Remembering the Investor Package Future. CONTENTS 3. Confidentiality Statement and Disclaimer 4. Executive Summary 8. Synopsis 9. Comparable Films 10. Reasons to Invest 13. Budget Overview 14. Recoupment/ Profit Time Frame 31. Finance Options 17. Distribution Strategy 33. The Team 23. Sales Projections 39. Casting Suggestions 27. Marketing Strategy 41. Previous Success 43. Appendix 1: Market Overview 49. Appendix 2: Distributor Letter of Interest 50. Appendix 3: Seat 25

Minimum Guarantees Contents 51. Appendix 4: TVOD Sales Breakdown 2. CONFIDENTIALITY STATEMENT & DISCLAIMER

The reader of this Confidential Business Profile agrees to the following:

1. Reader agrees to hold all disclosed or proprietary information or trade secrets (“information”) in trust and confidence and will not divulge information to others, except to secure advice and counsel. All information and projections 2. Reader agrees to conduct all further inquiries illustrated in this document or otherwise into the subject of this profile exclusively through presented by Lagom Pictures are good Lagom Pictures, which is acknowledged by the faith estimates for the project. No agent reader to be the agency providing this or representative of Lagom Pictures information. Receipt of this confidentiality has made any guarantee expressly or agreement and disclaimer is hereby implied that a specific profit will be acknowledged. realized as a result of this investment.

3. EXECUTIVE “ SUMMARY Just beyond our senses are things so strange and fantastic they are beyond our imagination.

But just because we can’t REMEMBERING THE FUTURE IS AN INDEPENDENT see them or understand BRITISH FEATURE FILM CURRENTLY SEEKING INVESTMENT. them, doesn’t mean they don’t exist.

4. A BO_

UT When a disillusioned science teacher meets a teenage student on the verge of discovering a unified theory of 6CO2 + 6H2O + light energy = everything, she begins experiencing time in a higher dimension. But as the strange visions become more sinister, she must try to reconcile her past with the future and change the course of human history forever. C6H12O6 + 6O2

5. REMEMBERING THE FUTURE…

Having taken their first feature from concept, The ambitious second feature through script, development and production, all film from British writers/ the way to distribution whilst running an online marketing campaign, the team behind directors Nicholas Agnew and Remembering the Future are ideally positioned to create the highest quality independent film for the Madeleine Cooke. Their highly most reasonable cost, and successfully bring the content to market. Having attended the best successful ‘no-budget’ first reviewed film festivals for filmmaker networking/ feature film Seat 25 has won education and festivals and events that have offered very specific networking and contacts numerous awards at relevant to Remembering the Future (such as the Raw Science Film Festival in LA, the British Science international film festivals, Festival and the Humans to Mars Summit in Washington DC), as well as attending film markets including 6 BEST FEATURE and carefully analysing the distribution landscape, awards, 2 BEST ACTOR awards the producers are able to apply their first-hand experiences to all areas of the production and its and an award for OUTSTANDING distribution. Having created their first feature under extreme financial limitations means Remembering CINEMATOGRAPHY. Seat 25 was the Future will be completed on time and within budget. The producer’s experience with distribution released internationally on means that only the best deals will be acceptable November 6th 2018. and contingency distribution strategies will be in place and under constant review. In addition, a strong online marketing campaign has already begun and will continue throughout production to distribution, offering content to engage our target audience and convert them into sales. 6. With the cost of high quality film production at an all- time low and a seismic shift in distribution methods towards accessible online sales and Video on Demand (VOD), shrewd low budget productions are able to create films of exceptional quality and substance and deliver them to consumers in the most targeted way, whilst keeping costs incredibly low.

The base budget for Remembering the Future is £200,000 which includes a 10% contingency. This amount would enable the film to be shot to the highest theatrical standards whilst keeping costs low enough to reach profitability for investors. This will be no easy task, but the team behind Seat 25 have demonstrated that they can make small amounts of investment go a very long way! The highest proportion Because Remembering the Future centres around two women, one in their of the budget has been given to cast so that we can late thirties and the other in their teens and the plot is driven by a number secure two names in the lead roles and an exceptional of real scientific theories, the film will appeal to a broad demographic. The supporting cast. central character of scientist Charlie, will appeal to millennials and women and men up to 45+, whilst the ‘coming of age’ story of teenager Ashley, and the school setting will appeal to female and male audiences of 15 to The script for Remembering the Future is complete, those in their mid-20s. In addition, the science content will appeal to a having gone through six substantial edits, each based demographic with an interest in science and intellectual science fiction. on feedback from individuals working in the industry and table reads with professional actors. In November 2017, a proof of concept film was shot with Kate Remembering the Future is perfectly timed to take advantage of the Ashfield (Shaun of the Dead, Late Night Shopping) popularity of intellectual science fiction and the low budget independent playing the lead role and has been used to inform film revolution. It also features two strong female leads, championing the script edits and visual effects development. long overdue move towards more gender equality in the industry and narrative films that feature exciting and complex female characters. 7. SYNOPSIS

After disgraced Quantum Physicist Dr Charlie Graham returns to her home town, she is forced to take up a teaching position at the local secondary school. Unhappy, and unable to sleep, Charlie begins experiencing vivid and unsettling memories of the past and, what seem to be visions of the future.

As Charlie begins to experience these strange shifts in time, a brilliant but troubled new student, Ashley, arrives in Charlie’s science class. Struggling to fit in at school, and with a difficult home life, Ashley finds solace in Charlie when she comes to her with a “…and once we scientific question concerning higher dimensions. understand this As the two women grow closer, Charlie’s visions universe, we may find become more sinister as the lines between the past, present and future begin to blur. When Charlie’s we have only just physical world begins to be dragged into the fourth “ dimension, she is able to see both a tragic future for begun to scratch the Ashley and the chance for one of the greatest surface.” scientific breakthroughs of all time.

8. UPSTREAM UPSTREAM COLOR SUBMARINE SUBMARINE BEFORE I FALL $16,170,174 Box Office Worldwide $5,000,000 Budget (2011) $4,581,937 Box Office Worldwide $1,900,000 Budget $584,881 Box Office Worldwide $50,000 Budget (2017) (2013) ROBOT AND FRANK X +Y TAKE SHELTER (2015) $4,934,356 Box Office Worldwide $2,500,000 Budget $1,202,437 Box Office Worldwide Unknown Budget $4,972,016 Box Office Worldwide $4,750,000 Budget (2011) (2012)

COMPARABLE FILMS MONSTERS MONSTERS COHERENCE GUARANTEED NOTSAFETY (2010) $102,617 Box Office Worldwide $50,000 Budget $5,639,730 Box Office Worldwide $500,000 Budget $4,422,318 Box Office Worldwide $750,000 Budget (2014) (2012) I ORIGINS PRIMER PRIMER ANOTHER EARTH (2004) (2014) $2,102,779 Box Office Worldwide $175,000 Budget $841,926 Box Office Worldwide $7000 Budget $852,399 Box Office Worldwide $1,000,000 Budget (2011) 9. Why invest in an independent film?

· Diversify your portfolio. Films aren’t correlated to the economic situation, and the movie industry has experienced strong and consistent growth.

· Support a locally produced independent film. Remembering the Future is set and will be shot in large part in the rural South West of England, supporting the local economy and bringing the area to the attention of international audiences. In addition, the market share of independent UK films at the box office in 2017 was 9.5%, an increase from 7.4% in 2016 (source: BFI)

· Boutique experience of being part of an exciting movie production. This is a unique, once‐in‐a‐ lifetime opportunity to visit the set, appear in the movie, be part of exclusive investor events, and have a lot of fun! REASONS TO INVEST

10. WHY INVEST IN REMEMBERING THE FUTURE 1. The right product

· Solid script based on 6 substantial drafts, with professional feedback and tables reads with professional actors. · Clear target market: The film falls into the science-fiction genre, specifically the highly popular intellectual science- fiction sub-genre. · Broad general appeal: In addition, the high concept plays out in an ordinary, terrestrial setting and so will appeal to audiences who may not ordinarily chose the science-fiction genre (our previous film Seat 25 also fit this remit and has received excellent feedback in both test screenings and festival screenings from a ‘non-science-fiction’ audience). Remembering the Future also features 2 strong female leads which will appeal to audiences from mid-teens to 45+, as well as being written and produced by Madeleine Cooke, catering to the growing thirst for female voices in film production.

11. · Cultural Value: It is our sincere aim to inspire young women and men to embrace science and bring a spirit of scientific curiosity to the broader public. Remembering the Future is a high concept film based upon current scientific theories. We plan to engage with STEM and STEAM organisations for both young people and adults to bring scientific ideas into popular culture and provide exciting role models for those still in or leaving education.

2. Marketability 3. Low budget with minimal distribution costs. · Solid marketing and distribution plan that makes sense and is in proportion to the budget. Marketability and saleability in both Britain and North America. North American distribution options are already being explored, with a letter of interest 4. Potential for a significant Return on from North American distributor IndieCan Entertainment (included in Appendix 2). Investment, · Multiple revenue streams, including box office, as the nature of the film lends itself to be made very inexpensively, digital, video‐on‐demand, airline markets, and TV keeping the budget low to maximize profits. broadcast sales. 12. BUDGET CATEGORY % OF TOTAL BUDGET BUDGET Above the line 4.3 Accommodation 11.8 OVERVIEW Below the line 17.9 Camera 4.96 Cast 19.1

Costume 1.17 The table opposite briefly outlines the Distribution 10.79 spending areas and percentage of the General expenses 5 £200,000 budget they are allocated: Grip, lighting, general production 5.16 Health and safety 0.26 Locations 1.37 Music 1.58 Post-production 2.45 Pre-production 1.19 Transport 1.4 Unit expenses 2.3 Contingency 10

13. RECOUPMENT/ PROFIT TIME-FRAME

Potential investors should understand that investment in a motion picture is highly speculative and involves a high degree of risk. Investors should be prepared to lose part or all of their investment. It is also important to realize that the timeframe of film investment and profitability is measured in years, not months.

There can be no assurance that there will in fact be sufficient Company income or gain in any year so that The Company will actually meet its projections. Although accurate projections of income cannot be made because of the numerous variables, for the convenience of potential investors a tabulation of what the Members’ share of income would be is included below.

Investors should expect their first returns at the earliest within 24 months of the completion of the film. They should expect the bulk of their return from investment within three years.

14. TRANCHES

We are offering investors a recoupment structure with two “tranches”, or phases:

Investors recoup their investment plus 20%. This means that, with a fully financed budget of £200,000, investors take ALL RECEIPTS up to £240,000. An investor who invested £100,000 Recoupment Examples: would recoup £120,000. Once “investment plus

ONE 20%” is reached for all investors, recoupment 1) An investment of £100,000 will earn £120,000 upon the film earning moves to Tranche 2: £240,000 in total revenue (20% profit)

All future profits beyond Tranche 1 are split 2) An investment of £100,000 will earn £158,750 upon the film earning between investors (25%) and the £550,000 in total revenue (58.75% profit) producers, and residuals for cast and crew (75%), indefinitely on a pari passu basis, 3) An investment of £100,000 will earn £193,125 upon the film earning where all investors are ranked equally and £825,000 in total revenue (93.13% profit)

TWO take profits at the same time. Profits will be disbursed quarterly for the first year and every six months thereafter. The first year will begin upon receipt of the first commercial sales. Investors should expect their first returns at the earliest within 24 months of the completion of the film. 15. The three strategies planned for are:

With rapidly changing trends in the STRATEGY 1 habits of consumers and the rise of Digital Video on Demand (VOD) Traditional distribution consumption, with very little transparency on VOD sales figures, it is Following a traditional distribution model would an unpredictable time for the mean engaging an international Sales Agent who independent film market. The will present the film to Distribution Companies in opportunities are exciting and territories throughout the world. Individual predictions for the health and openness territories will then pay a ‘minimum guarantee’ to of the indie film market are very buy the rights to the film. Sales Projections for encouraging. The nature of the internet Remembering the Future are included below and and outlets that have become are based on theatrical and DVD/ Blu-Ray sales. A increasingly available present huge clear breakdown of required Transactional VOD opportunities for independent sales to break even are also included below. The DISTRIBUTION producers to cut out the middle-man projected Minimum Guarantees for our previous and deliver their product direct to project, Seat 25, are included in Appendix 3. We consumers. anticipate these example Minimum Guarantees to STRATEGY fall short of anticipated Minimum Guarantees for However, this new trend is still in its Remembering the Future as Seat 25 had no named infancy and so, based on our talent, lower production values and a lower experiences with Seat 25, we know it is budget. prudent to provide strategies for different distribution scenarios, enabling We already have interest from North American us to choose the best options for distributor IndieCan Entertainment for an all securing a good ROI when we are closer rights North American distribution deal. A non- to the distribution phase. binding Letter of Intent is included in Appendix 2. 17. As a consequence of festival success with our previous project, Seat 25, we now have good contacts with International Sales Agents who are actively interested in our work. This gives STRATEGY 2 Present completed us a great jumping off point for seeking out Festivals – publicise picture to Sales the best possible representation. We are film/ grow audience Agent In-house distribution already in contact with International Sales Agents, both in the UK and US and are keeping them up to date with the With the rapid decline of the DVD/ Blu-Ray development of Remembering the Future. market and the continuing upward trend of Involving sales agent’s early means they can Negotiate terms and Sales Agent presents digital consumption, the opportunity for see consumer engagement grow, proving an select Sales Agent film to Distributors entrepreneurial producers to deliver their eager audience and giving them confidence products direct to consumers has become a in the product. reality, enabling producers to cut out multiple layers of middle-men and their associated Territories ‘buy’ Sales Agent pass MG commission. In-house distribution has exhibition rights for to production become a viable option for independent minimum guarantee company, minus production companies and looks set to Traditional distribution model (MG) commission become commonplace throughout the independent industry.

In-house distribution can be broken down to Receipts used to three broad categories, each with tailored repay investors strategies: Theatrical DVD/ Blu-Ray Digital/ Video on Demand (VOD)

18. Theatrical

Our robust marketing campaign throughout production will facilitate our efforts to seek out theatrical distribution. Two approaches will be made:

FIRST APPROACH SECOND APPROACH

Target theatrical Arrange individual distributors in given screenings with individual territories and independent independent cinemas across cinema chains, eg, the the territory, with Picturehouse chain. importance placed on DVD and Blu-Ray The distributor or chain may playing in the capital or acquire the film and arrange most arts focused city in Despite the decline in DVD and Blu-Ray sales in recent years, they still offer the and market the run. This order to gain high profile highest financial reward per unit sold. As such, it is imperative to make these could be for a minimum press. high-ticket items the most attractive possible products and so, where possible, guarantee or for a A sales percentage will be they will include a multitude of special features including ‘making of’ percentage of gross receipts. taken documentaries, behind the scenes footage/ stills, interviews with key cast and The distributor’s marketing The cinema’s marketing crew, commentary, discount coupons for additional merchandise, etc… efforts would be efforts would be supplemented by our own supplemented by our own · DVDs and Blu-Rays will be produced and sold in-house via our website and channels of communication. channels of communication. Facebook pages. This will offer the highest profit margin for sales and our robust Appearances, Q and A’s, Appearances, Q and A’s, marketing strategy will focus on driving traffic toward these outlets. educational experiences, educational experiences, · DVD’s and Blu-Ray’s will also be sold on Amazon. At the time of writing, the etc… may be arranged where etc… may be arranged where Amazon company ‘Create Space’ enables discs and artwork to be printed and appropriate to encourage appropriate to encourage distributed to order. Create Space take a significant proportion of each sale and greater sales. greater sales. so or aim is to use this as a supplementary sales platform rather than our primary platform for DVD and Blu-Ray sales. 19. TRANSACTIONAL VOD (TVOD) SUBSCRIPTION VOD (SVOD)

The traditional way to purchase a Consumer pay a monthly film, consumers buy or rent a subscription to a streaming digital copy of the film for a fixed service and can consume as fee, eg, Buy for £7.99, Rent for much content as they wish from £3.49. Platforms include Amazon, the platform at no extra cost. iTunes, Google Play, etc… Platforms include Netflix, Amazon Prime, Hulu, etc… Digital/ Video on Demand (VOD) The platform takes a percentage The profit margins are smaller of each sale – typically 30 – 50% and deals depend on platforms: Digital and VOD distribution is the game changer in the current shift in depending on the platform. Netflix will pay a one off upfront the film distribution industry. Unless a highly attractive advanced fee for the film, while Amazon payment or ‘minimum guarantee’ is paid by a digital platform (for Prime pay $0.6 for every unique example, Netflix), there is no reason to sign the digital rights away to a view of the film that exceeds 10 third party. Provided a well-executed marketing campaign is in place to minutes. drive traffic to the digital shelves that carry Remembering the Future, there is no need to pay third parties a commission for work which can be undertaken in-house.

There are two types of VOD distribution: 20. The SVOD deals give low income for individual views, but because audiences don’t have to pay for them (outside of a subscription fee) there is potential to reach many more consumers. As a result, our Digital/ VOD strategy would look like this:

· Pay an aggregator a one-off fee to convert and deliver Remembering the Future to our chosen platforms. · Set a release date and market the film. · Start with a TVOD window for a minimum of 90 days to ensure the most people pay the most amount of money to watch the film online. · Once sales begin to fall, move into the SVOD window to reach the broadest possible number of consumers. · As a deal with Netflix would be exclusive, it would have to be judged on its financial merits at the time of offer.

This is the same strategy that most distribution companies employ when handling films for which they are licensed to distribute, something we experienced first hand as we followed our previous film through distribution.

21. STRATEGY An additional THREE strategy… Alongside the three strategies outlined above, Distribution hybrid we will also be in contact with domestic ‘All Rights’ distribution companies. These ‘All Rights’ distributors cover distribution in a It is likely that a combination of traditional and in- given territory over multiple platforms, that house distribution will be employed in order to would usually include Theatrical, DVD/ Blu- increase profit margins and reduce unnecessary Ray and VOD. If a direct deal with an ‘All commission paid to third parties. The exact Rights’ distributor is possible, and the deal is implementation will obviously depend on deals attractive, it would mean being able to exploit on the table but could include the production their experience and resources whilst cutting company retaining certain rights within a territory, out the need for a Sales Agent, thereby for example digital/ VOD rights, whilst handing saving sales commission and expenses from over theatrical and DVD/ Blu-Ray rights to a the agent. distribution company. A sales agent may be employed for international sales, but the rights to This contingency is most successfully certain territories where the production company supported by a premiere at a top tier festival has its own contacts may be retained. and/ or a very successful higher tier festival run with awards, as well as a substantial The options are numerous, but the desire to see following generated by our early and ongoing the product all the way to the consumer and the marketing strategy. willingness and ability to take as much of the distribution process as needed in-house, means that Return on Investment will be the guiding principle on any distribution decision. 22. It is important to note that sales figures and revenue streams for comparable films are based on estimates made from available financial information and it is impossible to obtain estimates for specific titles on VOD platforms (although this is just beginning to change). And in any case, the success or failure of one film does not mean the same success or failure for a comparable film. Therefore, here we can give sales projections based on the performance of successful comparable SALES films at the theatrical box office. In addition to the theatrical and DVD/ Blu-Ray comparisons/ forecasts, we have broken down the Transactional VOD sales necessary to break even. This is based on the current percentages charged PROJECTIONS by platforms and should give an indication of the number of units we would need to sell in order to turn a profit. These figures are included in Appendix 4.

TITLE YEAR BUDGET BOX OFFICE Box office sales Before I Fall 2017 $5,000,000 $16,170,174 Coherence 2014 $50,000 $102,617 projections I Origins 2014 $1,000,000 $852,399 Upstream Color 2013 $50,000 $584,881 Robot and Frank 2012 $2,500,000 $4,934,356 Comparable titles: Safety Not Guaranteed 2012 $750,000 $4,422,318 These comparable titles give a gross box office Another Earth 2011 $175,000 $2,102,779 revenue of $45,169,133. Distributor’s Submarine 2011 $1,900,000 $4,581,937 commission at 30% leaves a net revenue of Take Shelter 2011 $4,750,000 $4,972,016 $31,618,393.1, giving an average ROI of 189.5% Monsters 2010 $500,000 $5,639,730 Primer 2005 $7000 $841,926 23. DVD/ Blu Ray sales projections The table below gives high, medium and low international box office sales DVD and Blu-Ray figures are becoming increasingly difficult to obtain, especially UK projections for Remembering the Future figures. Where figures have been attained for our comparable films, they are only for based the comparable titles. Since the the domestic US market. The average ROI for our comparable films is 25.5%. In 2015, majority of the comparable titles were the UK spend was 20% of the US spend on DVDs and Blu-Rays giving and estimated distributed by premiere distribution ROI of 5.1%. companies, we will take the ROI of 189.5% as the high projection, assuming a deal with a high-level distribution company. The TITLE YEAR BUDGET US DVD/ BLU-RAY medium projection will likely result from a Before I Fall 2017 $5,000,000 $1,124,862 distribution deal and a favourable festival Coherence 2014 $50,000 $41,835 run and limited theatrical release, whilst the I Origins 2014 $1,000,000 $314,961 low projection will reflect a very limited Upstream Color 2013 $50,000 Unavailable release with a small or boutique distribution Robot and Frank 2012 $2,500,000 Unavailable company, and/ or in-house distribution. Safety Not 2012 $750,000 Unavailable Guaranteed Another Earth 2011 $175,000 Unavailable Submarine 2011 $1,900,000 Unavailable LOW MEDIUM HIGH Take Shelter 2011 $4,750,000 Unavailable 47.375% ROI 94.75% ROI 189.5% ROI Monsters 2010 $500,000 Unavailable Primer 2005 $7000 Unavailable

£94,750 £189,500 £379,000 Based on the available figures and their average ROI, taking the UK spend as a benchmark, we would expect to see DVD/ Blu-Ray sales of around £20,145.

24. Transactional VOD sales projections

In 2016, the UK revenue from Transactional Video on Demand was £85.4 million from rental and £74.1 million from purchases, giving a combined total of £159.5 million. At the UK Box Office, Independent British Science-Fiction took a 1.2% share of box office earnings in 2016. This would translate to £1,914,00 from TVOD platforms in the UK. (Figures taken from BFI Statistical Yearbook 2017).

With our carefully planned marketing strategy and the right cast, we anticipate being able to reach the top 10 science-fiction titles on at least 3 out of the 5 highest earning platforms in the UK (as a minimum, Amazon, iTunes and Google Play). Therefore, our anticipated revenue from TVOD sales over an initial 3-month release window is:

LOW MEDIUM HIGH £30,000 £60,000 £90,000

25. Sales summary

Taking the theatrical, DVD/ Blu-Ray and VOD platforms into consideration, sales projections for Remembering the Future are as follows:

LOW MEDIUM HIGH THEATRICAL £94,750 £189,500 £379,000 DVD/ BLU-RAY £20,145 £20,145 £20,145 TVOD £30,000 £60,000 £90,000

TOTAL £144,895 £269,645 £489,145

These projections are for international theatrical revenues and UK DVD/ Blu-Ray and TVOD revenues.

They do not included revenue from international DVD/ Blu-Ray, international TVOD, domestic and international Subscription Video on Demand (Netflix, Amazon Prime, Now TV, etc…), television or airlines. 26. MARKETING Most films begin finding their audience once the film is complete. We have already launched our online marketing campaign and have begun to seek out potential audiences STRATEGY to build a tangible online following. This way, we will complete the film and present the product to distributors and film festivals with an audience in place – a dedicated group of ‘early adopters’ eager to see the film with a higher likelihood of influencing others to do the same.

Our marketing strategy covers the following areas: 27. 1. Build an audience prior to release

Engaging a dedicated following for the film during production and the festival run serves a number of purposes: · Potential for pre-orders, helping to recover investor’s money faster · Attracts Distributors: We can demonstrate there is an audience waiting to see the film. The fact that we also have a clear marketing strategy and in-house distribution plan also demonstrates a lower risk to distributors. TOOLS TO BE EMPLOYED FOR BUILDING A FOLLOWING · Attracts Film Festivals: A good following delivers an audience and the attention of the public to the festivals. · Online video Vimeo and YouTube: Will be used to deliver video content such as · A dedicated following will be invaluable for any in-house vlogs, behind the scenes footage, short films of special interest (such as distribution, particularly TVOD platforms as they provide scientific ideas used in the film, videos about special equipment built for the solid early sales, helping to make the film more visible via shoot, interviews with science advisor, etc…) the platform’s algorithms. · Crowdfunding: Reaching a core base of early adopters who are willing to invest in the film and have an interest in influencing others. “Think like a fan.” · Website: offering the opportunity to pre-order or buy merchandise. A hub During the development, production and through which all tools can converge. · Social media: Engaging followers and using the platforms to deliver news, festival run of the film, we plan to engage our updates and relevant and engaging content. target audience by giving them the kind of · Mailing list: mailing lists have a high conversion rate and so are key to keeping content they want to consume. and building a following. Sending updates and pushing new videos or promotions direct to potential audience members. 28. 2. Remembering the Future will be Film submitted to festivals in the following order: festivals 1. Top tier festivals: Festivals such as London BFI, Cannes, Berlin, Film festivals are an invaluable tool Toronto, Sundance, SXSW, to add to the appeal of the film. Rotterdam, Rome, etc… These They increase the likelihood of festivals require world premieres. distribution deals, bring the content 2. Upper mid-tier festivals: to dedicated and vocal film fans and Following our world premiere, or if provide an assurance of quality to we are unable to secure a top tier general audiences once the film is festival, we will submit to the next released. level of festival, where a world premiere would still be highly During our festival run with Seat 25, valued, for example, Slamdance, we made excellent contacts within Tribeca, etc… the festival circuit, especially in the 3. Mid-tier festivals and genre US. We now have excellent specific festivals: Once our world communication with the Film Festival premiere is in place, we will begin Alliance, which has representation playing at high level regional from many top and mid-tier festivals festivals and top-tier festivals (including Sundance Film Festival), as specialising in science-fiction. well as numerous festival directors 4. After the mid-tier festivals, we will and programmers, many of whom continue to play festivals that will have approached us to find out the add value to our marketing status of Remembering the Future. campaign. 29. 3. Finding existing audiences

Remembering the Future covers a number of clear topics including science, physics, quantum mechanics, string theory, education, etc… whilst telling a compelling and universally accessible drama. There are dedicated communities of people who have these interests and countless blogs, publications, social media groups, etc… that cater to them. We are already compiling contact sheets for these media outlets to bring news of the film to the places these potential audience members already congregate. Local press will also fall into this category.

Bringing news and content of interest to communities that already have an interest in the content of the film, be it science, education, a local interest, means there is a significantly higher chance of converting these people into paying audiences.

30. FINANCE Private investment OPTIONS inc. EIS Funding UK public events funding

Remembering the Future will pursue a number of funding options in order to fully finance the Deferred FINANCE UK tax relief production. payments OPTIONS

Crowdfunding Grants

Product placement

31. Private Investment Product Placement An option for private UK investors includes the Enterprise Investment · Cash offered to production for products shown on screen Scheme (EIS): · ‘In kind’ donations can cover props, wardrobe, set, etc… · Private investors can purchase shares in a new company – in this case · Local or new businesses may be particularly interested in gaining a Special Purpose Vehicle responsible for the making of the film – market exposure which must be held for a minimum of three years. Crowdfunding · The investors receive Income Tax Relief of 30% per share. This option will be employed if enough finance is raised for the · When the shares are disposed of, no Capital Gains Tax is applied, production and post-production, but where we have fallen short on provided the shares have been held longer than three years. marketing and distribution costs. Having the film in the can, along · Any loss from shares can be set against investor’s income. with a great deal of behind the scenes footage and production stills · The EIS is overseen by the SCEC. They offer an Assurance Scheme to would mean we could run the most meaningful campaign once assure investors the company meets the EIS requirements. production is nearing completion. UK Public Money Deferred Payments Options available at this time include This option is one which will only be pursued in the worst-case · British Film Institute (BFI) scenario. It is incredibly important to us that everyone working on the · BBC Films production is properly paid. · Film 4 · Members of cast and crew ‘invest’ in project by accepting complete · Creative Europe Desk UK or partial deferred payments · Key members are incentivised by percentages of profits Sponsorship UK Tax Relief We have developed a number of sponsorship packages to cover · The UK offers a tax rebate of up to 25% on 80% of production spend different aspect of the production. Sponsors will be credited and (if 100% of production spend was in the UK) invited to set/ cast and crew screenings and made to feel a part of the · The project must be certified as a British Film by the BFI production. Sponsorship options range from a ‘camera’ package to catering costs, locations to specific set construction cost. Grants · Funding from not for profit organisations and companies with an agenda complimented by the content of the film. 32. THE TEAM

33. Nicholas Agnew

WRITER/ DIRECTOR/ CO-PRODUCER

Nicholas Agnew is a Director, Producer, Writer and Actor. His debut feature film Seat 25 has won international acclaim, winning numerous awards, including five ‘Best Feature’ awards as well as awards for cinematography, acting and a nomination for Best Screenplay. Nicholas is the co-director of film production company Lagom Pictures, which he runs with his partner Madeleine Cooke.

Nicholas trained as a professional actor and has worked extensively in film, television and theatre for the last 10 years. Recent film credits include Journey’s End, The Lost City of Z, The Man Who Knew Infinity and Kingsman: The Secret Service. On television he has appeared in the BBC Strike series, ITV’s Victoria and Black Mirror.

34. Madeleine Cooke

WRITER/ CO-PRODUCER

Madeleine is the co-writer/ producer of Remembering the Future. She has over ten years’ experience working in the entertainment industry. After training as a professional actress, she has worked in film, theatre and television and has written for the theatre, where her work has been performed in London and regionally.

In 2016 she co-wrote, produced and starred in the multi- award-winning feature film Seat 25, picking up 2 awards for Best Actor. She is a co-founder and director of UK production company Lagom Pictures.

35. Howard Bentley

PRODUCER

Howard’s experience covers producing feature films, including Seat 25, commercial films and live productions at venues such as the Royal Albert Hall and the O2 Arena for audiences of up to 28,000 people.

In addition to his work in the arts, Howard is an experienced Management Consultant working in a variety of sectors (Retail, Financial Services, Energy, Rail, Defence, Health, Public Services) – private and public, large and small.

36. Joe Kaufman

CINEMATOGAPHER/ POST-SUPERVISOR

Joe studied Editing and Post-Production at the prestigious Ravensbourne University. In 2016 he worked as cinematographer and post-production supervisor on Seat 25 for Lagom Pictures and was awarded the ‘Outstanding Cinematography’ award at Tallgrass Film Festival in 2017 for his work on the film.

Alongside his work on feature films, Joe runs Red Kite Films, a production company specialising in art-house, lifestyle and documentary filmmaking

35. Callum Gale EDITOR

Callum has had a life-long love of cinema and storytelling, which led him first to Marta Escotet theatre and then on to creating his own MARKETING ADVISOR short films. He studied editing and post- production at Ravensbourne University in London. He edited Seat 25 and alongside Marta is a digital strategist and global marketing his freelance work, he works extensively and communications executive, passionate about with both Lagom Pictures and Red Kite working at the crossroads of technology, Films. storytelling, social impact and sustainability. Most recently she conceptualized and developed the Callum is also a writer and in 2014 wrote first social impact digital platform in Latin the British feature film Vandalis. Callum’s America, created to promote social innovation and interest in symbolism and the language of entrepreneurship by connecting the business, film can be seen throughout his work and non-profit and entertainment sectors, and has inspired his unique editing style. providing convenient online options for users to contribute to local communities within a gamification context.

Marta is Head of Marketing and Digital Strategy at Ecovi Media where she works with global organizations that want to incorporate sustainability values into their brand strategy and reach new markets through the digital space.

38. Katie McGrath Best known for portraying Morgana on the BBC One series Merlin(2008–2012), Lucy Westenra on the British-American series Dracula (2013–2014), Sarah Bennett in the first season of the Canadian horror anthology series Slasher (2016) and for her current role as Lena Luthor on the American superhero series Supergirl (2016–present). Her film roles include Lady Thelma Furness in the drama film W.E. (2011), Zara Young in the science fiction adventure film Jurassic Kate Ashfield is an English actress, best World (2015) and Elsa in the epic fantasy known for her award-winning roles as Jody film King Arthur: Legend of the Sword (2017). in the Anglo-German film Late Night Shopping, as Sadie MacGregor in the British film This Little Life and as Liz in the 2004 film, Shaun of the Dead. Natalia Tena is an English actress and musician. She is best known for her roles Kate narrated Lagom Pictures’ previous film as Nymphadora Tonks in the Harry Potter film Seat 25 and played Dr Charlie Graham in the series, and the wildling Osha in proof of concept shoot for Remembering the the HBO series Game of Thrones. Future in November 2017.

DR. CHARLIE GRAHAM Casting Suggestions 39. Amy-Leigh Hickman is an English actress best known for her childhood ASHLEY ADAMS role as Carmen Howle in CBBC's Tracy Beaker Returns its sequel, The Dumping Ground. As an adult, Hickman is best known for her recurring role of Linzi Bragg in BBC soap opera EastEnders, Sia Marshall in the Netflix series Safe and Nasreen Paracha in Channel 4's school drama, Ackley Bridge.

Nell Tiger Free is an English actress Jade Alleyne (born 17 March 2001) is a and singer best known for her role Scottish-born English actress and singer. She as Myrcella Baratheon in season 5 & is known for playing the role of Clem Burton 6 of the television series Game of in CBBC's 4 O'Clock Club from 2015 to 2017, Thrones. She is also known for roles as and for her role as Kaylee in the 2016 Disney Chloe Crumb in the film version of Mr. Channel UK musical series The Lodge. Stink and Anna in the film Broken.

40. Previous success

In 2016, Nicholas Agnew and Madeleine Cooke wrote and produced the feature film Seat 25. The film premiered in the UK before going on an international tour of film festivals. The film was completed for less than £50,000 and went on to win 6 BEST FEATURE awards, 2 BEST ACTOR awards, an award for OUTSTANDING CINEMATOGRAPHY as well as a nomination for BEST SCREENPLAY.

It’s North American and UK distribution is scheduled for November 2018. More information, including the trailer can be found at www.seat25.com

If you would like to view the film, please request a screening link.

41. SEAT 25 What happens when you win a one-way ticket to Mars?

42. Appendix 1 Market Overview

The following information is included for investors general information and is taken from the British Film Institute’s statistical yearbook 2017 (the most current version).

Total turnover of UK film industry by sector, 2006-2015

43. UK film industry gross value added, 2006-2015 Annual UK cinema admissions, 2007-2016

The direct contribution an industry makes to UK Gross Domestic Product (GDP) is measured by its gross value added (GVA). ‘Value added’ is industry turnover minus the cost of inputs bought from other industries. The main components of value added are wages and salaries, interest and company profits. Value added is therefore a measure of an industry’s ability to generate income for its workers, company owners and investors.

44. Country of origin of films released in the UK and Republic of Ireland, 2016

Theatrical release rates of independent domestic UK films in the UK and Republic of Ireland, by budget, production years 2003- 2014

45. Share of 24 territory worldwide box office of independent domestic UK films by grouped territories, production years 2003-2014

Retail video sales (all categories), 2002-2016

46. Film on physical video rental market, 2002-2016

Estimated value of the digital video film market in the UK, 2007-2016

47. Online digital video film revenue by type of service, 2012-2016

Top transactional and subscription film and television programme digital video service providers in the UK, 2015-2016 (ranked by revenue) 48. APPENDIX 2 LETTER OF INTENT FROM NORTH AMERICAN DISTRIBUTOR

49. APPENDIX 3 SALES AGENT MINIMUM GUARANTEES FOR SEAT 25

50. These figures assume an attempt to break even solely with VOD sales/ APPENDIX 4 TRANSACTIONAL rentals. The different scenarios outlined below relate to different platforms and sales type and so would in actuality be made up of a VOD SALES BREAKDOWN combination of these figures.

iTunes Amazon rental/ purchase units required to break even. PURCHASE/ RENTAL UNIT PRICE PLATFORM SHARE TOTAL UNITS NEEDED TO BREAK EVEN Rental £4.99 40% 110,220 Purchase £7.99 30% 59,002

Amazon Amazon PURCHASE/ RENTAL UNIT PRICE PLATFORM SHARE TOTAL UNITS NEEDED TO BREAK EVEN Purchases Rental £3.49 50% 189,112 36728 Purchase £5.99 50% 110,184

Given the preferential rates from iTunes, our Transactional VOD marketing strategy will favour this platform. However, for the purposes of this estimate, we will use the higher number of units that the Amazon platform would require. We will also assume rental will account for two thirds of income. Amazon Rentals 126074

51.