Executive Summary the Tenth Symphony

First, “The Wizard of Oz,” next “Alice in Wonderland,”

and now,

We are Proud to Present:

Tenth Symphony 2012

The Preliminary

EXECUTIVE SUMMARY

FOR

The Tenth Symphony, LLC

Production of:

ROBERT GUGLIUZZA’S

A Rock ‘n’ Roll Musical Adventure

A Theatrical Motion Picture Notice: All information presented in this document is the exclusive property of The Tenth Symphony, LLC, and

may not be reproduced, distributed, or disseminated in any print or electronic format without the written approval of

The Tenth Symphony, LLC. & Robert Gugliuzza

Copyright, 2012, All Rights Reserved

OBJECTIVE

The objective of The Tenth Symphony, LLC is to produce a major motion picture

that will give a multiple return on the investor’s capital. More simply put, our

primary objective is to make money. Our mission is to tap into the vast number of

movie goers by concentrating upon the demographics that dominate the industry,

teenagers, young adults and music.

OVERVIEW

FILM DOMESTIC BOX OFFICE ONLY

Saturday Night Fever 1977 237,000,000

Grease 1978 189,000,000

Chicago 2002 171,000,000

Mamma Mia 2008 145,000,000

Enchanted 2007 128,000,000

Hairspray 2007 119,000,000

Rocky Horror Picture Show 1975 113,000,000

Dream Girls 2006 91,000,000

Alice in Wonderland 2010 1,100,000,000

Wizard of OZ 1939 15,000,000 (100 + million)*

*Inflation adjustment

The movies listed above have given their investors returns that are off the scale.

The following Executive Summary will allow the investor to understand what

dynamics must be in play to duplicate these feats.

Over the years, musicals such as these have continued to bring worldwide success

at the box office. People of all generations, but especially teenagers and young

adults, have always gravitated to the thrill of being entertained by the silver screen,

and they will continue to do so.

THE TENTH SYMPHONY: A Franchise in the Making

Saturday Night Fever, Grease, Chicago, Rocky Horror Picture Show and the others listed

above. These are some of the well-known films that are similar to “The Tenth Symphony.”

What do these films have in common? All were musical films, most of them involved

teenagers, many of them were dramas and all were extremely successful. Another genre

that captivates today’s demographical audiences is horror. While our film is not horror in

the pure sense of the word, it does have a dark side, a dark side that will appeal to that part

in everyone’s soul that loves to be frightened. It is the dark side of this movie combined

with its fabulous music and great storyline that should bring it in over the top.

So, how does “The Tenth Symphony” stack up against the greats?

Our movie will take the current teenaged craze a step further. We intend to have a budget

of six million, with another million for advertising. Still considered a low budget movie,

our budget will allow for real 3D “in camera” shooting because of the recent 3D

innovations, success and hype surrounding “Avatar” and the new push for 3D televisions.

It will allow extra cameras, for better angles and more dramatic shots. It will allow us to

get some well-known actors and actresses for the key roles; it will allow extra special effects

and better locations. It will allow us to make a better movie while staying within the

context of what moviegoers, in general, and teenagers and young adults, in particular,

really want, what the studios really want (3D), and finally it will allow for a massive “grass

roots” advertising campaign in order to get “The Tenth Symphony” into every high school

and college in the country. Teenagers and young adults want to have a good time. They

want drama. They want entertainment. They want a great story and they want to be

scared. In an age of super special effects and graphic video games, big ugly slimy creatures

of the horror genre just don’t do it anymore. In extensive research done by the producers

and corroborated by many others, what teenagers want is something different, yet at the

same time, something they can relate to. As evidenced by the highly successful “ultra”

concerts, where high school and college students typically pay hundreds of dollars to be

blasted by a cacophony of rocking music, they want to be blasted into a world outside the

one they know. Our movie gives them just what they want—great in-your-face music, a

story about a teenager on an incredible adventure, and an ending never before seen on the

silver screen, in a place no one has ever been to or even imagined. This movie will be an

“Alice in Wonderland meets Wizard of OZ” musical.

The screen play, carefully following the genius storyline, was written explicitly to conform

to the formula derived from the blockbusters which set the tone for successful movies.

Franchising a movie normally is extremely lucrative to the investor because the original

movie creates a fan base which will grow with each succeeding sequel/prequel. It is here

that “The Tenth Symphony” really shines. The storyline begs for a prequel and the

dramatic finish demands a sequel.

In a unique gesture, in order to keep our original family of investors from being shut-out

by the big studios (in the likelihood of a blockbuster hit), “The Tenth Symphony” is offering

its initial investors the first right of refusal for the prequel and sequels of all future

productions. The producer and management of “The Tenth Symphony” are 100% behind

this effort to support our investors.

STATE TAX INCENTIVES & FEDERAL TAX CODE 1081

State incentives, combined with federal tax code 1081 will enable the investors to receive

from 5% to 60% of their investment back after completion of the filming of the movie.

This effectively means that the investor is guaranteed that his “at risk investment” is only

50% to 60% of his original investment. Our film will be bonded by a certified motion

picture bonding company. The bonding company will insure that our film is completed

without going over budget, thus insuring the filming of the movie will be completed.

HOW IT WORKS

We are presently working with Tennessee which offers a 32% rebate on monies spent in

their state and Georgia which gives a 35% rebate on monies spent in their state. The

monies spent for filming are usually around 60% of the total (It excludes prints and

advertising & editing) cost for the whole movie. This means that in a movie with a

$6,000,000 budget, approximately $3,600,000 qualifies for the state rebate. With a rebate

of 32%, it would mean that the state will rebate $1,200,000 back to the company.

Federal tax code 1081 stated that any investments in movies are “fully deductible in the

year that income derived from that investment or any other investment is realized.”

However, if the investor is an ACTIVE PARTICIPANT in the movie, the investment is

deductible from ANY earned income, IMMEDIATELY upon investment. Any earned

income includes salaries, capital gains and bonuses. Cinema Island will form an LLC for

the executive Producers (the investors). Each investor will receive a percentage of the LLC

(according to the amount invested) as an active member of “Flatwoods Monster, Executive

Producer Team.”

Since the majority, if not all of our anticipated investors fall into the 35% tax bracket, the

Federal Tax rebate will be 35% of the amount invested.**

**PLEASE NOTE: ALTHOUGH CONGRESS HAS PUT IT UP FOR RENEWAL FOR

2012, THE FEDERAL GOVERNMENT HAS NOT YET RENEWED FEDERAL TAX

CODE 1081. AS IT STANDS NOW, THIS INCENTIVE IS NOT AVAILABLE.

AN EXAMPLE

John is an executive producer in the 35% tax bracket who invests $1,000,000. He becomes

a 16.667% owner of “The Tenth Symphony,” Executive Producer Team. When he does his

taxes, he subtracts $1,000,000 from his earned income. This brings him back $350,000.

After the filming of the movie is finished, approximately 60 days later, he gets a rebate

from the state of Tennessee (through The Production Company) of about $150,000. In this

case, the investor invested $1,000,000 and has gotten back $500,000 even before the movie

is even released. The bottom line is that even though the investor put up $1,000,000, he

risks only $500,000. There are not many business opportunities that guarantee a fully

invested $1,000,000 while returning 50% of your investment within a few months.

Key People Now on Board

Concept…Robert Gugliuzza

Story…..Robert Gugliuzza

Music….Robert Gugliuzza

Screenplay….. Matteo Cucchiara

(Earthkill, Vision (Crystal Reel award), The Flatwoods Monster, Mafia Wife)

Director/DP….. Michael Givens (Opposite Day, Angel Camouflaged)

Visual Effects Supervisor….Robert Stromberg (Avatar, Pirates of the Caribbean)

Composer, Music Supervisor… John Morgan (Congo)

Line Producer/UPM….. TBA

Producer….Matteo Cucchiara

(The Price, Angel Camouflaged, The Flatwoods Monster).

Editor….. Chris Cibelli (Lost City, Congo, Children of the Corn, etc.)

Sound….. Mace Matiosian (7 time EMMY winner, Star Trek series, etc)

Celebrity Actor ….. Oleg Taktarov

(15 Minutes, Predators, National treasure, We Own The Night, Bad Boys II)

Celebrity Actor no. 2…. Oleg Prudius (WWE world champion)

A NOTE TO INVESTORS

The following points were taken directly from a two different articles written about

the risk and reward of investing in a movie.

A movie is the best investment one can make for the up-side potential vs. the

risk.

There is no business with manufacturing capital entry requirements as low as

motion pictures where the potential return can be as unlimited over the short,

medium and long terms.

With new markets, such as China (1.2 billion new potential moviegoers) and

India (900 million new potential English-speaking moviegoers), the investor

would be imprudent not to take a serious look at the potential rewards of

movie investments at this time.

-James R. Jaeger II, 1985-2003, Why Invest in a Movie? http://www.mecfilms.com/whyinves.htm.

Not only can investing in film bring a lot of excitement, it has the potential

to bring a large financial windfall.

There is nothing more rewarding than investing in a motion picture that you

truly believe in and then seeing it come to completion. And, investing in the

motion picture industry, you can potentially earn a huge return on your

investment.

-Movie Investments, 2007, http://www.movieinvestments.us/index.html.

STORY SYNOPSIS

of

“The Tenth Symphony” A rock ‘n’ Roll Musical Adventure

Soon to be: A THEATRICAL MOTION PICTURE Merritt Andrews was a fourteen year old home-schooled fatherless boy who lived with his mother in a sparsely populated secluded rural area located in the shadow of the great White Water Valley Dam. His best friend, Josh Reed also fourteen, was the only other teenager within a radius of over twenty miles. Like most young men their age, they sought adventure and challenge. Although several previous attempts had failed, their dream was to climb to the very top of the dam. On one of their brave attempts, they discovered an old abandoned, wrecked truck, on the hills just above the dam – a music distribution truck, a victim of a rain storm flash flood many years before. Lying crippled and dormant, concealed in a dark ravine on the side of the mountain, the rusting shell of the truck reluctantly revealed its hidden treasure to the boys. Deep inside the air tight cargo hold of the truck, safe from the elements, was a library of music. Scores of boxes of music of all styles were there for the boys to find. It was as if the truck was a musical tomb awaiting someone special to rediscover the music it had preserved. The boys quickly discovered that they could bring the music back to life in the still working stereo cassette player. During each visit to the truck, the boys would connect a freshly charged battery, turn on the key, and the amp meter would come to life. The tuning dial would light up and a new cassette would be pushed into the player. Whenever the eagles soared to the sounds of Beethoven and the valley echoed to the beat of rock ’n’ roll, the handful of people who lived in the surrounding woods always knew what the boys were up to. Taped to the dashboard was a rendering of a keyboard which Merritt had cut out of a poster. He used this to pretend to play the piano along with the music.

One day the boys decided to take a different path to the truck, a path that would change Merritt’s life forever. Merritt heard a guitar playing just off to the side of the path they were walking on. Curiosity caused the boys to find its source, an old man with a long scraggly beard and tattered clothes, playing his guitar. Josh would recognize him as “the crazy old man your mother chased off one afternoon a few years ago”. The boys would get to know this person as Old Man “Rinker”. Fascinated by their conversations about music, Merritt would visit Rinker often. In time, Rinker would become the father Merritt had never known. During that first year, Rinker taught him how to play chords, and even inspired him to begin writing his own songs. He would tell Merritt about how great it felt to play the music you knew, but by far the best satisfaction was to play your own song. He explained that a part of your life was woven into the words and chords of your work. He told Merritt that you live, you learn, you write and then you die, and after you’re gone, whenever someone plays your song, a part of you lives again. One morning, Rinker confided in Merritt that when he died he’d like to be buried with his music, so “I can take it with me and play it in the Great Hall.” Although he had no idea of what the “Great Hall” was, Merritt promised that he would carry out his wish. A few days later Merritt was informed by Josh that old man Rinker had died in his sleep. Before Merritt could speak a word or shed a tear for the man whom he loved so dearly, his world collapsed around him. His dream of playing and writing music also died that day with the old man. Merritt kept his word and made sure Rinker’s music was with him on the day he was buried, but into the closet went that special guitar Rinker had given him along with the journal he kept for writing down ideas for his own songs. Certain that he would never open the door to that closet again, he slammed it shut. The years slipped quickly away. Merritt’s mother passed. Josh got married and moved away and Merritt, a forty two year old man, was employed as a worker on the dam. During his lunch hours, Merritt often stood atop the massive wall of concrete and stared into the side of the valley where the adventures in the old truck took place.

One day, during his gaze into the valley, Merritt was interrupted by an announcement over the loudspeaker that a ferocious storm was bearing down upon the valley. He was told to quickly finish up and leave for his own safety. On his way home that day, Merritt was overwhelmed by a desperate need to take a detour and stop by the old truck. It took some time to find her since the path he used almost thirty years before was now overgrown. When he finally found it, he was a bit spooked, like he had returned to the ghost of his past. He walked around the truck and banged on the sides to scare off any wild animals that might have been living inside and cautiously climbed in. His eyes fell upon an old faded photograph on the dash… a photograph of himself and Old Man Rinker. He then spotted a cassette sticking halfway out of the tape player. It was the last selection he had played as a thirteen year old boy. Merritt knew the battery was long since dead, but out of instinct, he turned the key in the ignition anyway. At the same moment a bolt of lightning struck the metal frame of the truck and miraculously, just as it had those many years before, the amp meter sprung to life and the tuning dial on the tape player lit up… almost as if it had been waiting for Merritt’s return. Startled by the lightning and captured by the miracle of the battery, Merritt failed to notice the dark thunderheads quickly moving over the valley. He closed his eyes and he leaned back and remembered… until the dark sky opened and unleashed its deluge. The downpour was so heavy that it was impossible to see out the window. As bolts of lightning struck all around him and thunder rocked his sanctuary, Merritt knew he would have to ride out the storm in the old rusty truck in the ravine. The deluge intensified and then suddenly a fierce bolt of lightning blasted the rocks which supported the truck. At the same time a wall of water came cascading down the ravine. Merritt felt the truck begin to slide. He hung on for his life as the truck barreled down the side of the mountain out of control. The truck finally came to an abrupt halt in darkness, and then slowly started to creak and lean forward. Merritt panicked and instinctively turned on the truck lights. Once again he was treated to a miracle as they actually worked. Through the dense curtain of rain he could see that the truck had washed its way down the mountain and was now resting on the edge of the top of the dam, threatening to take the two hundred foot plunge to certain death for them

both. Moving back with panic to try to unbalance his weight and prevent the truck from tilting over, Merritt accidently pushed the tape into the cassette player with his foot. Startled by the sound of the blasting music, Merritt jumped and in doing so, shifted the balance just enough to tip the truck past the point of no return… to the point where fate took over and his incredible journey into the world of the Tenth Symphony would begin. In the world of The Tenth Symphony, Merritt is confronted by mythical characters of the musical hereafter. Much as “Alice” finds herself in Wonderland, or Dorothy finds herself in OZ, Merritt finds himself in “The Great Hall”. Creatures of darkness attempt to take him on a one way journey through a vast library of music, past the thousands of tombs of composers, writers and singers of the past to his ultimate demise. He battles to save himself from this bazaar musical purgatory where he’s asked the question, “If your life was a song, what would it be? Come with us as we join Merritt in this adventure. Watch, as world-renowned Cinematographer, Michael Givens, in conjunction with multiple Oscar winner special effects maven Robert Stromberg, follow Merritt’s struggle for survival in a three dimensional musical world. Listen as multi-Emmy winner for sound, Mace Matiosian, renders each and every sound as musical notes. Be surrounded by the great musical score of John Morgan, and be captivated by the rock ‘n’ roll symphony masterpieces brought to us by the musical genius and incredible story writing of Robert Gugliuzza enhanced by award winning screenwriter Matteo Cucchiara, while Merritt battles for survival as he tries to escape that place between life and death, that place from which no one ever returns. That place in the great hall of Tenth Symphony.

PRODUCTION BUDGET

Our production budget has been set at 7 million dollars (including dollars used for

enhancements/and/or post (editing) and/or prints and advertisement (P&A)). This

budget is subject to change based upon a level talent, a line item budget and the

final executive summary.

There are presently a few big names in the film industry either reviewing our film,

or already considering signing a letter of intent. Among them are world renowned

Oscar winning special effects supervisor, Robert Stromberg (committed), (Pirates

of the Caribbean, Avatar, Alice in Wonderland, etc.), Editor Christopher Cibelli

(committed), who has edited over 25 major motion pictures, including “Congo”

and “The Lost City,” former lawyer for “Little House on the Prairie,” Don Barton

(committed), award winning Score and Music Supervisor John Morgan

(committed) and Sound Supervisor, 7 time Emmy winner, (Star Trek series) Mace

Matiosian (committed). Also committed is Director/Cinematographer Michael

Givens who has won 10 awards out of 12 nominations in four film festivals for

“Angel Camouflaged” and was nominated for best new director and won multiple

awards for best Cinematography.

Additionally, the State of Georgia offers a 35% rebate program for money spent on

a film within the state, while Tennessee offers 32%. We have spoken with the film

commissioners of both Georgia and Tennessee. If we opt for North Florida, the

rebate will only be around 25%. This money will be available immediately upon

completion of production, and will be given back to our investors.

PRELIMINARY DOMESTIC REVENUE PROJECTIONS

The following presents the producer’s initial revenue projections based on a

preliminary 6 million production budget and a 1 million P&A budget.

The net revenue available for distribution will be allocated based on the formula

agreed to between the investors and the owner/producers.

If the financing is in the form of just equity, the financing pool will be allocated 45

profit participation points.

Using previous horror movies as a model: If these projections are realized, the

return to the investors should range from:

$8,000,000 if the net revenue was at the “extreme low” level to;

$16,000,000 if the net revenue was at the “low” level to;

$45-70,000,000 if the net revenue attains the “reasonable” level to;

$80-90,000,000 if the net revenue attains the “high” level to;

$120,000,000 if the net revenue attains the “extreme high” level to;

$200,000,000+ if the net revenue reaches blockbuster return levels.

After the domestic market has run its course, the foreign market will follow. We

expect foreign sales to come close to equaling or possibly surpassing domestic

sales. Wave three of our income stream will be pay for view TV, Armed Forces

viewing and Airline movies. Wave four will be network and cable television, and

wave five will be DVD. DVD sales have the potential of surpassing theatrical

revenue. Wave six will actually come out right after the theatrical release. Wave

six will be the sound track. The sound track could be the most lucrative of all the

waves.

PRELIMINARY PRODUCTION BUDGET

A preliminary top sheet of the production budget is presently being formulated. It

will be subject to modification and expenditure decisions about the above-the-line

talent and crew. The film’s budget for prints, marketing, and advertising is still

being formulated.

TALENT AND PRODUCTION TEAM

The key to the success of this movie is to put together a crack production team

to go along with the screen play. We are well on our way to fulfilling that

mission.

Production Team: The following pages contain the biographies and credits for

the core producing team:

Robert Gugliuzza, Story rights, music, concept. Robert’s fabulous story forms

the basis for the movie. During his career, he has opened for many national bands

and artists including Night Ranger, Rodger Waters, America, Foghat, Boston, Bad

Company, Jimmy Needham, Newsboys, Flyleaf and more. You can also see him

with the national touring band, Tribute to Journey, Odyssey Road.

Matteo A. Cucchiara, Screenwriter, Managing member of Flatwoods Monster,

LLC, & Executive Producer. CEO of Cinema Island Productions, LLC.

Novelist/Screenwriter brings us years of experience in both the literary and

financial field.

Writer Credits:

1. Novel “Earthkill”

2. Novel “Vision” (based upon the screen play of an original story)

3. Screen play “Vision” based upon a true story. FL Crystal Reel

Award, Hollywood International Screenwriting Festival Finalist.

4. Novel “Channel”

5. Children’s book, “Children of the Magical Forest”

6. Screenplay “Earthkill”

7. Screenplay “The Flatwoods Monster”

8. Screenplay “Mafia Wife” (based upon a true story - in development)

Producer Credits:

1. “Angel Camouflaged” (2009) Ready for release, with James Brolin, Carlos

Bernard, Marshall Tucker Band, Dilana, & Patty Smyth.

2. “The Price” (2008) with Sonny Shroyer, Johnny Martino & Violeta Leskyte

Cucchiara.

Robert Stromberg, Supervisor of Visual Effects Pirates of the Caribbean, Avatar, Shutter Island, Alice in Wonderland are just

a few of the dozens of well known films in which Mr. Stromberg participated

either as supervisor of visual effects, art director or designer of visual effects. Mr.

Stromberg has 3 Oscar nominations and 2 wins, 6 Emmy nominations with 4 wins,

and 7 other major awards. Mr. Stromberg was also Supervisor of Visual effects for

“Angel Camouflaged” where he worked with Matteo Cucchiara and Michael

Givens.

Christopher Cibelli, Editor

Chris Cibelli has indicated he would like to be included on our team. Chris is a

longtime Editor of Feature Films in Hollywood, California and member of the

Motion Picture Editor’s Guild since 1977. Work/editing credits include Columbia

Pictures, MGM with Michael Landon as an editor for “Little House on the

Prairie” and “Father Murphy.” Editor of various mini series for NBC, ABC,

CBS, Lorimar, Aaron Spelling and others, Chris has been working on feature films

since “Raw Deal” starring Arnold Schwarznegger. He has coordinated over 2500

special effects, many in 70mm.

Editor Credits:

1. Dirt (8 Episodes, 2007) (ongoing)

2. Jesus, Mary and Joey (2006)… aka Welcome Back Miss Mary

3. The Darkroom (2006)

4. The Lost City (2005) starring Andy Garcia

5. This Old Club (2004)

6. The Conscientious Objector (2004)

7. Wise Girls (2002)

8. Two Against Time (2002) (TV)

9. Lakeboat (2000)

10. Wishcraft (2000)

11. Just the Ticket (1999)

12. Midnight Blue (1998)

13. The Corporate Ladder

14. Children of the Corn: The Gathering (1996)

15. The Hidden II (1994)

16. A Brilliant Disguise (1994) (as Chris Cibelli)

17. Warlock: The Armageddon (1993)

18. Hellraiser III: Hell on Earth (1992)

19. Waxwork II: Lost in Time (1991)

20. Tripwire (1990)

21. Sundown (1990)

22. Summer Job (1989)

23. Waxwork (1988)

24. The Unholy (1988)

25. Raw Deal (1985)

Additional Editor Credits:

1. Congo (1995) Additional Film Editor

2. Pontiac Moon (1994) 1st Assistant Editor

3. Gunmen (1994) Additional Film Editor

4. What about Bob (1991) Assistant Film Editor

5. Raw Deal (1986) 1st Assistant Editor

Mace Matiosian, Sound Editor

The top sound editor in the country and a key man for our sound, has indicated that

he would like to work on this film. Mace has won 7 Emmys, 22 Emmy

nominations and 1 golden reel award.

Sound Department:

1. CSI; Crime Scene Investigation (Supervising sound editor)

(160 episodes, 2000-2007)

… aka C.S.I. USA/Las Vegas/Weekends/LesExperts

2. Vanished (2006) (supervising sound editor)

3. Enfants Terribles (2005) (sound supervisor)

4. The Law and Mr. Lee (2003) (TV) (Post Prod sound supervisor)

5. Carnivale (2003) supervising sound editor

6. Conviction (2002) (supervising sound editor)

7. Hack (2002) (supervising sound editor)

8. The Others (2000) (supervising sound editor)

9. Star Trek: Deep Space Nine (supervising sound editor)

(128 episodes)

10. Family Plan (1998) (sound effects editor)

11. The Only Thrill (1997) (sound supervisor)

12. America’s Dream (1996) (supervising sound editor)

13. Tom Clancy SSN (1996) (TV) (supervising sound editor)

14. Sliders (1995) (sound effects editor)

15. Star Trek: The Next Generation (sound editor) (76 episodes, 1987-

1990) (supervising sound editor) (40 episodes, 1993-1994)

16. Corpse Killer (1994) (VG) (sound effects supervisor)

17. Hostile Intentions (1994) (sound supervisor)

18. Baywatch (1989) TV series (supervising sound editor)

… aka Baywatch Hawaii (1991-1992)

19. Zandalee (1991) (supervising sound editor)

20. Equal Justice (1990) (TV) (supervising sound editor)

21. Vietnam War Story: The Last Days (1989) (supervising sound editor)

22. Flight 90: Disaster on the Potomac (1984) (TV) (sound editor)

John Morgan, Composer

John was the composer for the award winning film “King Kong” and has worked

before with Michael Givens and Matteo Cucchiara. John brings to the team a vast

knowledge of the big screen music that this movie desperately begs for.

Among his many films are:

1. Jigsaw (in Production)

2. Angel Camouflaged (2010)

3. King Kong (2005)

4. Starship troopers 2 (2004)

TALENT

We have already started preliminary interviews with prospective talent.

CAST Under Consideration

OLEG TAKTAROV: Russia’s most popular actor has indicated he would like to

participate in our movie. His presence will bring us the Russian audience in foreign

distribution. He will play one of the nefarious characters in the “Great Hall.”

2010 Predators 2010 Supreme Champion - Blade 2010 Viy. Vozvrashchenie - Gritsko 2009 The Way - Polkovnik Dilov 2008 Maltiysky Krest 2008 Righteous Kill - Yevgeny Mugalat 2008 NCIS: Naval Criminal Investigative Service - (TV series) Viggo Drantyev – Judgment Day: Part 1 (2008) … Viggo Drantyev – Judgment Day: Part 2 (2008) … Viggo Drantyev 2008 Montana - Nikolai 2007 Rockaway - Ivan 2007 The Death and Life of Bobby Z - Oleg

2007 We Own the Night (with Robert Duvall,

Mark Wahlberg & Joaquin Phoenix) - Pavel Lubyarsky 2007 Blizhniy Boy: The Ultimate Fighter 2006 Miami Vice 2005 Law of Corruption - Skala 2005 Call Me Genie - Ufa

2004 National Treasure (With Nicholas Cage) - Shippen

2003 Alias (TV series) - Gordei Volkov The Two (2003) … Gordei Volkov 2003 Red Serpent - Sergei

2003 Bad Boys II (With Will Smith) - Josef 2003 44 Minutes: The North Hollywood Shoot-Out (TV movie) - Emil Matasareanu

2002 Rollerball (with Chris Klein) - Denekin

2001 The Quickie - Boris 2001 My Friend's Love Affair (short) - Boris

2001 15 Minutes (With Robert DeNero) - Oleg Razgul 1999 Combate Mortal (TV series) - Oleg Taktarov 1998 Counter Measures (video) - Engineer Dimitri

1997 Air Force One - Prison Guard #2

1997 JAG (TV series) - Russian Officer – Cowboys & Cossacks (1997) … Russian Officer 1997 Absolute Force - Agent Borris Checkniov 1997 Total Force - Boris 1996 UFC VII: Brawl in Buffalo (TV movie)

OLEG TAKTAROV

VIOLETA LESKYTE: Angel Camouflaged (2009/2010 In Post) Played Valya,

with James Brolin, Dilana (Rockstar Supernova), Carlos Bernard (Tony Almeida

in “24”), Terry Serpico (Army Wives) & Tessie Santiago (Cell II)

1. The Price (2008) Played Amelia, the lead actress With Sonny Shroyer

(Dukes of Hazzard) & Johnny Martino (Godfather)

2. International concert performer/singer/composer: Tokyo, Japan; Lithuania;

Cinema Paradiso, Ft. Lauderdale; International Drama Festival, Chicago; W.

Palm Beach; Orlando; New York; Norfolk,Va: Hollywood Theater of the

Performing Arts, Hollywood, FL

Violeta will play a character in the “Great Hall.”

OLEG PRUDIUS, AKA Vladimir Kozlov. Actor and world wrestling

champion. Oleg is one of the most popular people in Russia and has a

following of millions in the United States. He will play one of the nefarious

characters in the underworld of the “Great Hall.”

2007 Grindhouse

2006-2011 WWE Smackdown! (TV series) - Vladimir Kozlov – Episode dated 5 August 2011 (2011) … Vladimir Kozlov – Episode dated 17 June 2011 (2011) … Vladimir Kozlov – Episode dated 1 April 2011 (2011) … Vladimir Kozlov

– Episode dated 4 March 2011 (2011) … Vladimir Kozlov

– Smackdown 600th episode (2011) … Vladimir Kozlov (also archive footage)

2009-2011 WWE Superstars (TV series) - Vladimir Kozlov – Episode dated 4 August 2011 (2011) … Vladimir Kozlov (also archive footage) – Episode dated 23 June 2011 (2011) … Vladimir Kozlov – Episode dated 16 June 2011 (2011) … Vladimir Kozlov – Episode dated 2 June 2011 (2011) … Vladimir Kozlov

– Episode dated 19 May 2011 (2011) … Vladimir Kozlov

WrestleMania XXVII (TV movie) - Vladimir Kozlov

2011 Royal Rumble (TV movie) - Vladimir Kozlov

2010 WWE TLC: Tables, Ladders & Chairs (TV movie) - Vladimir Kozlov

2010 WWE Tribute to the Troops (TV movie) - Vladimir Kozlov

2010 Survivor Series (TV movie) - Vladimir Kozlov

2010 WWE SmackDown vs. RAW 2011 (Video Game)

Vladimir Kozlov (voice)

2010 WWE Night of Champions (TV movie) - Vladimir Kozlov

2007-2010 ECW on Syfy (TV series) - Vladimir Kozlov ECW: The Final Episode (2010) … Vladimir Kozlov 2010 Untitled Santino Project (TV movie) (as Vladimir Kozlov)

OLEG PRUDIUS

PRODUCTION COMPANY STRUCTURE

The Tenth Symphony, LLC will be a Limited Liability Corporation, domiciled in

Weston, Florida.

The Tenth Symphony (the film), LLC will be a Limited Liability Corporation,

domiciled in Tennessee or Georgia.

The Tenth Symphony management will be comprised of two managing members.

These members will serve as co-producers on this, and any other project hereafter.

The Tenth Symphony team will be comprised of some of the best artists in the

business and will include the talent already listed above.

The Tenth Symphony owns all rights and licensing to “The Tenth Symphony” film

and as managing members have the authority to participate in and carry out tasks

relating to the production of “The Tenth Symphony.”

The Tenth Symphony, LLC, will own the copyright on the film once it goes into

distribution.

LATEST DEVELOPMENTS

1. A preliminary line-item budget will be prepared by our line producer.

2. Our location manager will look for a number of possible filming sights in both

Georgia and Tennessee.

3. The script is the next key to complete this Executive Summary.

4. Cinema Island Productions has indicated it would like to take on the production

responsibilities with a working agreement with The Tenth Symphony, LLC.

5. Developmental Costs are estimated to be $60,000.

Screenplay advance $20,000

Story Rights advance 10,000

Budget 6,000

Locations 6,000

Legal 10,000

Misc. 8,000

Please Note: The screenplay is now the most important piece of The Tenth

Symphony development. With the screenplay, we will be able to approach the rest

of the talent needed for the production. The people already involved have the

confidence and experience in dealing with Matteo Cucchiara and Michael Givens

and the team they can bring to the table, combined with the incredible storyline to

commit themselves to the project, even before the screenplay is written.

The Tenth Symphony, LLC.

Copyright, 2012, All Rights Reserved.