white paper


Strategic Business and Marketing Plan

White Paper

Main staff, and cast, will be hired before production


DISCLAIMER: While every effort has been made to ensure that this whitepaper and any material contained within is accurate and up to date, it may not be exhaustive. It contains forward-looking statements and ideas that are subject to changes, with Saturn buyers or holders.

Table of Contents

1.0 Executive Summary————————————————————————3
         1.0 The Services (Production————————————————————-9
         1.2 Financing——————————————————————————9
         1.3 Mission Statement——————————————————————–9
         1.4 Management Team——————————————————————-9
         1.5 Sale Forecasts————————————————————————10
         1.6 Expansion Plan———————————————————————–11
2.0 Company and Financing Summary——————————————————11
         2.1 Registered Name and Corporate Structure—————————————–11
         2.2 Required Funds———————————————————————-11
         2.3 Investor Equity———————————————————————-12
         2.4 Management Equity—————————————————————-13
         2.5 Exit Strategy————————————————————————-13
3.0 Product and Services———————————————————————-13
         3.1 Film development and Production————————————————–13
         3.2 Licensing of Intellectual Property—————————————————14
4.0 Strategies and market analysis————————————————————14
         4.1 Economical Outlook—————————————————————-.14
         4.2 Industry Analysis——————————————————————–14
         4.3 Customer Profile———————————————————————14
         4.4 Competition————————————————————————–15
5.0 Marketing Plan—————————————————————————-15
         5.1 Marketing Objective…—————————————————————15
         5.2 Marketing Strategies—————————————————————–15
         5.3 Market Pricing———————————————————————–15
6.0 Organizational Plan and personal summary———————————————16
         6.1 Corporate Organization————————————————————–16
         6.2 Organization Budget—————————————————————–17
         6.3 Management Biographies————————————————————19
7.0 Financial Plan——————————————————————————21
          7.1 Underlining Assumption————————————————————-21
          7.2 Sensitivity Analysis——————————————————————21
          7.3 Source of Funds———————————————————————-21

Film & Television Production Business Plan

Film production is one art that requires a ton of skills. This is so that nothing short of the best is produced. J. Guinn Entertainment. will be a one-stop and standard film and television production company that will be fully equipped with the latest technology in the film and television production industry.  Our film and television production studio will be located in the heart of Los Angeles, California, U.S and we are positioned to work for a wide range of clients ranging from individual clients to corporate organizations, national clients to international clients, and players in the Hollywood industry.  J. Guinn Entertainment will engage in all aspects of business services synonymous with the standard organization operating in the film and television industry. Our business goal is to work towards becoming one of the leading film and television production brands in the whole of Los Angeles and in the nearest future compete with the leaders in the industry not only in the United States but also on the global stage.

We are not ignorant of the fact that building a standard and world-class film and television production company from scratch requires a huge capital base essentially for the purchase of world-class and latest film and television equipment.

We will ensure that all our employees are selected from a pool of talented and highly creative people with eyes for good movies in and around Los Angeles, California, and also from other parts of the United States. We will make sure that we take all the members of our workforce through the required training that will position them to meet the expectation of the company and to compete with other players in the United States and throughout the globe.

At J. Guinn Entertainment.  Our public best interest will always come first, and everything we do will be guided by our values and professional ethics. We will ensure that we hold ourselves accountable to the highest standards by meeting our client’s needs precisely and completely and of course, producing movies and television shows that can compete with the best in the world. We will cultivate a working environment that provides a human, sustainable approach to earning a living, and living in our world, for our partners, employees, and for our clients and investors.

J. Guinn Entertainment.  Is owned majorly by John Guinn, the purpose of this business plan is to raise $750,000,000.00 for the development of and distribution of 5 films.  The production company will showcase the expected financials and operations over the next three years.  J. Guinn Entertainment. (“the Company”) is a Los Angeles-based company that will provide developers and distribute films produced by the business to customers in its targeted market.  The Company was founded in 2014 by John Guinn.


Hollywood and the U.S. Film Industry Topped $43 Billion in Revenue Last Year, 

The American film industry generated $100 billion in revenue last year, increasing in each of the past five years at an annualized rate of just 2.2%, according to a report by the research firm IBIS World obtained by Deadline.  Even so, the report found that the film industry is “growing slightly faster than the overall economy,” and projects it will retain more of its revenue as profit than in years past – 12.6% in 2017, compared with just 10.6% in 2012.

Netflix is revolutionizing the business of the film industry, at a time of a beautiful Cinematography Renaissance and powerful Series Cinema.  This post offers a snapshot of the state of cinema in 2020 and reflects on key trends and challenges that may shape its future. Cinema is both a global industry and technological art, so it’s only natural that the trends and challenges I see are interwoven in business, technology, and culture.

The Netflix Revolution


Series Cinema

Full Frame Look 4K+

TVs and Theaters


1. The Netflix Revolution

There will be a battle of media titans for the exploding streaming video market.  The shift from television, cable, and DVDs to the internet is changing cinema both inside and outside the theaters. Netflix has led the way, dominating the internet streaming business by investing heavily in the making of series and features (through production and acquisition). 

Some noteworthy figures:
Netflix invested 6 billion dollars in video content in 2017, Netflix reached 117 million subscribers, split about 50/50 between the US and the rest of the world.  Netflix grew its revenues by a phenomenal 36% in 2017, and there is every indication for continued growth.  Netflix’s worldwide revenues of 11 billion in 2017 are about the same as the total US Box Office.  Netflix has announced that it plans to spend 8 billion in 2018, on some 700 series and 80 feature films.

2 Amazon:

Is the elephant in the streaming room, and is catching up to Netflix, investing 4.5 billion in series and movies in 2017. Amazon CEO Jeff Bezos sees quality movies as helping to build his brand, and has remarked: “we get to monetize that content in a very unusual way when we win a Golden Globe; it helps us sell more shoes”.

Note that Netflix and Amazon are also buying quality content from some of the most innovative filmmakers around: the Coen brothers, Alfonso Cuaron, Ildikó Enyedi, Todd Haynes, Bong Joon-Ho, and Dee Rees, to name some recent directors.

The business of films and series looks to become more crowded. The traditional studios, led by Disney (155 Billion market cap), are destined to compete with Netflix (130 B) and Amazon (722 B). Disney is set to launch its own streaming service in 2019.  There are also two giant newcomers who may join the content business, Apple (888 B) and Facebook (511 B). There is a lot of fish in the “video content” tank, and some big fish will probably eat smaller ones. Indeed, Apple is rumored to have considered buying Netflix. 

3. Series Cinema

Series have developed a new form of cinema that rivals theatrical films.  For the past decade, much of the best of American cinema has been offered in remarkable series, watched on televisions and laptops. (There have also been some superb European series). Series Cinema has been enabled by the high quality of small screen cinematography, which is giving a cinematic feel and form to episodic content.  In an age where superhero franchises dominate the box office, many independent American filmmakers have turned to series to tell different kinds of stories, and, in doing so, are defining new kinds of multi-hour movies.  To me, contemporary series is like the serial literature of the nineteenth century, when great writers like Dickens, Dostoyevsky, and Dumas published some of their masterpiece novels, one or more chapters at a time in periodicals.  Binge-watching is a way of experiencing movies differently. The longer time length makes the series psychological experience more immersive. And the episodic nature makes this lengthy movie more about character than story. Series are creating a new kind of Cinema.

4. Full Frame Look

Many filmmakers will explore using Large Format cameras, and the different perspectives and depth of field they offer.

After the recent introductions of the Sony Venice and the Arri Alexa LF, there are presently five leading cameras with Large Format sensors: Arri Alexa 65, Arri Alexa LF, Panavision DXL, Red Monstro, and Sony Venice.

Shooting large-format creates a different look, large-format sensors imply longer focal lengths and therefore less depth of field than standard Super 35.  This means that filmmakers will create images with more out of focus areas, or be required to add more light in order to close down the iris, especially in interiors and night exteriors.  Many filmmakers feel that longer lenses used in large format create a perspective and look that is closer to our perception than Super 35, and therefore feels more natural.  In the short term, many directors will want to explore the Large Format look. It will be fascinating to see the impact of this optical perspective and depth of field on the stories they will tell. However, I do not believe that Large Format will replace Super 35, as not every filmmaker will want to have that look for every project. In the long term, Large Format will become one more filmmaking option, or perhaps, a genre.

5. TVs vs Theaters

The latest home televisions are technically superior to theater screens. While theaters offer unique scale and community, they will need new image technology to keep their audience.  The situation of movie theaters today evokes the 1950s when the studios introduced anamorphic lenses to offer wider spectacles than what people could see on their televisions.  The difference is that today, televisions are technically better than theaters.   The UHD television standard is equivalent to 4K resolution in theaters, but most screens are 2K at present.  Televisions are presently capable of higher frame rates than movie theaters.  The television 2020 standard color space is more extensive than the current theatrical DCI-P3 standard.  Televisions have higher dynamic range capability than theaters, and it’s a lot easier to get true black values in a darkened living room than it is in a movie theater.  Of course, movie theaters can create a unique experience of community, as the amazing response to Black Panther has shown us recently. Also, teenagers will always need to leave their parents at home and go out with their friends. And many of us adults will go to theaters to watch movies like Black Panther, which has become a milestone cultural event.  In addition, so-called “premium theaters,” like the IMAX or Dolby Cinema chains, offer high picture and sound quality at a price. To me, the main benefit of the proposed HDR — High Dynamic Range — systems is deeper blacks, but that won’t be enough to keep people in theaters.  The long-term future of the movie theater depends on technological change, and I believe that the most promising image technology is the LED screen. If television screens are better than projectors, perhaps they should replace them! I have seen very intriguing examples of large LED screens from Samsung and Sony, that offer a promising finesse to the image, along with perfect geometry, high frame rates, better blacks, and vibrant colors, although the present cost is prohibitive.

6. Diversity

The industry is changing and will enable more women and people of color in positions of power.  One of the most important cultural trends is the growing diversity of the characters on screen. Wonder Woman is the first female superhero protagonist, and Gal Gadot’s charisma and strength send a great message to young audiences. Similarly, the wonderful cast of African-Americans in Ryan Coogler’s Black Panther marks a milestone in the genre, sending a clear message to the studio heads, as it raced to a billion-dollar gross in record time.

Of course, it’s just as important to see diversity behind the camera. Rachel Morrison, ASC, is a wonderful role model, the first woman cinematographer nominated for an Oscar for Dee Rees’ Mudbound, and the first woman cinematographer to shoot a huge action movie, the aforementioned Black Panther. It’s been a very good year for Rachel!

It’s also heartening to see that an African-American, Bradford Young, ASC, shot the upcoming Solo: A Star Wars Story. And it’s just as important to see one female director, Patty Jenkins, break into the box office top 20. Ava DuVernay is the first African-American woman to direct a movie with a 100-million plus budget, A Wrinkle in Time. And it’s wonderful to see Greta Gerwig get an Oscar nomination for directing Lady Bird.  Let’s hope that having more diverse people making blockbusters will help evolve the themes and stories of the big studio films.

1. Film Production – Development

This is where the project is birthed. It is the creation, writing, organizing, and planning stage of a project. In development, a preliminary budget is made, key cast are attached, key creatives are chosen, main locations scouted and multiple script drafts may be written. It’s all the groundwork to show what the project will be and how much it will cost to make. It starts the moment a Producer thinks of a project or a Writer starts penning words on a page.  Development can take months or even years to get the project green-lit by a studio or funded independently and move into pre-production. Green-lighting a film means the studio has approved the idea and will finance the project and move into production. The crew involved in the development stage is quite minimal compared to all the other stages, as it’s just a small group of creative’s and executives crafting the story and associated budget. Once a project finds finance, it will move into the pre-production phase with an emphasis on shooting dates and time frames for the project to be finished.

2. Film Production – Pre-Production

Pre-production (or ‘pre’ as it’s called) is where scripts are amended, budgets are adjusted, actors are cast, locations scouted, the crew employed, shooting schedules amended, sets designed and built, costumes made and fitted, and everything to do with the shoot is planned and tested. The pre-production stage can last many months from the initial green-lighting of a project to when cameras actually roll. As this date draws closer, the crew grows with many people being employed about two to eight weeks before the shoot starts.

3. Film Production- Production

The production stage is where the rubber hits the road. The Writer, Director, Producer, and countless other creative minds finally see their ideas captured on film, one day at a time. Production is usually the shortest of the five phases, even though it is paramount to the film and where most of the budget is allotted. Production is the busiest time, with the crew swelling to hundreds and the days becoming longer in order to be as efficient as possible with all the gear and locations on hire.

4. Film Production – Post-Production

So you’ve thought of an idea, written a script, raised the funds, employed a crew to get it made, spent most of your budget, and hopefully have shot some decent footage in the process. Now it’s time to move into post-production. This is where the footage is edited,

the sound is mixed, visual effects are added, a soundtrack is composed, titles are created, and the project is completed and prepared for distribution. Although the shooting crew has done a lot of hard work, now the post-production crew faces arduous hours of work ahead of them to piece together the scenes and craft a stunning story.

5. Distribution

Without a stringent and robust distribution strategy, the other four stages of production are somewhat redundant, at least from a business perspective. Distribution is the final stage in a project for producers looking to make a return on investment. This can be from cinema distribution, selling to a TV network or streaming service, or releasing direct to DVD.  Whatever the distribution plan is, the producers will have spent many hours planning and marketing their piece to ensure the biggest audience and largest return. With the digital age and rapidly converging technologies, viewers are watching content in new and different ways, meaning that the distribution phase is constantly evolving.

Although distribution is the final stage of the project, the channel of distribution and marketing of the project will be planned in pre-production.

6. What we plan to do

J. Guinn Entertainment will utilize all the information above to our advantage to help advance our movies.  We will be producing a slate of films, which are 5 films in one year.  There are 5 stages of Understanding film Production.   These stages are development, pre-production, production, post-production, and distribution. Each phase has a different purpose, with the overarching goal to get to the next one, and ultimately on to distribution. Each stage varies in length, and different roles suit different stages.

1.0 Products and Services

As stated above, J. Guinn Entertainment will be actively engaged in the development and distribution of films and television shows produced from scripts that will be actively purchased by the Company. Once the Company “green lights” a production, the business will aggressively produce, distribute, and market the film or television show to the general public. The Company will earn substantial income from the distribution and licensure fees from the initial theatrical release of productions coupled with ongoing royalties from DVD, Blu-Ray downloads, paid subscription, and merchandising sales. The third section of the business plan will further describe the services offered by the Film Production Company.  The tent pole movie is as close to a sure-fire hit that can reasonably be predicted by various parameters such as similar films, talent, release dates, theme, and audience.  Tent pole is a studio term that relates to risk allocation.  Studios try to spread their financial risk across their entire slate.  The designated tent pole movie is designed to carry less financial risk than the rest of the film slate to return an overall profit to the studio.   

1.2 The Financing

The founder is seeking to raise $750,000,000.00 million from an investor or group of investor(s). On a preliminary basis, The investor will also receive a regular stream of dividends from the royalties earned on the films and television shows produced and distributed by the Company.  J. Guinn Entertainment will be producing and working with different companies to distribute our movies, in conjunction with one of the large studios.

1.3 Mission Statement

To produce quality motion pictures and television shows and other media that provide the Company’s audience with enjoyable entertainment.

1.4 Management Team

The Company was founded by John Guinn. I have more than 30 years of experience in the entertainment industry. Through my expertise, I will be able to bring the operations of the business to profitability within its first year of operations.

1.5 Sales Forecasts

The founder expects a strong rate of growth at the start of operations. Below are the expected financials over the next three years.

Proforma Profit and Loss ( Yearly )      
Year 1 2 3
Sales 250,000,000.00 250,000,000.00 250,000,000.00
Operating Costs 50,000,000.00 50,000,000.00 50,000,000.00
EBITDA 200,000,000.00 200,000,000.00 200,000,000.00
Taxes, Interest, and Depreciation 59,680,000 59,680,000 59,680,000
Net Profit 140,320,000.00 140,320,000.00 140,320,000.00

1.6 Expansion Plan

The Founder expects that the business will aggressively expand during the first three years of operation. Mr. Guinn intends to implement marketing campaigns that will effectively target quality screenwriters that can provide the Company with extensive materials that the Company can produce and distribute as films and television shows to the general public.

2.0 Company and Financing Summary

2.1 Name and Corporate Structure

J. Guinn Entertainment, Inc.  The Company is registered as a corporation in the State of New York.

2.2 Required Funds

At this time, the Film Production Company requires $ 275,000,000.00 million of investor funds. Below is a breakdown of how these funds will be used.

2.3 Investor Equity

Now with the new business model entertainment industries have showered with a lot more funding and investors options that were never seen before, because it has reduced the failure risk factor to near zero. It allows producers to pay back their loans to banks and investors prior to the film release as producer sells rights to distributors and promotion partners of the film. So this is it.  How do cinemas make money prior to its release?  With the new business model, the income source for the producers has changed a lot. It is not the same as what we have seen How Hollywood movie earns money in olden times. Earlier the success of the movie depends entirely on the box office collection.  This means if the movie fails to appeal to the audience with its content and doesn’t hit the theaters then, it will be a loss for the entire film industry. But now the definition of how movie makes money has changed giving profit to all bodies in the chain from producers to exhibitors.  But in recent years we have seen major changes in the film industries business model, where every production house is keen to open their movie distribution wing. Like Shahrukh khan’s red chilies entertainment is a production as well as a distribution company. Although this step has greatly changed the way, and how movie producers make money? As for now, producers will not get the advance fund from distributors they get by selling the movie rights. But this change will allow them to decide how much print to be made, publicity requirement and where to show the movie.

Hence our blog concludes how movies make money with the fact that the success of the movie for filmmakers is not constraint only to the content it carries. It is basically the total budget as a high budget film seems risky when it is not welcomed by the audience with great excitement. As this can automatically decrease the margin gained. In short, a low budget and rich in the content movie is always a winner giving great business to everyone from producers to exhibitors.  The movie and television industry is a great place to invest in.  Invest in this ICO and let’s make some serious money.

2.4 Management Equity

Once the requisite capital is raised, Mr. Guinn will retain an 80% ownership interest in the business.

2.5 Exit Strategy

If the business is very successful, Mr. Guinn may seek to sell the business to a third party for a significant earnings multiple. Most likely, the Company will hire a qualified business broker to sell the business on behalf of the Film Production Company. Based on historical numbers, the business could fetch a sales premium of up to 10 times earnings if the Company earns substantial royalty income from its previous produced films and television shows.

3.0 Products and Services

Below is a description of the film production and distribution services that will be offered by the Film Production Company?

3.1 Film Development and Production

The Film Production Company will finance its own media content by purchasing scripts for movies and television shows developing them for distribution. The business will develop these pictures and shows individually, and will provide all of the necessary capital for the development of these projects. Upon receiving the Company’s needed capital, the business will produce one film at a time to develop this business. Management feels it is important to test the waters of this market as developing media content is a risky business. The Company wants to ensure that it develops the proper distribution and advertising channels before it heavily engages this business.

3.2 Licensing of Intellectual Property

As the Company develops its film and television portfolio, Management fully intends to license and develop strategic relationships with publishers that want to participate in the license of the Company’s database of film and television shows. If the Company’s marketing campaign is successful, the Company will be able to offer license of its trademarked and copyright-protected works to other businesses and as such the fees and licensing percentages will greatly increase the Company’s profitability.

4.0 Strategic and Market Analysis

4.1 Economic Outlook

This section of the analysis will detail the economic climate, of the film production industry, the customer profile, and the competition that the business will face as it progresses through its business operations. Currently, the economic market condition in the United States is in the upswing. This upswing in the economy has also greatly impacted real estate sales, which is going up day by day.  Many economists expect that this increase will continue until mid-2022, at which point the economy might slow down.

4.2 Industry Analysis

The film and TV industry supports 1.9 million jobs in the U.S. and generates $121 billion in wages–  including $50 billion in wages for jobs directly related to the industry — according to the MPAA’s latest data.  Those figures include nearly 305,000 jobs in the core business of producing, marketing, manufacturing and distributing motion pictures and television shows. “These are high-quality jobs,” the MPAA said, “with a heavily unionized workforce and an average salary of $92,000 – 79% higher than the average salary nationwide.” California leads the nation with 191,399 workers directly employed in the industry – of which 136,906 are production-related jobs. Altogether, they generated nearly $19.89 billion in wages.

4.3 Customer Profile

As each production will target a different demographic, the Film Production Company will conduct an extensive demographic and marketing profile before each production is developed and distributed.

4.4 Competitive Analysis

The Film Production Company intends to maintain an extensive marketing campaign that will ensure maximum visibility for the business’s developed films among its targeted market. Below is an overview of the marketing strategies and objectives of the Film Production Company.

5.0 Marketing Plan

5.1 Marketing Objectives

• Establish a strong presence in targeted domestic and foreign film markets.

• Establish connections with entertainment advertising agencies and marketing firms.

• Build a large network of financial backers.

5.2 Marketing Strategies

Management intends to use a qualified advertising and marketing firm to help the Company reach its intended audience for each production. This campaign will include the use of traditional print and media advertising as well as the Internet. Direct advertising campaigns will be of significant importance to the Company. Timely coverage of the Film Production Company’s intellectual properties will be further directed through ongoing press relations, news releases and feature stories targeted at key professional communities and other media outlets. Publicity activities will be designed to generate ongoing coverage about the Company in targeted media by providing writers and editors with newsworthy releases, features, stories, briefs, and visual material for their columns and stories. In-depth coverage may also be obtained about the Company and its films by hosting in-house interviews to be conducted by Mr. John Guinn. For each production, the Company will work closely with its retained marketing firm to ensure maximum visibility for each production.

5.3 Marketing Pricing

Regular price Ticket

Year Avg. Price
2019 Est.$9.01
2018 $9.11
2017 $8.97
2016 $8.65
Children (ages 2-12) $16.99
Adults (ages 13 & up) $19.99
Seniors (ages 60+) $16.99

6.0 Organizational Plan and Personnel Summary

6.1 Corporate Organization

Chief Executive Office:

  • Increases management’s effectiveness by recruiting, selecting, orienting, training, coaching, counseling, and disciplining managers; communicating values, strategies, and objectives; assigning accountabilities; planning, monitoring, and appraising job results; developing incentives; developing a climate for offering information and opinions; providing educational opportunities.
  • Responsible for providing direction for the business
  • Creates, communicates, and implements the organization’s vision, mission, and overall direction i.e. leading the development and implementation of the overall organization’s strategy.
  • Responsible for signing checks and documents on behalf of the company
  • Evaluates the success of the organization

Marketing and Sales Executive

  • Before the movie is ready, then the marketing team will go out to the market and promote the movie
  • Identifies, prioritizes, and reaches out to new partners, and business opportunities et…
  • Identifies business opportunities; follows up on development leads and contacts; participates in the structuring and financing of projects; assures the completion of the movie
  • Responsible for supervising implementation, advocate for the customer’s needs, and communicate with the clients, cinema operators and movie distributors
  • Develops, executes and evaluates new plans for expanding increase sales
  • Documents all customer contact and information
  • Represents the company in strategic meetings
  • Helps to increase sales and growth for the company

Film Producer

  • Responsible for developing the concept and producing movies from start to finish
  • Responsible for choosing the right locations to shoot a movie
  • Works with the accountant and other stakeholders in the company to draw up a budget for any movie project
  • Handle any other responsibility as assigned by the Chief Executive Officer

Entertainment Lawyer / Legal Secretary

  • Responsible for drawing up contracts and other legal documents for the company
  • Responsible for all legal aspects of the business
  • Responsible for negotiating all contracts

6.2 Organizational Budget

6.3 Management Biographies


John Guinn /Chairman Of the Board / CFO

My name is John Guinn, I live in Los Angeles California, I have always loved films, television shows, and commercials, really anything entertaining. So after working many jobs in the United States, I decided to start a film production company, there are many challenges, so I set out to learn the business which is an essential part of making a film. The film business in Hollywood is excited and uplifting. I have gotten a chance to meet some very knowledgeable people in the business and they really know their stuff. I am in the process of getting several films together and producing them.


Lawrence Howard Williams / Vice President of the Board

Born an Air force brat in Okinawa Japan, and thus so is well-traveled; Lawrence deeply believes his worldly travels, gives him a lot of experiences to draw from, and thus so, makes him a natural storyteller and filmmaker.  His passion began at the age of 8, this is when Lawrence wrote his first script; a rough combination of Star Wars and Raiders of the Lost Ark, his two favorite movies; this was six years before Mel Brooks’ Space Balls.  Since then Lawrence has graduated from San Diego State University. He’s acted in, wrote, produced, directed, and edited numerous short films. Lawrence is currently producing for Diversity Pictures a company he owns and found himself.

Lawrence’s Website
The First link is to the home page of my website, and to my resume.
The Second Link is to a page that contains four trailers

Fred Toma

Fred Toma / President of Production

I am known for my work on Call of Duty 4: Modern Warfare (2007), Patriot Games (1992), and Uncharted 3: And Drake’s Deception (2011), The Circuit, Jag, The Agency.  I studied at Valley College, in North Hollywood, Ca.  I am an Actor, Writer, and Director and a member of Sag, Ftra, and WGA.  I have demonstrated my ability to be versatile along with the depth necessary to play the roles that have an extensive range.  I have been in the entertainment business for many years and I know it inside out.  To learn more about Fred Toma Career go to IMDb and pull up his full resume.


Lowrix Wilson / President of Marketing

My name is Lowrix Wilson.  I am a marketing specialist, and a writer, I have created appealing, and creative content for various social media platforms. I have managed websites and social media accounts, and communicated with followers, including responding to queries. Also, I have created effective social media and crowdfunding campaigns.  As a result, I am a dedicated and organized person with the ability to learn new skills in a short time. I will try my best to ensure our goal is reached.


NNajiuba Favor Chinyere / President of Promotion Africa

I studied international relations at the university, I have started to study crypto currency. Bitcoin was introduced to the world in 2009 by Satoshi Nakamoto, a software engineer the whole idea was to create a currency that was independent of central authorityand transferable electronically. I have decided to take a position with J. Guinn Entertainment, Inc as the president of promotion for Africa and other parts of the world

7.0 Financial Plan

7.1 Underlying Assumptions

*          The Film Production Company will have an annual revenue growth rate of 16% per year.

*          The Founder will acquire $ 275,000,000.00 of equity funds to develop the business.

7.2 Sensitivity Analysis

The Company’s revenues are sensitive to the overall condition of the economic climate. Film and entertainment are luxury items, and in the event of an economic pullback, the Company may experience a decline in its top line income. However, the business’s operations are scalable, and during times of economic recession, the Company can scale down production and still enjoy revenue generated from prior works.

7.3 Source of Funds

7.4 General Assumptions