Transcript 5:
Jordan Beckerman:
Yeah, and I think that those 50 movies, even though we’re in the situation, you know, we do have like we have we’ve built up over the last seven years. And Jordan did this for years before that, you know, even though we’re in this situation, we have pretty good reach, like we, you know, have made a lot of movies that have, you know, that have broken out to some extent, you know, I think that our, you know, kind of ability to put new movies together, as difficult as this situation is, all of those years that we’ve, you know, put time in, has kind of given us the opportunities that we have in front of us. And so, you know, it would be a shame for a lot of reasons to not be able to do that. But I do feel like, you know, our ability to put movies together in this way with whatever you know oversight is involved, is actually as good as it’s ever been.
Jordan Levine:
Well, that’s an interesting point, I think that you know, take, for example, the David and Covey movie, and that’s a film that we expected to make its money back, and, you know, much more, but variety called it David and coveney’s best performance of its career. It’s still premiered at Tribeca Brittany Snow’s movie parachute premiered at South by Southwest. She won an award for Best Director. Another our actress won Best Actress at the festival as well. So, you know, I think that we have gained a lot of respect and and great reputation in the business, even though, and it sucks, obviously, we rather be the other way around, where we earned a lot of money and the films were just okay, but we’ve made good movies that have given us certain clout, and I think, to be a certain caliber in the business. So we are getting the opportunities, one of the first films that we plan to make, if this all goes well. So Clark Duke, who’s an actor, also writer, director, he did our movie Stranglehold this past summer. He is a new film that would star as an action thriller, Liam Hemsworth and hopefully Jon Hamm. That’s a very good example of what we’re talking about. It’s around a $10 million movie. Your lead is Liam Hemsworth, so he’s already built in value there. Then you have Jon Hamm with him, another guy with good, conventional value. So those are the movies that we would focus on.
Matt Newman:
So question, cuz it’s clear you guys have great ideas. You’ve made movies that have been successful in the past, right? I think, I think someone had said it earlier. It’s about the controls and the process now, to make sure that, as you if you guys do go off and have a round two here, that the train stays on the rails, things get executed. There’s fiscal responsibility, fiscal control. There’s reporting back to the investors so they know that, you know, you guys are making progress on the debt. You’re knocking down the debt, you’re and you’re managing things appropriate. How do the controls work? I mean, this is a clay question, which was, is there a management company you guys would bring in to run this while and that that spins the Jordans off to kind of do their thing on movies, and then you’re, you’re kind of running the show from a control perspective. How does that work?
Clay Pecorin:
I haven’t gotten there yet. I think that so. I have a company of a number of folks that that produce movies, finance movies, and oversee movies. I think that we can allocate some time to that, but I think this is going to be a collective effort. I think the first and first and very important hire would be a true line producer, someone who’s going to be on staff, because I think the deal protection mechanisms are on the films itself. Because what’s happened on a number of these films is they’ve been flipped, and we should never do a non union movie ever again. It the there have been overages that are massive, and that’s really a product of having the right people on the set. But yeah, I think that there’s a there’s a management company that has to be put into place, and there’s a. A there’s a a board that has to oversee what’s being going what’s going on, because, you know, based on what the past is, I wouldn’t want to take on the liability from a company basis of being the only person doing this, like there has to be controls with the number of people, you know, and most likely, it’s going to be made up of some of the people in this room.
Matt Newman:
Thanks.
Unnamed Speaker:
I’d like to know what the rep split has been between distribution and what yells, you know, since the beginning of 50, because the distribution is, yeah, from and you guys identified it. It’s just it needs to be dealt with. And it’s a different time. Distribution is not the same as it was, and it has to be viewed as such and kind of that’s got to be planned by distribution and how you’re going to do a cost effectively.
Jordan Beckerman:
Yeah. Well, I think that liked with the foreign sales side of it, which is what the idea was, with great escape. If you look at the two sort of biggest ways that movies that we have made have made other people money. I think distribution is by far the biggest way that that’s happened, where we’re putting in the work, we’re, you know, spending all the time, we’re taking all the risk, and then the distributor comes on board and makes millions of dollars after we’ve done all of it. And it’s something that, you know, we actually looked at doing a distribution company in was it 22
Jordan Levine:
right before the strikes happened, actually,
Jordan Beckerman:
and that sort of derailed that, that process. But it was absolutely the thing that we saw the verticals of the world and quivers who were making that kind of money that, you know, we felt like we needed to capture.
Jordan Levine:
It’s been quiver level 33 grindstone, many companies on that level. And I think that, you know, we have enough content that we produce ourselves to release in a year, but I think if we acquire third party pictures, which, you know, we’re always getting emails and calls from friends and colleagues that have films with no distribution, so I think there’s a lot that we can do there.
Jordan Beckerman:
So, I mean, this is two hours, and really, again, appreciate everybody’s time. I know it’s, it’s, it’s a lot. I don’t know what next steps should be. Maybe everybody, yeah,
Clay Pecorin:
I think everybody should take a bead, yeah, and come up with, you know, are they interested in participating in the new entity and working off of the $50 million number? And I think 10% is the number 5% call on now 10% the remain five is as needed. I think you’re going to find out who wants to play in that and who want doesn’t. But those decisions clearly have to be made fairly quickly. And again, if people want to do it, that’s great. I I can represent that. I will. And you know, everybody else has to make the decision for themselves to see if that makes sense for that. But I think, I think if, if everybody is open to that, I think you guys should reach out to Jordan by the Jordans by, you know, Monday or Tuesday, to come back with. Is this something you’re willing to participate in or not? I think we all need to decide very quickly. And again, I’ll go back to the fact that I think we’re all in the same boat, whether we want to paddle together or not, is that for everybody?
David Gilbert:
Can I? Can I ask you guys, obviously, in the industry, you know, perception is incredibly important. If we were to do this, would you sort of present it to the industry as the launch of a new entity or something? Because I’m more, I’m also, I suppose, thinking about how you how you spin it, but also, you know, potentially, there’s a world in which you can launch it in a way that actually can give you some wind in your sails and some momentum amongst distributors, streamers, studios, people like that. If there’s a way to position it, is that what you’re thinking or are you thinking about sort of just creating a new entity, and
Jordan Levine:
I like that idea. I mean, I think really clay the up to your expertise as what you think might be best.
Clay Pecorin:
I am the worst person I’ve been in the business 20 years. 99% of people don’t know who I am. I don’t I don’t do PR or press because I think most of it’s bullshit. That being said, I don’t disagree. You the the perception, you know this is going to get around people? Know, yeah, there’s a value in it. I just, I don’t know how to do that. I’ve never done it, so I can’t speak to that, right?
David Gilbert:
That’s my concern. Is that, like you have a whole room of people that are owed money, and I don’t know anybody else in this room. I don’t know what sort of industries people are in or what sort of walks of life people are in, but news does travel round, and you know you don’t want, I guess, you know the skills that you guys have. You know is those are those relationships, talent relationships, working with directors, distributors, people like that. You know, you don’t want to end up feeling in any way sort of tarnished, right? Because if we’re doing effectively, you guys are our asset. You know that needs to be monetized. So…
Jordan Levine:
I think we’re David, I think we’re open to to anything. I think that if we’re talking about a multi pronged approach where there includes distribution, there is possibly a sports division, as we mentioned before, and things of that nature. I mean, I think it could be a good rebranding, Scott. I’m not going to put you on the spot, but Scott, Scott’s very good with, uh, PR, I mean, I think it’s just a random idea that everybody can just think about it, but I don’t know. I mean, is it, does it make more sense to make this? I mean, Dave, is that what you’re saying like a new operation?
David Gilbert:
I’m assuming,for example, this new entity is not going to be Yale entertainment, right, for example. So with the ideas that you have, and potentially a slightly different business model, you know, is there a way, you know, existing investors in Yale entertainment back the Jordans to do X, Y and Z and all, very exciting yada yada yada. And maybe there’s a world in which the momentum from that helps to actually get one or two of the projects set up. Definitely gets you in the room with certain people. I
Jordan Levine:
mean, I like that idea. And, you know, I think that it’s a little ways away, but the heart family movie again, even, not to put you on the spot. But actually both David’s, David gilberry, David Gere, both know that world very well, and I think especially with the success of the iron claw and the fact that WWE has allowed us to use their wrestlers and rings and audiences, etcetera, it could be a nice movie.
Unnamed Speaker:
Yeah. David gear, um, I’ve talked extensively with the Jordans about the Heart Project pretty well integrated into the world of business of professional wrestling, and to your point on the merger with endeavor, there’s a lot happening in that space. To have a film that would be a front runner project, that would probably answer some of the things that the iron claw film for 824 didn’t would be prolific, and I think there would be a lot of interest and excitement, both critically and in looking for potential additional partners, especially down this way, part of part of this part of the State. I also represent a group of ocean crest ventures who have been involved with Yale entertainment in the last few months. I’ll leave it up to the Jordans to add on to that. But with that being said, it’s another avenue that I’m involved with with this company that would kind of are looking at Yale entertainment in sort of the same capacity that Metropolitan has, and that’s been a conversation of $5 million and so on. So a lot happening, and I think kicking it off with projects that exemplify the direction of impossible rebranding is very important.
Jordan Beckerman:
Yeah. And also, also say that, you know, while we do this, which is what we know how to do, I think you know the there are other areas that we can and should be exploring, like turning our films into television shows and developing, you know, the IP and exploring, you know, other things that are ancillary to what we’ve done, but are still, you know, potential, you know revenue streams that you know because of what we’ve done in the business and and our positioning. You know, documentaries, short form content. You know, reality TV. I mean, I don’t for us, it’s about what you know, makes sense. And actually, David was just speaking. He has a studio, and he has an ability to help on, you know, some of those fronts. And I’m just going to put this, you know, out to the group. And we don’t need an answer right now, but I think we’re open to different, you know, ideas, you know, not just from the fine. Standpoint. But you know, if there are opportunities for us to, you know, explore, you know, television, through a contact that you know somebody may have, or IP that you know somebody has access to, I think that, again, the whole idea behind all of this is, you know, we’ve been operating Jordan and I as best as we can, but we’re at a point where we need everybody, everybody to help, and we need it to become much more of a collaboration. We’re not going anywhere, and we’re 100% committed to trying to solve this and bust our asses to make that happen. But if anybody has any ideas, you know we’re we are very open to that, and we’re around all the time. So want to put that out there too. It’s not just film. I think, again, we’ve already started exploring television, but, you know, new media, social social media, I think there’s more out there. Podcasts. I mean, there’s a lot of things that, you know, we have great talent relationships, we have other great relationships. But you know, I think that, you know, we are willing to get creative in terms of how to how to do this.
David Gilbert:
I’d love to know whether there’s any of your 50 movies that could be adapted into musicals or plays. I mean, obviously we control, you know, one of the biggest theater companies out there. So, yeah, it’s whether you can look at things like that as well. Maybe Becky, for example, could be some weird little cult music we produce heavens. You know, we’ve got heavens. It’s pretty dark. So, yeah,
Sparsh Mehta:
there’s so many good ideas here. Is there a conversation to be had to kind of clean up the balance sheet so new capital to kind of fund these great ideas is more tenable for said investors, maybe debt to equity swaps for some people, I know you were talking about pausing all kind of like interest payments and forgiving, kind of like past amounts of debt that are kind of owed. Are you having those conversations on a creditor basis? You have kind of like an up to date list of those conversations?
Jordan Beckerman:
I mean, I think the question was, we had conversations with individual creditors about a debt for equity swap in the company. And the answer is, No, we haven’t really, you know, discussed that with any sort of specificity. I think people have brought it up to us as an option, but I think that that would have to be kind of a collective decision. And we haven’t. We haven’t really, I mean, this is really the first of these types of conversations that we’ve had. And so, you know, we’ve had individual conversations with with different investors, creditors, about what the situation is, but we haven’t discussed any sort of equitization of of outstanding debt. And I don’t know if that’s I mean, obviously everyone was free to chime into that. I feel like the goal for everybody is to get their money back as quickly as possible, and that’s our goal as well. So I don’t know that that is something that people are open to. I think certainly Jordan and I are open to that.
David Gilbert:
I don’t think that works unless you had the majority of the 50 million bucks converted to equity.
Clay Pecorin:
Yeah, you need everybody.
David Gilbert:
You can’t do it because otherwise somebody does it and then somebody else pushes a litigation button and your equity is worthless. Yeah, yeah, it’s no sense. Yeah.
Unnamed Speaker:
Everyone is, you know, isn’t on it, and depending on what percentage of the company, the collective predators and the owning and in theory, the Jordans, you know, have something like 94 95% equity of the company. So it’s like, if this whole thing about this second entity is designed to pay off the existing debt, like there’s a wall in which Jordans owns 5% of the company in a creditor zone, 95% of the company pay it off, and then they’re free to go start their own separate company after a certain sunset clause on that once the debts over all the perspective
Clay Pecorin:
I don’t want to own equity in their payment. Their favor, in that new business or in the old business. I don’t want to even all sorts of liability issues on the
but again, it’s not, I’m not saying that others don’t. I’m just saying I don’t want to make it. Yeah.
Unnamed Speaker:
Separate question, if you get in $200,000 on a tax proceeds, or that’s going to go to MCA, to be pragmatic, right now, right? You’re not giving that back to the investor right now, no.
Jordan Beckerman:
if it’s from a film, you’re saying, No, that goes to the investors on the film. So it does, yeah,
Jordan Levine:
the MCA situation, I think we’re going to deal with tonight, tomorrow. We’ve already started those conversations
Unnamed Speaker:
Just being pragmatic about, you know, because all of us have different deal structures, right stations. You know
Jordan Beckerman:
it is, it is a high priority thing, and we don’t really know what happens when we don’t, you know, when we don’t service on, service it
Clay Pecorin:
I think that MCA, you need to have start having conversations. I know you already, yeah, with here’s your balance. If you know, I think the the reality is, is you’re going to find out the next five or six days who wants to participate, and understanding that 200 grand or 250 or whatever, the 300 grand is going to pay off these MCAS to get them off your back, because they will, I think they’re the hardest folks. Yes, from a chasing basis
Jordan Levine:
baseball bat.
Clay Pecorin:
I think they just want their money back. Yeah, I don’t think they’re in the bid. Listen, they make 50% interest, right? Like, if you make 50% interest loans, you’re assuming that a good portion of them blow up, correct? Because that kills the most. Yeah, exactly. Okay.
Jordan Levine:
Anybody else have any questions? I
David Gilbert:
don’t know if this is a question or a comment or just a sort of blurting out a thought, if you don’t mind, but I sort of mentioned before. I don’t know anybody else who’s in this room, other than the Jordans, and I don’t know who does what and who everybody is, but I guess I’m wondering, you know, we talked about everybody, sort of if, if we do this for sort of 2.0 everybody kicking in, you know, a sort of pro rata, equivalent percentage of capital. And effectively the sort of creditor group in that point are contributing capital. But I guess it’s just interesting for me to think about whether, in the creditor group, there are people within this group that actually could contribute more than capital. I guess the question I’m asking is like, I don’t know who else within this credit group is within any industries of the various verticals that you guys are going to be playing in. Do you mean, are we talking about as a group just contributing some money and then you guys go off and do your thing, or are there people who actually sort of work within this industry, you know, you talked about a board and and doing that. Are there people in here that can open doors, create new relationships, help these guys to to go even further and to realize it, and maybe turn this new venture into something that actually could be valuable? That’s what I’m curious about. I don’t know who everybody is and whether there’s potentially an opportunity in all of it, I’m trying to, I suppose, be pragmatic, but also look at a potential positive in a situation.
Jordan Beckerman:
Patty P who has a post production facility and an agency that’s here in New York. So he said he’s willing to lend the resources of that to help
David Gilbert:
talent agency?
Jordan Beckerman:
No, not talent agency
Jordan Levine:
post production and production, yeah
David Gilbert:
and Clay or production finances?
Clay Pecorin:
Yeah, we have investments across the entertainment and economy. So we have investments in in production companies. We have product investments in in sales companies. We have investments in distribution companies, and we finance films. I mean, I think I probably 4550 movies, but, yeah, I mean, I think depending on the size of the film that we’re talking about, I’m an investor in a company called infrared, which is Glenn Basner, new business. From which is more commercial ended. And so I think that that’s a value proposition as well, that can be extended. And, you know, I’m, I’m one of the original supporters of Glenn for many years. So I think there’s value in that as well.
Peter:
This is Peter. I would say, you know, I spoke with the burden about this quite a few times as an investment banker, there are ways in which you can leverage investment capital, in which you know, you’re mitigating risk by earning interest on money you know, which you have the ability to, you know, use institutional money instead of taking money, putting it into an account and operating out of that specific account. You know, you’re talking, you know, 456, 7% you know, on your money. And I think that if there’s a smaller mousetrap that can be created within this new code, any way that we can look at mitigating the cost of interest and the cost of capital, you know, that’s something that I offered to Jordan as a banker.
Russen:
My question was just going back to the recoupment. It was suggested that everyone who is owed money via the corporate loans would recoup prior to pursue it would seem more fair or logical that it’s people are recouping in order of when their loans became due. So that’s my question. Why wouldn’t loan be repaid in order of the maturity dates?
Clay Pecorin:
I don’t think anyways, just because you made a loan three years ago doesn’t mean that you’re in a different position than someone who made a loan six months ago. I think again, everybody has to agree to it. I understand your point, but I also don’t understand. I actually don’t know how you figure that out, because the guy that or the or the woman that gave a $3 million loan a million a year ago, even now, disincentivize them for participating in this new business. I’m going to be the last to get paid. I’m not putting money in this new business. Forget it.
Unnamed Speaker (woman voice):
No, I think there’s also an element. If you compare this vote paying to a bankruptcy, the bankruptcy trustee just looks at what is everybody owed, and they get paid cents, a little or and it doesn’t matter how long they’ve been owed this money. So I don’t think it makes sense to kind of make a difference, because then you’re prefer, you’re preferring some creditors over others. So and then, to your point, to just going to invest in it, not everybody will
Unnamed Speaker:
Which to your point, that’s why we need to keep this energy active, because we need to prolong these government possible. That’s their problems. I’m speaking that’s why you need to prolong these government laws with a low interest rate as long as possible, so you can pay off the creditors or debtors. We’re going to want to call ourselves a collective group, the creditors.
Do the creditors. Okay? Yeah.
So, so that’s why we have to operate that matter.
Sparsh Mehta:
Probably not a conversation that you guys want to have. But have you talked to creditors
that are willing to take a write down, you know, a write down
Unnamed Speaker:
Does that help? Though? Might take a 30% haircut. I don’t think that helps you at all. You guys need capital right now to do what you do. I’m hearing it, right? Yes, yeah, good people Bob, awesome. The other creditors, those work while you have I’m in your room, that people are able, right?
David:
I’m in your room.
Unnamed Speaker:
guys are open to that, right? Somebody wants to buy down some of the course, yes. And so it’s between inter party. I think that I White House
Brian Stewart Unger:
it’s a little hard to hear what you guys are seeing in the room. This is Brian Unger. Can you just repeat that about last minute conversation, please?
Jordan Beckerman:
Yeah. So Pat brought up an opportunity. I’m not even sure I totally understand this, but if somebody is looking to get a write off for this year, could they potentially buy out somebody else’s debt? It doesn’t change our approach, but in terms of sort of helping amongst different creditors, you know, that would have to be sort of a side, you know, kind of conversation, I guess, between, between those individuals. But obviously we’re not opposed to doing anything like that. If it’s helpful, what was the last I’m forgetting the last thing? Yeah, so, so how are we dealing with this from a confidentiality standpoint? Obviously, you know, our preference is everybody keeps us, as you know, extremely confidential. You know, part of our ability to, you know, execute on this is going to be Jordan and my, you know, ability to go out and make and so, you know, we would very much appreciate if, if this conversation was kept, you know, confidential that being said. I mean in terms of sharing, you know, names, the debt schedule and things like that. I don’t, I don’t know how we manage that, but maybe there’s an NDA that everybody can can sign that allows us to have this internal conversation, internally to facilitate whatever, you know, additional conversations that need to happen. Maybe that’s the way it gets done.
Transcript 6:
Unnamed Speaker:
When you guys, we talked about this last week, I’m in the process of bringing in some investors that are interested, but I put it on pause in order to kind of gain knowledge from this meeting clay. What would you say the protocols are placed to be new, new investors coming in on company debt moving forward in this new proposition? Well,
Clay Pecorin:
Well, I think that we should be able to capitalize this business from the people in the room. From the debt perspective, money’s going to be valuable on the equity side for investing on a per film basis. That’s where the Okay, yeah, I think that’s where the value is.
Unnamed Speaker:
don’t you want to own a piece of the equity of beetle entertainment, though? That’s what wouldn’t it be? The 50/50, just like you were talking about metropolitan No, I’m asking, yeah, I want you in the I’m just being on the I want you to be a part owner, unless you guys tell me I’m bullish in this. But I want you to do the 5050, so part of it goes to death hit a little bit, so you get all these bad actors out, and then you can get back to doing business. And if you guys bring some value in my wrong play.
Clay Pecorin:
I mean, I think it’s up to that individual again. I think investing into the current business is a very bad idea. I do. I think it is. I think the problem is, is, if people want to invest in the current state of the business, you you a potentially putting yourself in some liability, number one, and number two, I think there’s better value in investing in in new stuff going forward, which is really going to be a value to pay down this business. I don’t think anybody’s going to come in and say, here’s $5 million pay down debt with it. I would love that. I mean, that’s the dream scenario. I just don’t know why someone would do that. I’m just being realistic. I mean, that’s my dream. Someone comes in gives $50 million dollars to buy their business. I think everybody in this room be jumping up and down. But why do you do that?
That’s I realistically, I don’t know why you do that.
Unnamed Speaker:
You were saying people based on money coming into films, if you were growing revenue, we know are generating revenue, and who those stakeholders are? Those, the ones that have maybe a position that has value bought out. That makes sense?
Jordan Beckerman:
Yeah, so, so basically, you’re saying, like, if somebody is invested into a specific film, is there an opportunity for somebody to acquire all the rights to that film as part of, like a library deal, to take out that specific investor?
Yeah, right, yeah. I mean, I think that’s the question is, who’s the buyer of those rights? But I’m sure everybody who has invested into a film that hasn’t been repaid would love for that to happen. And I think maybe that’s part of the library conversation is, what does that look like, and if they want to acquire 100% of all of these films, and that, you know, I don’t know this, but maybe that money goes towards those investors positions in those films, with which, which helps Yale, because it takes that number out of the 47 but it also helps those investors get out, because they do have the right to that, because they invested into a specific film. So I think as we have these library conversations that may. The part of it is, what can we allocate to each individual film.
Anybody else?
Unnamed Speaker (woman voice):
Matt Newman was just asking for outlining the structure for the new coat. Yeah. And then Michael wants to know about how we keep track of streamers paying what’s truly owed.
Jordan Beckerman:
this streamers. So we deal with individual distributors, so it’s really their job to manage the streamers. If we do this new distribution coming up, realize what the question was, how do you manage the different, you know, revenue streams that are coming in, but
Clay Pecorin:
that’s sort of the black box, right? So distributors have collection mechanisms with ancillaries, so that that means they’ve got a collection agreement with Amazon. They have a collection agreement with Apple. They have a collection agreement with your cable system. And so you will see, you will see statements as to where those monies come in and when they come in. There’s generally a a lag. It’s generally three months from revenue stream. It’s quarterly, and then it’s 45 days after receipt. So if you got $1 in December, most likely, you’re not going to see that dollar until April 15. On a lot of these things, I think we can do a little bit better on that, because there’s certain payers that pay, you know, more quickly than that, and most distribution companies take a take advantage of the float, especially now with the interest rates, but I think, you know, we’ll probably do a little bit better than that. But ultimately, it’s the distributor who is collecting from all these entities.
Jordan Levine:
We do have seven movies or so now, I mean, including the five from the horse slate that we can utilize with a new distribution company. Right away. I honest with Maria bakalova that we have the horror slate. So I think that we could put this plan into motion pretty quickly. It’s good if you can do what you have lined up. Sure, yeah, we can pull up our deck really quick.
All right, most of these pictures were taken by Jesse. (presentation is shown).
Yes. So these are movies that came out somewhat recently. These are movies that are in post production to be released soon. And the two that I just mentioned, with Alicia Silverstone is pretty thing, and then electro with Maria Bakalova, those are two that we could run through. The new distribution company, Baron’s Cove already has a deal. Same with fog of war. You can move on from there. Midnight is a film we finished this summer. Same thing with Stranglehold. And then lone wolf is a movie that’s shooting starting next week that we mentioned before. This is a film where we have too many partners, and the fee is not anything near what we need to do on the new company. And then here’s the films that are in development. So a throwdown movie that I mentioned that Clark Duke would direct. Approximate budget of 10, approximate producer fee of two. Liam Hemsworth, John Hamm, were similar.
“Chick Fight 2”. This is something that we have to pay the writer director to get started. But $10,000 are really not much compared to WGA. I A dream box movie that Jesse would direct, that Jesse and David have already prepped we would go for someone like a Gerard Butler, opposed to Clive Owen, worst dinner ever. This is a movie that our friends who directed, Becky would direct Sam Richardson’s attached Wesley Snipes has been attached, but we’ve had conversations with possibly Halle Berry or Jamie Foxx instead of Wesley Snipes, Death Market, Ryan Philippe film I.
Uh, Untitled Anna Faris movie we she unfortunately just lost her house in the fires, but this is a project that we’ve been talking to her company about for some time. It would star her and someone like a Dave Bautista. Diamond eye is the same producer who brought us the Bryan Cranston movie, movie that we would do hypothetically this summer. Mommy Jane dies, Lily Jane, this is, this is, would you describe this?
Jordan Beckerman:
This is a, it’s, I mean, really the value is in the lead. So, you know, Lily James doesn’t do these types of movies. And it’s a really eclectic, multi genre Adventure, Western boxing is actually what it is, but it’s, you know, for us, I think that we have to be focusing on are movies that are, you know, somewhat passion projects for these lead actors, because otherwise, you know, they’re not doing independent movies. Lily James does huge studio films. And so this is something that, you know, the the director Otto is, is, you know, pre acclaimed. He’s done a lot of TV work, but, you know, he has the direct ability to attract talent like like this, yeah.
Jordan Levine:
Otto directed the last Robin Hood film with Taryn Edgerton. He has a series on peacock now with Colin Firth. Can move on to the next one? So hard, family story we discussed before. I mean, we’ve had going back to that for a second. I mean, all these actors such as Paul Walter Hauser, who won the globe last year, big, big fan of wrestling, has contacted us about being part of the movie. So I don’t think we’ll have a hard time getting cast on that. Don’t shoot the piano player. This is with Chris Rock. He’s been attached to this for some time. Paul is one of the two writers on the film. Temperance was brought to us. William H Macy is our producing partner, besides co starring in the film, this is the 50 Cent horror slate that we discussed before he actually just bought a studio in Shreveport, Louisiana, that he would like to shoot all the movies at, um, he also has mentioned that he would contribute financing, which I think is a pretty big and uncommon thing by actors in the business.
Jordan Beckerman:
I think also the value that he brings is his, I don’t know what they said, 50 million, you know, Instagram, Twitter subscribers, and, you know, with horror films, or to make them for a price like they really can perform. And so for us, obviously, the trick there is making sure that we’re picking, you know, the right types of horror films to put through this. But, you know, we haven’t worked out the exact details, but if it’s, you know, G Unit presents, he has a deal with Lionsgate. I mean, there’s a lot of opportunity with that. And you know, he’s a super high priority client for our agents at IAG, and we’ve, you know, been on zooms with him, and it’s a real thing. And he’s actually followed up with us to get into it. So he’s excited about it. And I think that’s, you know, that’s the important part of that one.
Jordan Levine:
So this is just other ideas. I mean, again, we’re open to all collaboration. I have not run this by her, but as an example, a friend like a Brittany snow could have her own podcast. Again, have not run a buyer, but you know, just people that are in our circle. I think a lot of this is built on the relationships that we have built up over the last 1015, 20 years. So it’s an idea. These are just previous movies, festival films. That’s it. So slate of upcoming movies. So I think to the question before regarding IP, there’s a lot in that, and it’s really only scratching the surface, I would say, of the projects that we have available to us.
We actually, I’ll say one more thing. So in working on the film midnight that Russ brought us, we did form a very good relationship with Rosario Dawson and her partner. And David, to your question before David Gilberry, she does have a musical that she does want to make kind of soon. She’s tied up on that Disney show for some time, but she’s attached to it, and then there’s a few more actors circling it. I know she’s speaking with Idris, Elba, Jamie Fox, Anthony Ramos, so musical idea. Yeah. Alright. Anybody else has any other questions?
Unnamed Speaker (woman voice):
No more questions in the chat. So Okay. Well, obviously, we’re alright, guys.
David Gilbert:
Can I just ask one more?
Just what happened to the what happened to the Katie Holmes Lafayette relationship?
Jordan Levine:
Yeah, good question. So we did two movies. We’ll let Jesse answer that one. No, I’m kidding, but we did two movies with Katie, and the first one was a decent movie alone together. Second movie, I personally enjoy the script a lot rare objects, but ultimately, the movie was about rare antiques, and it didn’t necessarily perform. And since then, the conversations we’ve had with her have been about movies that really are more artistic and are, you know, nice, creative ideas, but in our opinion, just don’t make sense commercially. I think that the next film she wanted us to produce was a drama just with her and Alan Cumming, which probably would have been a nice movie, but for $6 million I think it wouldn’t have made sense whatsoever. So we always envision that company to be somewhat of a Reese Witherspoon. Hello, sunshine. That was the idea going into it. But ultimately she’s more focused on creative, artistic ideas, which I think there could be a time and place for that, but in the sense of making this money back and progressing, it’s the wrong partner.
David Gilbert:
It was the just science. And was that, was that like a new CO that Yale invested in? Do you guys have a stake in that company? Or?
Jordan Levine:
no, it was really just a name. We never opened up an actual LLC for it, but it was Jordan, Jordan Jesse and Katie. And I think it just kind of lost steam as we were not agreeing on the types of movies to produce.
David Gilbert:
Alright, so Lafayette pictures isn’t any kind of an asset or anything.
Jordan Levine:
No, no
David Gilbert:
Alright, thank you.
Jordan Levine:
I think we could copy that formula and have another label within Yale, like we’re talking about sports and faith based and etc, where we could technically partner up with anyone, a Clark Duke or Brittany snow, whoever. And you know, if that does make sense.
David Gilbert:
I think if you guys went down faith based thing, I don’t know, but my hunch is, I think you’d probably need to bring in some kind of faith based producer on deal with a label who has those relationships with the companies, the distributors that do that, and then you could get something. Because if you could, if you could pair one of those people with your talent relationships, I think you could do something, that’s, I mean,
Jordan Beckerman:
I mean, basically exactly the conversation we had with one group, and they brought us a few projects. But one of them that you know sort of stood out is a horror film that’s based on a biblical story. So it’s a story that’s in the New Testament of of demonic possession, and it’s, I don’t know that it’s ever sort of been done before, but they came to us exactly for that reason. They said, like, we know this world, but you guys have your own set of discussions and things like that and like that, to us, sounds really exciting. And I think there’s other sort of more down the middle, opportunities, you know, in that world as well that we want to explore. I mean, there the movie that just came out. It was, I think, called best, best Christmas Pageant Ever, something like that. It had, I mean, Pete Holmes, I think, was the biggest star in that film. And it did, I think 20, $25 million at the box office. And I think that there’s just a huge audience for that around the world, that, you know, that’s looking for that kind of content. And so, you know, for us, I think we have to be, you know, cognizant of market trends and world trends and, you know, and adjust and pivot based on that and
David Gilbert:
Yeah, I don’t know if it’s, I don’t know if it’s around the world, but certainly in middle America, I think you get a huge amount of box office Saturday
Jordan Beckerman:
Yeah.
Unnamed Speaker:
But what? Jordan, that’s where. And maybe this question for David, how do you monetize that? How do you structure that LLC, or that business? Like you said, Lafayette was not a real entity. How is, let’s say, faith based, Yale LLC? How do you monetize that? How you bring that money in and you sell this? Frankly, I think it’s an opportunity to sell a portion of your business, or at least license, yeah, funnel that money back, pay down some of this debt.
Jordan Beckerman:
I think, Geez, I think that like we’re doing with the 50 Cent horror film, yeah, I think that there’s a way where, if you develop four to five projects. X to start, and maybe it’s one to start, but you put that into a separate entity, and then we figure out how to monetize that entity, knowing we’re going to be making producer fees, which is going to, you know, paying this down. But the investment, again, is directly related to these types of films, and we have some relationships with different types of, you know, people who might be interested in that. And, you know, and obviously, first call is probably everybody in this room to see, you know, what that looks like. But, you know, we have some relationships with some NBA players and people like that, who I think could be really interested in, either the sports or the faith based, or both. I think there’s some crossovers.
Unnamed Speaker:
Trying to think about, how’s that turn into an influx of cash? I’m still missing that. I mean, how do you create a new entity? There’s an influx of cash. Portion of it goes to the new entity, but a portion should go back to the Yale entertainment,
Jordan Beckerman:
Right, I think, myself that in reality, but I think it has to be producer fees. I think that’s the way. So we don’t want to just take people’s money and then give it to Yale. We want to make the thing we’re setting out to make. And I think the for those services, which is development, you know, production, and then ultimately overseeing distribution. You know, we are entitled to, and have always received producer fees. I think that’s how we do that. And if we can capitalize that on a on a significant scale, and I do think there’s an opportunity to do that, that I think will help jump start. You know, the repayment and getting the assembly done
Unnamed Speaker:
also in success, the production team receives back success.
And that by the way, just generally, does not happen in smaller films. It happens in the 10,
eight to 20 for the back end, sort of is so there’s an opportunity there as well.
Jordan Beckerman:
All right, all right, guys.
Jordan Levine:
All right. We appreciate everybody attending. Anybody has any other questions,
Jordan Beckerman:
yeah, obviously we’re around beyond this, this meeting. I’m sure everyone needs to sit and think of, you know, think about all this stuff, but, you know, we are 100% committed to, you know, getting this fixed as soon as we possibly can. And again, really, really do appreciate everyone’s time and focus and energy here. So, yeah, just, just, thank you everybody. Thank you everybody who’s here and made the journey really appreciate it. Thank you everybody. You.