

Toronto Chambers of Commerce (Toronto Board of Trade) 1 First Canadian Place P.O. Box 60Toronto, ON M5X 1C1Phone: 416 366 6811, Fax: 416 366 8406

Toronto Film Industry Meetup Group,Frédéric ANSALDO, Phone: 647 866 [email protected]

Toronto Film Society 173 Front ST E, TorontoPhone: (416) 363-7222

Women in Film and Television110 Eglinton Avenue East, Suite 601Toronto, Ontario, M4P 2Y1Tel: 416.322.3430 ext. [email protected]





Mentors

Janet Aronoff (television producer)Phone: [email protected]

Jen Frankel film maker, film festivals [email protected]

Lee Sjostrom actor and film makerPhone: 416 465-8117 [email protected]

Malvina FilipkowskiProgramming & Membership CoordinatorWomen In Film & Television – Toronto416.322.3430 x [email protected]

Raul Dudnic cameraman and editorPhone: [email protected]

Mentorship programs1. Canadian Film and Television Production Association2. The National Film Board3. Women In Film and Television

Other Support & Resource people

Film Festivals and OrganizationsAACTION http://www.aactionauditions.comAcademy of Canadian Cinema and Television http://www.academy.caAmericans for the Arts http://www.artsusa.orgBravo! Fact [email protected] Film Centre http://www.cfccreates.comDocumentary http://www.documentary.orgEastern European Film Fest www.eutorontofilmfest.caFilm Annex http://www.filmannex.com/Getty Images http://www.gettyimages.comGiggle Shorts http://www.giggleshorts.comHart House http://www.harthouse.utoronto.ca/


http://www.gettyimages.com/

http://www.filmannex.com/

http://www.eutorontofilmfest.ca/

http://www.documentary.org/


http://www.academy.ca/





IMDB http://imdb.comIndie Can Film Festival - www.indiecanfilmfestival.com/Indie Flavor http://www.indieflavor.com/Inktip http://www.inktip.comIternational Screenwriter's Association http://www.networkisa.org/Liaison of Independent Filmmakers in Toronto http://www.lift.on.caMandy http://www.mandy.comNational Film Board http://www.nfb.caParole Citoyenne http://www.onf.caRaidance Canada http://www.raindancecanada.com Sale TV Concept http://www.sellyourtvconceptnow.comSandgate Films http://www.sandgatefilms.comScript Buddy http://www.scriptbuddy.comStory Pros http://www.storypros.comSuperU http://www.superu.ca/The film lab http://www.filmlab.ca/The movie deal http://www.themoviedeal.com/Toronto International Film Festival http://www.tiffg.caToRo Arts Group - [email protected] Toronto After Dark Festival http://torontoafterdark.com/Toronto Jewish Film Festival http://www.tjff.caTrop Fest http://www.tropfest.com/WILDsound Film Festival – www.wildsound.caWithout a Box (Internet Movies DataBase) http://www.withoutabox.com

PeopleChristine Ionita (CityTv)Diana Miklos (Canadian-Romanian director)Gerry Flahive (NFB)Jetmir Metaj (Canadian-Albanian director)Kate Branscombe (Rogers TV)Kim Haladay (WIFT)Meaghan Proudfoot (CFC)Nicolae Zorzoman – Cultural Council VP in BucharestNoelle Trkulja (Canadian-Polish film maker)Sharon Raid (Ignatieff Theatre)Stephen Lilly (Canadian-Ukrainian actor) Terry Edmonds (TLN)

Summary of important employee regulations and policies

The business owner will consider working with contractors in the 3rd year of operations, only based on the premise that they will provide proof of their own WISB coverage. Details and examples of such policies will be included in the Section K - Appendices.


http://www.withoutabox.com/

http://torontoafterdark.com/


http://www.themoviedeal.com/

http://www.storypros.com/

http://www.scriptbuddy.com/

http://www.sandgatefilms.com/

http://www.raindancecanada.com/

http://www.nfb.ca/

http://www.lift.on.ca/

http://www.inktip.com/

http://www.indieflavor.com/

http://www.indiecanfilmfestival.com/

http://imdb.com/user/ur12808776/comments

MISSION STATEMENT

MOTIVIS LTD. is a Film Production Company promoting Canadian multi-cultural art internationally, having the motto: "Canadian Dream for Eastern European Immigrants".

MOTIVIS LTD. will stand as a metaphoric stage for Eastern European artists, assisting them in showcasing their artistry to the North American public by creating, importing and promoting film, televised theatre and commercials targeted to, or made by, under-served Canadian demographic groups of Eastern European background.

MOTIVIS LTD. will focus particularly on addressing issues of generational, cultural or gender significance and will make its art known via a proprietary online marketing and distribution technology, as well as festivals, TV channels and other distribution venues.


BUSINESS DESCRIPTION

Index for section F

Description of the business.........................................................................p.16 a. Background information about the business …............................p.16b. Background information about the product and service …...........p.16c. Days and hours of operation of the business................................p.16 d. Technologies used........................................................................p.16e. Form of business organization......................................................p.16f. Details on the location....................................................................p.16 g. Reason for locations chosen.........................................................p.16


Background information about the business

After 15 years of acting, the owner started to co-produce her own plays and short & feature films. First she created shows for the Romanian community, and then she continued with shows for Eastern European and Canadian audience. Starting her own business appeared as a logical next step, where she can use all the expertise and knowledge gained in the passionate artistic adventure of all these years.

Background information about the product and service

Eastern Europeans are huge fans of theatre and arts in general. The film and theatre related to this community are slowly getting more exposure, Toronto International Film Festival recognized the need to focus on this community more and, as a consequence, the 2008 festival included a special category for Eastern European Films.

Days and hours of operation

The hours of operation are Monday through Friday from 9:00 to 18:00. An automated answering service will take messages from 18:00 to 9:00 and in the weekends. MOTIVIS LTD. will not operate in the statutory holidays, but will accept voice messages left outside the business hours.

Technologies used

The technologies used by the business are Internet cable connection provided by Rogers Communications, iMac computer, Brother printer/fax/photocopier, cellular phone Panasonic serviced by Rogers Communications; the software used by the business is Leopard operating system, Final Cut Express, Skype for business, 1-800 answering system and phone routing (starting year 3, when expanding business with Europe), New York phone number from Skype for business done in the United States.

Form of business organization


Background for location chosen

The business operates out of a home office located in Mississauga. The size of the home office is 60 square feet, being 2% usage of the owner's house. The business operates from the owner's house because all the activity will take place


in rented venues on a project-by-project basis. The location is ideal for easy reach of the Toronto down-town areas as well as the Hamilton locations, the most usual locations for film studios and audience reach.


MARKETING PLAN

Index for section G

1. Products and services............................................................................p. 19a. Description of products and services...........................................p. 19b. Features of products and services ..............................................p. 20c. Appropriate price range for products and services.......................p. 20 d. Price comparison among competitors at present..........................p.22 e. How much the market would pay for the benefits offered….........p. 22f. Propriety position...........................................................................p. 23g. Status of research for products and services...............................p. 23

2. Products or Services Pricing Strategy ....................................................p. 23a. Selling Price for products / services.............................................p. 24b. Cost of materials and supplies for products/services; .................p. 24

c. Cost of selling for products/services.............................................p. 243. Pricing policy...........................................................................................p. 24

a. Discussion on the pricing scheme ..............................................p. 25b. Description on the delivery plan ..................................................p. 27c. Description of payment policies ...................................................p. 27d. Description of the distribution plan ..............................................p. 27

4. Description of the total market................................................................p. 27a. List of inside and outside affecting factors .................................p. 27b. Economic environment and its effect on sales............................p. 28

5. Industry trends (past, present and future)..............................................p. 28 a. Effects of changing demographics on products...........................p. 29 b. Target market dynamic; market share analysis...........................p. 29

6. Description of the target market.............................................................p. 29

a. List and description of the competition........................................p. 34b. Description of the competitive advantage/ niche.........................p. 36c. Description of the risks involved in competing.............................p. 36d. Discussion of future sales projections.........................................p. 37

7. Marketing plan/strategy..........................................................................p. 37

a. Methods to reach and influence target market............................p. 37

b. Methods of selling.......................................................................p. 38


c. Product servicing policy .............................................................p. 38

Products or services (deliverables)

Description of products and services

Canadian Dream for Eastern European immigrants reflected in film - promoting the multi-cultural Canadian film internationally in both official languages - English and French.

All points below refer to Canadians with Eastern European background and art created by Canadian artists with Eastern European background.

1. Films made by Canadian artists of East European background reflecting:i. Immigrants from Eastern Europe to Canada – generation 1, 2, and

3 (Project “Generations Connect”)ii. Documentaries and docu-dramas (biographic and/or thematic)

about Canadian artists of Eastern European background for educating of the new generations of the roots of their culture and traditions and its integration in the Canadian multiculturalism

iii. Baby-boomers of Eastern European background (shorts, documentaries, docu-drama) on their specific problems and bring to attention the values created from the integration of the Eastern European in the Canadian culture (Project “The wisdom we didn't know we had”)

iv. The culture of gay and lesbian Eastern European Canadian artistsv. Commercials for the Eastern European community

2. Cinemateque Online new media technologyi. Using e-mail marketing and e-commerce technologies to extend

memberships with added offersii. History of Film series and the new wave of film created by the

Canadian artists of Eastern European backgroundiii. Interactive Quizzes and incentive of earning higher ranks of

Membershipsiv. Pay-per-view online Cinemateque

3. Import of film and theatre on television Eastern Europe to educate the 2nd and 3rd generations of Canadians of Eastern European background as well as offering exposure to the Canadian artists of Eastern European background.


Features of the products and services

Appropriate price range


a) Tickets for film festivals and Cinemateque $10-$20/seat, for film screenings in the National Film Board theatre.

b) Contractual price (in ranges varying from $5,000 to $500,000) with TV channels and Film distribution networks for documentaries, shorts, features through organizations like Bravo!Fact, Independent Film Channel, The Movie Network, Canadian Film Centre, Canadian Filmmakers Distribution Centre

c) Based on my working relationship with Ignatieff Theatre at UofT, I obtained a good rate for the rental contracts. Moreover, based on the number of seats (181) and the number of days we can have the shows, as well as the plays or other media arts that will be part of the shows, I have to calculate the price on a project by project basis, and I am looking at a range of $15-$50/seat. The price mentioned above is based on a weekend (3 shows) basis advertised for a month prior to the event, which is how I’ve handled promotions for other artistic organizations in the past.


Price comparison among competitors


Price the market would bear

Screenings - the market bears tickets from $10 - $25 Film Festivals - the market bears tickets from $25 - $40 Short films sales/rentals - the market bears prices between $5,000 -

$25,000 Commercials - the market bears prices between $500 - $10,000

Propriety position


Please see the privacy act in the Appendix 21, as well as the blanket confidentiality and other agreements; the trademark for MOTIVIS LTD. will be considered within 6 months from the start of the business. The productions will use copyrighted material and will fully protect the original property through copyright and trademark laws. For the imported films, they will only be considered if they are copyrighted; for scripts imported to be used in film productions, the royalties will be paid according to the contracts of the writer and their agency; for the original scripts created for MOTIVIS LTD., they will immediately be copyrighted before they are submitted for contractual discussions with other partners.

Status of research for the product and service

Continuing the research started at the beginning of this venture, the owner studied books, library materials, websites, information on the competitors' activities, being an ongoing job that keeps the business up to date. Please see Appendix 20 for highlights of the research completed to date and Appendix 21 for most important books.

Products or Services Pricing Strategy

Selling Price for products and services, cost of materials and supplies for products and services and cost of selling our products and services are laid out in the table below.


Pricing policy

Pricing scheme and how it was determined

Direct costs (see table below) are calculated for the products/services to be produced in the first 3 years.



Indirect costs (see table below) are calculated based on the current monthly averages; owner's draw ($3,000/month) is not included.


The amount the market is willing to pay is based on the owner's experience and the competition's prices found out through surveys.

Competition prices are based on the research and experience as well as the surveys the owner ran.

Profit margin used is 8%, based on the average profit margin in Mississauga

Delivery

Commercials and film sales will be delivered at client's office in the form of a DVD containing the video and audio deliverables as well as necessary instructions

Film screenings will have ticket sales at the box office as well as online; the tickets can be purchased in person or by phone from the box office, as well as online; they can be picked up at the venue or can be delivered by mail.

Payment policies

Commercials and short films can be paid by certified or personal cheque, debit, Visa, Master Card, American Express. An administration fee of $25.00 will be applied to accounts for each NSF cheque received. The payment is made with 50% deposit + balance 30 days after receiving the invoice.

Film screenings have the ticket sales one month in advance; the ticket box office will mail the ticket sales minus the administrative fees two weeks after the closing of the shows.

Distribution plan

The distribution of film sales will be done through broadcasters; the contracts will be done in the form of pre-sales, based on conditional commitment letters. The payment is done gradually, during the production, and the balance in full is due 30 days after the delivery of the product.

Description of the total market

Factors inside and outside the market that affect the business “Ontario’s cultural industries are a vital contributor to economic growth and prosperity in this province. [The government's investments] will help our cultural industries seize the economic opportunities before them and increase their competitive advantage in the global marketplace,” said Culture Minister Aileen Carroll.


British Columbia and Ontario are the key Canadian sites for location activity. B.C. attracts the lion's share of foreign audiovisual production, while Ontario's foreign location activity augments much more significant indigenous film and television production. In 1994, for example, B.C. hosted 85 audiovisual shoots [...]. The total includes 32 feature films, of which 17 were Canadian (Natalie Lapointe, receptionist, B.C. Film Commission, personal communication, March 9, 1995). Ontario hosted 128 film and television projects in 1994, with spending totaling $501 million. Of that spending, only $141.7 million was foreign, mostly American. Of the 34 feature films shot in Ontario in 1994, 23 were Canadian (Cuthbert, 1995). [Canadian Journal of Communication]

Based on books like: Harris, Christopher. (1993a, January 1). Through the lens brightly: Film and TV production in Ontario was recession-proof in 1992. The Globe and Mail (Toronto), p. A9.

"THE movie industry will ride out the recession in good shape", says American film producer and CEO of DreamWorks Animation, Jeffrey Katzenberg.

Current economic environment and its effects

The economy is headed towards a recession and most of the companies who want to survive will have to do so much more marketing and promotional advertisement, such as commercials. This context puts Motivis in an advantageous position.

The short films and film screenings are part of the entertainment exercise that is always prospering, when done with high quality and professionalism. To quote Jeffrey Katzenberg, "The businesses that tend to do well in recession are those that offer a reliable quality experience or value in everyday life" he says.

Industry trends (past, present and future)

“The Ontario government has come to the rescue of the beleaguered local film and TV industry, upping tax credits for domestic production to 30% from 20% and for foreign production to 18% from 11%. That percentage of the labor portion of a production's budget -- usually between 70% and 90% of overall cost -- will be tax exempt. Unlike similar initiatives in some U.S. states, there will be no caps on labor costs. Initiative, which the provincial Legislature is expected to pass in the spring, will go into effect Jan. 1 and is expected to save producers C$48 million ($39 million) per year.” [www.ceidr.org on trends in 2005]

Estimated Budgets Of Domestic Theatrical Releases ($ million) 1998 1999 2000 2001 2002 2003 2004 2005


http://en.wikipedia.org/wiki/DreamWorks_Animation

Canada 430 412 1,022 1,047 1,261 1,191 1,373 1,200 % Market Share 26.4% 27.9% 49.0% 44.4% 42.0% 40.4% 34.5% 31.3%

a) Growth or declineBased on the video produced by The Centre of Skills Development & Training at the Career Express Program – the Entertainment (Film included) industry anticipated to grow dramatically in coming years, as the Baby Boomer generation demands more leisure activities and art that are appropriate to and in keeping with their age group, tastes, and interests. Significant changes on the industryTelefilm Canada, Canada Council for the Arts, Statistics Canada shows a dramatic growth of the industry. Total revenue in this sector more than doubled to $1.4 billion between 1990-91 and 1997-98. Similar growth is forecasted.

b) Impact on the businessAside from the increase in the revenue of the film industry, the value of donations to arts and culture organizations increased significantly, from $39.4 million in 1997 to $47.9 million in 2000 (as per Canada Council for the Arts), which shows that there is a broad opportunity and interest for the products of my future business. Also, looking at the recent elimination of federal cultural funding in some sectors (including $1.5 million to the Canadian Independent Film and Video Fund – the smallest reduction compared to other sectors), I am also considering other funding/sponsorship options that help diversify the risk, coming from the Cultural Institutes of the Eastern European countries interested in funding the export of film.

Target market

Summary of target market

The core market for the business is the type of person who appreciates the arts and is interested in the Eastern European community in Canada. The owner identified the following 5 categories of the customer profile: (1) Immigrants from Eastern Europe to Canada (generations 1, 2, 3) – these are people who are trying to assimilate the Canadian art, who are interested in film created by familiar artists with the Canadian approach. The reason to focus on this category is that the gap between generations is much more dramatic in case of an immigrated family and there is an apparent need for a facilitator in the communication between generations.(2) Visiting Eastern Europeans – these are people who often don’t speak English or French, and need subtitled films for better accommodation. (3) Eastern European artists – these are artists who already have a voice, but they can’t express it easily due to the difference between the European and


American artistic “methods”. There is a need for documentaries and docu-dramas based on the artists’ lives and art, to make them more popular and visible for the Canadian public, particularly those who share a lot of the values of the newly emerging immigrant artist. (4) Canadian Baby-boomers of Eastern European background – people for whom The owner rarely see entertainment produced. They have different tastes and desires than the younger generations to whom the bulk of the Entertainment Industry is targeted. Based on regular polls and questionnaires, their needs and tastes can be uncovered to entice the Entertainment Industry. (5) Gay & lesbian Canadian community of Eastern European background – specific culture that hasn’t been reflected or served in film, as it’s just emerging lately.

Detailed description of target market

Based on 2006 Census by Statistics Canada, there are 2.2 millions of Canadians of Eastern European background in Ontario (5.6 millions in Canada, and 823,050 in the GTA), while the baby-boomers account for approx. 46%. Please refer to the 2006 Census results from Appendix 15.

Researches show that television is the dominant means of watching movies, either via a conventional or specialty television channel (54% do so at least once per week) or a dedicated movie channel (31%). It should be noted that fully 50% of the public never watch a dedicated movie channel. 29% of the public rent movies at least once per week, followed closely by watching movies from personal collections at 22%. While 80% "go to the movies" at least once a year, only 6% go at least once per week.

Men are more likely than women to do each of the following at least once every three months: rent movies (70% vs. 63%), go to a movie theatre or drive-in (53% vs. 45%), and download and watch movies (6% vs. 3%). Younger members of the audience, specifically those 15 to 20, watch movies, through all means, more often than older viewers. Some of the biggest differences are seen with renting movies (88% vs. 34% for 55 and over) and watching movies at a theatre or drive-in (84% vs. 24%).

Urban residents are more likely than rural residents to do each of the following at least once every three months: rent movies (70% vs. 62%), watch movies from their own collection (56% vs. 50%), watch movies in a theatre or drive-in (54% vs. 42%) and download movies from the Internet (5% vs. 2%). Conversely, rural residents are more likely to watch a dedicated movie channel (53% vs. 41%).

Regarding the factors that Influence Movie Selection at the Theatre, results suggest that the storyline has the largest influence, with 69% of respondents claiming it has much or significant influence (i.e. a score of at least 7 on a 10-point


scale). Secondary factors include word-of-mouth (62%) and the actors starring in the movie (58%). Factors deemed to have the lowest levels of influence include advertising from sources other than television (27%), the director of the movie (24%) and the country of origin of the film (21%). Results also suggest that when compared to men, women who go to the movies are more likely to be influenced by the story, by word-of-mouth, by the starring actors, the previews, commercials, critical acclaim, interviews about the film, and advertising (see table below for details). Men are more likely than women be influenced by the director of the movie (27% vs. 22%).

In 1998, Canadians spent 2.2 hours every day watching television and rented movies.

Average Family Expenditure on Selected Culture Events and Activities, Canada, 1998 (Current $)

Events and Activities Expenditure in Current Dollars – 1998 $

Visual Arts


Works of art, carvings and vases 47Antiques 15

Performing ArtsLive performing arts 66

PrintNewspapers 108Magazines 65Books (excluding school books) 85Maps, sheet music and other printed material

7

Textbooks 78

Film, Video, and MusicMovie admissions 77CDs, tapes, videos and video discs 125Rental of videotapes and video discs 102

PhotographyFilm and processing 76Photographers’ and other photographic services

26

Broadcasting DistributionRental of cablevision and satellite services

307

HeritageAdmissions to museums and other activities and venues

32

Libraryservices (duplicating, library fees and fines)

10


Total Cultural Events and Activities

1,226

The greatest increase in spending on specific culture items and events in 1998 compared to 1992 is the amount spent on movie admissions. Canadians now spend $77 on average on film tickets per year, compared to $48 in 1992, an increase of 31%. Spending on museum admissions increased by 19% and spending on home entertainment equipment increased by 14% during the same period.

35% of the adult population (or 8.4 million persons) reported attending one of nine types of Canadian performing arts performances in 1998, up from 30% reporting attendance in 1992.

Source: Statistics Canada, Patterns in Culture Consumption and Participation, (Ottawa: Statistics Canada, 2000), 27.

The core market for the film making and Cinemateque is the type of person who appreciates the arts and cinema in particular, and is interested in an alternative to the typical commercial offerings in the film and arts experience, based on the specifics of the Eastern European community in Canada. This core market exists


in all the categories above, and my target markets are based on the biggest percentages of the pie, but I would like to develop the smaller percentages of the pie also, so Motivis is targeting certain markets to develop that support.

a) Immigrants from Eastern Europe to Canada (generations 1, 2, 3): these are people who appreciate the art from the Eastern Europe and are trying to assimilate the Canadian art. Making available film created by familiar artists with the Canadian approach will help the integration, assimilation and happiness of new immigrants. There are differences between the three generations mentioned above, and the reason for including the younger slice is because the gap between generations is so much more dramatic in case of an immigrated family and I intend to facilitate the communications between these generations, by “translating” the values of both sides for better understanding.

b) Visiting Eastern Europeans: these are people who sometimes don’t speak English or French and for them I intend to offer subtitled films for better accommodation and well being.

c) Eastern European artists (especially film makers) from Canada and abroad: these are artists who already have a voice but they can’t express it easily due to the difference of “method” in the European and American art forms. I intend to create documentaries and docu-dramas based on the artists’ lives and art to make them more popular and visible within Canadian public, particularly those who share a lot of the values of the newly emerging immigrant artist.

d) Baby boomers (42-60 yrs, according to demographer David Foot, who created the category) of Eastern European background in Canada: people for whom rarely I see entertainment offered. They have different tastes and desires than the younger generations at whom the bulk of the Entertainment Industry is targeted. I intend to run polls and questionnaires on a regular basis and uncover the needs and tastes of the baby boomers to entice the Entertainment Industry.

e) Gay & lesbian community from Eastern Europe in Canada: specific culture that hasn’t been reflected or served in film, as it’s just emerging lately.

Countries considered to belong to Eastern Europe, as defined after 1989:RomaniaCzech Republic, SlovakiaSlovenia, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, MacedoniaRussia, Estonia, Latvia, LithuaniaHungary, Poland, BulgariaEastern Germany (included in Germany after 1989)

Description of the competition

MOTIVIS's top competitors are: ROCADE (Montreal) – import of film from Eastern


Europe and yearly film festivals; TORO Arts Group – events dedicated to Eastern European artists (film included) from all over the world; WILDsound Film Festival – screenings of film from all over the world; Sandgate Films (Hamilton) – commercials made by Polish film-makers; Toronto International Film Festival – film from all over the world. MBEC found that I have a business concept that their office has not seen before. The uniqueness of my concept is that I will target the demographic of Canadians of Eastern European background which is under-served by the industry, focusing on immigrants, artists, baby-boomers, gays & lesbians; MOTIVIS will also offer exposure to a very popular European medium – televised theatre – in order to make theatre more accessible to the public. My proposal to develop a proprietary online marketing and distribution technology is also unique.


a) Competitors- Top 5 competitors

The only organizations that have a scope close to mine are ROCADE - Montreal, TORO Arts Group – Toronto, and WILDsound Film Festival - Toronto

- The products/services sold by the competitors contacted:ROCADE imports film from Eastern Europe and organizes yearly film festivals; TORO Arts Group dedicates events to Eastern European artists (film included) from all over the world; WILDsound Film Festival


organizes film screenings of film makers from all over the world.- Prices charged by the competition:

The ticket prices are comparable with the ones the owner intends to charge (between $15 and $25, depending on the event and target audience).

- The competition's advantagesAll of these organizations have the advantage of popularity – they are well known in the community and have their audience already built.

- The competition's weaknessesThey are not focused on the Canadian artists of Eastern European background; therefore they don’t encourage and support the emerging artists who want to display different points of view and artistic approaches as Canadian citizens – part of our Canadian heritage and values as a multi-cultural nation.

Competitive advantage/ niche

a) The films created by Canadian artists of Eastern European background are not well represented by any film production company or film festival in Canada.

b) There is a huge void of film created by Canadian artists of Eastern European background and a lot of artists are craving exposure and an audience that can relate to their art. Same thing can be said about baby-boomers of Eastern European background.

c) The following categories of Canadians with Eastern European background have little to no coverage in the industry: immigrants, artists, baby-boomers, gay-lesbians, theatre on Television.

Risks involved in competing

#1 Motivis is new on the market#2 The owner has no self employment reputation#3 A lot of people can't afford some of the services#4 People don't know if Motivis is competitive and reliable

Future sales projections

See “Sales Forecast Yr1”, “Sales Forecast Yr2” and “Sales Forecast Yr3” from the Financial section (I).

Year 1The first two months, the owner works on the business plan. Starting January 2009, production includes 15 short films and 15 commercials every month. However, it is to be considered the fact that MOTIVIS LTD. is not known on the market and the commercial production may start gradually and pick up in the


second semester, getting up to 15 commercials every month. Starting April 2009, the film screenings will be held every 4 months. Multi Disciplinary Shows, Short Film Sales, Feature Film Sales, Eastern European Film Festivals and Pay-per-view sales are marked as Future Development.

Year 2Same production quantity will be sustained in the second year. It is foreseen an increase of 20% compared to the first year, by introducing the yearly Eastern European Film Festival and the online Cinemateque.

Year 3MOTIVIS LTD. will continue the production of short films and the services of film screenings and commercials. The production will increase 20% from the previous year by developing the film screenings into multi-disciplinary shows.

It is forecasted that the Short Film sales and Pay-per-view sales will be launched in year 4. The feature film sales will be launched in the 5th year of business.

Marketing plan/strategy

Methods that work best to reach and influence target customer

Pitches and surveys to Canadian and International television Collaboration with external partners and education Contacting museums, galleries, artist-run centers, libraries, cinemas Surveying individual consumers and collectors Relationships with Festivals and artists from other disciplines International marketing Building a media arts website Promoting new media works through the Online Cinemateque multi-media

technology Building awareness and visibility for the media arts by organizing multi-

disciplinary shows National and International touring programs Sponsorships and strategic alliances Memberships and newsletters Print advertisement in newspapers Flyers and poster printed Networking groups Radio and TV commercials Pay-per-click on Google and Facebook

Methods of selling

MOTIVIS LTD will use the 6-step technique: Approach, Interview, Demonstration,


Validation, Negotiation, Closing, addressing the concerns of the clients who come in a complex format and a mix of behavior styles (talkers, doers, plodders and controllers). The choice of the approach is based on determining of the dominant buying motives, which can be pride, profit, pleasure or peace of mind

A lot of the sales will be done by phone, using the four stages appropriately: qualifying, information gathering, presentation and closing.

In conclusion, MOTIVIS LTD will perform sales in a problem solving setting.

Product servicing policy

The commercial production takes place with ongoing feed-back sessions and will not be delivered until the client is happy with the final product.

The short film sales are pitched to broadcasters before the execution, through a concept presentation and visual examples of how the films will be approached. If the networks show concern in the final product, the films will be corrected in the direction desired by the broadcasters.

The choice of the films screened will be helped by the surveys that will be ongoing performed within the audience, before and after each event.

OPERATIONS

Index for section H

1. Employees a. Staff

responsibilities.....................................................................p. 40b. Staff qualifications &

experience..................................................p. 40c. Job


descriptions ...........................................................................p. 402. Location...................................................................................................p. 403. Equipment...............................................................................................p. 41

a. List of equipment required ...........................................................p. 41

b. Initial equipment requirements......................................................p. 414. Manufacturing costs……..........................................................................p. 415. Work flow ...............................................................................................p. 416. Inventory control ………….......................................................................p. 417. Supplies and materials ............................................................................p. 42

a. Availability of supplies .................................................................p. 42

b. Type of suppliers .........................................................................p. 42

c. Supplier alternatives .....................................................................p. 428. Growth ....................................................................................................p. 42



Employees

MOTIVIS LTD does not consider hiring employees. Consultants will be hired starting year 4 of business.

Staff qualifications, experience and contributions to the business

The owner's sales experience is as follows (done in English, French and Romanian): sales and co-producer for Theatre as a Metaphor; sales and co-producer for Buftea Film Production network; retail sales for The Shopping Channel; industrial sales for Riesling, Patlon, Logitech; Acquisition and retention cold and warm calls for MADD Canada.

Job description

The TV and Film Producer plans, organizes and co-ordinates film production obtains financing, hires personnel; arranges film segments into sequences to achieve desired thematic effects.

Location

MOTIVIS LTD might possibly relocate the business during the next three years in the core downtown Toronto in the following conditions:

the main stimulus needed to move would be a constant net profit of $100,000 for two years in a row

the need to have a commercial space, hiring contractors and buying own equipment instead of renting it

Steps taken to finding a locationThe owner already worked at Ignatieff Theatre for Theatre as a Metaphor and obtained preferential pricing; will also use NFB theatre, Alan Howard Waldorf School theatre, Heart Theatre (UofT), York University theatre, Seneca college theatre, where the owner has connections allowing continuing this collaboration.


Area to locate the businessGreater Toronto Area - will use various locations to cover the audience from different parts of the city and different demographics, then decide on which one is most favorable for the business (based on feed-back) and make it part of the screenings trademark.

Characteristics needed for the venues:Small theatre (under 200 seats), front of house where we can manage the concessions and where we can allow visual artists exhibitions (painting, photography, sculpture), good acoustic quality and projection equipment and technicians, where we can do multi-disciplinary shows (live performances, film, music, visual arts), where the price is under or comparable to the one obtained at Ignatieff Theatre.

A lease is not necessary for the first phase – will be done on a project by project basis.

Equipment

Home office equipmentiMAC computer with Final Cut Film Editing software and ProTools sound editing software; printer, fax, photo copier, scanner; phone with long distance plan; desk and chair; cellular phone.

Initial equipment requirements

Production Equipment: 1 AKGC 568; 1 XLR – XLR Cable (Long); 1 Softie and Pistol Grip; 1 Boom Poll; 1 Wireless Lav Mics; 1 Video 10 Tripod; 2 Disosties (Red Head Kits); CTB Gells for every light; 4 Mini Moles + 4 Stands (Male – 750); 1 Arrie Kit; 5 Diffusion; 2 Bounce Cards/Boards; 1 Silver Flexfill; 7 Extension Cords; 5 C-Stands with Arms and with Heads; 1 Slate; 1 Flag Bag – 3 Medium Flags; - 1 Small Flag; - 1 Large Flag; - 2 Medium Net; - 2 Medium Silks; 1 PVM – 1 Long BMC + Adaptor; 10 Sandbags; Wax Paper.

All equipment is used and rented on project by project basis; the crew usually comes with its own equipment, so there is no need to purchase it.

Manufacturing costs

MOTIVIS LTD. will be using sub-contractors for manufacturing original productions (commercials and original films) on a project-by-project basis.

Work flow

Workflow will be applicable when starting using contractors for film and sound


editing, while giving the product tot the editor; contractual due dates and cycle will be determined at that time.

Inventory control

No inventory control is needed. Suppliers of equipment and materials are available in big number on the market, so no shortage is forecasted.

Supplies and materials

Availability of supplies

Home suppliesPrinting paper, Re-Writable DVDs, Re-Writable CDs, printer ink (black and white, color), pens, pencils, markers, sticky notes, envelopes, plastic folders, business card holders, travel drives, batteries for different devices.

Types of suppliers requiredFilm distributors, film production companies, ticketing system companies, film equipment renters.

Supplier alternativesFor Romanian film import: Romanian Film makers Assoc., Film Distribution Centre - Bucharest, Romanian National Film Archive. I am in discussion with the Albanian and Ukrainian artistic community for original film import. For equipment: Kino Kindred Productions and others recommended by partners. Credit is not needed as arrangements can be made to pay after the sales are done for the festivals or shows; also package deals can be reached on equipment rental.

Growth

Areas for potential growth

It would make sense to expand after year 3 of business. The method will be by introducing new services and products, starting with introducing production of short films (documentaries or dramatic) to be sold to distributors or broadcasters. MOTIVIS LTD will perform market research to see if the products and services are still good for sales and the products planned to be introduced are still in demand. Short films (dramatic or documentaries) will be introduced in the 3rd year and will be produced every 6 months. Feature films (dramatic or documentaries) will be introduced in the 5th year and will be produced at least one year apart.


REGISTRATIONS AND REGULATIONS

Index for section I

1. Zoning, permits, contracts and licenses or patents..................................p.44a. Registration for a Business Number………………………………...p.44b. Zoning bylaws ...............................................................................p.44c. Regulations for home occupancy...................................................p.44d. Patents or licenses ........................................................................p.44e. Regulations governing labor standards? .......................................p.44f. Regulations governing the buildings................................................p.44g. Regulations governing the product and services............................p.44h. Contracts to be arranged................................................................p.44

2. Insurance...................................................................................................p.45a. Types of insurance required...........................................................p.45b. Business Insurance .......................................................................p.45c. Business coverage on car insurance..............................................p.45d. Legal liability and bonding .............................................................p.45e. Professional liability ………………………………………….............p.45f. Life or Disability Insurance..............................................................p.45g. Business interruption......................................................................p.45h. Workplace Safety and Insurance Board ........................................p.45

3. Taxes.........................................................................................................p.45a. Taxation requirements....................................................................p.45b. Goods and Services Tax ...............................................................p.45c. Retail Sales Tax .............................................................................p.46d. Excises Taxes ................................................................................p.46e. Employer Health Tax .....................................................................p.46f. Personal Income Tax ......................................................................p.46


Zoning, permits, contracts and licenses or patents

Registration for a Business Number

MOTIVIS LTD. will operate using a corporation structure. It will use an existing Ontario corporation (ImagineWeb Inc., incorporated on May 18th, 2001) that was re-named on January 6th, 2009. The corporation number is 1477647.

Zoning bylaws that apply and permits required for operations

In Mississauga, home office business has certain bylaws that apply. No clients are to be allowed to come to the home office; no signage is to be displayed at the home office.

Regulations for home occupancy

In Mississauga, home office business has certain bylaws that apply. No clients are to be allowed to come to the home office; no signage is to be displayed at the home office.

Patents or licenses to be obtained

In order to shoot film in various locations, the owner needs to purchase permits, licenses and insurance on a project-by-project basis.

Regulations governing labor standards

None are applicable at this time.

Regulations governing the buildings

None are applicable at this time.

Regulations governing the product and services

Freedom of Information and Protection of Privacy Act (FIPPA) is available at


http://www.gov.mb.ca/chc/fippa The confidentiality contract samples are available in the Appendix of this business plan.

Contracts that must be arranged

A number of contract templates are included in Appendix 19.

Insurance

Type of insurance required

Home office and general business coverage that includes fire, theft, vandalism and equipment are provided by Meloche Monnex Financial Services.

Business coverage on car insurance

This type of coverage is provided by Meloche Monnex Financial Services.

Legal liability and bonding required

The business liability insurance is purchased on project-by-project basis; no bonding is required.

Professional liability

The Errors and Omissions coverage is not applicable.

Life or Disability Insurance

Owner owns her own Life insurance from Transamerica Life and will be addressing disability insurance in year 3 of business.

Business interruption

Owner will be addressing business interruption insurance in year 3 of business.

Workplace Safety and Insurance Board

The business owner will consider working with contractors in the 3rd year of operations, only based on the premises that they will provide proof of their own WISB coverage.


http://www.gov.mb.ca/chc/fippa

Taxes

The business will start charging GST after 4 consecutive quarters, when the monitored sales equal $30,000. The company will use the existing GST opened for the previous business.

Goods and Services Tax

The business will start charging GST after 4 consecutive quarters, when the monitored sales equal $30,000. The company will use the existing GST opened for the previous business.

Retail Sales Tax

Retail Sales taxes are not applicable to MOTIVIS LTD

Excises Taxes

Excises Taxes are not applicable to MOTIVIS LTD., as, when importing films and shows, the taxes will be applicable to the Canadian distributors.

Employer Health Tax

Employer Health Tax are not applicable to MOTIVIS LTD

Personal Income Tax

The business' accountant will file the corporate tax annually; the financial year starts in the month of July. The business owner will file personal tax separately.


FINANCES

Index for section J

1. Three-years of financial projections with explanations (first year by each month, remaining two years annually)

a. Projected Sales forecasti. Selling Price for products and/or servicesii. Cost of materials and supplies for products/servicesiii. Subcontractor/sublet labor costs included

b. Proforma Profit and Loss Statementsi. Start-Up costsii. Cost of selling your product/servicesiii. Salary, wages and/or commission for employeesiv. Cost of benefits for employees (Government taxes)v. Overhead expenses including all administration expensesvi. Net profit Before Taxvii. 20% Tax Allowance and then Net Profit After Tax

c. Proforma Cash Flow Chart (first year only)i. Summarizes Cash In/Cash Out according to payment policiesii. Includes owner's draw

2. Beginning Balance Sheet (owner’s contribution to the business)3. Start-Up Costs Worksheets (detailed to back up Profit & Loss)4. First three months' financial needs 5. Capital expenditure estimates (N/A at this time)6. Break-even charts (optional)

- explanation or rationale behind all projections made throughout the Plan (Assumptions)

7. Separate page (details to each line of Proforma)8. Leasing or rental costs

- If leasing land, buildings, and equipment, describe the lease terms and costs (N/A at this time)

9. Financial Requirements / Proposed Financing- explanation of use of new funds (if loan is required – N/A at this time)


10. Potential return to investors; comparison to average return in the industry as a whole (N/A at this time)

11. Key business ratios applicable (N/A at this time)

Start Up Costs Worksheets (first 3 months)


The owner has currently the majority of funds needed to start this venture.

If more funds have to be borrowed, following are the options: American Express Gold Chargex for Business (unlimited funds available,

to be paid off within 30 days from borrowing) American Express Gold Credit Card with $8,500 limit

Collateral available for a loan consists in the personal RRSP, valued at $4,500.


APPENDICES

Index for section K

01. Rational explanation behind all projections (assumptions) made throughout the business plan 02. Resumes of key personnel 03. Employee regulations and policies (N/A at this time)04. Pictures, graphics, and graphs detailing the projection of growth (graphs for growth foreseen for the industry)05. Testimonials, letters of accomplishment for the product or service 06. Personal financial net worth statement (optional) (N/A at this time, needed for Banks and Investors only)07. List of inventory with estimated market value or actual cost (N/A)08. List of leasehold improvements and/or fixtures with description (N/A)09. Product or service literature, brochures, etc. (N/A a this time)10. Letters of intent (loans, financing, investors) (N/A at this time)11. Letters of reference (N/A at this time)12. Patents, copyrights, and trademarks documentation (N/A at this time)13. Major pending contracts (N/A at this time)14. Lease documentation (N/A)15. Market research (Canadian Arts Attendance - 2001 Census, 2006 Census on Eastern-European population in Canada and Ontario).


16. Details of insurance coverage (photocopy of rider for car and home, life and health)17. Copies of sample drafts advertising and promotional material (business card, poster, web page, license plate)18. Include photographs, schematics, sketches, blueprints, technical data and information if applicable (N/A at this time related to 14)19. Applicable contracts and agreements (blanket contracts, change of corporate name)20. Research highlights21. Bibliography

Appendix 01Financial assumptions


Appendix 02LLYANE STAN Resume

FILM & TELEVISION


Film & TV Productions Self Employed Motivis LTD. 2008King! Kaboom! (for Sun TV)

Various roles The Production League

2008

And Now That We Have Your Attention (for The Comedy Network)

Various roles Sudden Impulse Productions (Stefan Kuchar)

2008

Distant Sisters Adaya (Lead) Triune Productions (Lupita Sebastian)

2006

The Factory Sheila Graves (Supporting)

Keystone Pictures (Patrick Micallef)

2008

Jim Preston Nancy (Supporting) Sandgate Films (Noelle Trkulja)

2008

Session Mother (Supporting) Director: Maria Karalekas

2008

Media Arts Awards (for Cogeco Network)

Madam Moviola Director: Nick Whelan

2008

Nut House Julie (Supporting) Amethyst Pictures (Jon Thomas Neil)

2008

Foxxy Sugar (Supporting) Director: Paymon Afnan Alaie

2008

Save the Future Maddy (Supporting) Graph Films (Ariana Andrei)

2008

Full Tilt Boogie Esmeralda (Supporting)

Director: Joe Kicak 2008

Julia Lillian Hellman (Lead)

Seneca College 2007

Girl Interrupted Lisa (Supporting) Seneca College 2007The Spring of Teenage Violin player

(Supporting)Romania 1995

Breeze at the Starting Gate

Jockey (Supporting) Romania 1994

The Un-equaled Man Diabolic Mistress (Supporting)

Romania 1993

Marriages Adrift Reporter (Lead) Romania 1992

THEATRE

Post-its (notes on a marriage) - P. Dooley & W. Holzman

Actress (Lead) Theatre as a Metaphor

2007

Les Petites Curieuses - T. Bernard

Diana (Lead) Theatre as a Metaphor

2007

Wedding Duet - Lauren Wilson

Bride (Lead) Theatre as a Metaphor

2007

Maiden, Mother, Crone -Tara Carman

Sarah Cloy (Lead) IGGY @ Trinity College Dramatic Society

2006

A Nameless Star Mona (Lead) Majestic Theatre 2005Desmond - J. Mortimer Emma Grant (Lead) Majestic Theatre 2004Next - T. McNally Sgt. Thech (Lead) Majestic Theatre 2003Titanic Waltz Dacia (Lead) Majestic Theatre 2002ESCU Nina (Supporting) Majestic Theatre 2006Removing the Glove - Clarence Coo

Louise (Supporting) West End Studio Theatre

2006

Mountain Language - H. Pinter

Woman in line (Supporting)

West End Studio Theatre

2005

The Lover – H. Pinter Sarah (Lead) Seneca College 2005


The Seagull - A. Chekhov

Irina Arkadina (Lead) Seneca College 2008

A View from the Bridge - Arthur Miller

Beatrice (Supporting) New School University

2005

Mary Poppins Mary Poppins (Lead) Romania 1999Adam's Rib Amanda (Lead) Romania 1998Guess who's coming to dinner

Joanna (Supporting) Romania 1997

Steel Magnolias Shelby (Supporting) Romania 1996

TRAINING

The New York Actor - Intensive Certificate Program

Committed Impulse / Suzuki (Josh Pais), Scene Study (Anne Torsiglieri), Practical course for Actors (Jennifer R. Morris)

New School University, New York (2005)

Theatrical Performance Certificate

Rose Dubin - TAAS - Acting Techniques (Denise Norman), Scene Study (Miriam Laurence and Lynn Weintraub), Improv (David Boyce), On Camera Acting (Miriam Laurence)

Seneca Continuing Education, Toronto (2005-2008)

Mastering Character Workshop

Josh Pais Atlantic Theatre Company - a part of NYU's Tisch School of Drama (2007)

Committed Impulse Intensive Workshop

Josh Pais Atlantic Theatre Company - a part of NYU's Tisch School of Drama (2005 to date)

Improv Intensive Workshops Jill Bernard, Jeff Griggs, Zach Ward, Asaf Ronen, Joe Bill and Mark Sutton

Toronto Int'l Improv Festival

Voice Over workshop Allie Marsh The New School University, New York (2005)

Hip-Hop workshop Marie Forleo Wanna-Dance, New York (2005)

Stage and TV acting workshop Yo Mustafa, Michael Smith W.E.S.T. Oakville (see ACTRA book) (2002-2006)

Speech Training, Vocal Technique

Michelle Coxwell Word Of Mouth, Toronto (2002 - 2004)

Modern Dance Helen Jones The School of Toronto Dance Theatre (2002)

School of Theatre, Film and Television

"Magical Theatre" Bucharest, Romania (1993)

MARKETING & SALES (in English, French and Romanian)sales and co-producer for Theatre as a Metaphor and Buftea Film Production Network; retail sales for The Shopping Channel; industrial sales for Riesling Canada, Patlon, and Logitech; eMail marketing for Yesmail; acquisition and retention cold and warm sales calls for MADD Canada.

Appendix 04


The film and television production industry is most often broken down into four categories:

Foreign Location Shooting represents film and television production that is undertaken at least in part in Canada, the intellectual property for which is ultimately owned by foreign companies (e.g., Hollywood studios).

CAVCO-certified production represents film and television production that is considered Canadian content for purposes of qualifying for the Canadian Film or Video Production Tax Credit (CPTC).

Non-CAVCO production largely represents independent film and television production that is certified by the CRTC for broadcast purposes.

Broadcaster In-House production is film and television production that is undertaken entirely by CRTC-licensed broadcasters.

Figure 1 shows the degree to which the film and television production industry has grown over the last eight years in terms of total production dollars spent in Canada. Calculated in constant 2001 dollars, the industry experienced real growth of 89% between 1994-95 and 2001-02, from $2.7 billion to $5.1 billion.

Figure 1 – Growth of Film and Television Production Financing by Sector (Constant 2001 Dollars)

Foreign Location Shooting has shown the greatest growth by far,


increasing by 184% between 1994-95 and 2001-02, from $619 million to $1.8 billion. While an important part of Canada’s film and television industry, contributing to employment and infrastructure, Foreign Location Shooting does not qualify as Canadian content and, therefore, is not considered in this report.

Looking specifically at Canadian content in the three remaining categories, CAVCO-certified production grew by 82% between 1994-95 and 2001-02, from $1.1 billion to just over $2 billion. As mentioned above, short of undertaking a title-by-title analysis, it is not possible to segment out the Canadian projects certified by CAVCO and those certified by the CRTC. As a result, the value of Non-CAVCO production is estimated to be about 15% of the CAVCO-certified volume, with growth mirroring that of the CAVCO-certified volume.

Broadcaster In-House production has also shown an increase over the eight-year time frame, albeit to a much lesser degree compared with the other sectors – by slightly more than 30%, from $746 million in 1994- 95 to $973 million in 2001-02. That said, this is the only category that experienced any growth in 2001-02 over the previous year.

Figure 2 looks at all four categories with regard to their slice of the total production pie in each year from 1994-95 to 2001-02. The overall share of CAVCOcertified production remained relatively consistent over the period, at 43.5% of the total production activity on average. Broadcaster In-House activity, however, experienced a decrease in its overall share of the production market, from a high of 27.6% of total production in 1994-95 to 19% in 2001-02. The greatest increase in production sector market share has been that activity related to Foreign Location Shooting, from a low of 23% in 1994-95 up to 34.5% in 2001-02.


Figure 2 – Share of Total Production Financing by Sector (Constant 2001 Dollars)

Figure 3 presents total CAVCO-certified production financing broken out by genre over the six-year period from 1996-97 to 2001-02. The genre representing the largest share is fiction (drama), accounting on average for 60% of the total over the period. Children’s and documentary accounted for, on average, 17% and 12% of the total, respectively. The smallest production expenditure shares relate to educational/instructional and magazines (as a group) at 7% and music, performing arts and variety (as a group) at 5%.


Figure 3 – CAVCO-Certified Production Financing by Genre (Constant 2001 Dollars)

While not likely a surprise to anyone involved in the production sector, significant trends can be observed over the last six years with regard to the relative importance of each genre within the CAVCO-certified production universe. These shifts are important to consider as they reflect, to a large degree, the marketplace demand.

As Figure 4 demonstrates, fiction as a proportion of total CAVCO-certified production has decreased steadily, from 66.4% in 1996-97 to 52% in 2001-02. Filling the gap are the documentary, educational/instructional and magazines, music, performing arts and variety genres.


Figure 4 – CAVCO-Certified Production by Genre and Share of Total Financing (Constant 2001 Dollars)

Looking at growth trends over the 1996-97 to 2001-02 period, the genres showing the greatest increases in total production financing are educational/instructional and magazines (as a group), up by 207% from $72 million to $221 million. Music, performing arts and variety (as a group) increased by 174%, from $50 million to $137 million. And documentaries grew by 153%, from $125 million to $316 million.

While production financing and the relative market shares of each category and genre are valid indicators of the overall health of various aspects of the Canadian film and television production industry, the focus of this report relates to the definition of Canadian content. Therefore, it is important to provide an accurate picture of the degree to which the current key creative points system – maximum ten points based on eight or ten positions/locations – is compatible with the different production genres. It is also extremely relevant to assess the extent to which productions certified as Canadian make use of Canadians in each key creative position.

CAVCO-Certified Productions


Published reports disagree as to the extent to which CAVCO-certified productions make use of Canadians in the key creative positions.

The Profile 2003 report notes that between 1997-98 and 2001-02, nine- and ten-point productions accounted for an average of 58% of the total CAVCOcertified production financing, while productions achieving six to eight points made up the difference of 42%. CAVCO, however, notes a different result, despite the same time frame and, presumably, the same base of measure.

According to the CAVCO report, the total budgets of nine- and ten-point productions accounted for 71% of the total CAVCO volume. Figure 5 presents the results as published in Profile 2003.

Figure 5 – CAVCO Certified Production Financing by Points (Constant 2001 Dollars)

Looking at the total budgets of CAVCO-certified productions in terms of the share of nine- and ten-points productions versus those achieving fewer than nine points, we observe that between 1996-97 and 2000-01, the balance between the two groups held relatively constant at about 55% and 45%, respectively. There is a considerable shift, however, between 2000-01 and 2001-02, where the share of nine- and ten-point productions rose to almost 73% (Figure 6).


Figure 6 – Share of CAVCO-Certified Production Financing by Points (Constant 2001 Dollars)

To glean a better picture of just how many key creative points CAVCO-certified productions actually obtained, we requested from CAVCO special statistical runs providing details related to volume, genre and language of production, as well as the degree to which each key creative position existed and how often it was filled by a Canadian when it did exist.


Appendix 17a

Copies of sample drafts advertising and promotional material

Business Card


Appendix 17b

Car License Plate


Appendix 17c

Website:

http://www.motivis.com



Appendix 17d


Appendix 19aContracts templates

PRODUCTION DEAL MEMO FOR _______(title)__________Producer: ____________________

Production Company: ______________________


Agreement dated ________________ by and between ___________________. (“Production Company”) and _____________ (“Producer”) for the production of a motion picture presently entitled ___________________ (“Picture”) if Production Company elects to proceed to production, to be produced by Producer.

1. ENGAGEMENT: Producer agrees to provide Producer’s services for the production of the Picture.

2. COMPENSATION/SERVICES: If Production Company elects to proceed to production of the Picture:(a) Services: Producer shall furnish the services of Producer on a non-exclusive but on a first-priority basis until completion of principal photography. Thereafter, Producer's services shall be non-exclusive but on a first-priority basis until delivery of the final corrected print of the Picture.

(b) Fees: Provided Producer is not in default and Producer has performed all required services hereunder, Producer shall be entitled to receive the following for furnishing Producer's services hereunder: (i) Producer Fee: A producer fee of $_________________________

(ii) Participation: ______ Percent (___%) of One Hundred Percent (100%) of the Gross Profits of the Picture, reducible only by the amount of investor recoupment. 3. CREDITS: Provided Producer is not in material default and Producer has performed all material services required hereunder, Producer will be accorded the following credit on screen and in paid advertising:(a) The following credit shall be accorded to ____________: “Producer ___________”. Said credit shall appear on a separate card on screen.

(b) Production Company Credit: “in association with ___________________” before the title, in a size of type which is not less than 50% of the size of type used for the title on screen and 35% of the size of type used for the title in paid advertising. Said credit shall appear on a separate card on screen.

4. OWNERSHIP: Production Company thereof, shall own all rights in the Picture, the component parts thereof, and the copyright for use throughout the world in any and all media.

5. STUDIO SEQUELS AND REMAKES: If within seven (7) years after the date of the initial release of the Picture, Production Company or any assignee or licensee of Production Company elects to develop or produce a studio theatrical sequel or remake based upon the Picture, Producer shall have a thirty (30) day right of first negotiation to furnish Producer's services as Producer of such theatrical sequel or remake on terms no less favorable to Producer than contained herein with respect to the Picture. Producer’s first negotiation right shall continue only so long as Producer continues to serve as individual Producer of each successive sequel or remake. 6. LONG-FORM EXECUTED. The balance of the terms shall be the customary terms and conditions of agreements in the motion picture industry for the engagement of a Producer, subject only to those changes therein as may be mutually agreed on in writing after good faith negotiation.

Wherefore this Memorandum of Agreement is executed in ________________ as of the date first written above.

“Producer” “Production Company”


______________________ ______________________By: By:

Appendix 19bLOCATION AGREEMENT/RELEASE FORM

THIS AGREEMENT made this ________ day of ____________ by and between ___________________, a COMPANY (“Production Company”) and ______________ (“Grantor”).

1. IDENTIFY OF FILMING LOCATION. Grantor hereby agrees to permit Production Company to use the property located at ________________ (“the Property”) in connection with the motion picture currently entitled _________________________ (the “Picture”) for rehearsing, photographing, filming and recording scenes and sounds for the Picture. Production Company and its licensees, sponsors, assigns and successors may exhibit, advertise, promote and otherwise exploit the Picture or any portion thereof, whether or not such uses contain audio and/or visual reproduction of the Property and whether or not the Property is identified or identifiable, in any and all media whatsoever now known or later devised in the universe in perpetuity.

2. RIGHT OF ACCESS. Production Company shall have the right to bring personnel and any equipment onto the Property and to remove same following completion of its use of the Property hereunder. Production Company shall have the right, but not the obligation, to photograph film and use in the Picture the actual name, if any, connected with the Property or to use any other name for the Property. If Production Company depicts the interior(s) of any structures located on the Property, Grantor agrees that Production Company shall not be required to depict such interior(s) in any particular manner in the Picture.

3. TIME OF ACCESS. The permission granted hereunder shall be for the period commencing on or about _______________________________. The period may be extended by Production Company if there are changes in the production schedule or other unforeseen delays such as due to weather conditions. The permission herein granted shall also apply to future retakes and/or added scenes.

4. PAYMENT. For each day that Production Company uses the location, it shall pay Grantor the sum of __________________________, in


consideration for the foregoing.

5. ALTERATIONS TO LOCATION. Production Company agrees that (with Grantor’s permission) if it becomes necessary to change, alter or rearrange any equipment on the Property belonging to Grantor, Production Company shall return and restore said equipment to its original place and condition, or repair it, if necessary. Production Company agrees to indemnify and hold harmless Grantor from any against any and all liabilities, damages and claims of third parties arising from Production Company’s use hereunder of the property (unless such liabilities, damages or claims arise from breach of Grantor’s warranty as set forth in the immediately following sentence); and from any physical damage to the Property proximately caused by Production Company, or any of its employees, representatives or agents. Grantor warrants that is has the right and authority to enter into this Agreement and to grant the rights granted by Grantor herein. Grantor agrees to indemnify and hold harmless Production Company from and against any and all claims relating to breach of its aforesaid warranty.

6. NO KICKBACKS FOR USE. Grantor affirms that neither it nor anyone acting for it gave or agreed to give anything of value to any member of the production staff, anyone association with the Picture, or any representative or Production Company, or any television station or network for mentioning or displaying the name of Grantor as a shooting location on the Property; except the use of the Property, which was furnished for use solely on or in connection with the Picture.

7. BILLING CREDIT. Grantor acknowledges that any identification of the Property which Production Company may furnish shall be at Production Company’s sole discretion and in no event shall said identification be beyond that which is reasonably related to the content of the Picture.

8. RELEASE. Grantor releases and discharges Production Company, its employees, agents, licensees, successors and assigns from any and all claims, demands or causes of action that Grantor may not have or may later have for libel, defamation, invasion of privacy or right of publicity, infringement of copyright or violation of any other right arising out of or relating to any utilization of the rights granted herein.

9. MISCELLANEOUS. This constitutes the entire agreement between the parties with no modifications unless in writing signed by


both parties. A photocopy of this Agreement shall be as legally valid and binding as the original, construed under the laws of the State of Ohio rights herein granted shall inure to the benefit of all successors, assigns, heirs, executors, etc. of each party hereto.

The undersigned represents that s/he is either rightful and true owner of the Property or empowered as agent or otherwise to execute this Agreement for or on behalf of owner.

IN WITNESS WHEREOF, the parties have hereunto set their names and seals as of the date first above-written.

PRODUCTION COMPANY:

By:__________________________

GRANTOR

By:__________________________

Appendix 19cLITERARY OPTION AND PURCHASE AGREEMENT

THIS AGREEMENT, made and entered into as of ___________ (date), by and between ______________________ (name and address of seller) (“Seller’) and _________________________ (name and address of buyer) (“Buyer”). 1. SELLER’S REPRESENTATIONS AND WARRANTIES: (a) Sole Proprietor: Seller represents and warrants to Buyer that Seller is the sole an exclusive proprietor, throughout the world of that certain original literary material written by ________________________ entitled _________________________ (“the Literary Material”) (b) Facts: Seller represents and warrants to Buyer that the following statements are true and correct in all respects with respect to said literary material:


(i) Seller is the sole author of the Literary Material. (ii) (ii) The Literary Material was first published on (date) by ________________,under the title ________________, and was registered for copyright in the name of ________________, under copyright registration number ___________ , in the Office of the United States Register of Copyrights, Washington, D.C. No Motion Picture or dramatic version of the literary Property, or any part of it, has been manufactured, produced, presented or authorized; no radio or television development, presentation or program based on the Literary Property, or any part of it, has been manufactured, produced, presented, broadcast or authorized; and no written or oral agreements or commitments at all with respect to the Literary Property or with respect to any right therein, have previously been made or entered into by or on behalf of Seller (except with respect to the publication of the Literary Material as set forth above.) (c) No Infringement or Violation of Third Party Rights: Seller represents and warrants to Buyer that Seller has not adapted the Literary Property from any other literary, dramatic or other material of any kind, nature or description, nor, excepting for material which is in the public domain, has Seller copied or used in the Literary Property the plot, scenes, sequence or story of any other literary, dramatic or other material; that the Literary Property does not infringe upon any common law or statutory rights in any other literary, dramatic, or other material ; that to be best of Seller’s knowledge, no material in the Literary Property is libelous or violative of the right of privacy of any person and the full use of the rights in the Literary Property which are covered by the within option would not violate any rights of any person, firm or corporation; and


that the Literary Property is not in the public domain in any country in the world where copyright protection is available. (d) No Impairment of Rights: Seller represents and warrants to Buyer that Seller is the exclusive proprietor, throughout the world, of the rights in the Literary Property which are covered by within option; that Seller has not assigned, licensed nor in any manner encumbered, diminished or impaired these rights; that Seller has not committed nor omitted to perform any act by which these rights could or will be encumbered, diminished or impaired; and that there is no outstanding claim or litigation pending against or involved the title, ownership and/or copyright in the Literary Property, or in any part of it, or in the rights which are covered by the within option. Seller further represents and warrants that no attempt hereafter will be made to encumber, diminish or impair any of the rights herein granted and that all appropriate protections of such rights will continue to be maintained by Seller. Without limiting any other rights Buyer may have in the premises, Seller agrees that if there is any claim and/or litigation involving any breach or alleged breach of any such representations and warranties of Seller, the option period granted hereunder and any periods within which Buyer may, pursuant to the provisions of Clause 3 hereof, extend the option, shall automatically be extended such representation and warranties of seller is outstanding, but in any event for a period not more than one (1) additional year. Any time after the occurrence in the premises, rescind this agreement and in such even, despite anything else to the contrary contained herein, Seller agrees to repay Buyer any monies paid by Buyer to Seller hereunder concerning the Property and


any reasonable amounts expended by Buyer in developing or exploiting the Property. Without limiting the generality of the foregoing, Seller agrees that Seller will not, any time during the option period, exercise or authorize or permit the exercise by others of any of the rights covered by the option or any of the rights reserved by Seller under the provisions of Exhibit A which are not to be exercised or licensed to others during any period therein specified. 2. CONSIDERATION FOR OPTION: In consideration of the payment to Seller of the sum of $ ______ (U.S.), receipt of which is hereby acknowledged, Seller agrees to and does hereby give and grant to Buyer the exclusive and irrevocable option to purchase from Seller the rights in the Property as described in Exhibit A for the total purchase price specified and payable as provided in Exhibit A, provided that any sums paid under this Clause 2 or any other provision of this agreement with respect to the option shall be credited against the first sums payable on account of such purchase price. If Buyer shall fail to exercise this option, then the sums paid to Seller hereunder with respect to the option shall be and remain sole property of Seller. 3. OPTION PERIOD: The within option shall be effective during the period commencing on the date hereof and ending ________________ (‘the Initial Option Period’). The Initial Option Period may be extended for an additional 12 months by the payment of $ _______ (U.S.) on or before the expiration date specified above (‘the Second Option Period”). 4. EXERCISE OF OPTION:


(a) Notice of Exercise: If Buyer elects to exercise the within option, Buyer (any time during the Option Period) shall serve upon Seller written notice of the exercise of it by addressing such notice to Seller at his address as specified in Exhibit a and by depositing such notice, so addressed by certified mail, return receipt requested with postage prepaid, in the United States mail. The deposit of such notice in the United States mail as herein specified shall constitute service of it, and the date of such deposit shall be deemed to be the date of service of such notice. (b) The purchase price shall be paid to Seller according to Exhibit A. (c) The option may be exercised only by notice in writing as aforesaid; no other action or oral statement by Buyer or his agents, representatives or employees shall constitute and exercise of the option. (d) Additional Documents: If Buyer exercises the within option, Seller, without cost to Buyer (other than the consideration provided for herein or in Exhibit A) shall execute, acknowledge and deliver to Buyer, or shall cause the execution, acknowledgement and delivery to Buyer of, such further instruments as Buyer may reasonably require to confirm unto Buyer the rights, licenses, privileges and property which are the subject of the within option. If Seller shall fail to execute and deliver or to cause the execution and delivery to Buyer of any such instruments, Buyer is hereby irrevocably granted the power coupled with an interest to execute such instruments and to take such other steps and proceedings as may be necessary concerning it in the name and on behalf of proceedings as may be necessary concerning it in the name and on behalf of Seller and as Seller’s attorney-in-fact. Seller shall supply all supporting agreements and


documentation requested by Buyer. (e) Failure to Execute Documents: If Seller shall fail to execute, acknowledge or deliver to Buyer any agreements, assignments or other instruments to be executed, acknowledged and delivered by Seller hereunder, then Buyer is hereby irrevocably appointed Seller’s attorney-in-fact with full right, power and authority to execute, acknowledge and deliver the same in the name of and on behalf of Seller, Seller acknowledging that the authority and agency given Buyer is a power coupled with an interest. If the property has not been published or registered for copyright in the United States Copyright Office, and as a result thereof Exhibits “A,’ “B” and “C,” attached hereto, have not been completed with respect to the publication and copyright data and other data, then Buyer is authorized and instructed by Seller to insert the correct publication and copyright data in the appropriate blanks in Exhibits “A,” “B” and “C” or after the property has been published and registered for copyright, specifying in such notice the name of the publisher, the date and place of publication, the name of the copyright proprietor and the date and entry number of the copyright registration in the United States Copyright Office, all of which information may be inserted by Buyer in the appropriate blanks in such documents. 5. EFFECTIVENESS OF EXHIBITS “A,” “B” AND “C”: Concurrently with the execution of this agreement Seller has executed Exhibits a (Literary Purchase Agreement), B (Short Form Option Agreement for Recordation) and C (Assignment of the Copyright), which are undated, and it is agreed that if Buyer shall


exercise the option (but not otherwise) then the signature of Seller to Exhibits A, B and C shall be deemed to be effective and these Exhibits shall constitute valid and binding agreements and assignment effective as of the date of exercise of such option, and Buyer is hereby authorized and empowered to date such instruments accordingly. If Buyer shall fail to exercise the option, then the signature of Seller to Exhibits A, B and C shall be void and of no further force or effect whatever, and Buyer shall not be deemed to have acquired any rights in or to the Property other than the option hereinabove provided for. If Buyer exercises the option, Buyer will execute and deliver to Seller copies of Exhibit A, dated as of the date of the exercise of the option, and Seller will, if so requested by Buyer, execute and deliver to Buyer additional copies of Exhibits A, B, and C. Notwithstanding the failure or omission of either party to execute and/or deliver such additional documents, it is agreed that upon the exercise of the option by Buyer all rights in and to the Property agreed to be transferred to Buyer pursuant to the provisions of Exhibit A shall be deemed vested in Buyer, effective as of the date of exercise of the option, which rights shall be irrevocable. 6. RIGHT TO ENGAGE IN PREPRODUCTION: Seller acknowledges that Buyer may, at its own expense, during the option period, undertake pre-production activities in connection with any of the rights to be acquired hereunder including, without limitation, the preparation and submission of trea6tments and/or screenplays based on the Property. 7. RESTRICTIONS: During the Option Period, Seller shall not exercise or otherwise use any of the rights herein granted to Buyer and as more particularly described in


Exhibit A hereof nor the rights reserved to Seller pursuant to Clause 2 (Rights Reserved) of Exhibit A, nor shall Seller permit the use of nor shall Seller use any other right Seller has reserved in a way that would in any manner or for any purpose unfairly compete with, interfere with or conflict with the full and unrestricted use of the rights herein granted to Buyer and as described in Exhibit A. 8. ASSIGNMENT: This Option Agreement and the rights granted hereunder may be assigned by Buyer to any other person, firm or corporation. 9. OPTION REVERSION AND TURNAROUND RIGHT: (a) If the Buyer does not timely exercise the option during its original or extended term and timely pay the purchase price, the potion shall end and all rights in the Literary Property shall immediately revert to the seller. The seller shall retain all sums therefore paid. Buyer shall immediately execute and deliver to seller any assignments and documents required to effectuate the Reversion. If Buyer shall fail or be unable to do so, Buyer hereby grants seller a power coupled with and interest to execute and deliver such documents as Buyer’s attorney-in-fact. (b) If the option is timely exercised and the purchase price paid and if a motion picture company does not produce a motion picture based on the Literary Property within years from purchase of the Literary Property, seller shall have a turnaround right to reacquire and set up the Literary Property elsewhere and upon obtaining such other commitment to reimburse the Buyer or Motion Picture company for its actual direct out-of-pocket development costs in connection with the Literary Property, such as fees to scriptwriters, buy excluding payments to Seller and any payments to Buyer not directly related to scripting services.


( c) In addition, if Buyer decides not to exercise the option in Clause 1 above, any time before the expiration of the Option Period, or decides not to extend such option for , Buyer agrees to notify Seller of such decision as soon as reasonably possible, but in no event later than the applicable option or extension deadline. When such notice is given, the option granted hereunder to Buyer shall automatically revert to Seller. 10. FORCE MAJEURE: “Force Majeure” means any fire, flood, earthquake, or public disaster; strike, labor dispu8te or unrest; embargo, riot, war, insurrection or civil unrest; any act of God, any act of legally constituted authority; or any other cause beyond the buyer’s control which would excuse buyer’s performance as a matter of law. If because of force majeure, buyer’s performance hereunder is delayed or prevented then the option period provided herein and any performance by purchase shall be extended for the time of such delay or prevention. 11. SECTION HEADINGS: The headings of paragraphs, sections and other subdivisions of this agreement are for convenient reference only. They shall not be used in any way to govern, limit, modify, construe this agreement or any part of provision of it. 12. ARBITRATION: Any controversy or claim arising out of or relating to this agreement or any breach thereof shall be settled by arbitration in accordance with the Rules of the American Arbitration Association; and judgment upon the award rendered by the arbitrators may be entered in any court having jurisdiction thereof. The prevailing party shall be entitle to reimbursement for


costs and reasonable attorney’s fees. The determination of the arbitrator in such proceeding shall be final, binding and non-appealable. 13. ENTIRE AGREEMENT: This agreement, including the Exhibits attached hereto, contains the complete understanding and agreement between the parties with respect to the within subject matter, and supersedes all other agreements between the parties whether written or oral relating thereto, and may not be modified or amended except by written instrument executed by both of the parties hereto. This agreement shall in all respects be subject to the laws of the State of applicable to agreements executed and wholly performed within such State. All the rights, licenses, privileges and property herein granted to Buyer are irrevocable and not subject to rescission, restraint, or injunction under any or all circumstances. IN WITNESS WHEREOF, the parties hereto have signed this Option Agreement as of the day and year first hereinabove written. SELLER: __________________________________________________________ BUYER: __________________________________________________________


EXBIBIT A This Agreement made on ________________ (date) by and between __________________ (“Seller”) and _______ ________________ (“Buyer”). WITNESSETH WHEREAS, Seller is the sole and exclusive seller throughout the world of all rights in and to the literary work entitled: ____________________, written by ________________ _____________, which work has been filed in the United States Copyright Office under Copyright Registration Number _______________________ ; this work including all adaptations and/or versions, the titles, characters, plots , themes and storyline is collectively called the “Property”; and WHEREAS, Buyer wants to acquire certain rights of the Seller in consideration for the purchase price provided herein and in reliance upon the Seller’s representations and warranties; NOW, THEREFORE, the parties agree to as follows:


1. RIGHTS GRANTED: Seller hereby sells, grants, conveys and assigns to Buyer, its successors, licensees, and assigns exclusively and forever, all motion picture rights (including all silent, sound dialogue and musical motion picture rights), all television motion picture and other television rights, with limited radio broadcasting rights and 7,500 word publication rights for advertisement, publicity and exploitation purposes, and certain incidental and allied rights, throughout the exploitation purposes, and certain incidental and allied rights, throughout the world, in and to the Property and in and to the copyright of it and all renewals and extensions of copyright. Included among the rights granted to Buyer hereunder (without in any way limiting the grant of rights hereinabove made) are the following sole and exclusive rights throughout the world: (a) To make, produce, adapt and copyright one or more motion picture adaptations or versions, whether fixed on film, tape, disc, wire, audiovisual cartridge, cassette or through any other technical process whether now known or from now on devised, based in whole or in part on the Property, of every size, gauge, color or type, including, but not limited to, musical motion pictures and pictures in series or serial form, and for such purposes to record and reproduce and license others to record and reproduce, in synchronization with such motion pictures, spoken words taken from or based upon the text or theme of the Property and any kinds of music, musical accompaniments and/or lyrics to be performed or sung by the performers in any such motion picture and any other kinds of sound and sound effects. (b) by all means or technical processes whatsoever, whether now kno2wn or from now on devised including, by way of example only, film, tape,


disc, wire, audio-visual cartridge, cassette or television (including commercially sponsored, sustaining and subscription or pay-per-view television, or any derivative of it0; and (i) anywhere whatsoever, including homes, theaters and elsewhere, and whether a fee is charged, directly or indirectly, for viewing any such motion picture. (c) To broadcast, transmit or reproduce the Property or any adaptation or version of it (including without limitations any motion picture produced hereunder and/or any script or other material based on or using the Property or any of the characters, themes or plots of it), by means of television or any process analogous thereto whether now known or from now on devised (including commercially sponsored, sustaining and subscription or pay-per-view television) , by motion pictures produced on films or by means of magnetic tape, wire, disc, audio-visual cartridge or any other device known or from now on devised an including such television productions presented in series or serial form, and the exclusive right generally to exercise for television purposes all the rights granted to Buyer hereunder for motion picture purposes. (d) Without limiting any other rights granted Buyer, to broadcast and/or transmit by television or radio or any process analogous thereto whether now known or from now on devised, all or any part of the Property or any adaptation or version of it including any motion picture or any other version or versions of it, and announcements about said motion picture or other version or versions, for advertising, publicizing or exploiting such motion picture or other version or versions, which broadcasts or transmissions may be accomplished with living actors performing simultaneously with such broadcast or transmission or by any other method or means including the use of


motion pictures (including trailers) reproduced on film or by means of magnetic tape or wire or through other recordings or transcriptions. (e) To publish and copyright or cause to be published and copyrighted in the name of Buyer or its nominee in any languages throughout the world, in any form of media, synopses, novelizations, serializations, dramatizations, abridged and/or revised versions of the Property, not exceeding 7,500 words each, adapted from the Property or from any motion picture and/or other version of the Property for advertising, publicizing and/or exploiting any such motion picture and/or other version. (f) For the foregoing purposes to use all or any part of the Property and any of the characters, plots, themes and/or ideas contained therein, and the title of the Property and any title or subtitle of any component of the Property, and to use said titles or subtitles for any motion picture or other version of adaptation whether the same is based on or adapted from the Property and/or as the title of any musical composition contained in any such motion picture or other version or adaptation. (g) To use and exploit commercial or merchandise tie-ups and recordings of any sort and nature arising out of or connected with the Property and/or its motion picture or other versions and/or the title or titles of it and/or the characters of it and/or their names or characteristics. All rights, licenses, privileges and property herein granted Buyer shall be cumulative and Buyer may exercise or use any or all said rights, licenses, privileges or property simultaneously with or in connection with or separately and apart from the exercise of any other of said rights, licenses, privileges and property. If Seller from now on makes or


publishes or permits to be made or published any revision, adaptation, translation or dramatization or other versions of the Property, then Buyer shall have and Seller hereby grants to Buyer without payment therefore all of the same rights therein as are herein granted Buyer. The terms ‘Picture’ and “Pictures’ as used herein shall be deemed to mean or include any present or future kind of motion picture production based upon the Property, with or without sound recorded and reproduced synchronously with it, whether the same is produced on film or by any other method or means now or from now on used for the production, exhibition and/or transmission of any kind of motion picture productions. 2. RIGHTS RESERVED: The following rights are reserved to Seller for Seller’s use and disposition, subject, however, to the provisions of this agreement: (a) Publication Rights: The right to publish and distribute printed versions of the Property owned or controlled by Seller in book form, whether hardcover or soft cover, and in magazine or other periodicals, whether in installments or otherwise subject to Buyer’s rights as provided for in Clause 1 supra. (b) Stage Rights: The right to perform the Property or adaptations of it on the spoken stage with actors appearing in person in the immediate presence of the audience, provided no broadcast, telecast, recording, photography or other reproduction of such performance is made. Seller agrees not to exercise, or permit any other person to exercise, said stage rights earlier than 12 years after the first general release or telecast, if earlier, of the first Picture produced hereunder, or 12 years after the date of exercise of the buyer’s option to acquire the property, whichever is earlier.


( c ) Radio Rights: The right to broadcast the Property by sound (as distinguished from visually) by radio, subject however to Buyer’s right always to: (i) exercise its radio rights provided in Clause 1 supra for advertising and exploitation purposes by living actors or otherwise, by using excerpts from or condensations of the Property or any Picture produced hereunder; and (ii) in any event to broadcast any Picture produced hereunder by radio. Seller agrees not to exercise, or permit any other person to exercise, Seller’s radio rights earlier than 12 years after the first general release or initial telecast, if earlier, of the first Picture produced hereunder or 12 years after the date of exercise of buyer’s option to acquire the property, whichever is earlier. ( d ) Author-Written Sequel: A literary property (story, novel, drama or otherwise), whether written before or after the Property and whether written by Seller or by a successor in interest of Seller, using one or more of the characters appearing in the Property, participating in different events from those found in the Property, and whose plot is substantially different from that of the Property. Seller shall have the right to exercise publication rights (i.e., in book or magazine form) any time. Seller agrees not to exercise, or permit any other person to exercise, any other rights (including but not limited to motion picture or allied rights) of any kind in or to any author-written sequel earlier than 12 years after the first general release of the first Picture produced hereunder, or 12 years after the date of exercise of buyer’s option to acquire of said author-written sequel rights shall be extended to any period during which there is in effect, in any particular country or territory, whether such period occurs wholly or partly during or entirely after the year period first referred to in this clause. Any


disposition of motion picture or allied rights in an author-written sequel made to any person or company other than Buyer shall be made subject to the following limitations and restrictions: (e) Since the characters of the Property are included in the exclusive grant of motion picture rights to Buyer, no sequel rights or television series rights may be granted to such other person or company, buy such characters from the Property which are contained in the author-written sequel may be used in a motion picture and remakes of it whose plot is based substantially on the plot of the respective author-written sequel. It is expressly agreed that Seller’s reserved rights under this sub-clause related only to material written or authorized by Seller and not to any revision, adaptation, sequel, translation or dramatization written or authorized by Buyer, although the same may contain characters or other elements contained in the Property. 3. RIGHT TO MAKE CHANGES: Seller agrees that Buyer shall have the unlimited right to vary, change, alter, modify, add to and/or delete from the Property, and to rearrange and/or transpose the Property and change the sequence of it and the characters and descriptions of the characters contained in the Property, and to use a portion or portions of the property or the characters, plots, or theme of it with any other literary, dramatic or other material of any kind. Seller hereby waives the benefits of any provisions of law known as the “droit moral” or any similar law in any country of the world and agrees not to permit or prosecute any action or lawsuit on the ground that any Picture or other version of the Property produced or exhibited by Buyer, its assigns or licensees, in any way constitutes an infringement of any of the Seller’s droit moral or is in any way a


defamation or mutilation of the Property or any part of it or contains unauthorized variations, alterations, modifications, changes or translations. 4. DURATION AND EXTENT OF RIGHTS GRANTED: Buyer shall enjoy, solely and exclusively, all the rights, licenses, privileges and property granted hereunder throughout the world, in perpetuity, as long as any rights in the Property are recognized in law or equity, except as far as such period of perpetuity may be shortened due to any now existing or future copyright by Seller of the Property and/or any adaptations of it, in which case Buyer shall enjoy its sole and exclusive rights, licenses, privileges and property hereunder to the fullest extent permissible under and for the full duration of such copyright or copyrights, whether common law or statutory, and any renewals and/or extensions of it, and shall after that enjoy all such rights, licenses, privileges and property non- exclusively in perpetuity throughout the world. The rights granted herein are in addition to and shall not be construed in derogation of any rights which Buyer may have as a member of the public or pursuant to any other agreement. All rights, licenses, privileges and property granted herein to Buyer are irrevocable and not subject to rescission, restraint or injunction under any circumstances. 5. CONSIDERATION: As consideration for all rights granted and assigned to Buyer and for seller’s representations and warranties, Buyer agrees to pay to Seller, and Seller agrees to accept: ( a ) For a theatrical or television motion picture $__________ (U.S.) besides any sums paid in connection with the option periods so payable upon


exercise of the option to acquire the Property. ( b) For any mini-series, $___________ per hour, pro-rated for part hours. ( c ) For any sequel or remake of a theatrical or television motion picture based on the Property, one-half and one-third, respectively, of the amount paid for the initial motion picture, payable upon commencement of principal photography of the subsequent production. ( d ) For any television series produced, based on the Property, Buyer will pay the following royalties per initial production upon completion of production of each program: up to 30 minutes $ _____ ; over 30, but not more than 60, minutes $ ______ ; and in addition to the foregoing, as a buy-out of all royalty obligations, one hundred percent (100%) of the applicable initial royalty amount, in equal installments over five (5 ) reruns, payable within thirty (30) days after each such rerun. As and for contingent compensation _____% Percent of one hundred percent of the net profits (including allied and ancillary rights) of each motion picture and television program or series based on the Property, in whole or in part, with profits defined according to the same definition obtained by Buyer; provided, however, that Seller’s percentage shall not be subject to any reductions or preconditions whatsoever. 6. REPRESENTATIONS AND WARRANTIES: (a ) Sole Proprietor: Seller represents and warrants to Buyer that Seller is the sole and exclusive proprietor, throughout the universe, of that certain original literary material written by Seller entitled “ ______________________________________ .”


( b) Facts: Seller represents and warrants to Buyer as follows: ( I ) Seller is the sole author and creator of the Property. ( II ) The Property was first published in 20__ by ___________ (publisher) under the title _______________________ , and was registered for copyright in the name of , under copyright registration number ______________________ , in the Office of the United States Register of Copyrights, Washington, D.C. ( III) No motion picture or dramatic version of the Property, or any part of it, has been manufactured, produced, presented or authorized; no radio or television development, presentation, or program based on the Property, or any part of it, has been manufactured, produced, presented, broadcast or authorized; and no written or oral agreements or commitments at all with respect to the Property, or with respect to any rights therein, have been made or entered by or on behalf of Seller (except with respect to the Publication of the Property as set forth above). ( iV ) None of the rights herein granted and assigned to Buyer have been granted and/or assigned to any person, firm or corporation other than Buyer. (c ) No Infringement or Violation of Third Party Rights: Seller represents and warrants to Buyer that Seller has not adapted the Property from any other literary, dramatic or other material of any kind, nature or description, nor, except material which is in the public domain, has Seller copied or used in the Property the plot, scenes, sequence or story of any other literary, dramatic or other material; that the Property does not infringe upon any common law or statutory rights in any other literary, dramatic or other material; that no material contained in the Property is libelous or


violative of the right of privacy of any person; that the full utilization of any and all rights in and to the Property granted by Seller pursuant to this Agreement will not violate the rights of any person, firm or corporation; and that the Property is not in the public domain in any country in the world where copyright protection is available. ( d ) No Impairment of Rights: Seller represents and warrants to Buyer that Seller is the exclusive proprietor, throughout the universe, of all rights in and to the Property granted herein to Buyer; that Seller has not assigned, licensed or in any manner encumbered, diminished or impaired any such rights; that could or will be encumbered, diminished or impaired; and that there is no outstanding claim or litigation pending against or involving the title, ownership herein to Buyer. Seller further represents and warrants that no attempt shall be made hereafter to encumber, diminish or impair any of the rights granted herein and that all appropriate protection of such rights will continue to be maintained by Seller. 7. INDEMNIFICATION: ( a ) Seller agrees to indemnify Buyer against all judgments, liability, damages, penalties, losses and expense (including reasonable attorney’s fees) which may be suffered or assumed by or obtained against Buyer by reason of any breach or failure of any warranty or agreement herein made by Seller. ( b ) Buyer shall not be liable to Seller for damages of any kind in connection with any Picture it may produce, distribute or exhibit, or for damages for any breach of this agreement (except failure to pay the money consideration herein specified) occurring or accruing before Buyer has had reasonable notice and opportunity to


adjust or correct such matters. ( c ) All rights, licenses and privileges herein granted to Buyer are irrevocable and not subject to rescission, restraint or injunction under any circumstances. 8. PROTECTION OF RIGHTS GRANTED: Seller hereby grants to Buyer the free and unrestricted right, but at Buyer’s own cost and expense, to institute in the name and on behalf of Seller, or Seller and Buyer jointly, any and all suits and proceedings at law or in equity, to enjoin and restrain any infringements of the causes of action relative to or based upon any such infringement, as well as any and all recoveries obtained thereon. Seller will not compromise, settle or in any manner interfere with such litigation if brought; and Buyer agrees to indemnify and hold Seller harmless from any costs, expenses or damages which Seller may suffer as a result of any such suit or proceeding. 9. COPYRIGHT: Regarding the copyright in and to the Property, Seller agrees that: ( a ) Seller will prevent the Property and any arrangements, revisions, translations, novelizations, dramatizations, or new versions thereof whether published or unpublished and whether copyrighted or not copyrighted, from vesting in the public domain, and will take or cause to be taken any and all steps and proceedings required for copyright or similar protection. Any contract or agreement entered into by Seller authorizing or permitting the publications of the Property or any arrangements, revisions, translations, novelizations, dramatizations or new versions thereof in any country will contain appropriate provisions requiring such publisher to comply with all the


provisions of this clause. ( b ) Without limiting the generality of the foregoing, if the Property or any arrangement, revision, translation, novelization, dramatization or new version thereof is published in the United States or in any other country in which registration is required for copyright or similar protection in accordance with the laws and regulations of such country, Seller agrees to affix or cause to be affixed to each copy of the Property or any arrangement, revision, translation, novelization, dramatization or new version thereof which is published or offered for sale such notice or notices as may be required for copyright or similar protection in any country in which such publication or sale occurs. ( c ) At least months prior to the expiration of any copyright required by this provision for the protection of the Property, Seller will renew ( or cause to be renewed) such copyright, as permitted by applicable law, and any and all rights granted Buyer hereunder shall be deemed granted to Buyer throughout the full period of such renewed copyright, without the payment of any additional consideration, it being agreed that the consideration payable to Seller under this agreement shall be deemed to include full consideration for the grant of such rights to Buyer throughout the period of such renewed copyright. ( d ) If the Property, or any arrangement, revision, translation, novelization, dramatization or new version thereof, shall ever enter the public domain, then nothing contained in this agreement shall impair any rights or privileges that the Buyer might be entitled to as a member of the public; thus, the Buyer may exercise any and all such rights


and privileges as though this agreement were not in existence. The rights granted herein by Seller to Buyer, and the representations, warranties, undertakings and agreements made hereunder by Seller shall endure in perpetuity and shall be in addition to any rights, licenses, privileges or property of Buyer referred to in this sub-clause ( d ). 10. CREDIT OBLIGATIONS: Buyer shall have the right to publish, advertise, announce and use, in any manner or medium, the name, biography and photographs or likenesses of Seller in connection with any exercise by Buyer of its rights hereunder, provided such use shall not constitute an endorsement of any product or service. During the term of the Writer’s Guild of America Minimum Basic Agreement (“WGA agreement’), as it may be amended, the credit provisions of the WGA Agreement shall govern the determination of credits, if any, which the Buyer shall accord the Seller hereunder in connection with photoplays. Subject to the foregoing, Seller shall be accorded the following credit on a single card on screen and in paid ads controlled by Buyer and in which any other writer is accorded credit, and in size of type (as to height, width, thickness and boldness) equal to the largest size of type in which any other writer is accorded credit: ( a ) If the title of the picture is the same as the title of the Property ‘_______________ “; or ( b ) If the title of the Picture differs from the title of the Work, ‘______________ ‘. Additionally, if Buyer shall exploit any other rights in and to the


Property, then Buyer agrees to give appropriate source material credit to the Property, to the extent that such source material credits are customarily given in connection with the exploitation of such rights. No casual or inadvertent failure to comply with any of the provisions of this clause shall be deemed a breach of this agreement by the Buyer. Seller hereby expressly acknowledges that in the event of a failure or omission constituting a breach of the provisions of this paragraph, the damage (if any) caused Seller thereby is not irreparable or sufficient to entitle Seller to injunctive or other equitable relief. Consequently, Seller’s rights and remedies in the event of such breach shall be limited to the right to recover damages in an action at law. Buyer agrees to provide in its contracts with distributors of the Picture that such distributors shall honor Buyer’s contractual credit commitments and agrees to inform such distributors of the credit provisions herein. 11. RIGHT OF FIRST NEGOTIATION: The term ‘Right of the First Negotiation” means that if, after the expiration of an applicable time limitation, Seller desires to dispose of or exercise a particular right reserved to Seller herein (“Reserved Right’), whether directly or indirectly, then Seller shall notify Buyer in writing and immediately negotiate with Buyer regarding such Reserved Right. If, after the expiration of 120 days of following the receipt of such notice, no agreement has been reached, then Seller may negotiate with third parties regarding such Reserved Right subject to Clause 12 infra. 12. RIGHT OF LAST REFUSAL: The term ‘Right of Last Refusal’ means that


if Buyer and Seller fail to reach an agreement pursuant to Buyer’s right of first negotiation, and Seller makes and/or receives any bona fide offer to license, lease and/or purchase the particular Reserved Right or any interest therein (“Third Party Offer”), and if the proposed purchase price and other material terms of a Third Party offer are no more favorable to Seller than the terms which were acceptable to Buyer during the first negotiation period, Seller shall notify Buyer, by registered mail or telegram, if Seller proposes to accept such Third Party Offer, the name of the offerer, the proposed purchase price, and other terms of such Third Party Offer. During the period of _____ days after Buyer’s receipt of such notice, Buyer shall have the exclusive option to license, lease and/or purchase, as the case may be, the particular Reserved Right or interest referred to in such Third Party Offer, at the same purchase price and interest referred to in such Third Party Offer, at the same purchase price and upon the same terms and condit9ions as set forth in such notice. If Buyer elects to exercise thereof by registered mail or telegram within such 120 day period, failing which Seller shall be free to accept such Third Party Offer; provided that if any such proposed license, lease and/or sale is not consummated with a third party within 120 days following the expiration of the aforesaid 120 day period, Buyer’s Right of last refusal shall revive and shall apply to each and every further offer or offers at any time received by Seller relating to the particular Reserved Right or any interest therein; provided, further, that Buyer’s option shall continue in full force and effect, upon all of the terms and conditions of this paragraph, so long as Seller retains any rights, title or interests in or to the particular Reserved Right. Buyer’s


Right of Last Refusal shall inure to the benefit of Buyer, its successors and assigns, and shall bind Seller and Seller’s heirs, successors and assigns. 13. NO OBLIGATION TO PRODUCE: Nothing herein shall be construed to obligate Buyer to produce, distribute, release, perform or exhibit any motion picture, television, theatrical or other production based upon, adapted from or suggested by the Property, in whole or in part, or otherwise to exercise, exploit or make any use of any rights, licenses, privileges or property granted herein to Buyer. 14.ASSIGNMENT: Buyer may assign and transfer this agreement or all or any part of its rights hereunder to any person, firm or corporation without limitation, and this agreement shall be binding upon and inure to the benefit of the parties hereto and their successors, representatives and assigns forever. 15. NO PUBLICITY: Seller will not, without Buyer’s prior written consent in each instance, issue or authorize the issuance or publication of any news story or publicity relating to ( I ) this Agreement, (ii) the subject matter or terms hereof. 16. AGENT COMMISSIONS: Buyer shall not be liable for any compensation or fee to any agent of Seller in connection with this Agreement. 17. ADDITIONAL DOCUMENTATION: Seller agrees to execute and procure any other and further instruments necessary to transfer, convey, assign and copyright all rights in the Property granted herein by Seller to Buyer in any country throughout the world. If it shall be necessary under the laws of any country that copyright registration be acquired in the name of Seller, Buyer is hereby authorized by Seller to apply for said copyright registration thereof; and, in such event, Seller shall and does


hereby assign and transfer the same unto Buyer, subject to the rights in the Property reserved hereunder by Seller. Seller further agrees, upon request, to duly execute, acknowledge, procure and deliver to Buyer such short form assignments as may be requested by Buyer for the purpose of copyright recordation in any country, or otherwise. If Seller shall fail to so execute and deliver, or cause to be executed and delivered, the assignments or other instruments herein referred to, Buyer is hereby irrevocably granted the power coupled with an interest to execute such assignments and instruments in the name of Seller and as Seller’s attorney-in-fact. 18. NOTICES: All notices to Buyer under this agreement shall be sent by United States registered mail, postage prepaid, or by telegram addressed to Buyer at _________________ (address) with a courtesy copy to _________________ (Buyer’s attorney), and all notices to Seller under this agreement shall be sent by United States registered mail, postage prepaid, or by telegram addressed to at __________________________ ( address) seller with notice in the United States mail or the delivery of the telegram message to the telegraph office shall constitute service thereof, and the date of such deposit shall be deemed to be the date of service of such notice. 19. ARBITRATION: Any controversy or claim arising out of or relating to this agreement or any breach thereof shall be settled by arbitration in accordance with the Rules of the American Arbitration Association; and judgment upon the award rendered by the arbitrator(s) may be entered in any court having jurisdiction thereof. The prevailing party shall be entitled to reimbursement for costs and reasonable attorney’s fees. The determination of the arbitrator in such proceeding shall be


final, binding and non-appealable. 20. MISCELLANEOUS: ( a ) Relationship: This agreement between the parties does not constitute a joint venture or partnership of any kind. ( b ) Cumulative Rights and Remedies: All rights, remedies, licenses, undertakings, obligations, covenants, privileges and other property granted herein shall be cumulative, and Buyer may exercise or use any of them separately or in conjunction with any one or more of the others. ( c ) Waiver: A waiver by either party of any term or condition of this agreement in any instance shall not be deemed or construed to be a waiver of such term or condit9ion for the future, or any subsequent breach thereof. ( d ) Severability: If any provision of this agreement as applied to either party or any circumstances shall be adjudged by a court to be void and unenforceable, such shall in no way affect any other provision of this agreement, the application of such provision in any other circumstance, or the validity or enforceability of this agreement. (e ) Governing Law: This agreement shall be construed in accordance with the laws of the State of Ohio applicable to agreements which are executed and fully performed within said State. ( f ) Captions: Captions are inserted for reference and convenience only and in no way define, limit or describe the scope of this agreement or intent of any provision. ( g ) Entire Understanding: This agreement contains the entire understanding of the


parties relating to the subject matter, and this agreement cannot be changed except by written agreement executed by the party to be bound. IN WITNESS WHEREOF, the parties hereto have signed this Agreement as of the day and year first above written. ___________________________________________________________ (‘Seller’) (Date) _____________________________________________________________ (“Buyer’) (Date)


EXHIBIT B OPTION AGREEMENT (SHORT FORM FOR RECORDATION AT U.S. COPYRIGHT OFFICE) For good and valuable consideration, receipt of which is hereby acknowledged, the undersigned hereby grants to _________________ (the ‘BUYER”), its successors and assigns, the sole and exclusive option to purchase all motion picture and certain allied rights, in the original literary and/ or dramatic work (the “Work”) described as follows: Title: Author: Publisher: Date of Publication: Copyright Registration: The Work includes but is not limited to: (i) all contents; (ii) all present and future adaptations and versions; (iii) the title, characters and theme; and (iv) the copyright and all renewals and extensions of copyright. This instrument is executed in accordance with and is subject to the agreement (the “Option Agreement” ) between the undersigned and the Buyer dated as of (date) relating to the option granted to the Buyer to purchase the above-mentioned rights in the Work, which rights are more fully described in the Purchase Agreement, attached to the Option Agreement. Date: _________________________________ Attest


_______________________________________________________________________ (name of witness) (name of seller) EXHIBIT C

SHORT FORM COPYRIGHT ASSIGNMENT KNOW ALL MEN BY THESE PRESENTS that, in consideration of One Dollar ($1.00) and other good and valuable consideration, receipt of which is hereby acknowledged, the undersigned ____________________(“Assignor’) do(es) hereby sell, grant, convey and assign unto ____________________ (“Assignee’), its successors, assigns and licensees forever, all right, title and interest including but not limited to the exclusive worldwide Motion Picture and allied rights of Assignor in and to that certain literary work to wit: that certain original screenplay written by ________________ entitled ________________________________ (“Literary Property”), and all drafts, revisions, arrangements, adaptations, dramatizations, translations, sequels and other versions of the Literary Property which may heretofore have been written or which may heretofore have been written or which may hereafter be written with the sanction of Assignor.


Dated this ____________ day of _______________ , 2003. _______________________________________________________ (“Assignor”) AGREED TO: ________________________________________________________ (“Assignee”) Acknowledgment STATE OF __________________ ) ) ss.: COUNTY OF _________________________________________ ) On the ____________ day of __________________ , 2003, before me personally came ______________ to me known and known to be the individual described in and who executed the foregoing instrument, and he did duly acknowledge to me that he executed the same.

Notary Public

Appendix 19d ACTOR AGREEMENT

This agreement is entered into by and between _____________________ (the “Actor”) and _____________________ (the “Production Company”). In the event of the Actor’s death or total incapacity, “Actor” means the Actor’s heirs, devisees, beneficiaries, trusts, assignees or other successors-in-interest. “Production Company” includes the licensees, assignees, future owners, or other acquirers or successors-in-interest of _______________ (“Production Company”)

The Actor hereby grants to the Production Company and to its licensees, assignees, and other successors-in-interest, all rights of every kind and character, in perpetuity, in and to the Actor’s performance, appearance, likeness,


name and/or voice (the “Performance”) in connection with the motion picture entitled ____________ which is based on the concept and outline by ______________________ (the “Picture”).

The Actor hereby authorizes the Production Company to photograph, videotape, film and record (on film, tape, or any other medium), the Performance and audition(s) for the Performance; to edit the same at its discretion and to include it with the performances of others and with sound effects, special effects, digital effects and music; to incorporate the same into the Picture, trailers, posters or other materials or programs related to the Picture; to use and to license others to use such records and photographs in any manner or media whatsoever, including without limitation unrestricted use for purposes of publicity, advertising and sales promotion; and to use my name, likeness, voice, biography or other information concerning me in connection with the Picture and for any other purpose associated with the Picture. The Actor further acknowledges that the Production Company owns all rights to the Picture.

The Production Company shall compensate the Actor for the Performance by payment to Actor of ___% of net profits to the Production Company from all distribution and exploitation of the Picture (including Picture trademarks, service marks, logos, slogans, likenesses, names, voice, or dialogue), including royalties, dividends, or payments of any kind arising from theatre, television, video, CD, DVD, or internet distribution and exploitation. Net profits shall be determined in accordance with generally accepted accounting principles. Payment will be made to the Actor on a quarterly basis in perpetuity as the Production Company receives such monies. The Actor is responsible to pay all applicable taxes and other assessments or levies of any kind due on the receipt of income.

Unless otherwise agreed to in writing by the Production Company, the Actor will receive no compensation in the event that the Actor does not complete the Performance.

This Agreement constitutes the entire agreement by and between the Actor and the Production Company and supersedes any and all prior contracts, understandings, negotiations, and agreements with respect to the Production Company and the subject matter hereof, whether oral or written.

Actor Name: _____________________________________

Signature: _____________________________________

_________________________________ , Production Company


Appendix 19e

NON – DISCLOSURE AGREEMENT

This agreement made this __________ day of ___________ , 20__, by and between:______________________, (“Writer”), and __________________ (“Producer’), . Whereas, Writer has written a script (“Submission”) for a possible future theatrical or motion picture production. Whereas, Writer wishes Producer to evaluate said “Submission” for the sole purpose of determining whether said Submission may be further developed into a motion picture (“Project”). NOW, THEREAFTER, in consideration of the premises and mutual covenants herein contained, the parties agree as follows: 1. 1. All information disclosed by Writer to Producer, in writing, whether or not such


information is also disclosed orally, that relates or refers, directly or indirectly, to the Submission, including the Submission itself, shall be deemed confidential and shall constitute Confidential Information, and shall include (i) all documents generated by Producer which contain, comment upon, or relate in any way to any Confidential Information received form Writer, and (ii) any written samples of the Submission received from Writer together with any information derived by Producer there from. .2. Confidential Information shall not include any information: .(i) That Producer can show by documentary evidence was known to Producer or prior to the date of its disclosure to Producer by Writer or .(ii) That becomes publicly known, by publication or otherwise, not due to any unauthorized act or omission of Producer or any other party having an obligation of confidentiality to Writer; or, .(iii) That is subsequently disclos3ed by Writer to any person, firm or corporation on a on-confidential basis; or .(iv) That producer can conclusively show by documentary evidence that such information was developed independent of any access to the Confidential Information. 2. 3. Writer will disclose the Confidential Information to Producer solely for the purpose of allowing Producer to evaluate the Submission to determine, in its sole discretion, whether the Submission may be further developed into a Project. 3. 4. Producer agrees to accept disclosure of the Confidential Information and to exercise the same degree of care to maintain the Confidential Information secret and confidential as is employed by Producer to preserve and safeguard its own materials and confidential information. 4. 5. The Confidential Information shall remain the property of Writer and shall not be disclosed or revealed by Producer or anyone else except employees of Producer who have a need to know the information in connection with Producer’s evaluation of the Submission, and who have entered into a secrecy agreement with Producer under which such employees are required to keep confidential the Confidential Information of Writer, and such employees shall be advised by Producer of the confidential nature of the information and that the information shall be treated accordingly. Producer shall be liable for any improper disclosure of the Confidential Information by its employees. .6. (i) Producer shall notify Writer of any determination it may arrive at with respect to the further development of the submission, provided, however, that, in doing so, Producer shall not directly or indirectly disclose any Confidential Information to any third party, without the consent of Writer. .(ii) If Producer determines that the Submission cannot be further developed into a Project, within <….> months of the receipt of the Submission, Producer shall within five (5) business days after such determination return any and all Confidential Information to Writer, along with all copies or derivatives thereof and all writings generated by Producer in connection with Producer’s evaluation of the Submission or the Confidential Information. 5. 7. If Producer determines that the Submission is suitable for further development into a Project, Producer and Writer will attempt to agree on a schedule for development, and compensation to Writer for the submission. 6. 8. Other than as specifically provided herein, Producer will not use the Confidential Information for any purpose whatsoever other than for the sole purpose permitted in paragraph 3 hereof, unless and until a further executed agreement is first made between the parties setting forth the terms and conditions under which rights to the Submission and the Confidential Information are to be licensed to, or acquired by, Producer. 7. 9. Writer agrees that it will not contact any party or parties other than Producer concerning the Confidential Information without prior written authorization from Producer during the term of


this agreement. .10. Producer’s obligations under paragraphs 3,4, and 8 of this agreement shall extend from the date of this agreement and shall survive the expiration or termination of this agreement, provided, however, that Producer’s obligations under paragraphs 3 and 4 of this agreement shall terminate immediately in the event that Writer shall purposefully disclose the Confidential Information to any other person, firm, or corporation on a non-confidential basis, during the term of this Agreement. 8. 11. Writer hereby expressly warrants that it has the full right and authority to disclose the Confidential Information to Producer, and that no prior public non-confidential disclosure of the Confidential Information ahs been made by Writer nor, to the best of Writer’s knowledge, by any other party. 9. 12. Nothing in this agreement shall be deemed a sale or offer for sale of the Submission, and nothing contained herein shall in any way obligate Writer to grant to Producer a license or any other rights, directly or by implication, estoppels or otherwise to the Confidential Information or the Submission. 10. 13. Subject to paragraph 10 above, this agreement shall terminate ________ years from the date of this agreement, unless extended by mutual agreement of the parties. This agreement may be terminated prior to the expiration of __________ from the date this agreement by either Writer or Producer upon thirty (30) days’ written notice to the other parties of an intention to terminate. 11. 14. This agreement sets forth the entire agreement between the parties and may not be amended or modified except by a writing signed by all of the parties. 12. 15. This agreement shall be governed by the laws of the State of California without regard to the conflict of laws provisions thereof. 13. 16. This agreement may be executed in counterparts. IN WITNESS WHEREOF, the parties have executed this agreement as of the day and year first above written. WRITER PRODUCER By: By: Name: Name: Title: Date: Date:

Appendix 19f

CASTING INFORMATION

This is information for people new to the moviemaking process.

The pace is slow. Before a scene is shot, the scene and props have to be arranged, the action planned out, the camera moves planned, and the lights set up. It may take an hour to set up lights for one scene. Often a “master shot” is done of the whole scene and that is repeated as many times as necessary until there is a good take (which means the acting was good, the lines correct, no dogs barked in the middle, and the camera and sound people didn’t make any mistakes). If anything was not right, that means another take. When the master shot is completed, the same scene may be


filmed again for close-ups and other angles (other angles may require new lighting). So, it’s a slow process. It takes 14-16 days to shoot a 20 minute film. And because there are so many things that can go wrong, it’s important to minimize problems.

There will be a lot of people around (we’ll have a crew of 5 or more plus the director and production people). This may be distracting so it’s important to learn your lines well enough so you won’t be distracted by the commotion.

If you are chosen for the film, you’ll be expected to:

¬ Be on set, Be on time.¬ Come with proper clothing (you’ll be told ahead of time what to bring).

Make sure that everything fits together, that socks and shoes go with what you’re wearing. The camera sees details!

¬ Know your lines well. There will be some rehearsals before filming

Pay attention to continuity. We’ll sometimes shoot scenes on different days that in the film take place on the same day. This means you need to look exactly the same – same socks, same jewelry, same hairstyle, as well as obvious clothes. Don’t get a haircut in the middle of a film, or even right before unless you check with us first.

We’ll be shooting the film from __________________ to ____________________ at various locations around town. Some people will work only 1-2 days; some will work 14-15. We work long days, generally 9-10 hours, although you may not be in all the scenes on a given day. We’ll have an exact schedule later. We hope to not go overtime, but you should be prepared to stay later on the days you work.

We will let you know by ___________________ if you have been selected for a part. If you do not hear from us, it means you haven’t been selected for this film. But that doesn’t necessarily mean we didn’t like you or your acting. Each film calls for a distinctly different kind of person or talent – and if you don’t fit into this film you may fit for another. We’ll keep you information for future reference.

If you have any questions about this, please ask us. And thanks for coming!

Appendix 19gCONFIDENTIALITY AGREEMENT

This Confidentiality Agreement (hereinafter referred to as the "Agreement") is made and effective the __ day of ______, 199_ by and between ________________ (hereinafter referred to as the "Owner") and ______________________ (hereinafter referred to as


the "Recipient").

1. Confidential Information.

Owner proposes to disclose certain of its confidential and proprietary information (the "Confidential Information") to Recipient. Confidential Information shall include all data, materials, products, technology, computer programs, specifications, manuals, business plans, software, marketing plans, business plans, financial information, and other information disclosed or submitted, orally, in writing, or by any other media, to Recipient by Owner. Confidential Information disclosed orally shall be identified as such within five (5) days of disclosure. Nothing herein shall require Owner to disclose any of its information.

2. Recipient's Obligations.

A. Recipient agrees that the Confidential Information is to be considered confidential and proprietary to Owner and Recipient shall hold the same in confidence, shall not use the Confidential Information other than for the purposes of its business with Owner, and shall disclose it only to its officers, directors, or employees with a specific need to know. Recipient will not disclose, publish or otherwise reveal any of the Confidential Information received from Owner to any other party whatsoever except with the specific prior written authorization of Owner.

B. Confidential Information furnished in tangible form shall not be duplicated by Recipient except for purposes of this Agreement. Upon the request of Owner, Recipient shall return all Confidential Information received in written or tangible form, including copies, or reproductions or other media containing such Confidential Information, within ten (10) days of such request. At Recipient's option, any documents or other media developed by the Recipient containing Confidential Information may be destroyed by Recipient. Recipient shall provide a written certificate to Owner regarding destruction within ten (10) days thereafter.

3. Term.


The obligations of Recipient herein shall be effective [Non-Disclosure Period] from the date Owner last discloses any Confidential Information to Recipient pursuant to this Agreement. Further, the obligation not to disclose shall not be affected by bankruptcy, receivership, assignment, attachment or seizure procedures, whether initiated by or against Recipient, nor by the rejection of any agreement between Owner and Recipient, by a trustee of Recipient in bankruptcy, or by the Recipient as a debtor-in-possession or the equivalent of any of the foregoing under local law

4. Other Information.

Recipient shall have no obligation under this Agreement with respect to Confidential Information which is or becomes publicly available without breach of this Agreement by Recipient; is rightfully received by Recipient without obligations of confidentiality; or is developed by Recipient without breach of this Agreement; provided, however, such Confidential Information shall not be disclosed until thirty (30) days after written notice of intent to disclose is given to Owner along with the asserted grounds for disclosure.

5. No License.

Nothing contained herein shall be construed as granting or conferring any rights by license or otherwise in any Confidential Information. It is understood and agreed that neither party solicits any change in the organization, business practice, service or products of the other party, and that the disclosure of Confidential Information shall not be construed as evidencing any intent by a party to purchase any products or services of the other party nor as an encouragement to expend funds in development or research efforts. Confidential Information may pertain to prospective or unannounced products. Recipient agrees not to use any Confidential Information as a basis upon which to develop or have a third party develop a competing or similar product.

6. No Publicity.


Recipient agrees not to disclose its participation in this undertaking, the existence or terms and conditions of the Agreement, or the fact that discussions are being held with Owner.

7. Governing Law and Equitable Relief.

This Agreement shall be governed and construed in accordance with the laws of the United States and the State of [State of Governing Law] and Recipient consents to the exclusive jurisdiction of the state courts and U.S. federal courts located there for any dispute arising out of this Agreement. Recipient agrees that in the event of any breach or threatened breach by Recipient, Owner may obtain, in addition to any other legal remedies which may be available, such equitable relief as may be necessary to protect Owner against any such breach or threatened breach.

8. Final Agreement.

This Agreement terminates and supersedes all prior understandings or agreements on the subject matter hereof. This Agreement may be modified only by a further writing that is duly executed by both parties.

9. No Assignment.

Recipient may not assign this Agreement or any interest herein without Owner's express prior written consent.

10. Severability.

If any term of this Agreement is held by a court of competent jurisdiction to be invalid or unenforceable, then this Agreement, including all of the remaining terms, will remain in full force and effect as if such invalid or unenforceable term had never been included.

11. Notices.


Any notice required by this Agreement or given in connection with it, shall be in writing and shall be given to the appropriate party by personal delivery or by certified mail, postage prepaid, or recognized overnight delivery services.

If to Owner:

___Owner's Name/Address_______

If to Recipient:

___Recipient's Name/Address_______

12. No Implied Waiver.

Either party's failure to insist in any one or more instances upon strict performance by the other party of any of the terms of this Agreement shall not be construed as a waiver of any continuing or subsequent failure to perform or delay in performance of any term hereof.

13. Headings.

Headings used in this Agreement are provided for convenience only and shall not be used to construe meaning or intent.

IN WITNESS WHEREOF, the parties have executed this Agreement as of the date first above written.

[Owner] Signature Block [Recipient] Signature Block


SURVEY - What would you like to see in your commercial?

A. TV Commercials survey - Part I

Dear Business Owner,

At MOTIVIS LTD. we are in the business of Film and Television Production. MOTIVIS is proud to announce that, beginning the the new year 2009, MOTIVIS will be expanding its services to include Television Commercial Production.

To help us identify the practical requirements of your marketing campaign, please take 5 minutes to complete the following survey. Upon completion, a MOTIVIS representative will contact you to book an appointment for your free estimate.

The Staff @ Motivis.comhttp://www.motivis.com

1. If you have advertised your products on Television, what was the duration of your media buy?

Less than one monthOne to six monthsSix months to one yearOne to two yearsMore than two yearsOtherOther (please specify)2. Please comment, if applicable, on the reasons you stopped using



television commercials as part of your advertising campaign? Do you have a budget assigned to TV Commercials for 2009?

3. What is your PRIMARY resource when planning the production of your TV Commercials?

Yellow PagesBoard of TradeReferrals from your consultantsGoogle SearchProfessional directoriesInternet/OnlineOtherOther (please specify)

4. What is your SECONDARY resource when planning the production of your TV Commercials?

TelevisionRadioNewspaperMagazineInternet/WebsiteFriend/RelativeOtherOther (please specify)

5. Please describe what do you consider to be an ideal commercial for your products/services (artistic or technical approach, mood, etc. you can give examples from known commercials)?

B. Tell us more about your preferences

We would like to know our clients better so that we can offer a more personalized service.


6. How often do you want your TV Commercials broadcasted?

DailyMore then once a weekOnce a weekMore than once a monthOnce a monthWhen introducing a new product/serviceWhen having specials/salesOtherOther (please specify)

7. If applicable, what is the Production Company that created and/or broadcasted your commercials?

8. What is your industry? (please select here)

Accounting & Research; Agriculture; Airline Transportation; Automotive and Transit; Business Services; Call Center and Outsourcing; Cellular; Chemicals - Petroleum & Plastic; Computer Hardware & High Tech; Computer Software & IT; Construction; Consulting; Consumer Services; Education Services; Electronic Equipment & Components; Employment Services; Engineering; Finance - Banking; Finance – Credit; Financial - Insurance; Financial - Securities; Financial - Services; Food & Beverage; Freight/Rail/Water Transport; Government & Public Administration; GSM & Wireless; Health Care & Pharmaceutical; Internet & eBusiness; Legal Services; Leisure/Recreation/Entertainment/Gaming; Manufacturing - Miscellaneous Consumer Goods; Manufacturing - Miscellaneous Durable Goods; Mining and Environment; Not-For-Profit/Social Services; Other; Property & Real Estate; Publishing & Print Media; Retail Trade; Telecommunications; Tourism & Lodging; Transportation Services; TV/Radio/Music/Film; Utilities - Energy/Gas/Sewage/Water; Wholesale TradeOther (please specify)

9. Please rank what you look for in order of importance when selecting products of this kind.


1 (not

important)2 3

4 (very important)

Quality

Please rank what you look for in order of importance

when selecting

products of this kind.

Quality 1 (not important)

2 3 4 (very important)

Cost Cost 1 (not important) 2 3 4 (very

important)

Familiarity with the producer

Familiarity with the

producer 1 (not

important)


Deal packages Deal packages 1

(not important)


Option of Distribution

Option of Distribution 1

(not important)


10. What is the method of contact preferred?

PhoneeMail


MailIn personI do not wish to be contactedPlease provide your desired contact information below:

Appendix 20Research Highlights

b) Library research- In the research done, the owner took special note on the

following books, articles and statistics: “Independent Feature Film Production: A Complete Guide From

Concept Through Distribution” by Gregory Goodell “Jumpstart your awesome film production company” by Sara C

Caldwell “Independent Film Making” - George Brown College “Film, Video and Audio Productions Supported by the Multicultural

Programs 1973–1992” - Ottawa: Minister of Supply and Services Canada, 1992.

“Producer's Handbook” (Telefilm Canada): Securing the rights; Financing development; Rights clearance procedures - Based on life stories or true events; Producers, Executive producers and co-producers relationships; Low budget production;

“Distribution of Artist-driven Film and Video” (Canada Council for the Arts): Canadian Distributors and their markets; Size and scope of the markets; How Council supported distributors differ from other distributors; Recommendations; Home consumer distribution; Festivals and Cinema; International Distribution; Trends in distribution via the Internet; Gaps and opportunities - new media - explore methods to deal with gaps.

“Romanian National Film Centre: Romanian film in the International Film Festivals; Romanian film production statistics (2003-2007)” - co-productions, international awards;

- What the resources told about this business?i. Richard STRUSBERG (Telefilm Canada Executive Director): Now, we

need to support a range of genres with more comedies, more family


movies and kids’ pictures, more thrillers and romances. Look at any country with a healthy national film industry and that’s what you see – a variety of movies and movie genres that connect with theatre audiences on many emotional and intellectual levels. [...] our priority for Canadian feature films is simple – it’s all about building audience. It often makes more business sense for film distributors to minimize their investment in theatrical release and to move quickly to video rental and television broadcast of Canadian feature films. [...] Our research indicates that Canadian consumers are very interested in Canadian films. [...] our polling and focus group studies show that Canadian movie consumers are well disposed to watching more Canadian films if they are offered a broader array of commercial choices. [...] We will continue to move away from auteur films to the kind of films that reflect us to ourselves and that Canadians are prepared to pay to see. [...] It is now time to refocus efforts from building an industry to building an audience at home and internationally.

ii. Distribution of Artist-driven Film and Video (Canada Council for the Arts): These [ interactive works on platforms such as CD-Rom or DVD or the Internet] organizations, living on the edges of media arts, are often aware early on of new distribution and diffusion trends, especially internationally, and are forced to take non-traditional points of view about distribution. They represent critical and fresh viewpoints about distribution and the media arts distribution ecosystem needs to integrate them into the process of strategic development for the future. [...] Under the leadership of the Canada Council, develop a strategic visibility program and establish publicity resources to raise awareness of Canadian media arts.

c) Potential customers- The owner talked to the following potential customers:

TLN, TORO Arts Group, WILDsound, The Movie Network; Romanian, Ukrainian and Albanian public

Potential clientsTLN, CBC, Rogers Television, OMNI Television, The Movie Network; National and International Film Festivals; Canadian public of Eastern European background, all Canadian public; other industries that target the same demographic groups, provincial and federal Government.

- Questions asked:Are films about Eastern European Canadian immigrants and artists desired to be watched in shows? Is there interest in a multi-disciplinary show that would run on an ongoing basis? What are the places where the owner can go and run a poll on the desired themes? Are the Cultural Institutes interested to showcase original films and art made by and about Canadians of Eastern European background?


- Remarkable facts the owner found out:Both the public and the cultural organizations are eager to start showcasing art created by and about Canadians of Eastern European background which allows foreign filmmakers to learn about Canadian cinema while we learn about them. There is a huge craving for art and recognition of these artists in the Canadian cultural life as well as the discovery of the un-equaled multi-cultural specific of Canadian performing arts.

- Findings on the potential buyers:Thousands of people are looking forward to find out when and where the events will take place. The owner talked to the Romanian Consulate in Toronto, the Cultural Romanian Institute and artists from other Eastern European countries and all are supporting this idea. The customers (public) are asking for more information and updates, and the TV networks are lacking this type of coverage. The Film festivals from Toronto are also very interested to showcase this type of films.

d) Other people- Following are some other people talked to:- The owner talked to other actors who started their own film

production companies, experienced producers that The owner met on the sets The owner worked as well as other film producers that The owner met during my networking events, The owner interviewed Ms. Tereza Barta – Film Department Professor at York University, and with other film professionals involved in film festivals from Toronto.

- Contacts who support MOTIVIS LTD. in the venture and are potential partners, collaborators or co-producers: Gerry Flahive (NFB), Kim Haladay (WIFT), Christine Ionita (CityTv), Terry Edmonds (TLN), Jetmir Metaj (Canadian-Albanian director), Stephen Lilly (Canadian-Ukranian actor), Diana Miklos (Canadian-Romanian director), Meaghan Proudfoot (CFC), Sharon Raid (Ignatieff Theatre), Nicolae Zorzoman – Cultural Council VP in Bucharest, Raul Dudnic (OMNI TV), Kate Branscombe (Rogers TV), Noelle Trkulja (Canadian-Polish film maker), Lance Carlson (George Brown College)

Focus groups/industry interviews Based on 2006 Census by Statistics Canada, there are 2.2 millions of Canadians of Eastern European background in Ontario (5.6 millions in Canada, and 823,050 in the GTA), while the baby-boomers account for approx. 46%. I talked to other actors who started their own film production companies, experienced producers that I met on the sets I worked on, as well as during my networking events; I interviewed Professor Tereza Barta – Film Department at York University, and other film professionals involved in film festivals from Toronto, the Romanian Consulate in Toronto, the Romanian Cultural Institute and artists from Albania, Ukraine, and Poland and all are supporting this idea. There is a huge craving for art and recognition of these artists in the Canadian cultural life as well as the discovery of the un-equalled multi-cultural


specific of Canadian performing arts.

Survey results Telefilm Canada shows that after sports, feature films remain the most-watched content on TV. Canada Council for the Arts has data to illustrate that multiple language and non-official language speakers total almost 40% of the theatres audience. Both the public and the cultural organizations are eager to start showcasing art created by and about Canadians of Eastern European background, which allows foreign filmmakers to learn about Canadian cinema while we learn about them. The people I recently met during my research and networking events thought that my idea is original, well focused and opens new artistic grounds.

- Questions asked:The owner asked them for their feed-back on the originality of my idea, about the feasibility of my future projects and the appeal for their potential involvement.

- Things the owner found out:Having a lengthy experience in the industry, the owner developed friendships and very good working relationships with the people that The owner has talked to. They worked with me before and are very excited to jump in and support my venture. The people the owner recently met during my research and networking events thought that my idea is original, well focused and opens new artistic grounds.

e) Suppliers (if applicable)- list of potential suppliersi. Romanian film import: Romanian Film makers Assoc., Film Distribution

Centre - Bucharest, Romanian National Film Archive. The owner am in discussion with the Albanian and Ukrainian artistic community for original film import.

ii. equipment: Kino Kindred Productions and others recommended by partners

- delivery times, credit availabilityi. Delivery times vary for the import film suppliers; for film equipment,

usually the delivery is within days.ii. Credit is not needed as arrangements can be made to pay after the

sales are done for the festivals or shows; also package deals can be reached on equipment rental.

f) Special regulations, licenses (not GST, PST)- Laws governing this type of business

Permits & licenses are required for production.- Requirementsi. production insurance paid per projectii. festival license for music or other art created by other artistsiii. city permit for shooting in the street that can be paid per project or per

year


g) Observations- What the owner observed about this type of business:

Rising demand described by Telefilm published documents like the following.Richard STRUSBERG (Telefilm Canada Executive Director): After sports, feature films remain the most-watched content on TV. Canadians are avid movie-watchers. In 2001, the total Canadian box office was around $800 million – $700 million in English and $100 million in French. And the box office is growing. The contribution of the film and television production industry to the Canadian economy is enormous – nearly $5 billion annually and 130,000 direct and indirect jobs. According to Statistics Canada, the average Canadian family spends twice as much on movie tickets and video rentals than they do on magazines, books or live performing arts. [...] Over the last four years, on average, English Canadian films have taken about 1% of the English box office. That’s an average of $5 million per year in box-office receipts. Films in French have done considerably better. They totaled roughly 9% of the Canadian French language box office. That’s about $9 million per year in ticket sales. [...] we need to grow the French market to 12% and the English market to 4% by 2006. That’s an increase of about 3% in each market. [...] we have to produce seven or eight films with that kind of success every year.Canada Council for the Arts: baby boomers and “50+” demographic category total over 50% of the theatre audience; also, multiple language and non-official language speakers total almost 40% of the theatres audience.

h) Other types of researchAmongst others, following are the most representative resources that the owner has consulted, in order to enhance my understanding on the current trends, resources for further research, and requirements for new businesses in the film industry:i. Mississauga Business Enterprise Centre: Basics of how to start a

business; How to prepare a business planii. Pitching a story by producers – CBC Ottawaiii. George Brown College – Independent Film Maker resources iv. Ontario Business Service Centre – Arts and Artists Info-Guide; Grants,

Subsidies and Contributions – Arts and media; online small business workshop; network for women entrepreneurs

v. Industry Canada – programs and servicesvi. Mississauga board of trade websitevii. Halton seniors directoryviii.Mississauga Arts council websiteix. National Film Board – Film maker in residence program & Co-

producing with NFB English programx. Centre for National Business Development –programs Exclusively


dedicated to womenxi. Association of Fundraising Professional Web Conference Seriesxii. Ministry for Business and Consumer Services – conditions to be met

by non-profit corporations and steps for registering a companyxiii.Telefilm Canada production budget templates and requirementsxiv. CIBC, RBC and TD Canada business banking accountsxv. Canada Council for the Arts – Overview of key demographic trends on

Canadian Arts attendancexvi. Canada Business – services for entrepreneursxvii. New start program for entrepreneurial women resources

Appendix 21Bibliography

(1) The Personal Information Protection and Electronic Documents Act (PIPEDA) http://www.parl.gc.ca/PDF/36/2/parlbus/chambus/house/bills/government/C-6_4.pdf

(2) The Complete Canadian Small Business Guide, 3rd Edition - Douglas Gray

(3) Raindance Writers' Lab: Write and Sell the Hot Screenplay - Elliot Grove(4) Raindance Producers' Lab Lo-To-No Budget Filmmaking - Elliot Grove(5) The DV Rebel's Guide: An All-digital Approach To Making Killer Action

Movies On The Cheap - Stu Maschwitz(6) Manufacturing Consent: The Political Economy of the Mass Media -

Edward S. Herman, Noam Chomsky(7) Hypnotic Writing: How to Seduce and Persuade Customers with Only

Your Words - Joe Vitale(8) Anatomy Of Story: 22 Steps to Becoming a Master Storyteller - John

Truby(9) Dealmaking In The Film Television And Industry - Mark Litwak(10) Independent Feature Film Production: A Complete Guide From

Concept Through Distribution - Gregory Goodell


http://www.chapters.indigo.ca/books/35/search?sc=Douglas+Gray&sf=Author

http://www.chapters.indigo.ca/books/35/search?sc=Douglas+Gray&sf=Author

http://www.chapters.indigo.ca/books/Complete-Canadian-Small-Business-Guide-Douglas-Gray/9780070864955-item.html?ref=Search+Books%3A+%2527The+Complete+Canadian+Small+Business+Guide%2527

http://www.parl.gc.ca/PDF/36/2/parlbus/chambus/house/bills/government/C-6_4.pdf

http://www.parl.gc.ca/PDF/36/2/parlbus/chambus/house/bills/government/C-6_4.pdf

JURNALUL ROMANESC NewspaperNOI ROMANII TV - Omni 1 (Sat. 12:00 PM, Thu. 8:30 AM)

RADIO NOSTALGIA 1430 AM (Sat. 9:00-10:00 PM)Tel: (416)548-9869E-mail: [email protected]

NOI ROMANII TV RATES

$300/week, Saturday and Thursday (30 seconds clip)

filming, editing, dubbing $ 1,000 - $ 1,200 (one time fee)

BUY ONE, GET ONE FREE

You will pay for one commercial (the Saturday show), and will get the second one free of charge (Thursday show). The show is aired on OMNI 1 every Saturday at noon, 12 o’clock and is replayed every Thursday at 8:30 A.M.

JURNALUL ROMANESC NEWSPAPER RATES:

full page - $ 200 (10x16”) 1/2 page - $ 100 (8x10”) 1/4 page -$ 50 (5x8”) 1/8 page -$ 35 (4x5”) 1/16 page - $ 25 (2.5x4”) business card - $ 15 (2x3”)

Commercial interview: 1/4 page ($ 100) or half page ($ 200)Contracts over 6 months – 10 % discountSpecial graphics work -$ 25/hourOn Page 1 and 20 the rates are double, maximum size is 1/2 page and includes one extra color (red).


On middle pages (10 and 11) 50% extra, also red color included

RADIO NOSTALGIA RATES:

$40/week (30 seconds clip)

commercial interview $ 300/30 minutes

“Nostalgia” radio show is aired live every Saturday night at 9 P.M. on 1430 AM in Greater Toronto area and Thursday evening at 8 P.M. in Vancouver on 1470 AM.
