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The Aegean Studios Plan

Bridging the Gap

between

Istanbul & Hollywood

AEGEAN ENTERTAINMENT THERE HAS NEVER BEEN A SINGLE HOLLYWOOD FILM THAT HAS SHOWN OFF TURKS OR TURKEY IN A POSITIVE LIGHT TO AN INTERNATIONAL AUDIENCE (INCLUDING AMERICA AND THE WEST Lawrence of Arabia (1962) Turks are the “bad guys” in one of the grandest epics of all time. Only one “Turk” has a speaking role. Not even played by a Turkish actor but rather by José Ferer, he doesn’t even have a name. He is just called “Turkish Bey,” and is a syphilitic, homosexual predator who first attempts to rape Peter O’Toole’s lead character of T.E. Lawrence, and then has him beaten.

Midnight Express (1978) A drug smuggler is cast as an unlikely hero against the Turks, who are portrayed as cruel, barbaric an inhuman. Their prisons are hellholes and their justice system is corrupt. This film terrifies anyone who does not know better and convinced the whole world to steer clear of Turkey. It did more to hurt Turks and Turkey than anything before or since.

My Big, Fat, Greek Wedding (2002) This heartwarming and family-friendly comedy had one reference to Turks. In a “flashback” scene, the lead character remembered when she was a little girl, and her father brought his mother (her grandmother to America from Greece to live with them. The “joke” was that the grandmother was supposedly so senile, she did not even recognize her own son. Instead, she thought he was the incarnation of evil … a Turk.

The West Wing (2003) This was a popular series that ran in America on the NBC network for eight years. It dealt with a “behind- the-scenes” view of the White House and Presidential politics. The plot in one episode concerned fallout from news that Turkey had “convicted” a woman of the “crime” of adultery, and that she was going to be publicly beheaded. The show ran the same “news” clip three times in one episode to drive the point home.

24 (2004) This popular TV show follows events that supposedly happen in one 24-hour period, dealing with threats to national security. One episode in particular aired where supposedly “Turkish” terrorists were going to strike in . The fact that these terrorists were Turkish was mentioned close to forty times in the one hour of the show. Argo (2012) This film dealt with the events surrounding the Iranian Hostage Crisis of 1979 following the Islamic Revolution there and, specifically, the covert CIA operation to smuggle out six embassy staffers who were in hiding. was unable to secure permission to film in Tehran, so he used Istanbul instead as a stand in for scenes involving riots, demonstrations and public executions. Taken 2 (2012) This sequel to the first Taken film is set almost entirely in Istanbul. Liam Neeson and Famke Jansen are there on vacation when they are kidnapped by the families of the terrorists he killed in the first film to avenge their deaths. As a result, rather than show off the city as a place of beauty, the entire film is shot in back alleys in a very gritty and harsh manner (which served the film itself well, but which did nothing for how Istanbul looked).

Skyfall (2013) James Bond came back to Turkey, and everyone was so very excited. Yet the finished product again did nothing for the image of Turkey as portrayed to the world. The opening scene in Istanbul featured open air vegetable stalls and rug merchants, making the city look like Cairo or Marrakech. By contrast, 45 minutes later in the same film, Bond visits first Shanghai and then Macao, both of which looked sleek, modern and civilized.

2 THE PROBLEM Cihangir (“John”) Safyurtlu, Founder and President of Aegean Entertainment and Producer of all ten movies in the development slate (plus one already released), was interviewed on MTC. Here are some excerpts from this as to his vision for these films. I was once told by a friend “you know, you Turks are so great … and yet no one will ever know it, because all you ever do is talk amongst yourselves..” And he’s right. If you look what film has done with Turkey up until now … quite frankly, it hasn’t been good. We Turks don’t do a very good job of broadcasting outside of our little group as to what we are all about.; we don’t do a very good job of “P.R.” I think I can change that. I really want to try. What I am trying to do with Aegean Entertainment is to tell our stories, the stories of Turkey, to the West – to America and to Europe – so that they can get to know us better. We have such amazing things to tell that no one in the West knows about. Because of the way in which it has been portrayed in the popular media so far, Turkey is not just a stranger to many people in the E.U. Turkey is actually viewed negatively. My hope is that with these films that we’re going to change that perception. Films can be used as a virtual brochure for the location in which they are shot, and all of my films are going to be shot in Turkey with Turks playing prominent roles in them. Right now is a critical time. Over the next few years, if we can influence the public’s perception of Turks and of Turkey, then maybe, just maybe we can contribute a little bit, and help nudge that conversation in a direction that we want it to go. And that would be something profound. After all, Turkey is, and always has been, a bridge between the East and the West. That’s what we are. If, by opening up that bridge, we can then allow more stories to come out, more understanding to flow, that can only be good; that can only help. We need more stories, not less. We need more voices, not less. We need people telling our side of things. The West has all kinds of people telling their side – where’s our side? Most of the people here in America don’t know any better. The only thing that 95% of people here know about Turkey is what they saw in the movies. To this day, if I tell my friends that I am about to visit Istanbul, all they can say to me is “Be careful – don’t get thrown into a Turkish Prison.” Thirty years after Midnight Express came out, that is still the image the West has of Turkey. The only image they have. That is the power of film. Now imagine, if we could use this power ourselves, and do something positive with it. One of the biggest job descriptions for me, maybe the biggest job description, as a Producer, is to protect my investors, and to make sure that I, as a steward for their money, for their trust, repay them. I want to make sure that they can say “yes, it was a good thing that we trusted you, John, because you did right by us.”

3 THE VISION With just six films, We want to do the same thing for writer/director/producer Peter Turkey, and create “Istiwood” as Jackson so changed the global a center for worldwide film face of New Zealand that his production as well as a magnate hometown of Wellington has been for tourism. Following are re-named as “Wellywoood.” concrete examples of this effect.

Just from “The Hobbit” The New Zealand Film Sector • 99 sets built • New Zealand's total screen • 6750 domestic flights taken industry revenue rose 10% in • 19 commercial properties 2012 to reach $3.29B, a leased long term $300M increase • 93,000 hotel bed nights sold • Income from production and • 1800 rental cars hired post-production made up • 1650 work vehicles used more than half of this total, at $1.67 billion • $380,000 spent on coffee • $9,180,000 spent on set • Feature film revenue rose 47% to just over $1B, making construction materials (with local suppliers) up almost ⅓ of all production • Approximately 16,000 days and post-production revenue worked by New Zealand • In 2012, total international actors revenue rose 17%, to $517M • $1,450,000 spent with local • North America contributes food suppliers around 90% of all international screen revenue in NZ Lord of the Rings (“LOTR”) • The industry supports 2,805 In 2004 alone: businesses • Screen industry business • 6% of visitors (120-150K people) cite LOTR as being reported 110 international co- one of the main reasons for productions in 2012 visiting. • The New Zealand screen • 1% of visitors ($26M USD) industry contributes $780 cited LOTR as their main or million in wages and salaries only reason for visiting. • Employment figures • 63,200 visitors participated released in December 2012 in a LOTR activity showed that New Zealand • 9,988 visitors did a group Screen Industry Businesses tour for LOTRs fans directly employed more than • 20,251 tourists took 15,000 people in more than 23,000 screen industry jobs organized tour that included a LOTR site • Work was completed on 40 • 29,233 tourists visited a feature films (up from 35 in LOTR site independently 2011) • Since 2004, an average • There were 1300 television 47,000 tourists each year series and 520 “one-off” have visited a film location. programs

4 T H E GOAL Not one professional-grade studio for feature film production exists in Turkey:

We seek to build and operate a film studio which, when complete, will be of the same size and scope as any major studio in Hollywood and will be able to compete with them on the global stage, putting Turkey at the forefront of world- class international film production.

Designed to be built in six phases, the Aegean Studios will include: • 32 sound stages • Prop and set construction • 500,000 square feet of studio space • On-site film school • Largest stage at 25,000 square feet • 50-acre campus & 150-acre “back lot” • Average of 15,000 square feet per stage. • Hotel, long-term housing & retail space • 670,000 square feet of office space • Solar panels up to 400MW • State-of-the art post-production facilities • ISO-9000 & LEED-Certified

5 T H E STUDIO ADDITIONAL MIXED USE PROJECTS

Complimentary projects designed to heighten the attractiveness of using the Studio to US and EU producers will neighbor the Studio and will include a luxury 5-Star resort hotel on 100 acres, specifically catering to short-term visitors to Turkey for the films at Aegean Studios.

Also included on the project will be long-term housing for 6-month leases in furnished condos and townhomes complete with electric vehicles and turnkey concierge service aimed at entertainment industry personnel who will need longer accommodations, such as for TV series. This will be set on 50 acres and will have themes of locations in different neighborhoods such as Paris, New York, Rome and .

The final aspect will be a 50-acre retail space akin to a “City Walk” where the general public can live the movie making experience.

THE6 DEVELOPMENT 7 THE SLATE Genre: Comedy

Projected Budget: $15M

Projected Blended ROI: 1,136%

Projected WWGBOR: $170.4M

Projected WWGBOR w/cast: $198M

Breakeven WWGBOR, pessimistic: $58M

Breakeven WWGBOR, midline: $20.3M

Breakeven WWGBOR, optimistic: $6.9M

Conservative ROI: 12:1

Midline ROI: 24:1

Optimistic ROI: 50:1

Comparable Films Sarah Beverly Hills Cop Malin Akerman Dodgeball Marion Cotillard Identity Thief Diane Kruger Ocean’s 11 Melanie Laurent Thomas Crown Affair

David Nevin Jason Bateman Nehir Erdogan Osman Ryan Reynolds Halit Ergenç Vince Vaughn Kaya Jennifer Greenberg is thrilled at the prospect of a vacation in culturally- Jennifer Haluk Bilginir rich Turkey. Her xenophobic husband, David, is less so, and all he can Jessica Alba think of is getting thrown in a Turkish prison. The warmth of the Turkish Stavros people and beauty of Turkey herself converts him to a fan, but not before Jessica Biel Ozgur Cevik they meet Jim and Sarah Harman, international art thieves disguised as Katherine Heigl friends. Unknown to the Greenbergs, the Harmans target them as mules Mary Louise Parker Director to smuggle a priceless artifact. Hard on their heels is Nevin, the Turkish Dan Petrie, Jr. detective who is determined not to lose this piece of her country’s heritage Jim on her watch. Will David’s deepest fears of seeing the inside of a Turkish Vincent Cassel Producers prison come true? From mysterious Istanbul to the neighboring Greek Michael Fassbender John A. Safyurtlu islands, from ancient Ephesus to the seaside resort of the Turkish Riviera, Jude Law Chris B. Moore across exotic locations spanning two continents and in between WAY too Ewan McGregor much Raki and Turkish coffee, this hilarious fish-out-of-water comedy Clive Owen delivers adventure and heart, Mediterranean style, as we learn that we are not all that different after all.

8 THE FIRST FILM What Can We Do For Turkey? • Export “Brand Turkey”

• Increase Tourism

• Increase Foreign Investment

• Influence the E.U. Conversation

• Be a factory to make films as “virtual brochures”

• Establish a world-class film school to train the next generation of entertainment industry leaders

• Guarantee Turkey takes its rightful place as a central hub for international film production

9 THE OPPORTUNITY What are the numbers? Just the Studio alone, without other projects, can: • Add 60,000 new FTE jobs over 10 years (including direct, indirect and construction jobs)

• Add $10B to the Turkish economy over 10 years from direct spending alone

• Add $30B to the Turkish economy over 10 years from indirect spending

• Add $50B to the Turkish economy over 10 years by increasing tourism at 10% per year

10 THE SPECIFICS Our Turkish partner, tasked with the actual local construction of the studios, is Transtech Engineers, owned and operated by Ali Cayir. An engineering firm with roots in both Turkey and California, Transtech will handle all aspects of the construction from advising on initial site selection, to interfacing with the local and national levels of Turkish government, to conducting all architectural and engineering duties, to finding and selecting local work crews, to the actual physical construction and delivery of the studio itself. The Transtech team has already delivered an initial feasibility study which is part of the appendices here and forms the initial basis for our plan going forward in Turkey.

Pacifica is in the business of designing, building, marketing and managing film studios. They operate the Albuquerque Studios in New Mexico, which has hosted films such as "The Avengers," "Terminator: Salvation," "Fright Night," "," "The Lone Ranger," and televisions shows such as "Breaking Bad," "In Plain Sight" and "Scoundrels." Their Sun Center Studios in Philadelphia made the new film "After Earth," and they are constructing a new movie studio project in Connecticut. They are one of the world’s foremost authorities on government-provided incentive programs for film and television production. Sprung Instant Structures, LTD, is a Canadian company with a special expertise in delivering structures in an environmentally- friendly fashion at a 50%-60% savings over traditional construction methods . The inclusion of the Sprung proprietary construction methods is a key ingredient in allowing the Aegean Team to deliver high-value structures at a low cost to investors, while simultaneously partnering with the Turkish Government to provide a key infrastructure strategic asset in an environmentally-friendly fashion to be a responsible corporate citizen and model for private-public partnerships.

11 THE PLAYERS John A. Safyurtlu, CEO A 20-year business attorney, Mr. Safyurtlu served as the President of The Association of Turkish Americans of Southern California, where he learned many stories of his Turkish heritage. Combined with his personal love of film and business knowledge in both America and Turkey he founded Aegean Entertainment and, beginning with his first film, “Broken Angel,” and now with his current film, “Midnight Excess,” spearhead these projects. Chris B. Moore, COO A 20-year veteran in the entertainment industry, Mr. Moore’s experience covers large-scale studio productions such as “Waterworld” and “Apollo 13” to high-profile television shows such as “Kings of Crash” (Discovery Networks), “Shark Wranglers” (History Channel) and “Shark Men” (National Geographic Channel). Mr. Moore holds an MFA from the American Film Institute on Film and Television Producing and is a member of the Directors Guild of America. Harun B. Sevimli, Director of Business Development Mr. Sevimli has extensive experience in international trade, consulting, financing, and marketing, having owned companies in Germany, Turkey and in the U.S. His latest company was a full service asset-management company for Fortune-500 companies. He has helped to established partners in more than 34 countries since the end of 2008. He specializes in international finance with a focus on government negotiations with the Republic of Turkey. Matt Rauchberg, Sr.VP, Pacifica Ventures Mr. Rauchberg is one of the world’s foremost authorities on government-provided incentive programs for film and television production. While at Pacifica, he reorganized the operations at Culver Studios in Hollywood, negotiated the land purchase agreement for Albuquerque Studios in New Mexico, won the public tender to take over and redevelop Elstree Studios in London, led the financing and planning for Pacifica’s new facilities in Pennsylvania and Connecticut, as well as the development team for Pacifica Venture LLC’s joint venture project in the UK. Ali Cayir, President, Transtech Engineers Mr. Cayir has over 30 years of experience in engineering and construction, with special emphasis in turn-key delivery for large and complex engineering projects. He has been involved in projects valued over $1B USD. He is currently serving as Special Advisor to the President of Istanbul University for the University’s $1B USD expansion of 2 campuses and is also serving as Project Executive for the $100M USD Turkish American Cultural Center Project. Bill Fay, CEO, Global Entertainment Advisors Mr. Fay was a founder and President of Legendary Pictures, which produced both “The Dark Knight” and “Inception,” which were nominated for eight Academy Awards, earning six in between them. He has produced films that totaled nearly $4B USD in worldwide gross box office receipts. He and has served as Executive Producer on “The Town,” “The Hangover,” “Clash of the Titans,” “Superman Returns,” “Godzilla,” “Independence Day” and “300.”

12 T H E T E A M Scott Mednick, CEO, Mednick Productions

Mr. Mednick was an executive at Legendary Pictures, and has served as Executive Producer on “Teenage Mutant Ninja Turtles,” “Delivery Man,” “Beneath the Darkness,” “Superman Returns,” “We Are Marshall,” “Where the Wild Things Are,” “10,000 BC,” “Beerfest,” “The Ant Bully” and “300.” He is now the CEO of Mednick Productions

Rick Dugdale, CEO, Enderby Entertainment Mr. Dugdale founded Enderby Entertainment as a production company focused on theatrical feature films and international private equity. He has spent the last few years traveling the world building the global investor base for the company. Mr. Dugdale focuses his energy on creating new financial instruments to finance Hollywood with his equity participants; the key being the investor always comes first. Dan Petrie, Jr., Director Mr. Petrie wrote Beverly Hills Cop 1, 2 and 3 (), for which he was nominated for an Academy Award. He also wrote The Big Easy (Dennis Quaid), Shoot to Kill (Tom Berenger & ) and Turner & Hootch (). He has directed Toy Soldiers (Sean Astin) and he was an Executive Producer for The Sixth Day (Arnold Schwartzenegger). He has served two terms as President and three terms as Vice President of the Writers Guild of America. Cathy Sandrich, CEO, McKay/Sandrich Casting Ms. Sandrich is a major Hollywood casting director, having cast talent in films such as The Guilt Trip (Seth Rogan & Barbara Streisand), The Vow (Rachel McAdams & ), ( & Emily Blunt), The Green Zone (Matt Damon), The Proposal ( & Ryan Reynolds), (Katherine Heigl), The Good Sheppard (Matt Damon, , & Alec Baldwin). Mary Vernieu, President, Betty Mae Casting Ms. Vernieu is a major Hollywood casting director, having cast talent in films such as Black Swan (Natalie Portman, & Vincent Cassel), Silver Linings Playbook (Bradley Cooper, & Robert De Niro), The Wrestler (Mickey Rourke, Marisa Tomei & Evan Rachel Wood), Looper (Joseph Gordon-Levitt, , Emily Blunt), Predators (Adrien Brody & ), Training Day ( & Ethan Hawke). Stanford J. Carter, III, CEO, GlobaMoba, Inc. Mr. Carter concentrates on finance in the entertainment, real estate and energy industries Prior to founding GlobaMobato finance projects with a new risk-mitigation model, he began his career as a real estate developer for a mixed-use facility on oceanfront property. From there he moved to be a group practice administrator at Ernst & Young , then to business development at Deloitte & Touche. He continued in that role ate American Equity Partners, and then served as a partner in Spherant and on the Board of Directors for CCI.

13 T H E T E A M 14 T H E F U N D What Do We Need From Turkey to Make this Happen?

1. Land

(a) 400 total acres (200 for studio, 100 for resort, 50 for housing, 50 for retail) (b) Not more than 15 miles from Ataturk International Airport (not under flight paths) (c) flat, able to support construction (geographically, geologically, seismically, etc.), (d) free of any and all environmental hazards or countervailing claims to title; (e) fully entitled and connected with all utilities, (f) at least 25% of the border on a waterfront (possibly the new Kanal Istanbul), (g) when constructed, the new Kanal Istanbul shall not be between the land and Atatürk International Airport (h) land is a conditional grant for 3 years, to allow time to break ground. If ground is broken in 3 years, we get to keep the land. If not, then it reverts back.

2. Free Trade Zone Status

3. Financing Guarantees

4. Revised Film Incentive Package (a) 25% base rebate of all expenditures in Turkey, (b) 10% additional rebate for films at a “qualified facility”; (c) 5% additional rebate directly to the qualified facility where the film is based; (d) a zero-interest loan program for films that portray Turkey in a positive light; (e) access to the military for selected films that portray Turkey in a positive light, (f) the creation of a film board to review and expedite all such matters, (g) a workforce training incentive to pay for 50% of any local Turkish worker hired

15 T H E N E E D Contact

John A. Safyurtlu Aegean Entertainment, LLC (+1) 714.651.9848 [email protected] Skype: John.Safyurtlu

This Summary Prospectus is offered solely subject to the Mandatory Regulatory Disclosures and all other disclaimers and limitations contained in the full Prospectus and should not be interpreted as an offer in any way. All statements made herein are forward-looking projections and are nonbinding. All references to individuals other than those listed as producers depicted in this Private Placement Memorandum are purely conceptual and are not intended to imply in any way that any of those portrayed therein are actually affiliated with these projects or will become affiliated with these projects. This expressly includes all those listed herein as potential screenwriters, directors, male leads, female leads, anyone named or depicted as such in any of the conceptual posters herein, or anyone named or depicted in any conceptual trailer associated herewith. The posters contained herein are purely conceptual and are meant to convey the Producer’s wishes and thoughts as to what the feel of these projects may be like, and as to those individuals who the Producers believe may possibly be candidates for participation therein as actors, directors or screenwriters. However, there is no guarantee, nor any promise, express or implied, that any of the individuals depicted herein are or will at any time be a part of any of these projects.

© 2014 Aegean Entertainment, LLC