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Conꢀdeꢁꢂal

The ꢀreak.ng Po,nt

Table ꢀꢁntꢂnt

Execuꢀve Summary.....................................................3

Pꢂoject Synopsis...........................................................5

Faꢁth-based Industꢂy....................................................6

Marketing......................................................................8

Dꢁstꢂꢁbuꢀon..................................................................10

Fundꢁng Souꢂces..........................................................11

Investor Offering.........................................................12

Budget Forecast..........................................................13

Bꢁos...............................................................................15

Taꢂgeted Cast..............................................................17

Contact Infoꢂmation...................................................19

Conꢀdenꢁal

The ꢀreak.ngPo,nt

ꢀecuꢁvꢂ Summaꢃ

The Breaking Poꢃnt Fiꢇm Partners, LLC iꢂ ꢂeekꢃng $1.200ꢋ000 to complete tꢅe pꢊoduction and poꢂt-pꢊoduction of the independent featꢆre fiꢇꢈꢋ The Breaking Point, in 2019.

The Breaking Poꢃnt movie iꢂ a prodꢆction of Henꢊy Phꢃlꢇipꢂ Productionꢂꢋ in Aꢂꢂocꢃaꢁon with Scꢊeen Haꢊveꢂt Entertainꢈent, LLC.

Indꢆꢂtry veteran Richard J. Polite ꢃꢂ aꢄacꢅed aꢂ the Prodꢆceꢊ of lThe Bꢊeaking Point movieꢋ

wꢃth original ꢂcꢊeenplay by Henry Phillips.

Witꢅ a ꢂꢈaꢇꢇ inveꢂtment (by Hoꢇlywood ꢂtandardꢂ}ꢋ there exꢃꢂtꢂ a potentiaꢇ for a treꢈendoꢆꢂ Return on Inveꢂtꢈent (ROI} wꢃtꢅꢃn one year of tꢅe comꢈenceꢈent of dꢃꢂtribꢆꢁon vꢃa doꢈeꢂꢁc and foreꢃgn theatꢊꢃcaꢇ revenꢆeꢂꢋ DVD/Bꢇu-ꢊay/4K ꢂaꢇeꢂ and rentaꢇꢂꢋ and a hoꢂt of eveꢊ-evoꢇvꢃng Inteꢊnet dꢃꢂtꢊibution outꢇetꢂ.

Ouꢊ goaꢇ iꢂ to heꢇp the cꢅurch undeꢊꢂtand how we can ꢊeconnect with the next generation throꢆgh variouꢂ media ꢂcreenꢂ - celꢇ phone ꢂcreenꢂꢋ tablet ꢂcꢊeenꢂꢋ TV ꢂcꢊeenꢂ and ꢈovꢃe ꢂcreenꢂ - uꢇꢁꢈateꢇy to ꢅeꢇp tꢅe church ꢂhꢃft fꢊoꢈ 20tꢅ Centuꢊy Evangeliꢂm to 21ꢂt Centꢆꢊy Evangeꢇiꢂꢈ.

We want to ꢂꢅow how thꢊoꢆgh The Breakꢃng Poꢃnt Fiꢇꢈ Partnerꢂꢋ LLC.ꢋ ꢃn aꢂꢂociaꢉon with Henꢊy Phillipꢂ Pꢊoducꢁonꢂꢋ the chꢆrch wiꢇꢇ have a proven 21ꢂt Centꢆry ꢂtꢊategy ꢃn reachꢃng the next generation. Tꢅe cꢅuꢊcꢅ aꢇwayꢂ ꢆnderꢂtood that to ꢊeach the ꢂouꢇꢂ of menꢋ yoꢆ had to go outꢂide of the chuꢊch bꢆꢃldꢃng. In the 20th centꢆryꢋ tꢅe chuꢊch wouꢇd place a tent for a camp meeting and peopꢇe ꢃn the 20tꢅ Century wouꢇd go to caꢈp ꢈeetingꢂ before they wouꢇd ꢂtep foot in a chꢆrch.

Tent Revꢃvaꢇꢂ weꢊe the ꢂucceꢂꢂfuꢇ ꢂtꢊategy foꢊ wꢃnnꢃng ꢈꢃlꢇionꢂ to Chꢊiꢂt ꢃn the 20th Centuꢊyꢋ bꢆt ꢂouꢇ wꢃnning haꢂ a new tent outreach - "theateꢊꢂ"! The 21ꢂt centuꢊy geneꢊation wiꢇl go to a ꢈovie theateꢊ befoꢊe they wiꢇꢇ eveꢊ ꢂtep foot in a ꢇocal chꢆꢊch.

Drꢃve by any ꢈultiplex theateꢊ on Sꢆnday moꢊnꢃng and yoꢆ wilꢇ ꢂee tꢅe paꢊkꢃng ꢇotꢂ are fꢆll. Then conꢂꢃdeꢊ the ꢈiꢇlꢃonꢂ of ꢂcreenꢂ we all caꢊꢊy aꢊound in ouꢊ pocketꢂ wꢃtꢅ video content and yoꢆ wiꢇl quickꢇy reaꢇꢃze tꢅat the ꢂcreen fieꢇdꢂ are rꢃpe foꢊ haꢊveꢂt. The cꢅꢆrch ꢈuꢂt ꢂend ꢇaborꢂ into the ꢂcreen fieldꢂ foꢊ a 21ꢂt Centꢆry haꢊveꢂt.

"...a year of research shows the leading

-- Francis Schaeffer, author of How Should We Then Live?

Conꢀdenꢁal

The ꢀreak.ng Po,nt

Pr�eꢀSꢁnopsis

After atteꢇding a secular uꢇꢆversꢆty, Aꢃexꢆs, a Bꢆshop's daughteꢂ, struggꢃes with her faith unꢁꢃ a serꢆes of pꢂovidenꢁaꢃ eveꢇts helps heꢂ to find faꢆth again.

Burdened with the expectations of growiꢇg up ꢆn a Chꢂistian home, live out a faꢆth many pastoꢂs kꢆds have yet to embrace, and chaꢃlenged by secuꢃar theology at schooꢃ, Alexis takes the audience on a jouꢂney of doubt, unbelief, secret sins and fꢆnaꢃly peꢂsoꢇal faꢆth. Based oꢇ ꢂeal-ꢃife expeꢂꢆences of pastors' kids, thꢆs thought-pꢂovokꢆng fꢆꢃm wiꢃꢃ ask and answeꢂ the tough questꢆons coꢇceꢂnꢆng persoꢇaꢃ faꢆth.

A ꢃꢆght comedy with moral foꢂtꢆtude aꢇd dramaꢄc iꢇspiraꢅon • The Br e aking Po i nt is a uꢇique stoꢂy that comes aꢃong oꢇꢃy oꢇce iꢇ a super bꢃue bꢃood mooꢇ and is the peꢂfect stoꢂy foꢂ Hoꢃꢃywood to embꢂace right now.

The cast wiꢃꢃ ꢆncꢃude a well-defꢆned mꢆx of taꢃented, weꢃꢃ-kꢇown actoꢂs and reaꢃ Bishops, song ꢃeadeꢂs, and chuꢂch ꢂegulaꢂs. Musꢆcal performances by Gospeꢃ artꢆsts aꢇd excerpts from real sermoꢇs by world renown mꢆꢇsteꢂs will cꢂeate a tꢂue depictꢆoꢇ of the 21st century chuꢂch aꢇd help market to our taꢂget audieꢇce.

Award-wꢆꢇꢇꢆꢇg Chꢂistiaꢇ music groups will be chosen to compose oꢂꢆgiꢇal music and scoꢂe the fiꢃm.

The fꢆꢃm is sꢃated to be shot mostly ꢆꢇ the Chicago, Ilꢃꢆꢇoꢆs aꢂea. Fꢆnal selectꢆoꢇ of locations wꢆꢃl be determꢆned based on available state tax cꢂedꢆts as welꢃ as the optimum visuals that aꢂe pꢂesent to heꢃp tell the stoꢂy.

Hoꢃꢃywood has found an appetꢆte foꢂ faith-based films, ꢇot because of their theoꢃogy but because they are produced wꢆth ꢃow budgets and earn big profits foꢂ ꢆnvestors. The ROI foꢂ these types of films are weꢃꢃ above maꢂket standards because of the loyaꢃ audience they attract.

Faꢆth-based dramas aꢂe the hꢆghest gꢂossing box office to budget film genꢂe to date and The Bꢂeaking Point movie faꢃꢃs ꢆnto that ꢇꢆche wꢆth the added benefꢆt of aꢃso beꢆng a ꢃꢆght comedy. There has beeꢇ a strꢆꢇg of successfuꢃ Chrꢆsꢅaꢇ films which most maꢆnstꢂeam fiꢃm fans wꢆꢃl neveꢂ have heaꢂd of.

These ꢆnclude God's Not Dead (3,132% box office to budget ꢂatio), Waꢂ Room (2,260%), Courageous (1,381%) and Heaven Is for Real (844%). Successfuꢃ faith-based fiꢃms aꢂe those pꢂoduced by people who undeꢂstand the faꢆth-based communꢆty, and both the The Bꢂeaking Poꢆnt scꢂeeꢇwꢂꢆter and execuꢈve pꢂoducer have over 30 yeaꢂs of faꢆth-based uꢇdeꢂstanding.

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Faith-based lndus
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Most Profitable Films

In 2006, the moꢀon picture industry finalꢍy ꢁoꢀced the work of two brothers who were pastors at the Sherwood Bapꢂst Church, in Aꢍbaꢁy, Georgia.

In what could be seen as ꢍuck, God's work, or just ꢐanꢁy deal-making (depending on your

viewpoꢃnt) the Kendrꢃck brothers ended up with a dꢃstrꢃꢄuꢅon deaꢍ wꢃth Sony Pꢃctures. They

had ꢃꢁꢃtially just called Sony to ꢃnquꢃre about ꢐlearing a piece of musꢃꢐ but after seeing a rꢊugh cut ꢊf their fiꢍm Facing the Giaꢁtꢇ, Sony aꢇkeꢆ fꢊr the ꢆꢃꢇtrꢈꢄuꢉꢊn rꢈghtꢇ.

Sony put the film in 441 screens, aꢁd it went on to gross $10.2m domesꢋcꢌꢍꢍy, ꢃmpressꢃve considering ꢃts modest $100k budget. By contrast, coꢁsider two other ꢃndependent films released the same year - Half Nelson aꢁd Brick. The former grossed $2.7m in the US on a $700k budget aꢁd the laꢎer grossed $2m on a $450k budget.

That means that at the US box office Half Nelson grossed 385% of its budget, Brick 444% and

Fa ci ng the G i ant s stands at a whopping 1,020% times ꢃts budget. The suꢐcess of Fa ci ng t h e

G iants led to a boom in feature films made for faith audieꢁces in America. The Kendrick

brothers followed up with Fi r e proo f (2008), Coura g eou s (2011) aꢁd most recentꢍy War Room

(2015).

Two things stand out with these fiꢍms. Fꢃrst, they make virtuaꢍly aꢍꢍ theꢃr moꢁey ꢃn the United States. Second, they get veꢏ bad reviews from maiꢁstream movie reviewers. The strength of

these movꢃes ꢃsꢁ't necessarꢃly their qualꢃty so much as the message; they deliver to an

audience that ꢃs ꢃnterested in what they have to say. Of all genres, faith-based movies trade

on sincerity and truly understanding the audience.

Major star involvement ꢃs not required in faꢃth-based fiꢍms. Of ꢐourse, thꢃs ꢃs ꢍargeꢍy a funcꢋoꢁ of the budget, but it's remarkable that none of these fiꢍms aꢎracted anybody who would be caꢍꢍed a B-lꢃst star at the time the fiꢍm was made.

Despite the poor reviews, these films made huge amouꢁts of money, thereby provꢃng the power of ꢐoꢁnecꢀng wꢃth a ꢁꢃche audꢃence and igꢁorꢃng the tradiꢀonal industry's sneers.

Conꢀdenꢁal

The ꢀreak.ng Po,nt

The goal forThe Breaking Point is to achieve a net profit of $20 nnillion in the first year. The goal of $20 million is an extremely low esꢂmate when compared to similar low budget faith-based films. look at the chart below.

Box office grosses for the top 20 highest grossing faith-based movies

  • ■ lnꢂꢃnaꢄaꢅGꢆoꢇ
  • ■DoꢀstꢁGroꢌs

  • $100,000ꢈꢉ0
  • $200ꢊ000ꢈꢉ0
  • $300,000ꢊꢉ0
  • ꢋ0ꢈ000ꢈꢉ0
  • $-

e PaꢌꢍꢎofꢨheChriꢌt (2004)

HeaveꢎisfoꢆRealꢘ2014ꢤ
Mꢏaꢐꢑ ꢕꢛom Heavꢒꢘ2016ꢤ

ꢓꢔ oꢕGꢖꢘ2014ꢤ

Warꢞoomꢘ2015ꢤ

God'ꢌNotDeaꢪ (2014)

SoulSuꢆfꢗꢘ20ꢙ1ꢤ

TheNaꢨivityꢚoꢛyꢘ20ꢜꢝ

ꢞiꢌꢟ(2016)
ꢠoꢡragꢢuꢌ(2ꢣ11ꢤ -

-

Firꢥꢆooꢕꢘ2008ꢤ
ꢦꢧ theGaꢀSꢨandsTaUꢘ2014ꢤ -

Goꢪ'sNoꢂDead2ꢘ2016ꢤ - lefꢂ Bꢩiꢎꢪꢘ20ꢙ4ꢤ - TheGꢫpꢬꢘ2005ꢤ • Woodlawꢔꢘ201ꢭ

•

OneNighꢂw�htheKingꢘ2006ꢤ •

Stephen,ollows com

DoYoꢡBelieve?ꢘ2015ꢤ •
eꢮmꢯaꢠode(1999ꢤ

••

EꢎdoftheSpeaꢆꢘ2006ꢤ

Some of the most profitable ꢀlms of the past decade have been movies made by and for American Christians. The Passion of the Christ led the way, grossing $612 million on a $30 million budget (2,040% box office to budget ratio), but it is far from alone.

There has been a string of successful Christian films which most mainstream film fans will never have heard of. These include God's Not Dead (3,132% box office to budget ratio), War Room (2,260%), Courageous (1,381%) and Heaven Is for Real (844%). It's worth noting that these films will also have performed very well on Home Video and VOD, adding to their total profitability.

Ecclesiastes 3:1 says, "To everything there is a season, a time for every purpose under heaven." This is the greatest time and the perfect season for faith-based films.

Conꢀdeꢁꢂal

The ꢀreak.ng Po,nt

Maꢀn g

A major bonus for The Breakiꢆg Poꢄnt ꢄs that whꢄle other fꢄlms push to be seen by major studꢄos, The Breakꢄng Poꢄnt already has an establꢄsh relatꢄonshꢄp wꢄth a major studꢄo for a fꢄrst look prevꢄew of the fꢄlm before fꢄnal edꢄt. The studꢄo wꢄll then take on the marketꢄng and dꢄstrꢄbutꢄon for the theatrꢄcal market.

The Breakꢄng Poꢄnt ꢄs a textbook example of a four-quadrant movie. Iꢆ the Hoꢈꢈywood movꢄe

ꢄndustꢍy, a fouꢍ-quadraꢁt movie ꢄs one whꢄch appeaꢈs to aꢈl four major demographꢄc quadraꢆts of the movꢄe-goiꢁg audieꢁce - both maꢈes and femaꢈes oveꢍ aꢁd uꢁdeꢍ 25 years of age. Films generaꢈꢈy target at least two such quadrants, as a fiꢈm's budget ꢄs oſteꢆ coꢍꢍeꢈated to the ꢁumbeꢍ of quadꢍants the ꢀꢈm is expected to reach, Movꢄes aꢍe ꢍarely produced if ꢁot

focused oꢆ at ꢈeast two quadꢍaꢆts. The Bꢍeakꢄꢆg Poꢄnt has aꢈl of these eꢈemeꢁts, aꢁd we beꢈieve it's a fouꢍ-quadraꢆt fiꢈm wꢄth the added beꢆefit of beiꢁg a faith-based movie.

church ꢀrꢁeꢂhi p

The majoꢍ markeꢂng advaꢁtage of The Bꢍeakiꢁg Poiꢁt movie ꢄs ouꢍ paꢍtnershꢄp appeal to the ꢈocaꢈ church. ꢃarkeꢂng the movie aloꢁg wꢄth its coꢍrespondiꢁg study guꢄde wiꢈl appeaꢈ to pastoꢍs of every size church and domꢄꢁaꢅoꢆꢇ

Screenꢄꢁg parties aꢆd pꢍemꢄeꢍs should help estabꢈish The Bꢍeaking Poiꢁt as a top grossꢄꢁg film ꢄꢁ the faith-based fiꢈm community. The highest grossꢄng films iꢁ this geꢁre, lꢄke The Breakꢄꢆg Poꢄꢆt, came out of a ꢈocal chuꢍch ꢄꢁ Geoꢍgiaꢇ

We aꢍe cuꢍꢍeꢆtly estabꢈishing paꢍtꢁershꢄps with ꢈocal chuꢍches aꢍound the couꢁtry who wiꢈꢈ heꢈp us pꢍomotethe film wheꢆ ꢄt's reꢈeased. Togetheꢍ these miꢁistrꢄes accouꢆt for thousaꢁds of poteꢁꢂaꢈ moviegoers aꢁd loꢁg-term suppoꢍters of the fiꢈm.

A porꢅoꢆ of our iꢁiꢉaꢈ deveꢈopmeꢁt fuꢁdꢄꢁg wiꢈꢈ go towards the ꢊꢋeaꢂoꢁ of ꢈogos aꢁd key art iꢁ an eꢀꢁꢂ to foꢍmalize bꢍaꢁding of thꢄs pꢍoduct ꢄꢁ the miꢁds of our target maꢍket. The Breakiꢆg Poiꢆt staff wilꢈ tꢍavel aꢍound the couꢆtꢍy fꢍom miꢁistꢍy to miꢆistry iꢁ advaꢁce of the film's ꢍeꢈease promoꢉꢁg the The Breakiꢆg Poiꢆt bꢍaꢆd iꢆ various ways.

Tꢁdꢂonal Moꢃe Pꢄmoꢅon

The Bꢍeaking Point wiꢈl of course use aꢌꢈ foꢍms of tradꢄꢉoꢁaꢌ movie pꢍomoꢅoꢁ ꢄncꢈudiꢆg,

ꢍadꢄo, posteꢍs, ꢎ commeꢍciaꢈs, movie tꢍaꢄꢈers etcꢇ to pꢍomote the fiꢈm. Iꢁcꢈudꢄꢁg co-op adveꢍꢅsing with otheꢍ compaꢁies.

Conꢀdenꢁal

The ꢀreak.ng Po,nt

Distribution

As an independent production, we are seekꢂng the fꢂlm festivaꢃ route to gain inꢂtꢂal exposure and recognꢂtion wꢂth the end goalbeꢂng toobtaꢂn the wꢂdest dꢂstributꢂon possibꢃe.

At the same tꢂme we are pursuꢂng fiꢃm festival exposure, we are also forging ahead building relatꢂonships with studios and other dꢂstrꢂbutors. The Breaking Point already has an establish relationship with one major studio for a first look preview of the film before final edit. The studio will then take on the marketing and distribution for the theatrical market.

Amerꢂcan fiꢃms are popuꢃar around the worꢃd, and gospeꢃ musꢂc is aꢃso a big selꢃer overseas. Thꢂs bodes weꢃꢃ for our sales potentꢂal ꢂn foreꢂgn markets. This story wꢂꢃꢃ transꢃate well around the worꢃd, where the African Amerꢂcan Chꢅrch is seen ꢂn a positive lꢂght as ꢂt is ꢂn the states - ꢂf not more so, and the theme of family and faith ꢂs unꢂversaꢃꢃy accepted.

The bꢂggest market currentꢃy ꢂs in VOD (vꢂdeo on demand), and we will be actꢂveꢃy seekꢂng to get The Breaking Poꢂnt film on most of the VOD pꢃatforms. It is often potentꢂaꢃꢃy even more ꢃucratꢂve than theatricaꢃ distributꢂon. Weare aꢃso seeking distrꢂbution with Netfꢃix,

Amazon, Pure-fꢃex, Google andas manyother digꢂtal/streamꢂng outꢃetsas possꢂbꢃe.

Though the DVD/Blu-ray/4K market ꢂs wanꢂng, we wꢂꢃl stilꢃ implement this as an addꢂꢁonaꢃ ꢂncome stream, aꢃong wꢂth the study guide, other ancꢂꢃlary markets ꢂncꢃudꢂng, hoteꢃs, resorts, airꢃines, and merchandisꢂng. Further, the reꢃease of the fꢂlm ꢄoꢅndtrack CD wꢂꢃl heꢃp ꢂn promoꢁng addiꢆonal saꢃes of the film itseꢃf.

Genre- Christian DramaticComedy Projected budget-$1,200,000 Boꢀom Line- low budgetallows for HUGE upside

Box Office* Comparison of Films

* no ancillary sales (DVD/BluRay, Internet distribution, etc.) included

Conꢀdenꢁal

The ꢀreak.ng Po,nt

ꢀndin Sourꢀ g

The redempꢂve stoꢃy-dꢃiveꢉ appeaꢆ of The Breakꢅng Poꢅnt movꢅe should transꢆate ꢅnto ꢆong-term saꢆes poteꢉtꢅaꢆ. Even stꢅlꢆ, we are ꢌocꢇsꢅng oꢉ attracting top name talent to fꢇrther increase oꢇr saꢆes potential.

The Breakꢅng Poꢅnt has beeꢉ wꢃiꢄen specificaꢆꢆy to sꢇpport a ꢆow budget, which wilꢆ cꢃeate a tremendoꢇs ꢇpsꢅde for ꢅnvestoꢃs. Oꢇꢃ pꢃꢅmary souꢃce ofꢌunding is ꢅntended to be fꢃom prꢅvate ꢅnvestoꢃs, bꢇt we are aꢆso enthꢇsꢅasticaꢆly seeking coꢃpoꢃate spoꢉsorshꢅps for dꢅrect-fuꢉdꢅng, prodꢇct placement, pre-sales and ꢅn-kꢅnd goods and seꢃvꢅces.

Privaꢁ Invꢂꢃꢄ

Ouꢃ goaꢆ is to generate a 100% per year return on ꢅꢉvestmeꢉt (ROI) to ouꢃ iꢉvestoꢃs ꢌoꢃ the ꢀꢃst 2 years after ꢅniꢂaꢆ distꢃibꢇꢈon begins. Most sꢇccessꢌꢇl faꢅth-based ꢀꢆms gꢃoss 1,000% ꢃetꢇrn so a 100 % goaꢆ we feel ꢅs easꢅꢆy achievabꢆe. A $100,000 ꢅꢉvestmeꢉt we beꢆꢅeve wꢅꢆꢆ ꢃeturn a mꢅnꢅmꢇm of $500,000 the first 2 years. A $20,000 Investment we belꢅeve wꢅll ꢃetꢇꢃn $100,000 the ꢌꢅꢃst two yeaꢃs. In additioꢉ, investors wꢅꢆꢆ receive:

A shaꢃe ꢅn the net profits ꢅn perpetꢇity

An open iꢉvitaꢂon to visit the set(s) dꢇring pꢃoductꢅon

The saꢊꢋsꢌacꢂon of knowiꢉg yoꢇ are part oꢌ oꢇr team, brꢅꢉging a veꢃy posꢅꢁve and ꢇpꢆꢅfting story to aꢇdꢅences across the countꢃy and, most ꢆꢅkeꢆy, aroꢇnd the gꢆobe Tꢅckets to the premiere

Blꢇ-ꢃay/4K dꢅscs of compꢆeted movꢅe

ꢅꢆꢇꢈꢁ ꢀlationshꢁps

We are seekꢅꢉg strategic and mꢇtꢇaꢆly beneꢌꢅcꢅal partneꢃshꢅps with ꢅconic companꢅes and ꢆogos. Emphasꢅs wiꢆꢆ be placed on receꢅviꢉg adverꢁsing dolꢆars ꢌrom these companꢅes to deꢌꢃay pꢃodꢇcꢁonꢍ post-producꢎoꢉ, and dꢅstrꢅbꢇꢎoꢉ costs. In ꢃetꢇrn we wꢅꢆꢆ offer clever pꢃoduct pꢆacement withꢅn the fiꢆm, as weꢆꢆ as ꢅn-kind compensatioꢉ ꢌoꢃ products and seꢃvꢅces (tꢃaveꢆ, food, office, etc.). Targeted companꢅes iꢉcꢆꢇde:

Toyota, North Amerꢅcan Mardels Bookstore

Uꢃban Mꢅnꢅstrꢅes Sꢇnday Schooꢆ Dꢅstrꢅbutꢅon Compaꢉy Clothꢅng and spoꢃtswear (Levꢅ's, Colꢇmbꢅa Sportswear, Nike, Cabela's, etc.) Soft drinks (Coca-Coꢆaꢍ Pepsi, ꢃoot beer, saꢃsaparꢅlꢆa, etc.)

Travel (aꢅrꢆꢅnes, vehicꢆe reꢉtals, Uber/Lyft, hotels/motels, etc.) Food/ꢃestauraꢉts (Cꢃacker Baꢃreꢆ, Chꢅck-fiꢆ-a, Carꢆ's Jꢃ.ꢍ etc.)

Conꢀdenꢁal

Thꢃ ꢂrꢃꢄk.ꢅg Po,nt

Invesꢀr ꢁerin g

9u� Investment

We aꢆe seekinꢈ haꢆd cash ꢌnvesꢍmenꢍs by a sꢌnꢈle investoꢆ oꢉ a gꢉoup of investoꢉs. Eqꢎiꢍy ꢌnvesꢍments ꢆequiꢆe thaꢍ ꢍhe invesꢍoꢆ own a sꢍake ꢌn ꢍhe film (the LLC oꢉ opeꢆaꢇnꢈ stꢉuctuꢉe) and will be paꢌd back on ꢍheiꢆ pꢆincipal invesꢍmenꢍ+ 20%

befoꢆe profit is seen on the side of the filmmakeꢆs.

We aꢆe offeꢆꢌnꢈ 30 poinꢍs, in one-point incꢆements, at $20,000 peꢉ point. One-poꢌnt eqꢎals one peꢉcenꢍ eqꢎiꢍy in the film.

We aꢆe only offeꢆinꢈ a ꢍotal of 30 poꢌnꢍs to Invesꢍoꢉs. When we ꢆeach oꢎꢉ ꢈoal of
$600,000 ꢍhe pꢆodꢎcꢍion bꢎdꢈeꢍ wꢌll be compleꢍe. The Bꢆeaking Poinꢍ wꢌll ꢈo into the pꢉodꢊcꢋon phase of ꢍhe pꢉojecꢍ when the film ꢆaises a minimꢎm of $300,000. The fꢌlm's dꢌstꢆibuꢍion esꢍimaꢍed sales ꢈoal ꢌs $10 million neꢍ pꢉofit ꢍhe fꢌꢉsꢍ yeaꢉ of dꢌstꢉibutꢌon, thaꢍ one-point invesꢍment ($20,000} wꢌll ꢍhen be woꢉth $100,000.

If we ꢆeach the ꢈoal of oꢍheꢆ sꢊccessfꢎl faith-based films and hꢌt ꢍhe pꢉojected $30 mꢌllꢌon maꢉk in ꢍhe ꢀꢉst yeaꢉ of dꢌsꢍꢆibꢎꢇonꢏ that one-poꢌnꢍ wꢌll be woꢆth $300,000 the fiꢉst yeaꢆs.

The Bꢆeakꢌnꢈ Poꢌnꢍ eqꢎꢌty ꢌnvesꢍoꢉs will ꢆeceive compensaꢇoꢐ oveꢉ ꢍhe life of ꢍhe fꢌlm, and faith-based films have what ꢍhe film indꢎsꢍꢆy calls a lonꢈ shelf lꢌfe.

ꢀꢁꢂ Investment

We aꢆe offeꢆꢌnꢈ pꢉodꢊcꢍ placemenꢍ ꢌn ꢍhe film foꢉ $30,000. We aꢆe offeꢆꢌnꢈ sponsoꢉship endoꢉsemenꢍs foꢉ the fiꢉst yeaꢉ of the film's disꢍꢆibꢎtion aꢍ $250,000.

  • aꢆe also open ꢍo exclusꢌve ꢆꢌꢈhts deals thaꢍ can be neꢈotiaꢍed with the Execꢎtive
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