Strategic Business Plan

The Vine

“The lives of four childhood friends quickly unravel after an unexpected death reunites them years later.”

Confidential Information

The Strategic Business Plan for “The Vine” is intended for use on a confidential basis only. The use of the plan document for purposes other than the review of the film’s proposed budget, production specifics, casting, and distribution & market information could involve serious legal consequences.

This plan contains information that is proprietary and confidential to THE VINE, LLC. This obligation of confidentiality shall apply until such time that THE VINE, LLC makes the information contained in this Strategic Business Plan available to the public, if ever.

With receipt of this plan, recipient acknowledges and agrees that: ● In the event the recipient does not wish to pursue this project, this document will be disposed of or returned to the address listed below as soon as possible. ● The recipient will not copy, fax, reproduce, divulge, or distribute this Plan, completely or in part, without the express written consent of THE VINE, LLC. ● All of the information contained herein is to be treated as confidential material with no less care than that afforded to your own company’s confidential material. Content

Executive Summary Management Team 3 Production Team 3 Industry, Market and Distribution 4 Investment Opportunity 4

THE VINE Project Background 5

The Motion Picture 6 Description

Industry Overview 7

The Independent Market 9

Distribution 11

The Investment 11

Risk Factors 12 Risk of Motion Picture Financing Risk of Motion Picture Production Risk of Motion Picture Distribution Lack of Liquidity Tax Risks Lack of Operation History Liability Loss on Dissolution

Schedule A: Recent Independently Produced Motion Pictures 15

Profiles of Key Personnel Involved with The Vine 16

2 Executive Summary

THE VINE, LLC is an enterprise engaged in the development and production of a singular motion picture film for theatrical, broadcast, cable, or disc distribution and markets. THE VINE, LLC goal is to produce this feature film over the next year with a budget of $300,000. This film will be entitled THE VINE, a drama genre film. MANAGEMENT TEAM

The Vine Movie, LLC. Owner, Frances Claire Campbell. Production Team

The primary members of the production team are experienced filmmakers with connections to vast resources throughout the Cleveland and Hollywood community. With strong connections to different areas of the film industry, the production team is able to get talent and crew members at reduced rates, and many on a volunteer or deferred basis. At no time during the entire film making process, however, is quality compromised due to compression of the budget.

Production studios and Sales Representatives (distributors) within the entertainment industry are currently aware of our development process and eagerly making available technical support and production equipment ensuring high production quality is maintained.

3 The Industry, Market and Distribution

The motion picture industry is a constantly changing and multi-faceted business. It consists of two principal activities: production and distribution. Production involves the development, financing, and marketing of motion pictures; distribution involves the advertising, publicizing, licensing, promotion and physical reproduction, delivery, and exhibition of completed motion pictures.

With unique stories that challenge the moviegoers, independent films attract high numbers to the box office and direct-to-video distribution, plus their lower budgets allow for sizable returns. Within the independent world of filmmaking, the Drama genre (with known actors attached) remains one popular film type in the US and abroad. “A Ghost Story”, “Sleight”, “Unsane”, “Searching” and others show that these movies help tell a story of triumph after failed attempts. These films connect the viewers with the story that resonates in the current world we are living: poverty, the war against drugs and city crime. As such topics can continue its distribution life shelves as profits from these windows may be seen for several decades.

The market continues to be responsive to cost-effective motion pictures made on smaller budgets. Well-crafted films made with intelligence and integrity will find their audience however modest their budgets.

THE VINE, LLC will seek direct-to-video and broadcast for domestic and overseas distribution through companies who have experience in the marketing of such genre or via self-distribution channels (as a last resort). With such arch story, the VINE LLC has numerous distribution (sales representative) entities to approach including major and mini-major studios as well as independent companies. To facilitate distributing opportunities, we plan to send finalized screeners to these distribution outlets. In addition, smaller screenings are planned across the United States and Canada and screening at film festivals and conventions in non-competitive or competition categories. We will have representation at high profile markets, such as the American Film Market, Cannes, Toronto and Milan. Additional markets including , games, Online, video-on-demand and others shall be exploited as well. Investment Opportunity

The cost of the motion picture is expected to be three hundred thousand ($300,000). The investors shall recoup one hundred twenty percent (120%) of their initial investment PLUS a profit split of sixty-forty (60%-40%) of ALL REVENUE generated thereafter, with the Managers receiving the forty (40%). Profits will be paid out, no more than quarterly (Mar, June, Sept, Dec), mid-month, with financial statements explaining the nature of the return. Required documentation for income tax purposes will be delivered to investors at the beginning of each calendar year.

4 THE VINE Project Background

Production Company: THE VINE, LLC

Management Team

Executive Producer: Frances Claire Campbell

Producers: Johnny K. Wu, Jeremie Campbell

Directors: Johnny K. Wu, Jeremie Campbell

Writer: Jeremie Campbell

Copyright: Script 2019

Production Budget: $300,000 USD

Production Schedule: Pre-Production April 2021 Production July 2021 Post Production September 2021

Shooting Locations: Cleveland, Ohio Akron, Ohio

Financing Plan: Angel & Private Investments

Cast: TBD

Distribution: The film will be theatrically released via Digital Cinemas plus direct-to-video/broadcast distribution through foreign and domestic markets.

5 THE VINE The Motion Picture

Background Information: The Vine was written by actor/director, Jeremie Campbell. It is directed and produced by Johnny K. Wu. It is a story about America that takes place in Akron, Ohio. The core of the film deals with the opioid crisis and a group of four childhood friends whose lives unravel from the moment they are reunited years later. The Vine is fast, gritty, and entertaining. It keeps you on the edge of your seat and leaves you wanting more. Its purpose is to create awareness while inspiring change in hope for a better future.

The Vine’s target market is the mainstream 16-40 year old male and female demographic, which make up the bulk of this genre’s audience. Indie drama films do very well within the United States and international markets, thereby creating a certain appeal in those territories.

6 Industry Overview

The Motion picture industry is an ever evolving and multi-faceted business. It consists of two principal activities: production and distribution. Production involves the development, financing, and marketing of motion pictures; Distribution involves the advertising, publicizing, licensing, promotion and physical reproduction, delivery, and exhibition of completed motion picture. The following is a simplified overview of a complex process for the purpose of describing how the business works.

Motion Picture Production A motion picture begins when a company or individual obtains the rights to a viable script. At this point, the motion picture enters the development stage where a writer is hired to edit the script to fit the director’s vision. Once financed through studio, equity or other financing, the project moves into pre-production, which involves hiring the creative personnel (actors, director, physical production crew, etc…) and securing locations in which to shoot. Following this, a shooting schedule and budget are formed and a start date is set. Principal photography consists of the actual filming of the motion picture. After principal photography concludes, the project enters the post-production phase, in which an editor and his team weave together the various scenes of the film to create a visual representation of the script. Once the picture is “locked”, optical (visual effects using lenses instead of digital means), music, sound effects, computer generated images and other elements are combined and synchronized to the picture to produce a final print. Also during post-production, materials are created directly relating to the distribution of the motion picture, for example, trailers for television, the Internet or theatrical exhibition and advertising campaigns. Shortly after post-production, a motion picture is ready for distribution.

Theatrical Exhibition The most common place for a completed motion picture to start its life is in a movie theater. While this is usually the best place to see the film (big screen, great sound and popcorn), it is vitally important financially because revenues from all other windows are driven by the success of the theatrical distribution. As such, distributors want their films on as many theatre screens ( up to and over 3,000 in some cases) for as long as possible in order to not only generate more ticket sales, but drive up the licensing costs for windows such as VOD/home video. Although major studios have some power to keep mediocre motion pictures on the screen with their greater marketing and promotion resources, good independent motion pictures will also find their market. Exhibitors have always maintained that they will show any motion pictures they think their customers will pay to see.

While the economic life of a feature film may last for decades, the bulk of the revenue is earned over the first three-year period. The first year’s revenues will consist primarily of theatrical revenue (the international release often takes well over a year since, unlike the domestic market, different international territories are often released sequentially, not simultaneously). The theatrical deal is usually the first one sought, and typically a major studio release obtains a 50/50 split of box office receipts with exhibitors while independent films average a 49% take (up from a 1997 average of 47%). Motion pictures generally exit theaters after this first year. The second year of a film’s release may include some theatrical revenue, but more likely stems mostly from home video and pay television monies. The third year may consist of license fees from free television sales.

Over 90% of Independent films (not backed by Studios), will not see a theatrical release unless the production company decides to do it’s own screening throughout the domestic territories. Additional cost factor involved in creating DCP readied file as well renting a theater for showing.

International Exhibition In many cases, a motion picture may see only moderate success in the United States, but do better abroad. In fact, some motion pictures are produced with the intent of distribution solely in international markets, skipping

7 the U.S. theaters entirely. It is important to remember, though, that a moderate domestic release still drives more international box office than no release at all.

In international markets, admissions over the next few years are expected to grow as more and more theater screens are added to the world’s population. Coupled with a concurrent ticket price increase, these box office dollars give the overseas markets increasing viability as revenue sources for the foreseeable future.

Non-theatrical Exhibition As stated above, the second and third years of a feature film’s release generate considerable revenue from non-theatrical sources. For independently owned films, the first year will be based on the story and genre of the motion picture. Most films will be represented by a sales agent or distributor and their sole responsibility is to get the film out to many distribution territories as needed, including SOV, VOD, home, cable networks, and other mediusm. New technologies, such as the Internet, are being advanced every day and could provide additional sources of revenue in the future.

As the motion picture industry has gone through evolutionary changes, so has the non-theatrical segment. In the eighties, home video was the top growth area both in the United States and abroad. Many video companies gave filmmakers advance payments in return for the home video rights to their motion pictures. The makers of SEX, LIES AND VIDEOTAPE financed the film and others via this method. These days, advances from presales are not as grand as they once were. SOD (Subscription Based On Demand), TVOD (Television On Demand), and VOD (Video On Demand) are on the rise, outlets such as iTunes, , Amazon, Hulu, are the way the new generations of viewers watches movies, 500 millions households in the world uses one of these outlets (NetFlix makes up nearly 30% of global streaming)

The television market has changed considerably in the last decade. Until a decade ago, free television, especially the networks, acquired the rights to broadcast motion pictures before they were released to cable or video. Now, movies appear on network television after they have gone to the other ancillary outlets and often a year or two after they appear on cable. Motion pictures are often seen “in flight” on the airlines at about the same time that they appear on the networks.

Ancillary revenue sources are less certain because they are frequently out of the hands of the filmmakers. Generally, even with big-budget movies, novelization rights of the screenplay, creation of comic book versions and action figures yield only small amounts of revenue ( unless you are George Lucas). Motion picture soundtracks have done well when a major recording artist contributes an original song or writes much of the score, however recording companies tend to soak up most of this revenue, so it is too uncertain to project ahead of time.

8 The Independent Market

An independent company finds its production financing outside of the studio system. While the project may get into the world by a studio’s distribution wing, the negative cost (the amount of money it takes to physically make the film – the monies listed in the budget) typically comes from other sources. Unlike a studio or even a non-entertainment corporation, one or two creative principles, such as a writer/director, writer/producer along with a potential financial partner, own or control the company. These small businesses make low-budget pictures, usually in the $100,000 to $5 million range. As with any small company, some grow to become large entities – generally through the success of one film or film franchise. New Line Cinema exists as a prime example for this once small label produced the NIGHTMARE ON ELM STREET franchise and has now become a major competitor to the studios with its LORD OF THE RINGS trilogy. A smaller production company usually raises money for one motion picture at a time, although there may be other films in different phases of development.

An independent motion picture goes through much of the same process as a studio film – from development and pre-production through production and post-production. However, working outside the studio environment provides many opportunities. The first involves bifurcating rights. Independently financed films can license the rights of various windows of sale to separate domestic and international distribution entities in order to maximize the earning potential for the film. The last few years have demonstrated that motion pictures which have not performed well in the domestic market may perform exceedingly well in the international markets. What investors and producers must be aware of is the practice of cross-collateralization. Here a distributor who owns the worldwide rights to a film will use the profits from one window, e.g. international theatrical, to offset losses from fees, expenses and poor market performance in another, e.g. home video sales. As a result, filmmakers and investors may see minimum revenue overall. Finally, independently financed motion pictures provide an opportunity for both the investors and produces to share in the revenues of the motion picture, unlike studio financed pictures where a large allocation of overhead and other charges seldom allow for profit realization.

The movie-going public loves a good story. Regardless of the budget, fancy special effects, or high-priced talent, if a movie does not engross an audience, it will generally fail. Independent films are not constrained by studio glitz but rather focus on telling a good story. Audiences seem to concur that the cost of a motion picture and the revenues generated do not necessarily correlate, as ticket sales of independent films remain robust. Notable examples of low-cost motion pictures that have gone on to become international box office successes include CABIN FEVER with a reported budget of $1.5 million had a total gross of $20,569,391. USANE, a drama/mystery genre, budgeted for $1.5mil, grossed worldwide $14,293,601.

However, what is truly impressive is the number of movies produced for less than $1.5 million that have demonstrated remarkable earning power. SLEIGHT, drama genre, budgeted for $250K, grossed $3,989,705. A GHOST STORY, a drama/romance genre, budgeted for $100k, box office, grossed domestically $1,951,683. WELCOME TO THE DOLLHOUSE with a budget of $800,000 reported a domestic gross of $4,770,000. THE BROTHERS MCMULLEN with a reported budget of $50,000 had domestic gross of $10,202,000. CLERKS with a reported budget of $28,000 had domestic gross of $3,151,000. METROPOLITAN with a reported budget of $500,000 had a domestic gross of $3,500,000. THE EVIL DEAD with a reported budget of $300,000, had a total gross of $2,400,000. TANGERINE with a reported budget of $100,000 grossed over $1.1 million in revenue. BLUE RUIN with a reported budget of $400,000, had a total gross worldwide of $1.7 million.

Self marketing, promotion and publicity will help low-budget films to successfully competing with Hollywood made films that have millions of dollars. Many of these independent films have successfully marketed each of their targeted audiences and have been publicized in many local, regional and national publications; thus helping to increase distribution.

9 THE VINE will fall into this low budget category as well, and given its popular genre, industry professional crew, studio standard equipment, and specialized post editing facilities, we may see equal results or better comparing with similar genre independent films (See schedule “A” for other box office results from some recently produced independent motion pictures.)

10 Distribution

Following completion of the post-production process, the Managers of THE VINE, LLC will seek a distributor for The Vine. As mentioned earlier, the script’s use of the popular drama/suspense/thriller genre with a/few named actors attached will make it attractive. Independent distributors will know that they can sell the film both domestically and internationally. Although there is no typical distribution deal, a variation on the percentage distribution deal (negotiable from between 40% and down) of revenues between producer and distributor is most likely. Producers of independent pictures, however, will often seek an advance for distribution rights or an outright sale of the motion picture. The amount generated by such an advance or sale is influenced by genre, story, and sometimes film festival recognition and the general perception of the motion picture in the marketplace. Once a distribution deal has been struck, the actual marketing of THE VINE is the distributor’s responsibility. It involves the representation of the film in terms of genre, the placement of advertisements in various media, the selection of a sales approach for exhibitors and the “hype” or “buzz” (word of mouth, promotional events, and alliances with interest groups). All of these factors are critical to a film’s success.

The managers of THE VINE plan to go with a distributor who has the knowledge, expertise and patience to give special care to low budget films that larger studios often lack. These distributors often allow a motion picture to find its audience slowly and methodically. However, this does not mean that independent distributors will not want to release motion pictures with mass appeal. In addition, by focusing their marketing and promotional efforts on a handful of primary markets, these companies are able to keep their costs relatively low. Because their focus is on fewer projects, the motion pictures they handle often receive better care than they would at a studio.

THE VINE, LLC is going into the production of THE VINE without a distribution agreement in place. However several major production studios and a few small independent distributors are currently monitoring the production process, while negotiating for the finalized film.

The Investment

THE VINE, LLC intends to finance, produce, and bring to market a feature-length motion picture entitled THE VINE.

The cost of the motion picture is expected to be three hundred thousand dollars ($300,000).

The investors shall recoup one hundred twenty percent (120%) of their initial investment PLUS a profit split of sixty-forty (60%-40%) of ALL REVENUE generated thereafter, with the Managers receiving the forty (40%). Profits will be paid out as received, no more than quarterly (Mar,June, Sept, Dec), with financial statements explaining the nature of the return. Required documentation for income tax purposes will be delivered to investors at the beginning of each calendar year.

11 Interview via Podcast

An interview was conducted in November 2019 with writer/director Jeremie Campbell and can be listened to at Cover2.org (episode 262). There, the vision for the film is discussed in great detail. This will be the first ever visual portrayal of Akron, Ohio and what is happening there. As much as the story is about Akron, it’s about America too. There’s something in it for everyone. It’s a powerful tale that’s gritty, entertaining, and special.

Risk Factors

Before making a decision to purchase the Interests herein, prospective investors should consider the following

12 Risk of Motion Picture Financing The sole business of the Company will be to finance, produce and commercially exploit the motion picture. In such a venture, the risk of loss is especially high in contrast with the prospects for profit. Investment in a motion picture is suitable only for persons who do not require liquidity in their investment and who are prepared to lose their entire investment.

If the managers believe that the funds raised through this Offering are sufficient to produce the motion picture, the Managers have the right to advance or cause to be advanced, or to borrow on behalf of the Company, whatever additional funds they deem to be necessary. Any such funds so advanced or caused to be advanced, or borrowed shall be repaid prior to the repayment to the Investors of their capital contribution. Investors should note that, even if the motion picture is successfully distributed, such deferrals, loans or advances, if made, might result in a considerable delay in the repayment of any Investor’s Capital Contributions, or in a complete loss to Investors because deferrals, loans, or advances may equal or exceed the revenues realized from the commercial exploitation of the motion picture.

Risk of Motion Picture Production The Managers may or may not obtain a completion bond for the motion picture, therefore it is possible that all the contributions of the Investors could be expected without the compensation of the motion picture. In addition, although the Managers will seek to arrange for insurance policies to cover some aspects of production of the motion picture, the Managers make no representations or warranties that such insurance will be arranged and if arranged as to the sufficiency of the insurance.

In the event the Managers shall at any time determine in good faith that continuation of the production of the motion picture is not in the best interest of the Company and should be abandoned, the Managers shall have the right to make arrangements with any person or entity to continue the production on such terms as they may believe are in the best interests of the Company, or abandon the same.

The Managers have not contracted for many key elements of the production, including the featured performers. The Managers cannot and do not guarantee that any of the key actors or production crew will fulfill their obligations under any contracts they have or may in the future have with the Managers of the Company. Moreover, if certain key personnel (including the director, producers, and certain actors) cease to be associated with the project for any reason, it may be necessary to terminate production of the motion picture.

Risk of Motion Picture Distribution The Managers have not yet made any arrangements for the distribution of the motion picture. There is no guarantee that, even if the motion picture is produced, a distributor will undertake to distribute it. Furthermore, even if distributed, there is no guarantee that the marketing of the motion picture will result in return of Capital Contributions or Net Proceeds to the Company, even if the motion picture is successful critically, artistically, or both.

Lack of Liquidity No trading currently exists for resale of Investments in the Company, and it is not expected that any trading market for them will develop.

The Company will impose certain restrictions on transfers or Interest including the requirement that no such transfer take place without the consent of the Managers, which consent may be withheld at their sole and absolute discretion. In addition, any transfer of the interests will be required to comply with the minimum purchase requirement imposed by the Company. Accordingly interests should only be purchased as a long-term investment as holders of the interests may not be able to liquidate their investments promptly.

Tax Risks

13 The tax consequences of an investment in the Company are complex and may very depending upon an Investor’s individual tax situation. The Managers cannot and do not make any representations nor warranties with regard to the tax treatment of any investment in the Company.

Various aspects of taxation, including, without limitation, Federal, State, and Local taxation, produce effects, which are based on an individual’s particular circumstances. Therefore, prospective Investors are advised and expected to consult their own advisors as to all tax and legal consequences of an investment in the Company.

Lack of Operation History The Company is in the organizational stage and will not be formed until the capitalization of the Company occurs. As such, the Company is subject to all risks incident to the creation and development of a new business, including the absence of a history of operations.

Liability An investor’s personal liability for obligations of the Company is limited to the loss of their original capital contribution and to many undistributed assets of the Company.

The Managers shall only be liable to the Company or the Investors for losses, judgments, liabilities, and expenses that will result from gross negligence, willful misconduct, or fraud. Thus, the Managers will not be liable to the Company or the Investors for alleged errors or omissions. The Company will indemnify the Managers for losses, judgments,, liabilities, expenses and amounts paid in settlement of any claims sustained by it in connection with the Company other than those resulting from the Manager’s gross negligence, willful misconduct, or fraud. Any such indemnification payment could deplete the Company’s cash available for investment in the motion picture or distribution to the Investors.

Loss on Dissolution Upon dissolution of the Company, the proceeds realized from the liquidation of assets, if any, will be distributed to the Investors only after the satisfaction of the claims of Company, creditors, and the establishment of any reserves that the Managers deem necessary for any contingent or unforeseen liabilities or obligations of the Company. Accordingly, the ability of an Investment Partner to recover all or any portion of his investment under such circumstances will depend upon the amount of funds and claims to be satisfied.

14 SCHEDULE A Recent Independently Produced Motion Pictures

Title Reported Domestic Box Office (Distributor) Budget Gross

Tarnation (Film/DV - indie) $220 $592,014 Clerks $27,000 $3,151,130 Living in Oblivion $38,000 $1,108,000 The Brother’s McMullen $50,000 $10,202,000 Tangerine $100,000 $1,100,000 A Ghost Story $100,000 $1,951683 Go Fish $100,000 $2,500,000 Spanking the Monkey $200,000 $1,359,736 Swingers $200,000 $4,555,020 Sleight $250,000 $3,989,705 Blue Ruin $400,000 $1,700,285 Metropolitan $500,000 $3,500,000 Welcome to the Dollhouse $800,000 $4,569,019 Chasing Amy $950,000 $8,960,000 Kids $1,500,000 $7,412,216 Unsane $1,500,000 $14,293,601

NOTE: The schedule of independently produced motion pictures above reflects the respective film’s domestic box office gross receipts only for the first year of release. The numbers do not reflect additional revenues these films may have generated from the international box office, domestic and international pay or , domestic and international network, syndicated or free television, domestic and international video cassette sales, soundtrack and music publishing revenues, or any other ancillary market revenues which may have been earned. This is a partial list of selected titles and does not reflect all of the independent films which have been recently released. All of the figures above are approximations and are based upon figures which have been published in various industry trade publications. Source includes Box Office Mojo.

It should also be noted that these Domestic Box Office Grosses do not reflect any percentages of grosses deducted by the exhibitors, or any distribution fees or costs that would be incurred.

15 Profiles of Key Personnel Involved with THE VINE:

Producer / Director: Johnny K. Wu Johnny K. Wu A native Clevelander raised in Central America, Johnny Wu, is a veteran award-winning producer with an MBA (from Cleveland State University) specialization in branding. Fluent in Chinese, Spanish and English, Johnny is well known and respected within the Asian Pacific American community in Ohio, he is one of the co-founder of the Cleveland Asian Festival, as well as recognized by ethnic cultural groups as the Producer for Cleveland Cultural Gardens’ One World Day since 2015.

Wu is one of the few pioneers in engaging talents/skills in Cleveland’s independent filmmakers’ industry. In October 2003, he founded the monthly Cleveland IndieClub to provide a voice for local visual artists to showcase their work and visions, IndieClub was a national movement with meet ups at numerous cities, Cleveland is now the oldest running group. Owner of Media Design Imaging (mdifilm.com), Johnny has been working in corporates and independent filmmaking communities since 1998 with numerous successful feature films that has been distributed worldwide since 2005. He has also given workshops and talk about filmmaking at several conventions including Wizard World Cleveland for the last 4 years, Horror Hotel Film Festival and Convention (since its inception), IndieGathering Film Festival and Convention for over 10 years, 2019 CES in Las Vegas and 2019 NAB Show coming in in April.

Johnny has helped produce many films by other local filmmakers and understands the process from planning to marketing any films. Last year, his martial arts comedy musical was distributed worldwide to China and Korea, while his current feature film Wu Xia 2 The Code, a sci-fi/action film just signed a distribution agreement with High Octane Pictures for worldwide distribution, it will be available in May 2020.

Wu currently sits as an executive board member of St. Clair Superior Development Corp, member of the International Task Force for Cleveland Museum of Art, WKYC Community Council Member, City of Cleveland Consumer Affairs Community Board, VP of Organizations Relation for OCA Cleveland Chapter, to name a few. He is an inductee to two Martial Arts Hall of Fames, and an inductee of the International Indie Filmmakers Hall of Fame.

Producer / Writer / Director / Actor: Jeremie Campbell Jeremie has worked in the film industry in Los Angeles for the past 20 years. Originally from Akron, Jeremie moved to Los Angeles to study film, acting, and screenwriting when he was very young. He has worked with prestigious filmmakers and actors as well as talented up-and-comers. Storytelling is his life’s work and passion.

Crew: TBD

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