Oasis Films Fund Jan 2009

OASIS FILM FUND

www.oasisfilmsfund.com

FOR INFORMATION ONLY

This memorandum is a business plan. It is not an offering for sale of any securities of the company.

It is for your confidential use only and may not be reproduced, sold or redistributed without the prior approval of Oasis Films Fund or Forecast Pictures. www.oasisfilmsfund.com Forecast Pictures © 2009 Why a Film Fund ?

Oasis Films Fund:

 A sustainable and profitable investment fund in international movie production ; a high IRR

 A chance to develop the Middle East film industry by bringing international productions to the region

 A tool for promoting Arab cinema and Arab culture throughout the World www.oasisfilmsfund.com Forecast Pictures © 2009 PROMOTING ARAB CINEMA AND LOCAL INDUSTRY Oasis Films Fund goal is to develop a profitable, sustainable slate of Films which will contribute shaping the Arab movie industry of tomorrow.

By focusing on two types of films, Oasis Films Fund is a highly profitable investment:

 Highly commercial films (in the like of Indiana Jones, Tomb Raider, Fast & Furious, Ocean’s Eleven, …) to be shot in Arab countries, respecting the Arab culture and to be exploited across the world. These will be staring highly recognizable international talent and directors: international comedies, heist and action-movies, love-stories, …

 exemples of proposed films for the Fund : Friends & Money, Lost Gospel, Hard Drive, …

 English speaking commercial films inspired by the Pan-arabic culture in the like of The Message, Lawrence of Arabia, The Kite Runner, …

 exemples of proposed films for the Fund : Ibn Battuta, Ali Baba, …

www.oasisfilmsfund.com Forecast Pictures © 2009  Hollywood’s productions have helped convey a positive image of America across the world for the last 50 years. In a similar way, Oasis Films Fund will participate in forging a more positive image of the Arab World and culture, like recent movies did for others, such as : Australia, Mamma Mia!, Amelie Poulain, Da Vinci Code, Sex In the City, …

 This will counterpart the caricatural image conveyed too often by Hollywood movies today (Iron man, Body of lies, Vantage point, …).

 By bringing international productions helmed by experienced directors / producers to the region, Oasis Films Fund will help develop the skills of local technicians & professionals, who will in turn be able to teach their pairs.

The films produced by Oasis Films Fund: . will have no strong political, religious or controversial content: they will be mainstream commercial movies; . will not denigrate Arab identity and will highlight its many cultural assets; . will involve, when possible, Middle-Eastern directors / writers with international track-record. www.oasisfilmsfund.com Forecast Pictures © 2009 1. Benefit of foreign crew training 1. Superb exposure for Middle- local crews and upgrading the Eastern countries, increasing their quality of the local service, appeal for the international bolstering the film industry in the audience: this « advertising » will Middle East. generate millions of qualified contacts through moviegoers, DVD 2. Establish a long-term relationship buyers and TV audiences through with foreign producers and the world. attract them to shoot international movies in the region. 2. Putting the Middle East amidst the hottest film places in the world, with a flourishing media industry and an international appeal to filmmakers and producers.

www.oasisfilmsfund.com Forecast Pictures © 2009 . International Heads of Departments . Over time the Fund will set a proper brought to the region will be dubbed local office and production facility: with local crews in order to train them: local crews and employees will be trained on the movies by the worlds’ - director of photography, finest professionals. - set designer, set designer & construction manager, - sound & lighting departments, - make-up, hairdresser, costume-designer, . Oasis Films Fund will ensure talent stunts, SFX, … scouting through the Middle East in - editor, order to find and train the high - line producer, production coordinators, accountants, … potential individuals.

. In the long term, increasing use of local heads of departments and diminushing of foreign ones brought on locations.

2. Through these investments Oasis Films Fund will make available to the local movie industry an up to date and competitive equipment of international standards.

3. The availability of these equipments will help train local talents, when not used by international productions. These equipments, available locally, will stimulate the local productions and make them more cost-effective in the future, ...

www.oasisfilmsfund.com  Forecast Pictures © 2009 STRUCTURE OF OASIS FILMS FUND  Oasis Films Fund will participate in the financing of a slate of 10 to 15 internationally commercial movies suitable for theatrical release worldwide.

 Oasis Films Fund’s rationalized investment model and decision making process will guarantee minimum risks for maximum profitability.

Oasis Films Fund is raising $80 millions, to be able to finance more than $ 400 million worth of international movie production (over 2 cycles and within 7 years).

www.oasisfilmsfund.com Forecast Pictures © 2009 Average 60% of Remaining of the financing provided by a combination of: the financing of  each Film is Bank facility (up to 20% of the budget of each film); guaranteed by  Presales, including pre-negotiated deals in key Oasis Films Fund, acting as a territories; combination of:  Soft moneys (combination of : tax breaks, local and - super-gap regional incentives, coproductions, …). - equity

-- discount of soft- moneys and presales

$80 M $160 M Investment will $80 M Production Bank Gap, range from 30% Oasis Films slate per Presales and to maximum 70% Fund investment of the budget of Soft Monies cycle each Film.

Business model provides over 2 investment cycles over a total period of 7 years www.oasisfilmsfund.com $80 M equity to finance over $400 M worth of International Movie Productions over 7 years :

Secured Spread Risk Short Lifecycle Driven by professionals • Oasis Films Fund recoups • Risk spread over slates of • Potential distribution of • Creative control and input by right after the bank (when movies with various profiles overages to investors as soon internationally recognized applicable) and before any • Already developed and as year three (after first management team. other participant from all secured, ready to go in cycle). • The investment policy is revenues from the world, production, all with A-class • Revolving fund with a supported by an excluding the few territories talent. preapproved liquidation economically rational pre-sales necessary to the procedure at end of a investment model and each financing of each film. maximum of 7 years. investment can only be made • Secured through the within predefined criteria. ownership of the physical • 100% of the fund invested property of each Picture. directly in the Productions • Enhanced value of Pan-Arab and 0% in companies exploitation of the movies overheads. produced, compared to other international movies

Overages from films from 1st slate Recoupment of Target Initial films from 1st scenario Investment slate Second Round Recoupment of films Overages from films from 2nd slate of investment from 2nd slate

Overages from films from 1st slate Medium Initial Recoupment of films from 1st slate Scenario Investment Second Round Recoupment of films from 2nd slate of investment

Low Initial Recoupment of films from 1st slate Scenario Investment

www.oasisfilmsfund.com Forecast Pictures © 2009 Network of • A network of companies collecting the investors’ funds from various collecting companies set in investment North America, Europe and Middle East, … tailor-made upon the investors’ needs companies

Collecting • After the initial investment in the movies, all revenues collected are going through a third party reliable collection account company • Major collection company of the fund for the investors set in Barhein for tax-efficiency

• S et in Europe and USA, where most of the films’ commitments will take place Management • 2,5% management fee of the fund • 1% towards securing material and development of properties for the Fund’s production slate (recouped with a Premium inside the budget of the movies , when produced)

• First, in absolute first position, 100% of revenues go towards recoupment of 110% of the investment Split of made by the investors • Then, the net profits are shared: revenues • 80% to the investors, as upside • 20% to the funds’ management, as its success-bonus www.oasisfilmsfund.com Forecast Pictures © 2009 Being a steady source of financing for the international movie-industry, OASIS Films Fund will quickly become a brand. Thus attracting more commercial projects and giving more leverage to reach higher level of talents.

This will also be an opportunity for investors to communicate around the film industry. Thus investors are given special possibilities to use the Films coproduced by the fund for their own benefit:

Ability to use visual Possibility of organizing First-look on all projects One Company Credit environment of the private specific from Forecast Pictures for the fund for each movies for Investor’s premiere screenings of and other major movie. Company promotion & the movie European and advertising. American producers, Potential product depending on placement. Producer’s involvement in each Picture.

www.oasisfilmsfund.com Forecast Pictures © 2009 INVESTING • Co-productions make movies eligible to each country’s benefits /tax rebates /subsidies • Sales to local Distributors (for each coproducing territory) Coproductions • Split of rights (Theatrical, Video/DVD, PayTV, FreeTV) • Depending on the elements of the Film (theme, locations, nationality of cast & key crew) co-productions between 2 to 5 countries are set up, thus assuring part of the financing and theatrical/media exposure

Private • Private Equity Investments • Banks (mostly for english-speaking Features)

National and • National tax incentives and Production rebates schemes local subsidies • Regional subsidies

• An internationally recognized Sales Agency (approved by specialized banks) will be hired for each film and International responsible for setting up Sales Estimates which will back the financing structure of the Film • Up to 2 Major territories (USA, UK, Germany, France, Japan & Italy) and up to 5 minor territories can be presales sold to help finance the Film • Future revenues estimates should be of minimum 150% of Fund’s investment www.oasisfilmsfund.com Forecast Pictures © 2009 Combination of: . Bank gap . Pre-sales and/or coproductions in 2 to 4 major territories left aside from the recoupment schedule . Soft-moneys (regional subsidies, production rebates, local tax-breaks, OASIS Other …) Direct financing Funding sources (30-70%) (30-70%)

Recouped in first position after bank gap from world revenues, excluding coproducing territories & presales used for financing. Combination of: . super-gap . discount of pre-sales . discount of soft-moneys: .. regional subsidies, .. production rebates, .. local tax-breaks, … www.oasisfilmsfund.com  Forecast Pictures © 2009 First position after the bank until recoupment of [investment + 10% premium] against: Oasis Films - world sales (excluding coproducing territories & pre-sales needed for financing), - overages/profits, Fund equity - catalog value of the film in coproducing territories. investment of

$80M over 50% to 100% of overages - after all parties have recouped their participations/investments (total the next gross less advertising fees, taxes, talent participations and distributor’s & theatre’s shares). 7 years.

Risk spread over a slate of commercial movies with international value. Second round of¨Pictures as soon as money returns from first movies : revolving fund.

After 7 years, liquidation of the fund on a fair arms-length evaluation (by mutually pre-agreed third party).

Creation of a Brand, which will gain leverage in the international films community.

www.oasisfilmsfund.com Forecast Pictures © 2009 Money Completion guarantee released for • formal letter of intent from a pre-approved completion guarantee (bond) each movie of • Insurance’ committment (before any production money is spent, …) the Oasis Films Fund to Last in go into • signature of interparty agreement : release of the funds only after 100% production of the financing is secured only after: Collection account

• pre-approved collection account company to guarantee crystal-clear money flow

Sales agent

• attachement of an internationaly recognized sales agency to distribute the movies worldwide

www.oasisfilmsfund.com Forecast Pictures © 2009  The selection and decision processes are well- defined so as to ensure no investment can be made without the agreement of all of Oasis Films Fund’s Investment directors. Committee

 A selection committee composed of the Fund’s and industry experts will identify the projects. Selection Committee  An investment committee composed of the executives of the Fund and representatives of the investors will scrutinize the investment process.

Nework of  An extensive checklist is used to make sure that all Industry Experts the needed elements are in place before any investment is confirmed.

• Jean-Charles Lévy • Rachid Slimi

Investors representatives

• Mustapha Mellouk • Dina Salti • Others named by and reporting to the various investors

Industry experts

• Insurer (Jean-Claude Beineix – Continental Media) • Entertainment lawyer (Stephen Saltzman, Loeb & Loeb LLC)

• Nicolas Manuel (Forecast Pictures) • Olivier Piasentin (Forecast Pictures) • Fakhita Drissi (Rihla Productions)

Industry experts

• Hollywood Studio top-execs : Ileen Maisel , Nick Quested, … • Writers and Directors : Kamran Pasha, Roger Spottiswoode, Nalin Pan, Nadine Labaki, Bader Ben Hirsi, David Marconi, Nayla Al Khaja, … • Actors : Saïd Taghamaoui, … • International Sales Agent : Simon Crowe, Nick Chartier, …

Artistic Either detailed synopsis (at least 15 pages) or the script ! Final script (dated) ! Director ! Casting: - pre-approved cast list for each role ! - letters of intent / contracts ! Head of Departments (DOP, Production Manager, Line Producer, etc.) ! Biographies / Filmographies of : producers / director / writers ! Schedule ! Maximum approved length of final film !

Financial Total Budget ! Financing Plan: - letters of intent ! - executed financing agreements ! Waterfall (projected) ! Waterfall (final) ! Choice of Bank (for cashflow + discount of agreements) ! Projected cashflow ! International sales agent (from pre-approved list) ! - Revenues estimates> 150% of fund's investment (excluding sales agent commission) ! - 2 major territories or 1 major territory and 2 minor territories presold ! Insurance ! Collection Account !

Legal Chain of Title ! Legal Opinion ! Coproduction Agreements ! Interparty Agreement ! Preliminary approvals from national authorities ! E&O Insurance ! www.oasisfilmsfund.com Pending on the investor’s specific tax-breaks needs, the fund and its tax-advisors are able to propose flexible solutions.

These will be discussed individually with the investors and we’ll provide tailor-made solutions.

The investor will add a tax-break benefit to the basic profitability of the fund.

 The prerequisites to any investment (see Check-list);  The recoupment position:

. In order for the investment in a Film to be approved, the lower estimates of the Film revenues by the Sales Agency shall be equal to a minimum of 150% of the investment. . For the investment not to be totally recouped, it would mean that not even 2/3 of the Sales Agency most pessimistic estimates are met by effective revenues for ALL of the films. . With all the precautions in the choice of the Films and the internationally renown Sales Agent being also approved by our partner-specialized bank, this is highly unlikely. The statistics shown on the next slide will comfort this assumption regarding sales estimates vs. effective sales. . A particularity of the films produced is that they will have greater value than the average “International Picture” in their Pan-Arabic exploitation (theatrical, payTV & TV). www.oasisfilmsfund.com Forecast Pictures © 2009 ASK TAKE BUDGET EASTERN LATIN REST OF THE TOTAL SALES ACTUAL SALES ACTUAL SALES ACTUAL SALES EUROPE ASIA Price from Price from (M US$) EUROPE AMERICA WORLD (M US$) vs ASK vs TAKE vs BUDGET Sales agent Sales agent

5 2,000 0,160 0,400 0,100 0,175 2,835 4,075 1,940 70% 146% 57% 10 4,600 0,700 0,950 0,450 0,300 7,000 11,300 6,500 62% 108% 70% 15 7,400 1,100 1,400 0,700 0,500 11,100 17,150 10,850 65% 102% 74% 25 12,000 1,800 3,100 1,900 1,000 19,800 25,900 18,900 76% 105% 79% 66% 9% 14% 6% 5% 100% 68% 115% 70% These statistics have been compiled in 2004-2007 by one of the two most reliable international collection agents, excluding North American revenues.

Average revenues for each movie, expressed as % of the budget :

From International From North American revenues revenues

TOTAL CONSOLIDATED

AMOUNT, FOR

Drive

& Money & Gospel

THE WHOLE Battuta

FILM 5 FILM 6 FILM 7 FILM 8 FILM 9 FILM

FILM 12 FILM 15 FILM FILM 11 FILM 13 FILM 14 FILM

DURATION OF 10 FILM

Hard Ibn

THE FUND Lost Friends

Quarter of investment 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Budgets of the movies produced, per quarter 430 20 50 30 30 10 30 20 50 10 30 20 30 40 10 50 (in MUSD) OVERALL AVERAGE Share of each film’s budget 258 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% invested by the Fund (% of the budget of films)

Quarterly overheads & development expenses, in M USD

Set up costs (including lawyers and tax advisers) : - outside services 0,25 - internal services 0,25 Accounting, CPAs, audits, … (per Quarter) 0,05 0,01 Overheads and expenses from the structure (per Quarter) : - overheads 0,52 - developments expenses 0,25 www.oasisfilmsfund.com Forecast Pictures © 2009 Low Medium Target Based on a 80 M USD Fund Scenario Scenario Scenario Producing Fees for the Fund , paid out of the budget 2,5% of each film (as a % of the budget of each film) Financing Fees for the Fund, paid out of the budget of 2,5% each film (as a % of the budget of each film) Sales revenues, from presales within 9 months after 40% 45% 66% start of Production (as a % of budget of films) Sales revenues, from sales of the movie upon completion/screening within 18 months after start of 20% 20% 0% Production (as a % of budget of films) Sales / Exploitation revenues collected 3 years after production: final sales & overages (as a % of budget of films) 0% 10% 25% For medium and target scenario, one 10M USD movie and one 50M USD movie are considered “hits” and will generate 50% overages in the slate Catalog value upon liquidation of the fund, after year 10% 7 (as a % of budget of films)

Low : 17%

Medium: 31%

High: 41%

 Year 4 – Oasis Films Fund 2:  $200 M Equity => $800 M Production value

 Year 8 – Oasis Films Fund 3:  $300 M Equity => $1,2 Billion Production value

OF OASIS FILMS FUND  Graduated in Political Sciences and Public Financing DES.

 Graduated from the Public Management Institute. GwU. Washington DC, USA

 Former Banking Analyst at the Crédits Hypothecaire: Mortgage & Real Estate.

 Former Head of Cabinet of the National Education Minister.

 Former Head of Research at the OCP (Office Cherifien des Phosphates).

 Vice-president in charge of Development at the Alakhawayn University.

 Former Executive Director for strategy at CDG Group (Caisse de Depots et de Gestion)

 Former Senior VP at ONA Group and President of the ONA Foundation.

 Former CEO of CDG Development.

 Member of the Youth Global Forum @ Davos, Switzerland.

 Member of the Mediterranean Global Forum, Tunis.

 Member of the Danish-Canadian initiative for the security cooperation in the Mediterranean.

 Co-president of the Morocco - Jordanian Economic Comittee.

 Senior-advisor to the President of Amideast, Washington DC.

 Member of the Comittee for Dialog between Civilizations , under the Patronnage of the UN.

 Conducts, on behalf of the Kingdom of Morrocco various diplomatical missions across the world.

 Visiting Professor @ L'istituto De Empresa (Madrid) and @ Middle East Studies Institute (Washington DC). Jean-Charles Levy •Established in 2003, Forecast Pictures is a French production and consulting company dedicated to international movie financing. •With 20 years of experience in the media industry, Jean- Charles Lévy started as financial consultant for Arthur •Our precise knowledge of moviemaking regulations, tax breaks, subsidies and soft Andersen before joining TF1 for 10 years, including 5 years as moneys in more than sixty countries worldwide , as well as our proven expertise in President of TF1 USA in Los Angeles. Dealmaker of the TF1- financialy-efficient deal-making in the movie industry, allow us to offer new Miramax joint venture in France, Jean-Charles is credited as financing opportunities to the producers and to provide tailor-made financing producer on numerous films including O Jerusalem (Ian Holm, scenarios through alternative combinations of resources. JJ Feild), Far From Heaven (Julianne Moore, Dennis Quaid), The Contender (Jeff Bridges, Gary Oldman), Under Suspicion •During its first years, Forecast has also successfully produced, or coproduced, as an (Morgan Freeman, Gene Hackman) and Scenes of the Crime independent company the 20 M € epic movie “O Jerusalem” (2006) starring Saïd (Jeff Bridges, Noah Wyle) while at TF1. Taghmaoui, JJ Field, Patrick Bruel and Ian Holm , as well as “Walled In” (2007), a 7 •He is an accomplished producer and known to be one of the M € psychological thriller starring Mischa Barton (“The O.C.”), Cameron Bright best experts in movie-financing. (“Birth”, “X- Men 3”) and Deborah Unger (“The Game”).

•After shooting “Mon Beau-Pere”, a 6 M€ French comedy by director Elie Nicolas Manuel Chouraqui, during the Summer 2008, Forecast is currently starting the pre- production on “Lullaby for Pi” with Oscar winner producer Killer Films (“Boys don’t •Graduate of the prestigious Sciences Po school of Paris, Cry”, “I’m Not There”,…) and starring Rupert Friend (lead of “Cheri”, the new Nicolas also holds a Master in Audiovisual law from the Stephen Frears movie), Clémence Poésy (“Harry Potter”, “In Bruges”, …), Michael University of Paris La Sorbonne. In charge of the company’s Clark Duncan (“Green Mile”, “The Island”, …), Sarah Wayne Callies (Prison Break). business affairs, he handles the legal and financial back-office for our clients and performs necessary negotiations, •The upcoming slate of production includes “The voyage of Ibn Battuta” staring Saïd applications and related legal work on their behalf. Taghmaoui among others , directed by Pan Nalin (“Samsara”, “Valley of Flowers”, …) and written by Kamran Pasha as well as the 25 million Euros adventure thriller “Informer” to be directed by David Marconi (“Enemy of the State, “Mission Olivier Piasentin Impossible 2”), and the preparation of various other movies with budgets and genres, ranging from 2 to 35 million Euros. •A former business affairs in international distribution, Olivier is responsable for the estimation of picture package: casting, •In 2009, Forecast also intends to raise its own equity fund dedicated to invest in budgeting, scheduling, locations… and the funding solutions international features, with high commercial value, and thus allowing to use its for the movie industry. He also handles trading of remake network of A-list Hollywood Producers in order to have access to the best material. rights between Europe and North America on behalf of independent producers. First films in proposed slate

Friends & Money

The Lost Hard Gospel Drive

Ibn Battuta

www.oasisfilmsfund.com Forecast Pictures © 2009 1325. As the sun rises over Tangier, a young muslim scholar that goes by the name of Ibn Battuta prepares himself for his hajj to Mecca. What the young man does not know yet is that this trip will take him much further than what he had expected, from North Africa to China, through Syria, India, Egypt, Irak, Ceylan, East Africa and Central Asia.

For 27 years, Ibn Battuta has travelled the muslim world and beyond, a teacher of Islam and student to the World and its cultures. He has encountered friendship, love and pain, and seen what none of his contemporaries ever did see.

This epic film follows the journey of the greatest muslim traveller of all times, a man who travelled more than Marco Polo « Ibn himself. Ibn Battuta takes us alongside his Writer breathtaking voyage around the World, to Battuta » Director the discovery of himself, and of the Other. Saïd Kamran Nan This wonderful script has been written by a Taghma top Hollywood writer to make this ancient Pasha Palin story come to life and feel modern to today’s oui audiences around the world. Synopsis

In New-York, Alexander, a young employee of Google Earth in charge of archiving satellite images of our planet, discovers by chance the place where is hidden the loot of the biggest hold-up of the century, which just took place in one of the amazing modern raising cities from the Gulf. Dreams of pristine oceans and palm trees soon blur Alex’s nightmares of bills and apartment hunting. Alex has two ideas. Both of them very bad. First, he decides to go after the loot. Second, he will take his best friends along with him. He might not know yet, but despise the appearances, the second idea will reveal even worse than the first one…

Director Writer

Elie Elie & Alexandre Chouraqui Chouraqui www.oasisfilmsfund.com Forecast Pictures © 2009 THE LOST GOSPEL is a film project to be shot in Jordan that will highlight the country’s remarkable historical and archaeological sites. It is a contemporary movie that focuses on the quest for a “lost gospel” of Jesus Christ, and Jordan is the ideal place to film this story due to its location and historical connection to the birth of Christianity. The central concept of THE LOST GOSPEL is an archaeologist’s quest to find a priceless relic of early Christianity – a Gospel written in Aramaic by James the Just, the brother of Jesus Christ according to the New Testament. The heroes would be seeking to find the Gospel, whose existence would provide the first eyewitness account of Christ’s life and teachings, and whose message could serve as a bridge of reconciliation between Jews, Christians and Muslims. But a shadowy group is working to prevent the Gospel’s discovery. The heroes must risk their lives in a race against these evil forces to get to the manuscript before it falls into the wrong hands.

Writer Kamran Pasha

www.oasisfilmsfund.com Forecast Pictures © 2009 Before the top car-makers release a new model onto the market, they test the car in the toughest conditions possible. They do this under tight security, because rival car companies will do anything to steal their secrets. Writer / Director This is a movie about a supercar that is brought in under the Bill utmost secrecy. Bennett

The drivers given the job of testing the vehicle are two former rally drivers. Luke is a three time world champion – Pepper is his co-driver or navigator. They’re no longer racing competitively because Luke had a serious crash, nearly killed Pepper and another driver – now they’re testing cars for a living. End of day one, the car is stolen – it turns out by their arch rival from the rally circuit, the man who Luke nearly killed in his accident. Stephan now works for a Korean car company that’s desperate to get the vehicle and rip off its new features. Luke and Pepper shanghai a hotted up ’68 Monaro GT, driven by a beautiful young girl who’s heading for a Bachelor and Spinsters ball. She travels with them, kicking and screaming – while they push the old Monaro to its limits giving chase to the supercar. The cops are on their tail, thinking they’re car thieves – the Koreans pull out all their weaponry – including choppers and futuristic “roaches” – beetle like cars with guns – to keep them at bay. When the Monaro is shot up by the bad guys, they then commandeer a Hummer driven by a local TV celebrity – what unfolds then is one of the most spectacular series of chase sequences you’re ever likely to see.

BASED ON A STORY BY ELIE CHOURAQUI & ALEXANDRE CHOURAQUI

NOVEMBER 2008 Synopsis In New-York, Alexander, a young employee of Google Earth in charge of archiving satellite images of our planet, discovers by chance the place where is hidden the loot of the biggest hold-up of the century, which just took place in the UAE.  Dreams of pristine oceans and palm trees soon blur Alex’s nightmares of bills and apartment hunting.  Alex has two ideas. Both of them very bad.  First, he decides to go after the loot. Second, he will take his best friends along with him.  He might not know yet, but despise the appearances, the second idea will reveal even worse than the first one… Proposed cast alternatives for the role of the lead thief

Gene Morgan Gary Oldman Vin Diesel Hackman Freeman • Batman Begins, • Fast and • Enemy of the • Deep Impact, Hannibal, The Furious, Pitch State, The Quick Bruce Almighty, Professional, Black, xXx, The and the Dead, Batman Bram Stoker's Pacifier... The Birdcage... Begins... Dracula... The five friends

Alexander Jonathan Nick Mel Adrian

•Tall, with dark hair, Alex •Crazy and outspoken, •Nick is the group’s artist. •A trader in a bank on •Adrian is the flabby one. has a very possessive Alex’s brother is a real He doesn’t know what Central Park West, Mel is Fired from his previous mother. phenomenon. A 21st work is. The son of a only interested in women (now shut down) company •He is in conflict with his century MacGyver, he has wealthy family, he still and basketball. With a for laziness, he now works girlfriend’s family who all and every new gadget doesn’t understand that preference for basketball! for a big global computer thinks his job is not that… and seems to be better money has to be earned at •Thrown out from the company that does not yet well, his girlfriend’s father informed than the CIA. some point and he keeps “Bachelor’s” casting for know that it is now at risk is the heir of a dynasty of Thrifty, not to say stingy, spending like there is no sexually harassing the because of him … WASP bankers and he did he is medium-sized with tomorrow. interns, Mel is a tall, •Small with a sympathetic hope something better brown hair and always •Shy, he has difficulties with handsome young man. face, he just never really than Alex for his daughter wear strange outfits. women and takes Obsessed by his looks, and woke up. He only wears Julia. •His job? Jonathan works seduction lessons… although he has a nascent crumpled clothes, cuts his •Alex works for Google for the mysterious watching films and TV! He baldness, Mel is a born hair by himself and is Earth where he is part of a “Chipawa” Indian tribe, he has a particular, thin womanizer. always late. He’s never team which assists and has a mysterious position physique and works hard been very lucky either. looks after the various within a mysterious on his New-York dandy satellites that take company. To this day, looks. photographs of the Earth. nobody really knows what He loves his job and is exactly he does for a very meticulous in living… classifying the photographs and getting the program running: thanks to him the whole world can see the planet in its most details. Proposed cast alternatives for the five friends

Saïd Ashton Sean Freddie Jerry Wes Noah Wyle Joshua Dominic Taghmaoui Kutcher William Prinze Jr. O'Connell Bentley • ER; Swing Jackson Monaghan • Three Kings, O • The Butterfly Scott • I Know What • Jerry Maguire; • Ghostrider, Kids; Donnie • Dawson's • The Lord of Darko... Jerusalem, Effect; Dude, • American Pie; You Did Last Scream 2; American Creek; Apt The Rings; Hidalgo, Where's My Road Trip; The Summer; Mission to Beauty; Four Pupil; Scream Lost... Spartan… Car; Cheaper Dukes of Scooby Doo; Mars... Feathers… 2... by Dozen... Hazzard... Freddie... The three girlfriends

Julia Vanessa Maria

• Alex’s girlfriend. • Very beautiful with long hair, • Maria is both crazy and • She’s a doll: blond with blue soft features and an athletic magnificent. Thirty years old, eyes and a big bright smile. body, she has been single, she keeps failing her Messy and plain-spoken, she Jonathan’s girlfriend for love relationships. Tall, with keeps laughing or crying more than 10 years. generous curves and messy most of the time. • An ambitious lawyer with a short hair, very sexy, she’s the • She’s still a student but strong sense of reality, she’s “elder sister” of the group, spends more time shopping the one wearing the trousers. the long-lasting “best friend”. than attending classes… The only thing she hasn’t • A journalist for a sports been able to get from magazine, she keeps fooling Jonathan (though she has all day and loves nothing been pushing for a very very more than interviewing the long time) is… a wedding athletes after a game, in the proposal! changing-rooms… Proposed cast alternatives for the three girlfriends

Josie Gisele Sarah Piper Alicia Leonor Rose Amber Maran Bündchen Michelle Perabo Silverstone Varela McGowan Valletta •Van Helsing; •Taxi; The Gellar •Coyote Ugly; •Clueless; •The Man in •Scream; •The Family The Devil Wears •Buffy: the Cheaper by Batman & the Iron Charmed; Man; Hitch; Aviator... Prada... Vampire the Dozen; Robin; Mask; The The Black The Slayer; Cruel The Scooby-Doo Tailor of Dahlia... Transporter Intentions; Prestige... 2... Panama; II... The Grudge; Tais-Toi... Scooby- Doo... The locals

The jewelry manager The taxi driver The police officer The hotel owner

• A slim, barely • The first guy the • The guy in charge of • A very elegant noticable man in his friends will the investigation of middle-eastern man. fifties, he’s the encounter when the case. A middle- He likes to talk with owner of the jewelry arriving in the UAE. aged cop with wit, his guests , is a great where the fake In his early thirties, but who is facing seductor, has a great robbery takes place. he will become their the biggest heist in sense of humour A bit clumsy but guide and a friend history, which puts and of hospitality. with a strong who will help them him under a lot of Picture Georges business sense, he in their adventure. pressure. Clooney meets operates the biggest Omar Sharif. jewelry in the biggest mall in town. The friends will meet him again when the girls are on their shopping frenzy. Proposed cast alternatives for the locals

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The producers have chosen a brilliant, upcoming director who will bring his fresh and unique vision to the movie.  John McFarlane  Honky Sausages series for BBC and Showtime… and hundreds of advertising and music videos.

In order to provide him experience and support on set, we have decided to include in the producing team Elie Chouraqui (which has directed ten feature films) who will act as 2nd unit director & technical advisor to the director.  Elie Chouraqui  O Jerusalem, Harrison’s Flowers, Man on Fire… First estimated budget in euros (see annex for details)

Ibn Battuta

--- Ibn Battuta’s travel --- Marco Polo’s travel

IBN BATTUTA – Project & People

The idea of making a feature film out of Ibn Battuta’s life and travels came from Saïd Taghmaoui, the famous French actor of Moroccan origins. After discussing the opportunity of such a project with his Majesty King Mohammed VI of Morocco, Saïd Taghmaoui contacted his friend Jean- Charles Levy, President of Forecast Pictures, as he knew that this work would need a Producer with a serious experience in developing and producing high quality international feature films. Under the ONA is the biggest Moroccan corporation, which activities encompass supervision of Rachid Slimi (President of finance, industries and services. The the ONA Foundation - ONA Group), a holding structure manages over 100 special purpose company, Rihla Ibn companies in the fields of mining, Battuta Prod, was set up in Casablanca as telecoms, food, distribution, real estate, energy and banking, for a yearly turnover a subsidiary of the ONA Foundation to of over US$3.7 billion. Its goal is to help coordinate the development process develop activities while contributing to in partnership with Paris- based Forecast growth and sustainable development in Pictures. Morocco and the region. It has investments in Tunisia, Congo, Senegal, In development since 2004, Ibn Battuta Cameroon, Gabon and other African countries. came to a turn when writer Kamran Pasha ONA Foundation is a subsidiary of ONA got involved in the project. Kamran, Group which is responsible for the himself a Muslim who already had a great recognition of Morocco at the knowledge of the 14th Century traveler, international level by creating dialogues has been able to restitute at best the between Moroccan and foreign artists, developing and promoting cultural passion and deepness of the man as well diversity and shared universal values. as the wonders of his travels. ONA Foundation gears its action towards cultural activities, socio-economic and socio-medical actions. Today, it counts numerous achievements, in the restoration of historical sites, financial support to institutions for the disabled / underprivileged children, organization of art exhibitions and sponsoring of several projects ranging from publishing to audiovisual productions.

www.fondationona.ma www.ona.ma

Saïd TAGHMAOUI Born in France into a large family of Moroccan parents, Saïd Taghmaoui was one of France best boxer (he ranked number 2 in his weight class) until his strong will to act got him a part in an Olivier Dahan’s 1994 television film, Frères: La Roulette rouge. He later met with director Mathieu Kassovitz and together they wrote the script of the Cannes 1995 Best Director Award winning film La Haine, about the suburban ghettoes of Paris. Saïd Taghmaoui also played one of the main characters in the film and his performance led him to a nomination for Best Actor at the 1996 French Cesar Awards. Taghmaoui then studied foreign languages to become an international actor. After Heroines (1997) by Gérard Krawczyk, he shot Alessandro D'Alatri’s The Garden of Eden (1998) in Italy, and in Germany the television film Last Minute Kasbah. He then appeared in Hideous Kinky, a sentimental drama directed by Gillies MacKinnon, starring Kate Winslet and shot in Morocco. Saïd Taghmaoui became one of the rare French actors who managed to make a name in Hollywood. He is best known in American cinema as the US trained philosophical Iraqi interrogator Captain Said in Three Kings, beside George Clooney and Mark Wahlberg. When he returned to France, Saïd played in none less than eight films in two years. After being a suicidal sniper in Break of dawn (2002) by Alexandre Arcady, he continued his international career appearing in The Good Thief (2002), Spartan (2004), Hidalgo (2004) and I heart Huckabees (2004). Saïd’s talent and strong reputation led director Elie Chouraqui to trust him with the lead part of Saïd Chahine in the 2006 O Jerusalem. Since then he has starred in

Mike Forster’s The Kite Runner (2007) and in the upcoming Vantage Point (2008):

the attempted assassination of the American president told from five

different perspectives. After shooting Jeffrey Nachmanoff’s Trator, and Stephen

Sommers’ GI Joe, Saïd is currently set to be the next star in the TV series Lost.

PAN Nalin Nalin, a self-taught filmmaker, was born in a remote village in Gujarat, India. The richest thing his family gave to him was his spiritual upbringing. As a child, Nalin actively participated in staging folk theater and mythological dramas. However, he only saw his first movie at age of nine - since that day he always wanted to make movies. Later, as a teenager, he left his family and village in pursuit of cinema. He traveled widely all over India and finally moved to Mumbai (Bombay) where he

started by directing commercials and corporate films. Nalin lived in USA and UK for short time and on returning to India, he roamed the Himalayas in search of his voice. After a long process of unlearning he developed ideas for several feature films. Nalin also made several

documentaries. His recent feature length documentary Ayurveda: Art of Being

(2001) is at present in theatrical release worldwide. His first feature film Samsara was a huge commercial and critical success worldwide and won him some thirty plus international awards. Samsara has already grossed US$ 20million. Nalin's latest feature film Valley of Flowers has

been pres-sold to 40 countries and is currently enjoying theatrical release with critical and commercial success worldwide. Valley of Flowers was filmed in remote, high altitude Himalayas and in Japan and won Best Picture at IFFLA Los Angles, four nominations at IAAC New

York including The Best Picture and The Best Director. In 2006 Pan Nalin was

awarded Spain's highly prestigious Award Vida Sana for his contribution as a filmmaker to the ecology, thus an earth keeper. Pan Nalin was also a member of the jury for the 6th Marrakech International Film Festival. He is currently working on his first English language epic

Buddha. Pan Nalin lives in France & India. Kamran PASHA Kamran Pasha is a writer and co-producer for Showtime Network's Golden Globe nominated series Sleeper Cell, about a Muslim FBI agent who infiltrates a terrorist group. An expert on the Middle East, Kamran is one of the few successful Muslim screenwriters in Hollywood. In 2003, he set up his first feature script at Warner Brothers, an historical epic on the love story behind the building of the Taj Mahal. He is currently adapting the Japanese anime Kite, about a teenage girl who works as an assassin, into an action thriller for Rob Cohen, the director of The Fast and the Furious. Kamran is also writing a Hollywood adaptation of the Japanese horror movie Don't Look Up by Hideo Nakata, creator of Ringu and director of The Ring 2. And Kamran is adapting Deepak Chopra's novel Soulmate, a supernatural love story, as a feature film for Anant Singh's production company, Distant Horizon.

Pasha sold his first two novels to Simon & Schuster in 2007. The books are entitled Mother of the Believers, a historical epic

that follows the birth of Islam from the eyes of Prophet Muhammad's teenage wife Aisha, and Shadow of the Swords, a love story set amidst the showdown of Richard the Lionheart and Saladin during the Third Crusade.

Kamran Pasha currently serves as a producer and writer on NBC’s Bionic Woman.

Jean-Charles LEVY Jean-Charles Levy, 41, started his career as a consultant for Andersen Consulting and quickly became a specialist of the

audiovisual sector. He was in charge for two years of handling the diagnosis and detailed conception of the procedures and new information system for assets management, programming and scheduling for the leading French Pay-TV Canal +. For ten years, Jean-Charles worked for TF1, the leading European television network. Among other duties, he was successively appointed President of TF1 USA, then executive VP of acquisitions and coproductions of TF1

International where he was the dealmaker of the TF1-Miramax joint-venture for France. Through these experiences, he has developed a unique network within the distributors, the producers, the financiers and the talent community around the world. He also has created a specific know-how in putting together the creative and the business aspects in order to create an added value in the distribution of movies through all existing medias. Since 2003, he is the President and founder of Forecast Pictures, a company which aims to help producers optimize the financial structure of their International Pictures. The company has slowly moved from a consulting entity to a production company, whose first feature, O Jerusalem, a 20M€ historical film based on the book by Lapierre and Collins has been released in the US on October 14th

2007. Forecast Pictures is currently shooting Walled In, a psychological thriller starring Mischa Barton and Cameron Bright and directed by french helmer Gilles Paquet-Brenner. Jean-Charles’ other features producing credits include Far From Heaven (by Todd Haynes, with

Julianne Moore, Dennis Quaid), The Contender (by Rod Lurie, with Jeff Bridges, Joan Allen, Gary Oldman), Scenes of the Crime (by Dominique Forma, with Jeff Bridges, Noah Wyle), Under Suspicion (by Stephen Hopkins with Gene Hackman, Morgan Freeman and Monica Bellucci)

and Tempted (by Bill Bennett, with Saffron Burrows, Peter Facinelli).

COMPANY PROFILE

Est. 2003, Forecast Pictures is a French production and consulting company dedicated to international movie financing.

Our precise knowledge of moviemaking regulations, tax breaks, subsidies and soft moneys in more than sixty countries worldwide allows us to offer new financing opportunities to the producers and arrange them to provide tailor-made financing scenarios through alternative combinations of resources.

During its first years, Forecast has successfully produced as an independent the 20 M € epic movie “O Jerusalem” (2006) starring Saïd Taghmaoui, JJ Field, Patrick Bruel and Ian Holm , as well as “Walled In” (2007), a 7 M € psychological thriller starring Mischa Barton (“The O.C.”), Cameron Bright (“Birth”, “X- Men 3”) and Deborah Unger (“The Game”).

After shooting “Mon Beau-Pere”, a 6 M€ French comedy by director Elie Chouraqui, during the Summer 2008, Forecast is currently starting the pre-production on “Lullaby for Pi” with Oscar winner producer Killer Films (“Boys don’t Cry”, “I’m Not There”,…) and starring Michael C. Hall (“Dexter”, “Six Feet Under”), Djimon Hounsou (“Amistad”, “Blood Diamond”) and Olga Kurylenko (James Bond “Quantum of Solace”).

The upcoming slate of production includes the 25 million Euros adventure thriller “Informer” to be directed by David Marconi (“Enemy of the State, “Mission Impossible 2”), “The voyage of Ibn Battuta” by writer Kamran Pasha and the preparation of various other movies with budgets and genres, ranging from 2 to 35 million Euros.

Forecast is also currently negotiating a new venture with a group of A-list Hollywood Producers in order to raise its own equity fund dedicated to invest in international features, with high commercial value.

IBN BATTUTA – The Travels

The following is a simple biography of Ibn Battuta written by Ross E. Dunn, professor of History at the San Diego State University, one of the World’s most acknowledged specialist of Ibn Battuta’s life and travels. Ross E. Dunn is the author of The Adventures of Ibn Battuta, a Muslim Traveler of the fourteenth Century. 2nd edition (Berkeley: University of California Press, 2004).

The Travels of Ibn Battuta by Ross E. Dunn Professor of History, San Diego State University

This is the true story of Abu Abdallah Jbn Battuta, one of greatest traveler-adventurers of medieval times. Scholar, courtier, judge, warrior, diplomatic envoy, and companion of kings and princes, lbn Battuta crisscrossed the Eastern Hemisphere in the fourteenth century during the twilight of the Mongol Age. A near contemporary of Marco Polo, he is known to us from the Rihla, or Book of Travels, that he compiled at the end of his traveling career. Discovered by French scholars in North Africa in the nineteenth century, the memoirs of lbn Battuta have been translated into many languages.

Born in 1304, the young lbn Battuta grew up in the bustling medieval port city of Tangier on the Moroccan shore of the Strait of Gibraltar. He came from a family of affluent notables, who served the fellow Muslims of their city as judges, lawyers, and religious scholars. The family was descended from the tough Berber stock of northern Morocco, but lbn Battuta came to manhood in an Arabic-speaking world of urban gentility and literate sophistication. His father had him educated in the religious and legal sciences but he also loved the ways of the Sufis, the Muslim mystics. Ambitious, spirited, gregarious, and at the same time a pious student of the Sacred Law, Ibn Battuta found Tangier too confining a town to satisfy his aspirations for a challenging career.

In 1325 at the age of 21 (near the time that Marco Polo died in Venice) he reluctantly left his parents to make the pilgrimage to the holy places of Mecca and Medina and to advance his education in Cairo and other great cities of the Middle East. He departed on foot, all alone and without money, but he soon met traveling companions in Algeria and after a close call with marauding Arab nomads arrived safely in Tunis. There he joined with a pilgrimage caravan, which appointed him, young as he was, its official qadi, or judge.

Crossing the Libyan Desert, the caravan arrived in Egypt, principal realm of the Mamluks, the great Turkic slave dynasty of the fourteenth century. Ibn Battuta spent some months in Cairo, a city five times greater than any town in Europe, then traveled up the Nile River with intentions to cross the Red Sea to Arabia. Local insurrection against the Mamluk governor prevented that, so he returned to Cairo and from there journeyed across Sinai to Jerusalem and then to Damascus. In that ancient city he took up legal studies in the Great Mosque and also found time to contract marriage with the daughter of a notable. When he continued his journey to Mecca, however, he Ieft his wife behind. This was indeed the first of several marriages, all of which ended in divorce and in some cases his abandonment of his own young children.

Crossing the Arabian Desert with an enormous caravan of pilgrims, Ibn Battuta’s entry into Mecca was the fulfillment of a lifelong dream. He fulfilled the ceremonies of the hajj, and he might then have been expected to return to North Africa to pursue a career in the Law. lnstead he embarked on a year-long tour of lraq and Iran for no other reason we know of than it was there to be seen. On this journey he sat at the feet of Sufi mystics in Shiraz and Isfahar and enjoyed an audience with Abu Said, the awesome Mongol Khan of Persia. That interview perhaps first revealed the powers of his personality--affability, wit, earnest piety, and a remarkable ability to ingratiate himself to powerful men.

Returned to Mecca again, he learned that the Turkish Sultan of Delhi, the famous Muhammad Ibn Tughluq, was offering employment and riches to educated foreigners willing to give him unquestioned obedience. Adventurer that he was now becoming, the young Moroccan embarked on a sailing ship for Aden on the Arabian Sea, probably with plans to go to India. lnstead, he took ship for East Africa to visit the Muslim trading towns of the coast. He paid his respects to the prosperous, corpulent notables of Mogadishu, then continued as far south as the coast of Tanzania, where he visited the Black African Muslim sultan of Kiiwa in his island palace. He returned north by ship to the desert coast of South Arabia. Here he had his first close brush with disaster. Too impetuous for his own good, he tried to walk between the town of Sur and Qalhat by taking a treacherous overland trail along the coast. He had in his company an Indian friend, but also a malevolent hired guide who tried to rob him, threatened him with his life, and got him lost in the desert with no water. He escaped this ordeal with nothing more than lame feet. After further minor adventures on his way up the Persian Gulf, he finally returned to Mecca again.

He was probably still determined to seek his fortune in the Sultanate of Delhi but decided to reach India by a roundabout route through Turkey and the steppes of Central Asia. Returning once again to Syria, he took passage on a Genoese vessel bound for Anatolia. In the mid fourteenth century Asia Minor was a turbulent land where boisterous Turkish princes and their armies of herdsmen-warriors made war, when they were not feuding with one another, against what remained of the venerable Byzantine Empire. Ibn Battuta visited the capitals of more than a dozen Turkish emirs, who lavished him with robes of honor and with presents of gold, horses, and slave girls. He enjoyed this special treatment not because he had any sort of reputation but because he was a learned Arab and a doctor of the Sacred Law, the sort of refined sophisticate rowdy Turkish holy warriors Ioved to entertain.

And it was in Turkey that a transformation began to take place in his circumstances and, more subtly, in his character. He no longer traveled as a young wanderer but now with a small retinue of friends, servants, and slave concubines and with a baggage train of sumptuous possessions. He was no longer the callow North African legal student but a notable of some means, worldly-wise and more confident of his ability to make his way in the highest circles.

His travels might have come to an end in Anatolia when he had a second brush with death. Traveling through upland forests on his way to the Black Sea coast in the dead of winter, he and his party were first accosted and then deserted by another perfidious guide. Snow was falling and the trail disappearing. To save his companions, Ibn Battuta rode on alone through the drifts in the dark of night until he came upon a Sufi lodge. He discovered an old acquaintance who could speak to him in Arabic and who quickly sent a rescue party to bring in the stranded company. He crossed the Black Sea on another Genoese vessel in the midst of a howling gale, landing in the Crimea in the territory of the vast Khanate of the Golden Horde. He then joined the company of a royal officiaI to travel by covered wagon to the camp of Ozbeg Khan, the Mongol ruler of Russia and the Central Asian steppe. Here he was given an unexpected opportunity. The Princess Bayalun, one of the wives of Ozbeg Khan, was just then setting off toward Constantinople with a huge retinue of wagons, armed troops, and slaves to visit her father, who happened to be the Byzantine Emperor. The princess was pregnant and wished to have her child in her father’s palace. Ibn Battuta, probably displaying his genial charm, received the Khan’s permission to go with her to see the great Christian city. The Khan even gave him lavish traveling gifts of robes, horses, and silver dinars. He stayed in Constantinople for about a month, received as an honored guest in the emperor’s palace. Then he returned to the steppe with the princess’s escorts, crossing the Ukraine in the snow and traveling up the Volga valley along the frozen course of the river.

In the following months he gradually made his way toward India, visiting another great Mongol khan near Samarkand and witnessing one of the concubines he traveled with give birth to a baby girl. He crossed the towering Hindu Kush into Afghanistan, then, joining a group of merchants driving a herd of 4,000 horses, he descended, perhaps by the Khyber Pass, to the valley of the Indus River, reaching the territory of the great Turkic sultan, Muhammad Ibn Tughluq in 1333. On his way from the Indus to Delhi, capital of the sultanate, he and his party were attacked by Hindu bandits. Ibn Battuta received a slight wound, but his companions fought off the assailants, killing thirteen of them and later affixing their heads to the walls of a government fortress.

Soon after he reached the magnificent city of Delhi, the sultan gave him an official appointment as a Muslim judge. He was not particularly well qualified for this lucrative post, but he was a literate, pious, Arabic-speaking jurist, the sort of foreign henchman the rulers of Delhi were eager to hire owing to their deep distrust of their Hindu subjects. Now Ibn Battuta became for the first time a man of authority and substance, equipped with house, property, and numerous slaves; but he was also entering the highly dangerous world of Delhi politics.

Muhammad Ibn Tughluq was one of me most notorious rulers of the fourteenth century. Reformer, scholar, visionary, warrior, despot, and neurotic, he presided over a glittering court, bestowing stupendous gifts on those who pleased him, subjecting those who did not to heinous tortures and execution. When the sultan entered the city in cavalcade, he had servants mounted on elephants shower bystanders with gold coins. When rebels defied him, he had them thrown to elephants with swords affixed to their tusks.

Ibn Battuta lived about eight years in Delhi under the sultan’s protection. He accompanied his Lord on hunting expeditions and military campaigns, adjudicated the Islamic Law, served as chief administrator of a royal mausoleum, and married the daughter of an Indo-Muslim aristocrat. In order to keep up the lifestyle of a member of the Muslim power elite, he piled up huge personal debts, then successfully flattered the sultan into paying them off.

Muhammad Tughluq in fact became increasingly distraught as the years went by. His economic and social reforms all went wrong, a famine raged throughout North India, and insurrections of Hindus or disaffected Muslim generals erupted on all sides. In response, the sultan lashed out at his enemies, both real and imagined. Ibn Battuta, eager, sociable, and too ambitious for his own good, was bound to make a mistake sooner or later. His error was to visit the lodge a Sufi divine of Delhi who repeatedly refused to obey a summons from the sultan to present himself at court. The Sufi was tortured and beheaded for his insubordination. Ibn Battuta was arrested on grounds of being an associate of the miscreant and possibly also because his wife’s father, who ruled a province in South lndia, had risen in rebellion. Held in the palace for more than a week and fearing summary execution at any moment, he recited the Quran straight through each day in prayer to God. Then, for reasons unknown to him, he was suddenly released and subsequently allowed to retreat to a Sufi monastery to seek spiritual renewal by devoting himself to several months of ascetic fasting and self-denial.

Ibn Battuta returned to the royal court to seek permission of the sultan to make another pilgrimage to Mecca (and perhaps simply to escape India!). lnstead, much to his astonishment, the sultan made him the head of a royal embassy to the Great Khan of China, grandson of Kubilai Khan. The new ambassador was to go China by sea in the company of a group of Mongol diplomats who were returning home from Delhi. He was to take charge of a huge caravan of slaves, horses, and extravagant presents to be offered to the Mongol emperor in Peking. The embassy first headed overland to Cambay on the West Indian coast where it was to take ship for China. Not far south of Delhi, however, the Moroccan’s traveling career almost came to an end once again. Riding out one August morning in the company of his fellow officers, he was intercepted and chased by a band of Hindu rebels. No sooner had he escaped them than he was captured by bandits who stripped him of his possessions and threatened to kill him. He managed to get away but then wandered for days in the North Indian plain until some villagers helped him send a message to his companions.

The embassy reached Cambay in safety, then sailed on lateen-rigged ships southward to Calicut on the Malabar coast. There the mission was to transfer to a small fleet of ocean- going Chinese junks, but it suddenly ended in disaster when all but one of the ships went aground in a storm, most of the slaves, horses, and gifts destined for the emperor going to the bottom of the sea. Ibn Battuta, as luck would have it, had not yet boarded a ship because he was arranging for a private stateroom for himself and his concubines. So he watched from the shore as his mission, the chance of a lifetime, broke up on the rocks. The one ship that escaped destruction sailed off to the south. A slave carrying Ibn Battuta’s child was aboard it, but he would never see her again.

At this point he could not continue to China, but he was also terrified of facing Muhammad Tughluq back in Delhi. He decided to go up the Indian coast to the port of Honavar, where, during a stopover on the way to Calicut, he had met the town’s ruler, Jamal al-Din Muhammad. This petty sultan was plotting to launch an amphibious assault against the neighboring port of Sandapur (the Goa of Portuguese fame), and he decided to put his Arab guest in command of the campaign. This was the only war that Ibn Battuta ever fought in, but he acquitted himself well, storming the town with his troops and making off with a slave girl as part of his spoils.

He left Honavar for good some months later when the sultan of Sandapur launched a counterattack. Journeyman lawyer that he was, he saw no need to stick by Jamal al-Din in defeat, so he slipped through a siege line and headed back to Calicut. At this point he seems to have decided to visit China on his own, but the ship he took passage on deposited him in the Maldives islands, the archipelago of lovely tropical atolls that lies in the Indian Ocean southwest of Malabar. The people of the Maldives were Muslims and ruled by a queen and the Grand Vizir. Ibn Battuta hoped to make a short anonymous visit, but when the Grand Vizir found out that the new arrival had been a royal officer in the Court of Delhi, he virtually forced him to take the post of chief judge of the realm. At first resisting, Ibn Battuta soon warmed to his job, dispensing rigorous Islamic justice, though utterly failing to oblige pious Maldivian women to give up their habit of going naked from the waist up. He also contracted four marriages simultaneously, all with women of noble families. In Delhi he had had political ambitions, but in this diminutive equatorial paradise he found he could give them free reign. He was soon deeply involved in the power struggles of the Maldivian nobility and making enemies right and left. He even reveals in his narrative that he became involved in a plot involving the South Indian kingdom of Ma’bar to overthrow the queen and hoist himself to power in her place. He precipitately left the islands under shadowy circumstances, presumably to travel to Ma’bar to implement the conspiracy. He divorced all his wives and left them behind.

On his way to Ma’bar he made a visit to Ceylon to climb the sacred mountain called Adam’s Peak. On his way across the Gulf of Mannar from Ceylon to the Indian coast, the ship he and his friends and slave companions had chartered got caught in a violent storm and broke up. He got his party to safety, but he spent the night on the sinking ship and was only rescued at dawn by Tamil villagers.

In Ma’bar the plot to invade the Maldives went awry owing to Ibn Battuta’s personal aversion to the kingdom’s cruel sultan and to an outbreak of epidemic disease which laid the Moroccan low for some weeks and which ultimately killed the sultan. When Ibn Battuta recovered, he decided to try his luck again with his old patron Jamal al-Din of Honavar. On the way there, however, his ship was attacked and boarded by pirates, who stripped him of everything except his trousers and left him alone and humiliated on a West Indian beach.

Irrepressible, he returned to Calicut (where some Sufi brethren gave him hospitality and clothes), collected his wits, and booked passage once again for China. He made a brief return visit to the Maldives with plans to claim a son one of his wives had borne. He was entitled to do this by Islamic law, but when the women pleaded with him not to separate her from her child, he relented, displaying here the tender and considerate side of his character. From the Maldives, he sailed round India and toured Bengal mainly in order to visit a famous Sufi mystic in his mountain retreat. From there he traveled along the Burmese and Malaysian coast (where he claims to have watched a man decapitate himself as a display of affection for his ruler!), then to one of the Muslim towns of Sumatra. He went from there to China, where he claims to have traveled far and wide, though most scholars of his narrative believe that either he spent only a brief sojourn on the South Chinese coast or fabricated the trip to Cathay entirely.

In 1347 he returned to Arabia by way of South India, then back to Damascus where he hoped to locate another long lost son, this one the child of a woman he had married in that city during his first sojourn there. He learned tragically that the boy had died at the age of ten. He also learned from travelers from his homeland that his own father had died in Tangier about fifteen years earlier.

During the next months Ibn Battuta traveled from Syria to Egypt and then to Mecca again, but he did it just when the Black Death was raging across the Middle East and Europe. This epidemic of bubonic and pneumonic plague may have carried away fully a third of the population of both these regions, and Ibn Battuta was a living witness to this ghastly catastrophe. But he came through the crisis untouched, and in 1349 he returned to his homeland by way of Tunis and Sardinia.

He spent some time in Fez, Morocco’s fast-growing political and cultural capital, then went on to Tangier, where he discovered that his aged mother had been carried away by the plague the previous year. This was the era of the Spanish reconquista, and in the following months he almost went to battle again, joining warriors from the port of Ceuta to resist a Castilian siege of the still-Muslim fortress of Gibraltar. When he reached the Rock, however, the siege had already been lifted and no fighting was to be done. So he continued on to Granada, the only Muslim kingdom still surviving on the European side of the strait. He appears never to have met the Sultan of Granada nor even visited his palace, the celebrated Alhambra, but he did meet lbn Juzayy, a young literary scholar who a few years later would assist him in compiling the account of his life travels.

After returning to Morocco, he set out on his last great adventure, a journey by camel caravan across the fearful void of the Sahara to the Black African Empire of Mali. It is possible that his Sovereign Lord, the Sultan of Morocco, sent him to the West African Sudan on a clandestine mission. Or he may simply have decided that he could not end his traveling care without a visit to this Muslim kingdom celebrated for its exports of gold. Whatever his motive, he joined one of the great caravans transporting cargos from Sijilmasa, the fabled South Moroccan desert port, to the slave salt mines of Taodenni in mid-Sahara, and from there to the Niger River. The two month journey was accomplished with only minor adventures (a friend got separated from the caravan and was swallowed up by the desert), and Ibn Battuta advanced into the Sudanic savanna lands, crossing the Niger upriver from Timbuktu. His experience of the Mali Empire, however, was an ambivalent one. He was impressed by the Sultan Mansa Sulayman’s peaceful and orderly kingdom, kept that way by a great cavalry army and naval patrols on the Niger. But the casual and egalitarian relationships between West African men and women irritated his strait-laced scholar’s sensibilities, and the failure of the sultan to ply him, during his long stay in the capital city, with gifts, honors, or high-paying posts made him feel unappreciated and contemptuous. After a period of illness, he started his return journey, traveling down the Niger to Timbuktu, then northward in the company of a caravan of several hundred female slaves on their way to North Africa from Hausaland. He crossed the High Atlas Mountains in a winter storm, reaching Fez again in early 1354.

Settling in the city for a time and visiting the royal court, he received an order from Ab Inan, the Sultan of Morocco, to write an account of his twenty-nine years of travels. The young Andalusian scholar lbn Juzayy was recruited to help the traveler put his experiences into properly entertaining literary form. The result of the collaboration was the Rihla, which was read by educated North Africans in the later fourteenth century, copied and recopied, and preserved down to modern times.

Little is known of Ibn Battuta’s life after his travels came to an end. He is reported to have spent his later years as a judge in a quiet provincial Moroccan town, perhaps telling stories of the Delhi sultanate to aged friends and dreaming longingly of his past loves and his own lost children growing up all across the Eastern Hemisphere. He passed away quietly in 1368 about the age of sixty-four. His tomb is a prominent sight in Old Tangier, but there is no inscription to verify that he actually rests there. In his life he exemplified a type of Muslim scholar-adventurer of the medieval age, traveling, not to strange and remote lands, but through the highly urbanized and sophisticated world of Islam, seeking adventure, love, learning, riches, power, and spiritual enlightenment. He journeyed thousands more miles than Marco Polo did a generation earlier, and his exploits, in so far as he reported them in the Rihla were far more varied and dramatic than those of the Venetian. Ibn Battuta has been called the “Marco Polo of Islam.” We might more aptly dub Marco Polo the “Ibn Battuta of Europe.”

______

Ross E. Dunn is the author of The Adventures of Ibn Battuta, a Muslim Traveler of the fourteenth Century. 2nd edition (Berkeley: University of California Press, 2004). The Lost Gospel

BASED ON A STORY BY KAMRAN PASHA

NOVEMBER 2008 THE LOST GOSPEL is a film to be shot in Jordan that will highlight the country’s remarkable historical and archaeological sites. It is a contemporary movie that focuses on the quest for a “lost gospel” of Jesus Christ, and Jordan is the ideal place to film this story due to its location and historical connection to the birth of Christianity. The central concept of THE LOST GOSPEL is an archaeologist’s quest to find a priceless relic of early Christianity – a Gospel written in Aramaic by James the Just, the brother of Jesus Christ according to the New Testament. The heroes would be seeking to find the Gospel, whose existence would provide the first eyewitness account of Christ’s life and teachings, and whose message could serve as a bridge of reconciliation between Jews, Christians and Muslims. But a shadowy group is working to prevent the Gospel’s discovery. The heroes must risk their lives in a race against these evil forces to get to the manuscript before it falls into the wrong hands. Synopsis

THE LOST GOSPEL will focus on an archaeologist’s quest to person he can trust – his ex-wife Elizabeth. They work together to uncover the Gospel of James, an account of Christ’s life written by decode the scroll and track down the location of the Lost Gospel. his brother James the Just in Aramaic, the language spoken by Their adventures take them from Istanbul to Rome to Jerusalem Jesus. But sinister men who are afraid that the Gospel will and ultimately to the deserts of Jordan where they search for the undermine Church teachings try to stop him. Gospel of James. They work with (and are sometimes betrayed by) historians, forensic detectives, and shady antiquities dealers, all of The movie will combine elements of INDIANA JONES with THE who are seeking the Gospel for their own agendas. DA VINCI CODE (without the controversy). It will contain exciting adventures through the various archeological sites in Jordan, but In Jordan, their search for the Lost Gospel will take Simon and will also contain a mystery at the center, as the archaeologist tries Elizabeth through a plethora of major archaeological sites, to uncover the hidden truth about Jesus Christ’s teachings, and in including the Temple of Hercules in Amman, the site of Christ’s the process experiences a renewed faith in God. baptism at Bethany, the Roman ruins at Jerash, the ancient Ebionite settlement at Pella, the Crusader castle at Kerak, and the Islamic Simon, a British archeologist, has lived like a recluse for several fortress of Ajlun. years, but he is called out of personal exile by an old friend, FATHER DEMETRIUS, a Greek Orthodox priest who has made a remarkable The adventure will climax at Petra, where Simon and Elizabeth discovery. In a secret room inside the Orthodox Patriarchate in will discover the Lost Gospel buried deep inside the mountainside. Istanbul, Father Demetrius has found an ancient scroll written in But when their enemies try to destroy the Gospel, our heroes are Koine Greek – the language spoken by the writers of the New buried alive inside a cave. Simon is on the verge of despair. And Testament. The scroll contains a coded reference to the hiding then, a mysterious miracle happens where Simon has a vision of his place of a Gospel written by James the Just, the brother of Christ dead son, who guides his parents to escape and share the Gospel and the first bishop of Jerusalem. with the world. The Gospel is translated and contains beautiful teachings by Jesus Christ that do not threaten the doctrines of any Father Demetrius wants Simon to help him decode the scroll religion, but create a bridge of love between people of all faiths. and find the lost gospel, which would be the first known account of And in the process of finding the Gospel of James, Simon and Christ’s life by an eyewitness. Elizabeth rekindle their own love, and Simon rediscovers his Simon is initially reluctant to get involved. But when Father personal faith in God. Demetrius is murdered by a mysterious assassin, Simon takes the scroll and escapes. Pursued by the killers, Simon turns to the only Shooting in Jordan

THE LOST GOSPEL will provide a wonderful opportunity to showcase the archaeological riches of Jordan. And more importantly, its underlying message of love and reconciliation between Jews, Christians and Muslims is symbolic of the policies of His Majesty King Abdullah, who has strived for years to bring peace to the Middle East. This movie will bring international attention to the rich heritage of the Jordanian people, and highlight their important contributions to the world, both in ancient times and today. Background 1/2

According to the New Testament and other historical sources, Jesus had a brother named James the Just who led the early Christian Church in Jerusalem in the immediate aftermath of Christ’s mission. James was a devout Jew who strictly followed the Law of Moses, including eating kosher and praying in accordance with Jewish ritual. He was challenged by Paul, who claimed that salvation came through faith in Christ alone and obedience to the Jewish Law was unnecessary. Paul’s vision of faith would eventually become the basis of modern Christianity, but in the early days of the religion, his views were in the minority. James and the disciples of Jesus remained strictly observant Jews and did not see Christ’s mission as having founded a new religion. Rather, they believed that Jesus was a prophet who had been sent by God as the Messiah of Israel. Their beliefs were similar to how later Muslims would see Jesus, and many Muslims look back with respect at these “Jewish Christians” and see them as predecessors of Islam. The followers of James were known as Ebionites, which means “the poor” in Hebrew. The Ebionites were in deep conflict with Paul, who they claimed was distorting Christ’s teachings by abolishing adherence to the Law of Moses, which Jesus himself followed in his lifetime. Background 2/2

The Ebionite movement was dealt two major blows in the first century. The movement lost its leader The reason these accounts are important is that, when James the Just was killed by the High Priest of according to Church historians, the Ebionites, the Jerusalem in 62 A.D. And then the Roman armies followers of James, followed a Gospel that was written destroyed Jerusalem in 70 A.D. and the Ebionites, like in Hebrew. The Church condemned this Gospel as other Jews, were forced to flee the Holy Land. heresy and it was suppressed by the Council of Nicea According to historians, the Ebionites escaped to in 325 A.D. But historians believe that the followers of neighboring Jordan and settled in Pella. The James continued to use their Hebrew scriptures in destruction of Jerusalem and the death of Christ’s secret for centuries. It therefore seems quite brother weakened the Ebionite movement and it was possible that Ebionite Christians befriended never able to compete with Paul’s ministry to the Prophet Muhammad, as his vision of Jesus as a Gentiles. The Ebionites were eclipsed by Paul’s human prophet was so similar to their own. followers, who went on to establish their vision as the mainstream understanding of Christianity. No trace of the original Hebrew or Aramaic gospels of the early Christians has ever been found. But some But the Ebionites did not completely disappear. scholars believe that the discovery of these original They remained in Jordan, Syria and northern Arabia for writings would give us the clearest understanding hundreds of years, and the leaders of the Christian of Jesus and his mission by people that knew him Church condemned them as heretics. Some scholars personally. And Jordan is the most likely place that believe that Prophet Muhammad may have come into such writings could be found, as the Ebionites took contact with Ebionite Christians, as there are early refuge there when the Romans destroyed Jerusalem. hadith about the young Muhammad meeting a Christian monk named Bahira who recognized that he The Ebionite vision of Christ as a practicing Jew would be a prophet, based on a secret Christian book who obeyed the Law of Moses would create a that was passed along for centuries. Early accounts common ground of understanding between Jews, also mention that a Christian in Mecca named Waraqa Christians and Muslims. In a world where divisions supported Muhammad’s claim to being a prophet. between the children of Abraham have led to much bloodshed, such a common ground is desperately What is significant is that according to the great needed. Muslim hadith scholar Bukhari, Waraqa followed a Gospel written in Hebrew. Proposed cast alternatives for Simon Masters, the central character

The central character of the film is Simon Masters, a British archaeologist who was once considered one of the most respected scholars of Biblical history. But family tragedy has over-shadowed his life. His son died in a terrible accident at an archaeological dig site, and Simon has never completely recovered Gerard Daniel Eric Adrien from this loss. Butler Craig Bana Brody • Nim’s Island, • Quantum of • The Other • The His marriage to ELIZABETH P.S. I love Solace, The Boleyn Girl, Darjeeling MOREAU, a fellow archaeologist, you, 300, The Golden Lucky you, Limited, King collapsed from the pain of their Phantom of Compass, Munich, Kong, The child’s death, and Simon withdrew the Opera, The Invasion, Troy, Hulk, Jacket, The from public life. A formerly Dracula Casino Royal, Black Hawk Village, The devout Christian, his faith in God 2000… Munich… Down… Pianist… has been shattered by the terrible turn of events in his life. Proposed cast alternatives for Elizabeth Moreau

Simon is Elizabeth’s ex- husband.

She decides to follow him in his adventurous quest.

Rachel Eva Amanda Milla Weisz Green Peet Jovovich • My Blueberry • Casino • Syriana, A lot • Resident Evil, Nights, Royale, The like love, Ultraviolet, Eragon, The Golden Melinda and The Fifth Constant Compass, Melinda, Element, Gardener, Kingdom of Something’s Zoolander, … The Heaven, … gotta give, Mummy… Identity… Proposed cast alternatives for Father Demetrius

Father Demetrius is a Greek Orthodox priest and an old friend of Simon.

Gene Morgan Gary Jon Hackman Freeman Oldman Voight • Enemy of the • Batman • Batman • National State, The Begins, Begins, Treasure, Quick and Million Dollar Hannibal, The Transformers, the Dead, Baby, Bruce Professional, Manchurian The Almighty, Bram Stoker's Candidate, Birdcage... Deep Impact, Dracula... Mission Se7en... Impossible... Other seekers of the Gospel

Simon and Elizabeth work with and are sometimes betrayed by historians, forensic detectives, and shady antiquities dealers, all of who are seeking the Gospel for their own agendas.

For these characters, we will use internationally acclaimed actors, Saïd Naveen Omar Nadine who represent the spirit and the Taghmaoui Andrews Sharif Labaki creativity of the region. •G.I Joe, Vantage •Lost, The Brave •Hidalgo, Dr •Caramel, Bosta, Point, O One, Planet Zhivago, Funny Seventh Jerusalem, Terror, Bride Girl, Lawrence Dog… Hidalgo, Three and Prejudice… of Arabia… Kings, Hideous Kinky… Similar films

US Box World Box Title Year Budget Office Office Indiana Jones and the Crystal Skull 2008 $185M $276M $634M

Da Vinci Code 2006 $125M $217M $757 M

Sahara 2005 $160M $69M $108M

National Treasure 2004 $100M $173M $338M

The Passion of the Christ 2004 $30M $500M $604M

The Bourne Identity 2002 $60M $121M $213M

Lara Croft 2001 $80M $131M $252M

The Mummy 1999 $80M $155M $413M Indiana Jones and the last Crusade 1989 $48M $197M $495M Proposed Directors

• The Children of • The Bone • The Recruit • The Thomas Huang Shi Collector • The Bank Job Crown Affair • Tomorrow • Clear and • Die Hard Noyce • Dante’s Peak Never Dies Present Danger • The Getaway • Last Action

• The 6th Day • Patriot Games Hero

McTiernan Donaldson

• Under Fire • The Saint • Predator

Spottiswoode

Philipp

John

Roger Roger Roger Roger Writer: Kamran Pasha

Kamran Pasha is a writer and producer for NBC’s highly anticipated new television series KINGS, which is a modern day retelling of the Biblical tale of Kind David. Previously he served as a writer on NBC’s remake of BIONIC WOMAN, and on Showtime Network’s Golden Globe nominated series SLEEPER CELL, about a Muslim FBI agent who infiltrates a terrorist group. Kamran will soon be a published novelist as well. He has secured a two-book deal with Simon & Schuster’s Atria Books to publish SHADOW OF THE SWORDS, a love story set amidst the Crusades, and MOTHER OF THE BELIEVERS, an historical fiction tale showing the rise of Islam from the eyes of Prophet Muhammad’s teenage wife Aisha, who grew to become a politician and a warrior. Kamran has also made strides in the video game world. He recently wrote BLOOD ON THE SAND for Vivendi Universal, the sequel to hip-hop mogul 50 Cent’s bestselling game BULLETPROOF. An expert on the Middle East, Kamran is one of the few successful Muslim screenwriters in Hollywood. In 2003, he set up his first feature script at Warner Brothers, an historical epic on the love story behind the building of the TAJ MAHAL. He is currently writing an epic film entitled THE VOYAGE OF IBN BATTUTA, which follows the adventures of a famous Arab traveler who journeyed to China in the 14th century. Kamran holds a JD from Cornell Law School, an MBA from Dartmouth and an MFA from UCLA Film School. He spent three years as a journalist in New York City, writing for media companies such as Knight-Ridder. During his time as a reporter, Kamran interviewed prominent international figures such as Israeli Prime Minister Shimon Peres, Peruvian President Alberto Fujimori, and Pakistani Prime Minister Benazir Bhutto. Producer: Forecast Pictures

Jean-Charles Levy

•With 20 years of experience in the media industry, Jean- Charles Lévy started as financial consultant for Arthur Andersen before joining TF1 for 10 years, including 5 years Est. 2003, Forecast Pictures is a French production and consulting as President of TF1 USA in Los Angeles. Dealmaker of the company dedicated to international movie financing. TF1-Miramax joint venture in France, Jean-Charles is Our precise knowledge of moviemaking regulations, tax breaks, credited as producer on numerous films including Walled in subsidies and soft moneys in more than sixty countries worldwide (Mischa Barton), O Jerusalem (Ian Holm, JJ Feild), Far From allows us to offer new financing opportunities to the producers and Heaven (Julianne Moore, Dennis Quaid), The Contender (Jeff arrange them to provide tailor-made financing scenarios through Bridges, Gary Oldman), Under Suspicion (Morgan Freeman, alternative combinations of resources. Gene Hackman) and Scenes of the Crime (Jeff Bridges, Noah Wyle). During its first years, Forecast has successfully produced as an independent the 20 M € epic movie “O Jerusalem” starring Saïd Taghmaoui, JJ Field, Patrick Bruel and Ian Holm , as well as “Walled In” Nicolas Manuel a 7 M € psychological thriller staring Mischa Barton (the O.C.), Cameron Bright (Birth, Xmen 3, …) and Deborah Unger (The Game, ...). •Graduate of the prestigious Sciences Po school of Paris, Nicolas also holds a Master in Audiovisual law from the The upcoming slate of production for Forecast Pictures includes the University of Paris La Sorbonne. In charge of the company’s 25 millions Euros adventure thriller “Informer” to be directed by David business affairs, he handles the legal and financial back- Marconi (“Enemy of the State, Mission Impossible 2…), “Tom’s Wait” office for our clients and perform necessary negotiations, coproduced with Killer Films (I’m not there, Boys don’t cry, …), “The applications and related legal work on their behalf. voyage of Ibn Battuta” and the preparation of various other movies with budgets and genres, ranging from 2 to 35 millions Euros. Olivier Piasentin Forecast is also currently raising a 50 M Euros equity fund dedicated to invest in international features, with high commercial value. •A former business affairs in international distribution, Olivier is Forecast's production executive. He is in charge of the development and funding solutions for in-house movie projects. He also handles trading of remake rights between Europe and North America on behalf of independent producers. Worldwide Communication

Marketing coordination The Theme Song

 During the production of the  A US star/band will perform a theme song specifically composed for the movie, we will hire a renowned movie. marketing PR - used to deal with  The song will travel around the world marketing campaigns and releases and promote both the movie and of Studio movies - to supervise the Jordan scenery. marketing for the movie.  We have included a corresponding amount in our budget and are  He will be in charge of considering the following artists coordinating the marketing on a (non-exhaustive list): global scale (journalists visits to the  Gwen Stefani  Madonna sets, partnerships and sponsorships  The Police management, press releases…)  P.Diddy with Rihanna during the production and until the  Black Eyed Peas  Sheryl Crowe release of the movie. Financials of the movie

Although a difficult exercise with a script non-entirely written yet, we do foresee a cost of the movie (considering the level of talent targeted, the desired production value, the type of film, …) of about 30 to 40 M USD.

Once you’ll have approved this preliminary presentation, we’ll be happy to visit you in Jordan in order to talk in details about the creative and financial parameters of the film, as well as detailing the potential financing scenarios that we do have in mind for the film itself.

Whatever your final investment, it will be guaranteed by an array of mechanisms, which will ensure you of the crystal-clear financing of the venture, as well as of the flow of revenues: collection account, completion guarantee, budget control and auditing procedures, international distribution by world-renowned sales agent, … ANNEX

Forecast Pictures Annex 1

Choosing an author

Researches and studies

Treatment and combining author + director

Script versions 1 , 2 , 3 and shooting script

Initial draft budget based on script

Scout shooting locations

Approach the lead cast and the crew

Final Budget

Choose coproducing partners

Arrange the financing

Close deals (funds released only when financing completed & completion bond is secured)

Collect revenues through third party reputable collection agent & international sales company

Pre-production

Shoot

Post-Production

Deliveries

Presales & sales to local distributors throughout the world

First run exploitation (Theatrical, DVD, Pay TV, Free TV)

Collection of overages

Residual catalog value

% Estimated Sales by Territory

Europe Middle East Benelux 2-3% Israel 0-1% •License rights to domestic France 6-8% Middle East 0-1% Sources distributors Germany/Austria/Switzerland 6-8% Subtotal 1-2% •Participation throughout Greece/Cyprus 0-1% all ancillary markets of Cash Italy 5-6% Asia/Pacific •Foreign sales Flow Portugal 0-1% Hong Kong 0-1% •Possible retention of Include foreign rights Scandinavia 2-3% Indonesia 0-1% •Library sale on exit Spain 3-5% Japan 5-6% Turkey 0-1% Malaysia 0-1% UK (incl. Ireland) 6-8% Philippines 0-1% Other 0-1% Singapore 0-1% Subtotal 30-40% S. Korea 1-2% Taiwan 0-1% Eastern Europe Thailand 0-1% C.I.S. 1-2% Other 0-1% Czech/Slovak/Poland/Hungary 0-1% Subtotal 5-10% •Foreign sales usually Serbia/Montenegro/Mace/Bos/Croatia 0-1% include an upfront Subtotal 2-5% Other minimum guarantee on Airlines 3-5% delivery Latin America Australia/NZ 2-3% •May enter into contract Argentina/Paraguay/Uruguay 0-1% Iceland 0-1% Foreign before production begins Sales •Retaining rights is riskier Brazil 0-1% India 0-1% but could be more Central America 0-1% South Africa 0-1% Detail lucrative Major foreign Chile 0-1% Other 0-1% sales markets include: Colombia 0-1% Subtotal 5-8% Cannes, Toronto, Mexico 1-2% American Film Market, Berlin… Peru/Bolivia/Ecuador 0-1% Venezuela 0-1% Total International 40-60% Other 0-1% Total North America 40-60% Subtotal 2-5% Grand Total World 100%

Example of Low Budget High Revenue Films

Picture Budget Box Office Gross Revenues (w: worldwide; d: domestic) Video (US rentals)

Do the Right Thing (1989) $6 500 000 $27 545 445 d N/A Boyz 'N the Hood (1991) $6 000 000 $57 504 069 d N/A Menace II Society (1993) $3 485 000 $27 710 300 d N/A Pulp Fiction (1994) $8 405 000 $212 900 000 w N/A Four Weddings and a Funeral ( 1994) $6 000 000 $244 100 000 w N/A Dead Man Walking (1995) $11 000 000 $79 725 000 w N/A Fargo (1996) $7 000 000 $49 082 374 w N/A The Full Monty (1997) $3 500 000 $256 900 000 w N/A Copland (1997) $15 000 000 $63 686 089 w N/A Gods and Monsters (1998) $3 500 000 $6 390 032 d $21 100 000 Varsity Blues (1999) $16 000 000 $52 885 587 w $61 700 000 American Pie (1999) $11 000 000 $201 700 000 w $68 700 000 She's All That (1999) $10 000 000 $103 619 509 w $46 300 000 In Too Deep (1999) $7 000 000 $14 003 141 d $17 400 000 Pollock (2000) $6 000 000 $8 596 914 d $8 900 000 Memento (2000) $5 000 000 $25 530 884 d $59 900 000 Gosford Park (2001) $15 000 000 $41 300 105 d $43 000 000 In the Bedroom (2001) $1 700 000 $35 918 429 d $33 200 000 Monster's Ball (2001) $4 000 000 $31 252 964 d $77 400 000 Mig Big Fat Greek Wedding (2002) $5 000 000 $356 500 000 w $65 100 000 Bent it Like Beckham (2002) $5 000 000 $32 741 519 d $26 200 000 Whale Rider (2002) $5 000 000 $20 772 796 d $11 000 000 City of God (2002) $3 300 000 $7 563 397 d $7 100 000 Frida (2002) $12 000 000 $25 776 062 d $14 300 000 Monster (2003) $8 000 000 $34 468 224 d $28 500 000 Open Water (2003) $130 000 $38 500 882 w $32 600 000 Saw (2004) $1 200 000 $55 153 403 d $35 700 000 Garden State (2004) $2 500 000 $26 781 723 d $19 800 000 Hotel Rwanda (2004) $15 000 000 $23 472 900 d $27 100 000 Napoleon Dynamite (2004) $400 000 $44 540 956 d $43 800 000 White Noise (2005) $12 000 000 $55 865 715 d $38 300 000 The Wedding Date (2005) $15 000 000 $31 585 300 d N/A Crash (2005) $7 500 000 $55 382 847 d N/A March of the Penguins (2005) $5 000 000 $72 846 145 d N/A

Worldwide Box Office

Current •2004 Box Office was flat versus 2003 2001 -2004 environment •2004 Growth in Home Video at 2.5% 30 Canada 25 20 Latin America Consistent 15 Asia-Pacific Box Office •4,3% CAGR since 2000 10 Growth 5 EMEA 0 USA 2001 2002 2003 2004 Healthy Attendance •1,9% CAGR over last 11 years Trends US Home Video Sales & Rentals

Stable Annual 40 Price •3,8% CAGR over last 11 years 35 Increases 30 25 Rentals 20 Resistance to 15 Sales 10 •Growth in 3 of last 5 recessions Economic 5 Downturns 0 2001 2002 2003 2004 2005

Breakdown of Studio Film Key Highlights Revenues • Home Video is the dominant source of studio revenues • International revenues are increasingly 3,0% important 14,1% Home Video • Growth of domestic and international 15,2% Domestic Box-Office 52,5% cable channels require product to feed International Box-Office 15,3% pipeline Television VOD • New technologies will continue to create new markets and distribution channels (i.e. High definition DVDs, VOD, etc) for repeated sales of the same content

Box Office Market

United States 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009

05-'09 CAGR

Admissions (Millions) 1 421 1 487 1 639 1 574 1 536 1 540 1 555 1 575 1 595 1 615

% Change -3,0% 4,6% 10,2% -4,0% -2,4% 0,3% 1,0% 1,3% 1,3% 1,3% 1,2%

Average Price ($) $5,39 $5,66 $5,81 $6,03 $6,21 $6,40 $6,60 $6,80 $7,00 $7,20

% Change 6,1% 4,9% 2,7% 3,8% 3,0% 3,1% 3,1% 3,0% 2,9% 2,9% 3,0%

Box Office ($ in Millions) $7 661 $8 412 $9 520 $9 489 $9 539 $9 856 $10 263 $10 710 $11 165 $11 628

% Change -2,9% 9,8% 13,2% -0,3% 0,5% 3,3% 4,1% 4,4% 4,2% 4,1% 4,2%

Source: Motion Picture Association of America, PricewaterhouseCoopers LLP, Wilkofsky Gruen Associates

Home Video Universe

Category 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009

05-'09 CAGR

Home Video Households (Millions) 88,1 90 93,5 97 99,5 101 102,5 104 105,5 107 1,5%

Home Video Household Penetration (%) 87,4% 88,1% 88,7% 91,0% 91,8% 92,2% 92,5% 92,9% 93,2% 93,5%

DVD Households (Millions) 8,8 18,9 35 60 79 88 95 99 102 105 4,5%

DVD Households Penetration (%) 87,0% 18,5% 33,2% 56,3% 72,9% 80,3% 85,7% 88,4% 90,1% 91,8%

International Filmed Entertainment Markets • International Revenues are increasingly important with continued expansion of existing markets and expanding New Technologies producing rapid growth and and an increasingly important significant market size.

International Box Office & Traditional Home Video

Country 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 05-'09 CAGR Europe, Middle East, Africa Western Europe 14 828 17 365 20 559 23 271 25 893 28 303 30 735 33 100 35 383 37 593 % Change 17,1% 18,4% 13,2% 11,3% 9,3% 8,6% 7,7% 6,9% 6,2% 7,4%

Central & Eastern Europe 574 726 847 892 1 059 1 179 1 308 1 443 1 584 1 729 % Change 26,5% 16,7% 5,3% 18,7% 11,3% 10,9% 10,3% 9,8% 9,2% 10,0%

Middle East / Africa 264 284 288 323 349 371 394 417 441 465 % Change 7,6% 1,4% 12,2% 8,0% 6,3% 6,2% 5,8% 5,8% 5,4% 5,8%

Total Europe, Middle East, Africa 15 666 18 375 21 694 24 486 27 301 29 853 32 437 34 960 37 408 39 787 % Change 17,3% 18,1% 12,9% 11,5% 9,3% 8,7% 7,8% 7,0% 6,4% 7,4%

Asia Asia 12 341 13 196 13 722 14 503 15 375 16 184 16 951 17 763 18 506 19 237 % Change 6,9% 4,0% 5,7% 6,0% 5,3% 4,7% 4,8% 4,2% 4,0% 4,4%

Latin America Latin America 1 113 1 185 1 272 1 400 1 606 1 729 1 851 1 977 2 097 2 216 % Change 6,5% 7,3% 10,1% 14,7% 7,7% 7,1% 6,8% 6,1% 5,7% 6,4%

Canada Canada 2 255 2 642 3 574 4 207 4 811 5 343 5 852 6 243 6 608 6 938 % Change 17,2% 35,3% 17,7% 14,4% 11,1% 9,5% 6,7% 5,8% 5,0% 6,7%

Marketing Addendum Quality exposure

 During the shoot of the film:

 Making of, interviews on set, « people magazines and TV programs» around the world showing the stars on locations, …

 Organization of specific trips on location for the international press & TVs

 Before theatrical release of the film:

 Trailers of the movie (on TV, in theaters, …), broadcast on TV of the making of, …

 World TV broadcast of the music video of the end-title song of the movie (MTV, radios, …)

 World-premiere of the film in the Middle East, and then international premieres worldwide

 Theatrical release of the film:

 Potential advertising campaigns during the promotion of the movie (shot on the set during the shoot, …)

 Contests to win tailor-made prizes (trips to the U.A.E, shopping carts, cars rentals, jewels, …)

 DVD release of the film:

 DVD pack will contain a specificly dedicated DVD with the Making of and potentialy promotional films

 Potential advertising campaigns during the promotion of the movie (shot on the set during the shoot)

 DVD release will include contests to win prizes, trips, … could be similar to what will be organized for the Theatrical release

 TV exploitation of the film: first runs worldwide and reruns

 Maximum exposure to great number of TV viewers around the world

 The movie being oriented towards bigger audiences, it will no doubt be broadcasted on prime-time television

 Potential advertising campaigns during the broadcasting of the movie (shot on the set during the shoot)

NB: Based on our estimates we anticipate that each film funded could be exposed to over 40M qualified viewers.

 During the shoot of the film:  Not possible to quantify

 Before theatrical release of the film:  Not possible to quantify

 Theatrical release of the film (considering an average 7 USD per admission):  Average Box Office of similar films :  USA : (36 + 68 + 102 + 69 + 4 + 2)/6 = 46 M USD => 6,5 M admissions expected / targeted  Rest of the world : (3 + 52 + 133 + 48 + 16 + 18)/6 = 45 M USD => 6,5 M admissions expected / targeted

 DVD release of the film (considering an average 2,5 viewer per DVD acquired):  Considering a conservative average of 10% of admissions as a transformation ratio for DVD acquisitions:  USA : 650 000 DVDs => 1,62 M viewers targeted  Rest of the world : 650 000 DVDs => 1,62 M viewers targeted

 TV exploitation of the film: first runs (reruns not accounted for)

 USA, minimum targeted prime-time number of viewers => 8 M viewers targeted

 ROW, with an estimation of USA x 3 (conservative) => 24 M viewers targeted

=> Targeted and Estimated 45 Millions viewers of the movie around the world.

Hotels: Airline: Mall: Real Estate Consumer Car brands Jewelery: & Banks: Electronics: and Car Used as some Will be used rentals: Used in the Part of the The place of The place locations throughout the movie itself as movie takes the initial theft, Cars used in where the during the movie and will one of the four place in the and then a the movie: for initial theft , shoot. Will emphasize the main locations . plane during location used the initial heist, that is the benefit from local know-how The place the trip to the for various 4x4 for the thread of our the and showase where our lead U.A.E. + Airline scenes of the group to look story , takes international U.A.E.’s cast & crew will be tied movie. for the loot, … place. could stay also corporate technology to strongly to our Will be present during the exposure of the the rest of the promotion throughout the shoot. movie. world. movie.

All will be either locations and/or products shown as part of the story and/or used for advertising the Picture. Sponsor will be tightly linked to the movie, part of the “making of” in the DVD, used for the Electronic Press Kit distributed to the international press & media, part of contests-prizes when the movie and the DVD gets released, part of the trailers for international theatrical release, viewed on prime-time TV when movie will get broadcasted, …

« …the establishment of a significantly large, yet of a limited size, film studio in or around Liege should engender approximately € 20M of yearly expenditure in the region. »

« … the ad hoc studies done in England to measure the economic impact of Pinewood studios (before the merger of Pinewood and Shepperton), and in Germany to measure that of the Babelsberg Studios, deliver an interesting and credible approximation regarding the economic impact of a future Wallon Studio: both studies lead to similar results and demonstrate that for every Euro invested strictly in film production, between 3 and 4 Euros are spent in the local economy. Therefore the creation of a film studio can bring real economic advantages to the region where it’s constructed, even though the studio itself could be unprofitable, and even though its activity depends partially on the implementation of financial aid and/or subsidization devices which represent certain costs for the local authority. Economically speaking the equation can be formalized as follows:

P = S + (3,50xS) – SUB – LOSS where P is the profit for the local authority, S is the sales figure of the film productions spent in the studio (thus studio’s revenue plus all the services in direct relation with the filming even though they are not billed by the studio) 3.50xS is the amount of the expenditure induced by the film production in the local economy LOSS is the probable losses of the studio and the other service providers that are directly involved throughout the filming processes SUB represents the cost of subsidies and various aids provided by the local authority and intended to increase the attractivity of the studio

A recent study prepared in Ireland (whose complete results are quoted in the professional press) shows that S is slightly superior to 4 times SUB (the precise ratio comes up as 4.17) which helps to estimate the profit for the local authority, P as:

TOTAL CONSOLIDATED AMOUNT, FOR THE Friends & Lost Ibn Hard FILM 5 FILM 6 FILM 7 FILM 8 FILM 9 FILM 10 FILM 11 FILM 12 FILM 13 FILM 14 FILM 15 WHOLE DURATION OF Money Gospel Battuta Drive THE FUND

Quarter of investment 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD) 430 20 50 30 30 10 30 20 50 10 30 20 30 40 10 50 OVERALL AVERAGE Share invested by the fund (% of the budget of films) 258 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% Producer fee for the Fund (% of the budget of each film) 21,5 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films) 172 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films) 86 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% Net revenues coming back to the fund, cycle 3 (% of budget of films) 0 0% 0% 20% 0% 0% 0% 0% 0% 50% 0% 0% 0% 0% 0% 50% Catalog value (% of budget of films) 43 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10%

Nb of months after initial investment, when Producer fees are paid 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Cycle 1 : revenues coming 9 monthes after initial investment 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 Cycle2 : revenues coming 18 monthes after initial investment 18 18 18 18 18 18 18 18 18 18 18 18 18 18 18 Cycle 3 : revenues coming 36 monthes after initial investment : OVERAGES 36 36 36 36 36 36 36 36 36 36 36 36 36 36 36

Maximum amount invested by the fund 69,21 LOW CASE CASE SCENARIOLOW Internal rate of remuneration of the non-used amounts of the Fund (per year) 0% INVESTMENT CYCLE IS OVER THE FIRST 4 YEARS ONLY VS OVERALL FUND PROFITABILITY IS OVER 7 YEARS Rémunération intermédiaires plaçant le fonds 0,0% PRODUCER FEES SPLIT: 5% Set up costs (including lawyers and tax advisers) - Fund's executive producer fee : 2,50% - outside services 0,25 - Funds' proper Producing fee : 2,50% - internal services 0,25 Accounting, CPAs, audits, … (per Quarter) 0,05 0,01 Overheads and expenses from the structure (per Quarter) - overheads 0,52 - developments expenses (1 000 000 USD yearly) 0,25

TOTAL CONSOLIDATED AMOUNT, FOR THE Friends & Lost Ibn Hard FILM 5 FILM 6 FILM 7 FILM 8 FILM 9 FILM 10 FILM 11 FILM 12 FILM 13 FILM 14 FILM 15 WHOLE DURATION OF Money Gospel Battuta Drive THE FUND

Quarter of investment 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD) 430 20 50 30 30 10 30 20 50 10 30 20 30 40 10 50 OVERALL AVERAGE Share invested by the fund (% of the budget of films) 258 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% Producer fee for the Fund (% of the budget of each film) 21,5 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films) 193,5 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films) 86 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% Net revenues coming back to the fund, cycle 3 (% of budget of films) 43 10% 10% 20% 10% 10% 10% 10% 10% 50% 10% 10% 10% 10% 10% 50% Catalog value (% of budget of films) 43 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10%

Maximum amount invested by the fund 66,77 Internal rate of remuneration of the non-used amounts of the Fund (per year) 0%

Rémunération intermédiaires plaçant le fonds 0,0% MEDIUM SCENARIO CASE

Set up costs (including lawyers and tax advisers) - outside services 0,25 - internal services 0,25 Accounting, CPAs, audits, … (per Quarter) 0,05 0,01 Overheads and expenses from the structure (per Quarter) - overheads 0,5232 - developments expenses (1 000 000 USD yearly) 0,25

TOTAL CONSOLIDATED AMOUNT, FOR THE Friends & Lost Ibn Hard FILM 5 FILM 6 FILM 7 FILM 8 FILM 9 FILM 10 FILM 11 FILM 12 FILM 13 FILM 14 FILM 15 WHOLE DURATION OF Money Gospel Battuta Drive THE FUND

Quarter of investment 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD) 430 20 50 30 30 10 30 20 50 10 30 20 30 40 10 50 OVERALL AVERAGE Share invested by the fund (% of the budget of films) 258 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% Producer fee for the Fund (% of the budget of each film) 21,5 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films) 283,8 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films) 0 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% Net revenues coming back to the fund, cycle 3 (% of budget of films) 107,5 25% 25% 20% 20% 20% 20% 20% 20% 50% 20% 20% 20% 20% 20% 50% Catalog value (% of budget of films) 43 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10%

Maximum amount invested by the fund 62,57 TARGET SCENARIO Internal rate of remuneration of the non-used amounts of the Fund (per year) 0%

Rémunération intermédiaires plaçant le fonds 0,0%

08/01/2009 - 16:29 Page 1 / 10 CONFIDENTIAL YEARLY EXPENSES 7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008

Other ALL AMOUNTS IN USD Year 1 Monthly Fringes Yearly Year

CEO France 1 1 20 000 1,6 384 000 CEO USA 1 1 20 000 1,3 312 000 Selection Comittee Morocco / France 1 1 10 000 1,5 180 000 Advisors To Be Determined 1 1 300 000 1 300 000 Assistant France 1 1 3 000 1,6 57 600 Assistant USA 1 1 3 000 1,3 46 800

Internal Legal France 1 1 6 000 1,6 115 200 Production supervisor France 1 1 6 000 1,6 115 200

Office France Rental 1 1 5 000 1 60 000 Office USA Rental 1 1 5 000 1 60 000

Office France Insurance, misc, phone, … 1 1 3 000 1 36 000 Office USA Insurance, misc, phone, … 1 1 3 000 1 36 000

Office France Travel & Entertainment 1 1 7 000 1 84 000 Office USA Travel & Entertainment 1 1 7 000 1 84 000

Information Technology 6 1 1 000 1 72 000

Yearly outside legal Part non included in movies budget 1 1 150 000 1 150 000

TOTAL 2 092 800

08/01/2009 - 16:29 Page 2 / 10 CONFIDENTIAL SIMULATIONS RESULTS 7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008

Simulations of cumulated net results of the Venture, Excluding Tax Impact

150,00 LOW Performance : Cumulated net result, excluding tax impact 100,00

MEDIUM Performance : Cumulated net result, 50,00 excluding tax impact

0,00 M $ USD M TARGET Performance : Cumulated net result, excluding tax impact

-50,00

-100,00 Quarters

Low Simulations

80,00 Cumulated Net Resluts,exc Taxes 60,00 40,00 Cumulated quaterly interests 20,00 0,00 -20,00 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 LOW Performance : Cumulated net result, excluding tax impact

-40,00 M $ $ USD M -60,00 Quarterly net revenues, excl taxes -80,00 Quarters

Medium Simulations

140,00 Cumulated Net Resluts,exc Taxes 120,00 100,00 80,00 Cumulated quaterly interests 60,00 40,00 20,00 0,00 MEDIUM Performance : Cumulated net result, excluding M $ $ USD M -20,00 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 tax impact -40,00 -60,00 Quarterly net revenues, excl taxes -80,00 Quarters

Target Simulations Cumulated Net Resluts,exc Taxes 150,00

100,00 Cumulated quaterly interests

50,00

TARGET Performance : 0,00 Cumulated net result, excluding

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 tax impact M $ $ USD M -50,00 Quarterly net revenues, excl taxes -100,00 Quarters

08/01/2009 - 16:29 Page 3 / 10 CONFIDENTIAL CALCULATION OF IRR 7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008

2009 2010 2011 2012 2013 2014 2015 2016 Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 LOW IRR CALCULATION -0,5 -13,323 -42,806 -58,79 -67,773 -52,756 -58,739 -53,7224 -69,206 -55,189 -59,172 -48,155 -55,638 -62,622 -49,105 -59,088 -35,071 -27,854 -2,6376 0 0 0 0 0 0 0 0 0 0 65,5472 MEDIUM IRR CALCULATION -0,5 -13,323 -42,806 -58,79 -66,773 -49,256 -53,739 -47,2224 -62,206 -46,689 -49,672 -36,155 -43,138 -46,622 -27,105 -35,588 -6,5712 0 0 0 0 0 0 0 0 0 0 0 0 113,047 TARGET IRR CALCULATION -0,5 -13,323 -42,806 -58,79 -62,573 -34,556 -32,739 -23,9224 -46,806 -30,989 -35,772 -13,755 -24,638 -22,822 -1,6048 -5,788 0 0 0 0 0 0 0 0 0 0 0 0 0 120,847

08/01/2009 - 16:29 Page 4 / 10 CONFIDENTIAL LOW 7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008

TOTAL CONSOLIDATED Friends & AMOUNT, FOR THE Lost Gospel Ibn Battuta Hard Drive FILM 5 FILM 6 FILM 7 FILM 8 FILM 9 FILM 10 FILM 11 FILM 12 FILM 13 FILM 14 FILM 15 Money WHOLE DURATION OF THE FUND

Quarter of investment 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD) 430 20 50 30 30 10 30 20 50 10 30 20 30 40 10 50 OVERALL AVERAGE Share invested by the fund (% of the budget of films) 258 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% Producer fee for the Fund (% of the budget of each film) 21,5 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films) 172 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% 40% Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films) 86 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% Net revenues coming back to the fund, cycle 3 (% of budget of films) 20% 50% 50% Catalog value (% of budget of films) 43 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10%

Maximum amount invested by the fund 69,2056 Internal rate of remuneration of the non-used amounts of the Fund (per year) INVESTMENT CYCLE IS OVER THE FIRST 4 YEARS ONLY VS OVERALL FUND PROFITABILITY IS OVER 7 YEARS Rémunération intermédiaires plaçant le fonds PRODUCER FEES SPLIT: 0,05 Set up costs (including lawyers and tax advisers) - Fund's executive producer fee : 0,025 - outside services 0,25 - Funds' proper Producing fee : 0,025 - internal services 0,25 Accounting, CPAs, audits, … (per Quarter) 0,05 0,01 Overheads and expenses from the structure (per Quarter) - overheads 0,5232 - developments expenses (1 000 000 USD yearly) 0,25

08/01/2009 - 16:29 Page 5 / 10 CONFIDENTIAL MEDIUM 7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008

TOTAL CONSOLIDATED Friends & AMOUNT, FOR THE Lost Gospel Ibn Battuta Hard Drive FILM 5 FILM 6 FILM 7 FILM 8 FILM 9 FILM 10 FILM 11 FILM 12 FILM 13 FILM 14 FILM 15 Money WHOLE DURATION OF THE FUND

Quarter of investment 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD) 430 20 50 30 30 10 30 20 50 10 30 20 30 40 10 50 OVERALL AVERAGE Share invested by the fund (% of the budget of films) 258 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% Producer fee for the Fund (% of the budget of each film) 21,5 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films) 193,5 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% 45% Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films) 86 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% 20% Net revenues coming back to the fund, cycle 3 (% of budget of films) 43 10% 10% 20% 10% 10% 10% 10% 10% 50% 10% 10% 10% 10% 10% 50% Catalog value (% of budget of films) 43 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10%

Maximum amount invested by the fund 67 Internal rate of remuneration of the non-used amounts of the Fund (per year)

Rémunération intermédiaires plaçant le fonds

Set up costs (including lawyers and tax advisers) - outside services 0,25 - internal services 0,25 Accounting, CPAs, audits, … (per Quarter) 0,05 0,01 Overheads and expenses from the structure (per Quarter) - overheads 0,52 - developments expenses (1 000 000 USD yearly) 0,25

08/01/2009 - 16:29 Page 6 / 10 CONFIDENTIAL TARGET 7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008

TOTAL CONSOLIDATED Friends & AMOUNT, FOR THE Lost Gospel Ibn Battuta Hard Drive FILM 5 FILM 6 FILM 7 FILM 8 FILM 9 FILM 10 FILM 11 FILM 12 FILM 13 FILM 14 FILM 15 Money WHOLE DURATION OF THE FUND

Quarter of investment 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Budgets of the movies produced, per quarter (through 1 or 2 movies) (in MUSD) 430 20 50 30 30 10 30 20 50 10 30 20 30 40 10 50 OVERALL AVERAGE Share invested by the fund (% of the budget of films) 258 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% 60% Producer fee for the Fund (% of the budget of each film) 21,5 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% 5% Sales / Exploitation revenues coming back to the fund, cycle 1 (% of budget of films) 283,8 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% 66% Sales / Exploitation revenues coming back to the fund, cycle 2 (% of budget of films) Net revenues coming back to the fund, cycle 3 (% of budget of films) 107,5 25% 25% 20% 20% 20% 20% 20% 20% 50% 20% 20% 20% 20% 20% 50% Catalog value (% of budget of films) 43 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10% 10%

Maximum amount invested by the fund 63 Internal rate of remuneration of the non-used amounts of the Fund (per year)

Rémunération intermédiaires plaçant le fonds

Set up costs (including lawyers and tax advisers) - outside services 0,25 - internal services 0,25 Accounting, CPAs, audits, … (per Quarter) 0,05 0,01 Overheads and expenses from the structure (per Quarter) - overheads 0,52 - developments expenses (1 000 000 USD yearly) 0,25

08/01/2009 - 16:29 Page 7 / 10 CONFIDENTIAL SIMULATIONS LOW PERF 7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008

Rémunération intermédiaires plaçant le fonds EXPENSES Set up costs (including lawyers and tax advisers) - outside services -0,25 - internal services -0,25 Accounting, CPAs, audits, … (per Quarter) -0,05 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 Overheads and expenses from the structure (per Quarter) - overheads -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 - developments expenses (1 000 000 USD yearly) -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25

P&L PAR FILM FRIENDS AND MONEY - funds' investment into the movie -12,0 - Executive producer fee to the fund 1,0 - share of incomes going to the fund, cycle 1 8,0 - share of incomes going to the fund, cycle 2 4,0 - share of incomes going to the fund, cycle 3 - final catalog value 1,2 LOST GOSPEL - funds' investment into the movie -30,0 - Executive producer fee to the fund 2,5 - share of incomes going to the fund, cycle 1 20,0 - share of incomes going to the fund, cycle 2 10,0 - share of incomes going to the fund, cycle 3 - final catalog value 3,0 IBN BATTUTA - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 12,0 - share of incomes going to the fund, cycle 2 6 - share of incomes going to the fund, cycle 3 6 - final catalog value 1,8 ROAD TO DESTINY - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 12 - share of incomes going to the fund, cycle 2 6 - share of incomes going to the fund, cycle 3 - final catalog value 1,8 FILM 5 - funds' investment into the movie -6 - Executive producer fee to the fund 0,5 - share of incomes going to the fund, cycle 1 4 - share of incomes going to the fund, cycle 2 2 - share of incomes going to the fund, cycle 3 - final catalog value 0,6 FILM 6 - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 12 - share of incomes going to the fund, cycle 2 6 - share of incomes going to the fund, cycle 3 - final catalog value 1,8 FILM 7 - funds' investment into the movie -12 - Executive producer fee to the fund 1 - share of incomes going to the fund, cycle 1 8 - share of incomes going to the fund, cycle 2 4 - share of incomes going to the fund, cycle 3 - final catalog value 1,2 FILM 8 - funds' investment into the movie -30 - Executive producer fee to the fund 2,5 - share of incomes going to the fund, cycle 1 20 - share of incomes going to the fund, cycle 2 10 - share of incomes going to the fund, cycle 3 - final catalog value 3 FILM 9 - funds' investment into the movie -6 - Executive producer fee to the fund 0,5 - share of incomes going to the fund, cycle 1 4 - share of incomes going to the fund, cycle 2 2 - share of incomes going to the fund, cycle 3 5 - final catalog value 0,6 FILM 10 - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 12 - share of incomes going to the fund, cycle 2 6 - share of incomes going to the fund, cycle 3 - final catalog value 1,8 FILM 11 - funds' investment into the movie -12 - Executive producer fee to the fund 1 - share of incomes going to the fund, cycle 1 8 - share of incomes going to the fund, cycle 2 4 - share of incomes going to the fund, cycle 3 - final catalog value 1,2 FILM 12 - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 12 - share of incomes going to the fund, cycle 2 6 - share of incomes going to the fund, cycle 3 6 - final catalog value 1,8 FILM 13 - funds' investment into the movie -24 - Executive producer fee to the fund 2 - share of incomes going to the fund, cycle 1 16 - share of incomes going to the fund, cycle 2 8 - share of incomes going to the fund, cycle 3 8 - final catalog value 2,4 FILM 14 - funds' investment into the movie -6 - Executive producer fee to the fund 0,5 - share of incomes going to the fund, cycle 1 4 - share of incomes going to the fund, cycle 2 2 - share of incomes going to the fund, cycle 3 2 - final catalog value 0,6 FILM 15 - funds' investment into the movie -30 - Executive producer fee to the fund 2,5 - share of incomes going to the fund, cycle 1 20 - share of incomes going to the fund, cycle 2 10 - share of incomes going to the fund, cycle 3 10 - final catalog value 3

Average development expenses, re-imbursed in the budget of each movie (200x1,5) 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3

RESULTAT TRIMESTRIEL OPERATIONNEL, HORS FISCALITE -0,50 -12,82 -29,48 -15,98 -8,98 15,02 -5,98 5,02 -15,48 14,02 -3,98 11,02 -7,48 -6,98 13,52 -9,98 24,02 7,22 25,22 7,22 1,22 14,22 -0,78 -0,78 5,22 7,22 1,22 9,22 -0,78 25,02 Cumulated Net Resluts,exc Taxes -0,50 -13,32 -42,81 -58,79 -67,77 -52,76 -58,74 -53,72 -69,21 -55,19 -59,17 -48,16 -55,64 -62,62 -49,10 -59,09 -35,07 -27,85 -2,64 4,58 5,80 20,01 19,23 18,45 23,66 30,88 32,10 41,31 40,53 65,55

INTERETS LIES A UTILISATION DE PART DE FONDS "DORMANTE" PART DE FONDS DORMANTE 68,71 55,88 26,40 10,42 1,43 16,45 10,47 15,48 14,02 10,03 21,05 13,57 6,58 20,10 10,12 34,13 41,35 66,57 73,78 75,00 89,22 88,44 87,65 92,87 100,09 101,30 110,52 109,74 134,75 Intérêts trimestriels Cumulated quaterly interests

Quarterly net revenues, excl taxes -0,50 -12,82 -29,48 -15,98 -8,98 15,02 -5,98 5,02 -15,48 14,02 -3,98 11,02 -7,48 -6,98 13,52 -9,98 24,02 7,22 25,22 7,22 1,22 14,22 -0,78 -0,78 5,22 7,22 1,22 9,22 -0,78 25,02 LOW Performance : Cumulated net result, excluding tax impact -0,50 -13,32 -42,81 -58,79 -67,77 -52,76 -58,74 -53,72 -69,21 -55,19 -59,17 -48,16 -55,64 -62,62 -49,10 -59,09 -35,07 -27,85 -2,64 4,58 5,80 20,01 19,23 18,45 23,66 30,88 32,10 41,31 40,53 65,55

MONTANT INVESTI -0,5 -13,3 -42,8 -58,8 -67,8 -52,8 -58,7 -53,7 -69,2 -55,2 -59,2 -48,2 -55,6 -62,6 -49,1 -59,1 -35,1 -27,9 -2,64 65,55

08/01/2009 - 16:29 Page 8 / 10 CONFIDENTIAL SIMULATIONS MEDIUM PERF 7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008

P&L PAR FILM FRIENDS AND MONEY - funds' investment into the movie -12,0 - Executive producer fee to the fund 1,0 - share of incomes going to the fund, cycle 1 9,0 - share of incomes going to the fund, cycle 2 4,0 - share of incomes going to the fund, cycle 3 2,0 - final catalog value 1,2 LOST GOSPEL - funds' investment into the movie -30,0 - Executive producer fee to the fund 2,5 - share of incomes going to the fund, cycle 1 22,5 - share of incomes going to the fund, cycle 2 10,0 - share of incomes going to the fund, cycle 3 5,0 - final catalog value 3,0 IBN BATTUTA - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 13,5 - share of incomes going to the fund, cycle 2 6 - share of incomes going to the fund, cycle 3 6 - final catalog value 1,8 ROAD TO DESTINY - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 13,5 - share of incomes going to the fund, cycle 2 6 - share of incomes going to the fund, cycle 3 3 - final catalog value 1,8 FILM 5 - funds' investment into the movie -6 - Executive producer fee to the fund 0,5 - share of incomes going to the fund, cycle 1 4,5 - share of incomes going to the fund, cycle 2 2 - share of incomes going to the fund, cycle 3 1 - final catalog value 0,6 FILM 6 - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 13,5 - share of incomes going to the fund, cycle 2 6 - share of incomes going to the fund, cycle 3 3 - final catalog value 1,8 FILM 7 - funds' investment into the movie -12 - Executive producer fee to the fund 1 - share of incomes going to the fund, cycle 1 9 - share of incomes going to the fund, cycle 2 4 - share of incomes going to the fund, cycle 3 2 - final catalog value 1,2 FILM 8 - funds' investment into the movie -30 - Executive producer fee to the fund 2,5 - share of incomes going to the fund, cycle 1 22,5 - share of incomes going to the fund, cycle 2 10 - share of incomes going to the fund, cycle 3 5 - final catalog value 3 FILM 9 - funds' investment into the movie -6 - Executive producer fee to the fund 0,5 - share of incomes going to the fund, cycle 1 4,5 - share of incomes going to the fund, cycle 2 2 - share of incomes going to the fund, cycle 3 5 - final catalog value 0,6 FILM 10 - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 13,5 - share of incomes going to the fund, cycle 2 6 - share of incomes going to the fund, cycle 3 3 - final catalog value 1,8 FILM 11 - funds' investment into the movie -12 - Executive producer fee to the fund 1 - share of incomes going to the fund, cycle 1 9 - share of incomes going to the fund, cycle 2 4 - share of incomes going to the fund, cycle 3 2 - final catalog value 1,2 FILM 12 - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 13,5 - share of incomes going to the fund, cycle 2 6 - share of incomes going to the fund, cycle 3 6 - final catalog value 1,8 FILM 13 - funds' investment into the movie -24 - Executive producer fee to the fund 2 - share of incomes going to the fund, cycle 1 18 - share of incomes going to the fund, cycle 2 8 - share of incomes going to the fund, cycle 3 8 - final catalog value 2,4 FILM 14 - funds' investment into the movie -6 - Executive producer fee to the fund 0,5 - share of incomes going to the fund, cycle 1 4,5 - share of incomes going to the fund, cycle 2 2 - share of incomes going to the fund, cycle 3 2 - final catalog value 0,6 FILM 15 - funds' investment into the movie -30 - Executive producer fee to the fund 2,5 - share of incomes going to the fund, cycle 1 22,5 - share of incomes going to the fund, cycle 2 10 - share of incomes going to the fund, cycle 3 10 - final catalog value 3

Average development expenses, re-imbursed in the budget of each movie (200x1,5) 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3

RESULTAT TRIMESTRIEL OPERATIONNEL, HORS FISCALITE -0,50 -12,82 -29,48 -15,98 -7,98 17,52 -4,48 6,52 -14,98 15,52 -2,98 13,52 -6,98 -3,48 19,52 -8,48 29,02 8,72 30,72 9,22 6,22 14,22 2,22 1,22 5,22 7,22 1,22 9,22 -0,78 25,02 Cumulated Net Resluts,exc Taxes -0,50 -13,32 -42,81 -58,79 -66,77 -49,26 -53,74 -47,22 -62,21 -46,69 -49,67 -36,16 -43,14 -46,62 -27,10 -35,59 -6,57 2,15 32,86 42,08 48,30 62,51 64,73 65,95 71,16 78,38 79,60 88,81 88,03 113,05

INTERETS LIES A UTILISATION DE PART DE FONDS "DORMANTE" PART DE FONDS DORMANTE 68,71 55,88 26,40 10,42 2,43 19,95 15,47 21,98 7,00 22,52 19,53 33,05 26,07 22,58 42,10 33,62 62,63 71,35 102,07 111,28 117,50 131,72 133,94 135,15 140,37 147,59 148,80 158,02 157,24 182,25 Intérêts trimestriels Cumulated quaterly interests

Quarterly net revenues, excl taxes -0,50 -12,82 -29,48 -15,98 -7,98 17,52 -4,48 6,52 -14,98 15,52 -2,98 13,52 -6,98 -3,48 19,52 -8,48 29,02 8,72 30,72 9,22 6,22 14,22 2,22 1,22 5,22 7,22 1,22 9,22 -0,78 25,02 MEDIUM Performance : Cumulated net result, excluding tax impact -0,50 -13,32 -42,81 -58,79 -66,77 -49,26 -53,74 -47,22 -62,21 -46,69 -49,67 -36,16 -43,14 -46,62 -27,10 -35,59 -6,57 2,15 32,86 42,08 48,30 62,51 64,73 65,95 71,16 78,38 79,60 88,81 88,03 113,05

MONTANT INVESTI -0,5 -13,3 -42,8 -58,8 -66,8 -49,3 -53,7 -47,2 -62,2 -46,7 -49,7 -36,2 -43,1 -46,6 -27,1 -35,6 -6,57 #####

08/01/2009 - 16:29 Page 9 / 10 CONFIDENTIAL SIMULATIONS TARGET PERF 7 OASIS FUND FILMS MODEL FINANCIALS DEC 2008 2009 2010 2011 2012 2013 2014 2015 2016 Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept Oct-Dec Jan-March Apr-June July-Sept 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

Rémunération intermédiaires plaçant le fonds DEPENSES FRAIS GENERAUX Set up costs (including lawyers and tax advisers) - outside services -0,25 - internal services -0,25 Accounting, CPAs, audits, … (per Quarter) -0,05 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 -0,01 Overheads and expenses from the structure (per Quarter) - overheads -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 -0,5232 - developments expenses (1 000 000 USD yearly) -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25 -0,25

P&L PAR FILM FRIENDS AND MONEY - funds' investment into the movie -12,0 - Executive producer fee to the fund 1,0 - share of incomes going to the fund, cycle 1 13,2 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 5,0 - final catalog value 1,2 LOST GOSPEL - funds' investment into the movie -30,0 - Executive producer fee to the fund 2,5 - share of incomes going to the fund, cycle 1 33,0 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 12,5 - final catalog value 3,0 IBN BATTUTA - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 19,8 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 6 - final catalog value 1,8 ROAD TO DESTINY - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 19,8 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 6 - final catalog value 1,8 FILM 5 - funds' investment into the movie -6 - Executive producer fee to the fund 0,5 - share of incomes going to the fund, cycle 1 6,6 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 2 - final catalog value 0,6 FILM 6 - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 19,8 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 6 - final catalog value 1,8 FILM 7 - funds' investment into the movie -12 - Executive producer fee to the fund 1 - share of incomes going to the fund, cycle 1 13,2 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 4 - final catalog value 1,2 FILM 8 - funds' investment into the movie -30 - Executive producer fee to the fund 2,5 - share of incomes going to the fund, cycle 1 33 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 10 - final catalog value 3 FILM 9 - funds' investment into the movie -6 - Executive producer fee to the fund 0,5 - share of incomes going to the fund, cycle 1 6,6 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 5 - final catalog value 0,6 FILM 10 - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 19,8 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 6 - final catalog value 1,8 FILM 11 - funds' investment into the movie -12 - Executive producer fee to the fund 1 - share of incomes going to the fund, cycle 1 13,2 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 4 - final catalog value 1,2 FILM 12 - funds' investment into the movie -18 - Executive producer fee to the fund 1,5 - share of incomes going to the fund, cycle 1 19,8 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value 1,8 FILM 13 - funds' investment into the movie -24 - Executive producer fee to the fund 2 - share of incomes going to the fund, cycle 1 26,4 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value 2,4 FILM 14 - funds' investment into the movie -6 - Executive producer fee to the fund 0,5 - share of incomes going to the fund, cycle 1 6,6 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value 0,6 FILM 15 - funds' investment into the movie -30 - Executive producer fee to the fund 2,5 - share of incomes going to the fund, cycle 1 33 - share of incomes going to the fund, cycle 2 - share of incomes going to the fund, cycle 3 - final catalog value 3

Average development expenses, re-imbursed in the budget of each movie (200x1,5) 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3 0,3

RESULTAT TRIMESTRIEL OPERATIONNEL, HORS FISCALITE -0,50 -12,82 -29,48 -15,98 -3,78 28,02 1,82 8,82 -22,88 15,82 -4,78 22,02 -10,88 1,82 21,22 -4,18 34,42 7,82 38,22 3,22 9,22 4,22 5,22 3,22 -0,78 -0,78 -0,78 -0,78 -0,78 25,02 Cumulated Net Resluts,exc Taxes -0,50 -13,32 -42,81 -58,79 -62,57 -34,56 -32,74 -23,92 -46,81 -30,99 -35,77 -13,76 -24,64 -22,82 -1,60 -5,79 28,63 36,45 74,66 77,88 87,10 91,31 96,53 99,75 98,96 98,18 97,40 96,61 95,83 120,85

INTERETS LIES A UTILISATION DE PART DE FONDS "DORMANTE" PART DE FONDS DORMANTE 68,71 55,88 26,40 10,42 6,63 34,65 36,47 45,28 22,40 38,22 33,43 55,45 44,57 46,38 67,60 63,42 97,83 105,65 143,87 147,08 156,30 160,52 165,74 168,95 168,17 167,39 166,60 165,82 165,04 190,05 Intérêts trimestriels Cumulated quaterly interests

Quarterly net revenues, excl taxes -0,50 -12,82 -29,48 -15,98 -3,78 28,02 1,82 8,82 -22,88 15,82 -4,78 22,02 -10,88 1,82 21,22 -4,18 34,42 7,82 38,22 3,22 9,22 4,22 5,22 3,22 -0,78 -0,78 -0,78 -0,78 -0,78 25,02 TARGET Performance : Cumulated net result, excluding tax impact -0,50 -13,32 -42,81 -58,79 -62,57 -34,56 -32,74 -23,92 -46,81 -30,99 -35,77 -13,76 -24,64 -22,82 -1,60 -5,79 28,63 36,45 74,66 77,88 87,10 91,31 96,53 99,75 98,96 98,18 97,40 96,61 95,83 120,85

MONTANT INVESTI -0,5 -13,3 -42,8 -58,8 -62,6 -34,6 -32,7 -23,9 -46,8 -31 -35,8 -13,8 -24,6 -22,8 -1,6 -5,79 120,85

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