Tag Archive: Hollywood


#Brexit – How does it affect the UK Film Industry ?- Conjecture and Opinions

Well, after reading the article by Stephen Follows copied in its entirety below, I’m certainly not in agreement and have been prompted to provide my own views on this historic and groundbreaking referendum held on 23rd June 2016 in the UK now commonly called the “Brexit” vote.

Britain is well-prepared and will triumph gloriously as the panic subsides. I am most probably going to be critiqued on my statements here and wildly criticised for being contrarian or called worse? Let me start by stating that the film industry generally and globally is going through a dynamic disruptive metamorphosis; changes are inevitable as strong growth in media continues, and as new business relationships are consummated in a rapidly changing economic landscape. The models have changed. Funding productions and distributing content is no longer utilising film funding mechanics that were developed and put in place decades ago, and before the Internet changed everything.

L2L Brexit Opportunity

Countries and their governments throughout the world are adopting film incentives processes building on local strengths as they have researched and found how important attracting filmmaking in their jurisdictions is to other industry sectors within their borders. Film incentives emanated from Hollywood and were initiated by “Runaway Production“. In the late 1990’s Hollywood film industry guilds, backed by US studios and media companies retained a company that produced the Monitor Report to conduct an investigation into phenomenon. The global success of production incentives and the migration of feature film production from the U.S.A. to the world spurred further in-depth research and data collection.

 

The outcome of the Brexit vote in the UK has rippled rapidly through the financial services industry, banks and global markets and will continue for some time yet; all are experiencing very high levels of volatility and this has sent shock waves around the world.

Brexit Pound Drops

Record drops in Pound Sterling currency trading

 

The British Pound has plummeted to record lows with the media networks harping on in sound bites, excited sensationalism about trading drops not seen in 45 years of market analytics et al. Well, what most people seemingly don’t realise or understand about
film industry dynamics is that the film necessarily thrives during times of uncertainty. This can be seen throughout history, across countries and around the world. Do some deep research into what I am writing here and you will likely be surprised to find correlations that support my words! The British film industry has evolved and will continue to capture global market shares in the media industry, and I see this time as stimulating greater growth, as opposed to what the pundits and commentators are bleating along with those who see things differently.

Brexit Britain On Film BFI

Britain On Film Our Lives Our Stories www.bfi.org.uk

Here’s some background worth reciting to put current views in context. “The UK was not a signatory to the Treaty of Rome which created the EEC in 1957. The country subsequently applied to join the organization in 1963 and again in 1967, but both applications were vetoed by the then President of FranceCharles de Gaulle, ostensibly because “a number of aspects of Britain’s economy, from working practices to agriculture had made Britain incompatible with Europe and that Britain harbored a “deep-seated hostility” to any pan-European project. Once de Gaulle had relinquished the French presidency, the UK made a third application for membership, which was successful. On 1 January 1973 the United Kingdom joined the EEC, then often referred to in the UK as the “Common Market”. This was done under the Conservative Prime Minister Edward Heath. The opposition Labour Party, led by Harold Wilson, contested the October 1974 general election with a commitment to renegotiate Britain’s terms of membership of the EEC and then hold a referendum on whether to remain in the EEC on the new terms.”

Brexit British Film Soldiers On - Barry Lyndon 1975 Stanley Kubrick

A scene from “Barry Lyndon” 1975, directed by Stanley Kubrick

Now more than four decades on in 2016 the people of the UK have voted and the majority have chosen to leave the fold.

The EU and EEA (formerly known as EEC) have been weighed, measured and left wanting.

Brexit Wins Overall

British “Brexit” Referendum Final Results

The globalists,  corporate interests, banks and politicians that are are all screaming and moaning at the top of their lungs that the UK has absconded are behaving like chicks hatching out of cracked and spoiled boiled eggs. Many of those who have been gambling on this huge European casino economy are locked into the Euro currency; Britain is not.

In retrospect keeping the British Pound was a very smart move and whilst obviously it will be spinning fast and furiously on the roulette wheel of global currency markets for a while, the wheel will begin to slow and when it settles, the strength and growth prospects inherent in the British economy will begin to shine. Now that the UK has left the table, after having been previously drawn to the allure of bright lights and European delights at a time in British history when things looked a damn sight more appealing across the channel than the dire conditions in England that occurred in the aftermath of World War II.Brexit BFI Facebook on Billy Wilder

Britain was enticed down the old golden gilt garden path and as things became boggy and more recently progressively stagnant a modern economic quagmire of dissent and distrust emerged and flowed in the under currents of populations and opinions. The British people have decided to take their remaining chips, cash in at the borders and leave the building. If you’ve ever been into a casino, you will have noticed that they like to keep the light constant, day and night, to trick people and punters into staying on and gambling for longer; the EU bureaucratic empire operates as aqueously within its vast corridors of power, ever flowing, ever changing and most haven’t even noticed where the leakages are occurring.

Brexit The Movie is a full length British documentary film that provides some very interesting factual details, and well worth watching more than once.

The United Kingdom now stands to benefit immensely.

 

Building on new trends and timing with markets

Evidence suggests that the trends of US and EU companies pursuing strategic partnerships in Asia is increasing in 2016.

Brexit Pole - Interest Rates

Fiscal imbalances and floundering interest rates

Such trends are not exclusive to strategic decisions being made by corporations in the entertainment, media, and Hollywood talent agencies. The British Film Institute research provides great insights into how UK Film industry has been positioning for a more dynamic growth into new markets. A renewed focus on private equity and Family Office funding coupled with recent increased volatility in financial markets has spurred a swathe of mergers and acquisitions activity across the divide between East and West. Britain stands to benefit in this changing dynamic global shift we are in the midst of witnessing.

OTT and Streaming revenues growth accelerators

Activity and accelerated knowledge growth amongst Asian countries in the OTT and Premium OTT services sectors is driving increased competition for market share in four principle market angles:

  • Market enablers: the underlying market conditions for premium OTT offerings (e.g. population, broadband, devices, penetration, payment gateways)
  • OTT building blocks: the assets, capabilities, technologies and services required to develop and launch subscription OTT offerings (e.g. government regulation, censorship, languages, cultural specialties)
  • Consumer demand: awareness, interest, willingness to pay, serviceability to pay, payment options
  • The competitive environment between OTT services, pay-tv offerings (Netflix, iflix, et al)

Britain is poised strategically and the smart money and smart ideas are disruptive. I see Brexit as a smart move, contrary to the inference by general mass media reports that most of the voters were low income classes lacking in understanding. Smart companies are banking on future technologies that will change the way we do business around the world. Furthermore, Britain can now create new relationships more efficiently and operate without needing EU approvals, that are more complex and time consuming to get approved across the channel. Providing scalability as well as flexibility to explore expansion opportunities and build business relationships in ASEAN and India at an exciting time when these Asian regions are experiencing extraordinary changes is an opportunity for the taking.

Brexit BFI Into Film

BFI Into Film education programme

The British Film Industry stands to benefit immensely as it is well supported within the country by the BFI coupled with educational programmes such as Into Film and these can quickly and easily become interesting areas of growth for British film professionals showing their wares to countries with less established film industry mechanisms. Growth in the global media industry is vibrant and expanding. As Asia creates new forums, established British technology and experience in teaching and learning programs can be exported and provide assistance and services for Startups in countries experiencing strong growth. Focusing on new business avenues and matching these efficiently with cost effectively implementation of entertainment and media growth strategies is the key to sustainability; remaining adaptable to future changes is vital for survival.

Innovations and Cultural Specifics

Innovations in technology and rapid growth utilising enterprise software to enhance business efficiency coupled to growing mobile penetration is prevalent across ASEAN.

Brexit Mobile penetration demographics SE Asia

Mobile Communications Demographics in South East Asia

With large populations utilizing high-speed data services and ever-increasing access to mobile communications coupled with the proliferation of marketing and advertising censorship controls are the subject of Governments and populations wishing to monitor and filter content delivered over the Internet.

India’s super angel investors are predominantly focused on the media technology and innovation spaces and are keenly interested in developing strategic partnerships with growth stories that focus on expansion in Asia.

The UK film industry is not only going to benefit from what I see as being relatively short-term weakness in the British Pound currency, Britain will thrive as the English people build upon their long history and experiences of seeking out and discovering new lands, building and expanding. With Brexit Britain has begun a new era of British conquest but not of conquer; this time the prospects are for the country to prosper on new relationships with new partners, rather than empire building as it was during the days of the East India Company “formed to pursue trade with the East Indies but ended up trading mainly with the Indian subcontinent and Qing China.” The company rose to account for half of the world’s trade, particularly in basic commodities including cotton, silk, indigo dye, salt, saltpetre, tea and opium. The company also ruled the beginnings of the British Empire in India. This time Britain will be bringing AI, nano-technology and British Startups Technology to the world.

Thank you for taking the time to read my conjecture and opinions here. I look forward with positivism and optimism as the world begins to dance rather than march to a new tune.

This article is created and written by James With, spurred after reading the article by Stephen Follows dated June 26, 2016 copied here below.

***************************************************************

The full article by Stephen Follows is reprinted here for ease and efficiency with respect to views expressed by many film industry heavyweights and further juxtaposition.

How will Brexit affect the UK film industry?

How will Brexit affect the UK film industry?Last Thursday, 52% of the UK population voted for the UK to leave the European Union (EU).  I am going to avoid the political side of this conversation as it’s been covered well elsewhere.  I will also avoid sharing my own opinion on the matter as there are no shortage of people shouting off on one side or another.However, I thought I can add to the conversation by looking at the numbers for how the British and European film industries interact and how Brexit will affect the UK film industry.

How will Brexit affect the UK film industry?

It’s worth noting that a large part of the whole Brexit debate was taken up with discussing unknowns.  Neither side has a magic crystal ball and so it’s impossible to say for certain exactly what will happen in a post-EU UK.  However, some outcomes are almost automatic, in that if the UK stops paying into the EU then it can expect to stop receiving money out of the EU.  So, here is a rundown of the negative effects of Brexit to the UK film industry…

  1. MEDIA logoAn end to MEDIA / Creative Europe funding (certain).  Between 2007-13, the MEDIA scheme provided over €100 million towards various aspects of the UK film industry. The loss of this money is the biggest, clearest effect of Brexit and so I’ve addressed it in the section below.
  2. In the short-term, British / European co-productions will be harder (very likely). Official co-productions allow international film producers to work together to create a film which can gain state protections and tax benefits from multiple countries at the same time. In the immediate future, co-productions between British and European countries will become harder, due to the fall in the value of the Pound and the growing uncertainty.
  3. In the long-term, British / European co-productions may need new legislation (unclear).  Official co-productions are only possible between countries which have signed a treaty defining co-production rules. The UK currently has active treaties with Australia, Canada, China, India, Israel, Jamaica, Morocco, New Zealand, the Occupied Palestinian Territories, South Africa and the EU.  The EU treaty is called the European Convention on Cinematographic Co-Production and was signed in October 1992 in Strasbourg.  This European treaty is not exclusively for just EU members as it refers to its signatories as “member States and the other States Parties to the European Cultural Convention”.  The UK signed the original treaty as a member of the EU so conceivably it would need to sign up again as a “European non-member State”.  Interestingly, the UK already has a separate co-production agreement with France, signed in 1994, so British / French co-productions may not be affected by Brexit in the same way co-productions with other EU member states are.
  4. British content will be much less attractive to European broadcasters (almost certain). Some European countries have quotas on the amount of European content their exhibitors and broadcasters must show.  For example, the majority (i.e. minimum of 51%) of French entertainment broadcast transmission time must be taken up with programs of European origin.  Not only did this increase demand for native UK films and television shows but it also made UK / US co-productions more attractive.  For example, ‘The Night Manager’ was a £30 million co-production between the BBC and AMC, which also qualified as an EU production.  In a post-Brexit world, it is very unlikely that such products will be classed as ‘European’ and will therefore lose a large part of their value to European countries with such quotas.
  5. Increased complexities for international cast and crew (possible but unclear).  One of the features of a unified Europe is the free movement of people, goods and services.  New visa requirements and work permits could affect both British people filming in Europe and European people filming in the UK.  That said, the issue is a little more complicated than just ‘in or out’ of the EU. This passport and border controls are covered not by the EU but instead by the Schengen Agreement, and only 22 of the EU’s 28 member states are currently signed up (also, the UK and Ireland have certain opt-outs),  In addition, Iceland, Lichtenstein, Norway and Switzerland are members of the Schengen Area but not of the EU.  The basics of the free movement of people and services is also not simply an EU issue, but was instead established in the Treaty of Rome. So it’s not clear what would happen post-Brexit as new agreements will need to be reached in order to keep the free movement protections the film industry has enjoyed until now.
  6. Fewer UK films will be distributed in Europe (certain). EU funding has supported the export of UK film to Europe to a massive degree. In fact, between 2007-13, almost €45 million was spent to bring UK films to European cinema audiences.  Details of which films were supported follow in the next section.
  7. Blue is the warmest colourFewer international films will be distributed in the UK (certain, although the extent is unknown).  Between 2007-13, UK-based businesses received over €20 million in EU funding to support the release of European films in the UK.  In addition, if Brexit continues to cause a weak Pound then it becomes more expensive for UK distributors to acquire new content.  However, this will affect all UK distributors equally, so may only reduce the amount UK distributors can pay upfront (known as the Minumum Guarantee, or MG) rather than prevent distribution entirely.
  8. UK independent cinemas will lose income.  (certain, although the extent is unknown).  56 UK independent cinemas receive funding from the EU as part of the Europa Cinema scheme, which supports cinemas which commit an average of 67% of their programming to European films.  Between 2007-13, this averaged out to over €103,000 per cinema.
  9. The negative effect of uncertainty (very likely). The film industry is highly fickle and responds negatively towards uncertainty.  This is partly due to the large amounts of money at stake and the desire to reduce risks wherever possible.  Right now no-one is sure what effect Brexit will have on the UK film industry, and so it may seem a safer bet to wait this period of change out before investing in UK film productions.
  10. Loss of influence on European rules affecting UK content (certain but effects unknown). By leaving the EU, the UK will forfeit its right to influence EU policy towards film and television content.  This will most acutely be felt in the discussions around the proposed Single Digital Market, which aims to force distributors to treat the EU as one territory, rather than distributing films country-by-country as happens today.

Despite these negative effects, Brexit could be positive for the UK film industry in the following ways…

  1. several-pound-bills-new-british-20-pounds-moneyIt becomes cheaper to shoot in the UK (uncertain).  If the Pound continues to lose value (as it has since the Brexit voted was announced) then the UK becomes ever-cheaper for foreign productions to set up shop in the UK. This will have the biggest effect on Hollywood studios, who spend vast sums of money and whose green-screen epics can be shot almost anywhere in the world.   Between 2006-15, UK / USA studios films spent £7.7 billion in the UK, accounting for 68% of the money spent on UK films.
  2. The UK is free to change its tax rules (certain).  The current Film Tax Relief (FTR) scheme is very generous and offers producers a refund worth around a fifth of the money they spend on UK films in the UK.  As a member of the EU, the UK is bound by rules on State Aid and does not have a free hand to change government incentives and subsidies without EU approval. When the FTR first came in, it gave points for various elements being British, such as the cast, crew, languages used, etc.  However, EU rules have forced the UK to widen the criteria to favour all Europeans equally.  This means that it is now possible to have a film that qualifies as fully “Brtish” with an all-Italian crew, based on a Spanish story, told in German. Leaving the EU will remove these restrictions on UK film tax policy. This freedom will mostly benefit the unseen civil servants who draw up the actual tax laws, but this increased flexibility means that in theory our film incentives can be changed more often and be better tailored to the needs of the UK film industry.
  3. Avoid proposed new European rules on release patterns (certain freedom from a possible event). As discussed above, the Single Digital Market could mean that films need to be released in Europe as one territory all at once.  It’s not certain how the new rules will eventually be written, but if we’re out of the EU then we’re certainly not going to be part of it.  This will still affect British films exported to Europe but not films released in the UK.
  4. The UK can spend that saved money directly on UK film (extremely unclear).  In theory, the UK can use the money saved by not paying into the EU to directly replace the money and support that was lost by the lack of MEDIA funding.  It remains unclear if the government wishes to do this.

How much has the MEDIA budget benefitted the UK film industry?

MEDIA currently provides money to the UK film sector for training, development, co-productions, festivals and theatrical distribution.  Over a seven year period (2007-13), the EU provided over €100,000,000 towards various aspects of UK film industry.  This breaks down as follows…

  • MEDIA - Brexit affect the UK film industry€44,561,008 – Awards to European distributors to release UK films
  • €10,478,771 – Investment in UK TV broadcasting
  • €8,898,821 – Distribution of European films in the UK
  • €7,830,252 – Development – UK Slate funding
  • €6,939,604 – Development – UK Single projects
  • €5,810,965 – UK cinemas part of the Europa network
  • €4,910,314 – UK-based training
  • €2,975,703 – UK VoD platforms
  • €2,775,444 – UK-based film courses and schools
  • €2,013,688 – Development – UK Interactive works
  • €890,530 – Grants to UK sales agents who represent non-UK European films
  • €85,0718 – UK pilot release programs
  • €695,500 – European Day-and-Date pilots
  • €539,766 – i2i Audiovisual (plugging finance gaps in UK / European co-productions)
  • €100,171,084 – Total

As mentioned above, UK films have received a huge amount of EU funding for their releases around Europe.  These include…

  • Kings Speech in FrenchThe Iron Lady – €1,531,922 – 31 European territories
  • Slumdog Millionaire – €1,339,104 – 24 European territories
  • Quartet – €1,339,009 – 23 European territories
  • Looking For Eric – €1,297,031 – 26 European territories
  • Tamara Drewe – €1,239,843 – 22 European territories
  • The King’s Speech – €1,025,717 – 26 European territories
  • The Last Legion – €1,025,551 – 3 European territories
  • The Duchess – €954,012 – 19 European territories
  • Shame – €951,814 – 27 European territories
  • Another Year – €914,330 – 21 European territories
  • I Give It a Year – €892,867 – 29 European territories
  • Streetdance 3D – €891,644 – 17 European territories
  • Salmon Fishing in the Yemen – €882,124 – 27 European territories
  • The Secret of Moonacre – €814,964 – 5 European territories
  • Song for Marion – €787,987 – 15 European territories
  • Happy-Go-Lucky – €750,173 – 24 European territories
  • Hysteria – €748,066 – 25 European territories
  • Fish Tank – €737,813 – 29 European territories
  • Nowhere Boy – €708,871 – 8 European territories
  • The Angels’ Share – €699,286 – 27 European territories
  • A further €25,028,880 awarded to other UK films

Finally, it’s worth mentioning some of the European films that have reached UK cinema audiences in part because of EU funding. These include A Prophet, The Great Beauty, Gomorrah, I Am Love, Persepolis, Love is All You Need, The Class, Amour, Potiche, Waltz with Bashir, Heartbreaker, Of Gods and Men, Blue is the Warmest Colour, Pina, Two Days In Paris, The Counterfeiters, The White Ribbon, Melancholia, Antichrist and Molière.

What is the UK film industry’s opinion on Brexit?

It’s fair to say that the vast majority of people working in the UK film industry are firmly against the UK leaving the EU.  UK arts pressure group the Creative Industries Federation say that 96% of its members supported the Remain campaign and 84% said that EU membership was important to the future of their organisation.   A poll by Media Business Insight found that 66% of people working in the UK film industry felt that Brexit would have a negative impact on the sector.  A further 18.5% were uncertain on the outcome of Brexit, with only 11.5% believing that Brexit would be positive for the UK’s film industry.

So why are so many UK film professionals against Brexit?  This could be for a number of reasons…

  • Political values. The film industry is traditional a fairly liberal-minded industry and the liberal cause is largely pro-EU.
  • Geographical location.  The majority of UK film jobs are located in London and London was a hotbed of anti-Brexit sentiment (60% of London voters opted to Remain).
  • Age. The film industry has much lower age profile than the UK population, and polls have shown how the majority of those under 50 supported Remain while a majority of those over 50 supported Leave.
  • Fear of uncertainty.  The UK film industry is in a period of stable growth, thanks in large part to a stable government approach to film incentives.  Uncertainties in the future could scare off investors and studios from making investments in UK films.
  • The majority of predictable outcomes to the UK film industry are negative.  The list at the top of this article shows how the vast majority of expected Brexit outcomes are negative for UK film.

Here is a summary of press coverage on the issue…

  • Brexit game of ThronesScreen Daily says that the UK film and TV sectors are in “limbo” and that “the two sectors had recently expressed strong sentiment in favour of remaining in the European Union, which is the major trade partner of the UK and which provides millions of pounds in subsidies to the UK market as well as a number of frameworks for coproduction. That structure is now in serious doubt“.
  • Variety collected views from a number of major voices in UK film, summing them up by saying “British voters’ stunning decision to turn their backs on the European Union has left many of the country’s leading TV and film players reeling“.
  • The Guardian summed up the situation by saying that there would be “less cash, fewer movies” and also that “we could witness a 70s-style British film meltdown”.
  • The Hollywood Reporter led with “U.K. Producers Oppose Brexit”, pointing out that “James Bond producer Barbara Broccoli, veteran David Puttnam, Matthew Vaughn, The King’s Speech producer Iain Canning, Slumdog Millionaire’s Christian Colson and Aardman Animations are among those who outlined their reasons for why staying in the EU is the right call for those who want “to support our current, thriving creative industries.”“.
  • Broadcast magazine noted that shares in ITV dropped 19% within a day of the vote being announced, and the Sky share price also fell 8%.  Further drops were felt by eOne and Vivendi.
  • The Verge discussed the possible effect of Brexit on ‘Game of Thrones’, saying “US productions might feel the effect, too. Much of HBO’s Game of Thrones is filmed in Northern Ireland, for instance, partly supported by the European Regional Development Fund. HBO, however, says it doesn’t anticipate any financial impact on GoT, since the network took no money from the ERDF for the last few seasons, according to Entertainment Weekly“.
  • And the Radio Times pointed out one aspect of Brexit too many experts have overlooked by noting “The shock Brexit result will have massive ramifications – not least the fact that we may see less of beautiful French actress Clémence Poésy on TV“.

A number of top UK film voices have shared their views and I could fill an entire article with them.  However, for the sake of brevity, here are five which seem to sum up the mood…

  • Harvey WeisteinHarvey Weinstein said “I’m shocked… These guys who voted, voted out of fear. It’s a huge mistake… It could be very costly in the movie and TV industry in terms of content branding. European branding is very important. It’s a big deal for these young British filmmakers”.
  • Michael Ryan, Chairman of the Independent Film & Television Alliancesaid The decision to exit the European Union is a major blow to the UK film and TV industry. Producing films and television programs is a very expensive and very risky business and certainty about the rules affecting the business is a must. This decision has just blown up our foundation — as of today, we no longer know how our relationships with co-producers, financiers and distributors will work, whether new taxes will be dropped on our activities in the rest of Europe or how production financing is going to be raised without any input from European funding agencies. The UK creative sector has been a strong and vibrant contributor to the economy — this is likely to be devastating for us”.
  • Danny Perkinshead of Studiocanal UK said “Short term it’s bad news for the currency and terrible news for film acquisitions, which are normally done in dollars or euros. UK companies will suffer in the short term“.
  • Rebecca O’Brien of Sixteen Films said “It has blown us out of the water. We are very dependent on our relations with Europe. All of our films for the last 20 or 25 years have been co-productions with Europe. It (Brexit) doesn’t mean they will stop immediately but it means that trade, and access and all those things are much more difficult. It just means we have to re-invent the wheel again“.
  • Jeremy Thomas of the Recorded Picture Company quoted Charles Bukowski by saying that “the problem with the world is that the intelligent people are full of doubts, while the stupid ones are full of confidence“.  Mr Thomas added “For the film industry, it is a disaster“.

So what now?

BrexitSo many of the effects of Brexit are unknown.  Right now, the only thing that has happened is that a non-binding referendum was marginally won by the pro-Brexit movement.  There’s no doubt that the majority of the UK film industry hopes that Brexit doesn’t happen.  Failing that, the film industry is likely to seek the following outcomes from the government…

  • A deal to retain co-production advantages with EU countries.  Most likely this means ensuring that the UK remains signed up to European Convention on Cinematographic Co-Production.
  • An agreement to classify UK content as “European” in relation to production and distribution quotas.  This is a harder task than the co-production deal, although it should be noted that Switzerland has already achieved this for their content.
  • Replacement funding be provided for current MEDIA-funded activities.  A major claim of the Leave campaign was that the UK would save £350 million a week by leaving the EU.  It turns out that once you take into account the UK’s rebate the real saving is far lower, but even taking that into account, the money saved by leaving the EU could be used to replace the funding currently provided by MEDIA.
  • Action to be taken swiftly and confidently.  A protracted and messy exit will create a large amount of uncertainty and stifle investment in UK film.

Epilogue

Sorry if you were expecting to be able to read my final article in my series on film locations today.  I have had a number of people ask me about how Brexit will affect the film industry so I bumped the film locations article to next week.  Stay tuned…

 

Advertisements
"The further a society drifts from the truth, the more it will hate those that speak it." George Orwell

“The further a society drifts from the truth, the more it will hate those that speak it.” George Orwell

This article has been produced and published to shed light on a film project known generally as “All the Tired Horses“; still in production and at the time of writing it is nearly seven years since the project commenced. The producers wish to advise that the statements are known to be true and made without prejudice. The extraordinary length of the ongoing Western Australian Supreme Court case has thrown up inconsistencies and incongruences that highlight concerns of corruption, misuse and abuse of the Australian courts. The producers and defendants involved in making “All the Tired Horses” have been repeatedly subjected to extreme prejudices for many years and are losing faith in what in legal speak is termed due process… dudes, the process is long over due!

Gus in "All the Tired Horses"

James With plays Gus in “All the Tired Horses”

“All the Tired Horses” is about commitment, moralsethics and filmmaking; it’s about a professional producer undertaking to produce a film and unwittingly being faced with immature tantrums, ranting, lies and jealous outbursts from egotistical twins backed by a relentless self-admitted mafia-aligned father employing the services of corrupt lawyers; a manipulated legal system and a project that has become bogged down in the Australian courts, mired by ignorance, arrogance and inept court decisions. The journey in making this film depicts reflections of the “China Brothers” and a “tale of two twins” holding on to a weak romantic childhood illusion of togetherness juxtaposed by a stark vicious reality, displaying the dichotomy of two men moving further apart, both creatively and spiritually, driven by their individualistic dialectic forces emerging from within separate minds and bodies. Retrospective speculation points to the notion that perhaps the brothers experiences with the “All the Tired Horses” project might have been the first time these twins had ever really faced any kind of real world challenges in their lives?

Actor James With - into the Jungle

Actor James With learned the lay of the land growing up in the Kelmscott and Roleystone hills

The “All The Tired Horses” project was started in the first quarter of 2008. The catalyst was an interview by a freelancing English journalist working in Australia by the name of Paul D. China; Sony Pictures Releasing organised a series of publicity interviews for James With to talk about his acting role in “Rambo” wherein he played a Christian missionary humanitarian working in Northern Thailand and Burma. The interviews were organised to promote the fourth film in the movie franchise starring Sylvester Stallone and at that time was set for a theatrical release in Australia on 25th February 2008. Paul China was one on the list of journalists interviewing James With via telephone from Queensland, Australia.

"In The Jungle Rambo Actor James With"

Encore Cinema’s “In The Jungle Rambo Actor James With” by Paul China

If you read and review published posts on the “All the Tired Horses” Facebook page (there is also a full link published at the bottom of this article) you will see that Paul China submitted an unsolicited script for review, which was subsequently assessed and shortly thereafter James With decided to proceed with developing a project to produce a film.

Approximately one month later and after a face-to-face meeting with Paul China and his twin brother Benjamin China in Sydney, Australia it was agreed and decided that James With and other producing parties would structure a project that would allow the young journalist (Paul China) to be attached to direct his first feature film (despite the fact Paul had no prior professional film camera and directing experience). A careful consideration was this young man would be supported by a team of carefully selected experienced professional crew and cast. If it had not been for Benjamin China, his conniving and devious twin brother harboring a self-centred hidden personal agenda, then perhaps Paul may have gotten the chance he dreamed of? The rest… as they say… is history.

Alas and unanticipated by the producers, anger, jealousy and egotism from the less creative of the twin siblings took the project in a vastly different direction… Benjamin China became progressively argumentative, aggressive and overly demanding. He perceived things from his own inexperienced unprofessional perspective and deliberately attempted to dictate the project’s direction and production development. Benjamin China displayed emotional mood swings and temper tantrums in front of other crew members and started lying about the production development progress to his father, Shaun China (the mafia “hot head”), himself a minor 3rd party investor in the project via China Brothers Productions Pty Ltd. 

Believed to be as a result of Benjamin China‘s lies to his father and other investors into China Brothers Productions Pty Ltd, in the 2009 Shaun China began directly threatening James With; the project, other producers and people associated with the project were adversely affected by the aggressive behaviour. Shaun China‘s threats, defamation, slander and bullying actions have continued for years and on multiple occasions Shaun China has publicly announced his personal vendetta against James With, which includes threats of continuing legal action against the defendants in attempts to force them into bankruptcy. Evidence of the extreme criminal mafia tactics have been provided to various authorities including police forces and Government officials in Thailand and Australia.

Despite a Global Financial Crisis placing pressure on the production in the latter part of 2008, film financing capital was raised to meet the project budget requirements and contract agreements. James With attracted reliable and trusted investors committed to seeing the film made. Scheduling a start to filming involved balancing an extremely long and hot summer that had left the specifically chosen locations in Roleystone, Western Australia nestled in the normally lush valleys of the Darling Scarp escarpment dry and parched. Under strict summer fire restrictions and the local by-laws enacted during the hot months of the year, production on these locations was prevented from commencing until after the winter rains had arrived that could reinvigorate and rejuvenate the land. The conditions in the area during the first half of 2009 were in stark contrast to the creative look and feel as desired by Paul China, who had been attached to direct the film. Many of the locations were close to James With‘s family home. James had spent his younger years growing up and attending school. James had roamed the hills as a boy and knew the lay of the land; his life-long connections to the local community, friends and family provided great supports to the “All the Tired Horses” project. He anticipated the opportunity to commence filming in August 2009 as soon as the hills and valleys had returned to their vibrant greenery and the local rivers and streams were flowing to capture the imagery creatively desired on locations appropriately sourced for the film’s subject material. Some filmmakers spend months trekking far and wide to find the myriad of appropriate locations that James With knew where to find in a heartbeat.

By July 2009 the rains had arrived, filming schedules were being readied, filming facilities in the City of Perth had been reserved via lengthy communications with local Government officials and real estate companies, personnel and equipment were on stand-by and at the ready; cameras were ready to roll… the production was awaiting Paul China‘s final revised shot list (comprising a list of desired camera set ups and shots for each scene)… then suddenly without any advance notice the “China Brothers” up and left… Paul China left the project declaring in an email the project was against his “wishes as a filmmaker” and “expressed no desire to shoot” with the state-of-the-art selected film cameras (rather bold and brazen statements considering Paul had never directed a film in his life). Almost simultaneously, twin brother Benjamin China stated in an email “We will wait on the East Coast until production begins.” (another rather bold and brazen statement considering their accommodation, travel and living expenses were all being paid by the production). A couple of childish ‘prima dons’ emboldened by egotism and arrogance and furthermore backed by a threatening mafia father figure and his cronies.

"Shoot Paul and Benjamin China"

Frankie Magazine “Shoot Paul and Benjamin China”

Without any further communication to the other producers of “All the Tired Horses” the “China mafia” proceeded to ratchet up their attack on the production employing an unscrupulous law firm; the firm’s lawyers began to attack the producers and the project in underhanded and illegal ways. Corrupt lawyers in the firm solicited bank statements and records from the ANZ Bank through bank employees without first obtaining court orders and then raced to cover their tracks; the illegal acts lead to a rapid succession of further court orders being handed down by judge Kenneth James Martin that affect the bank accounts operated by Tired Horses Films Holdings Pty Ltd and the other Australian production companies involved in the “All the Tired Horses” project. James‘ personal accounts were also frozen in the flurry of court orders. Further aggression and slander mounted as false and misleading claims from the China mafia were submitted to the court by their unscrupulous lawyers as they hastily explored confidential financial statements and jumped to illogical conclusions.

What is obvious from the evidence on the record at the Western Australian Supreme Court case files is that in the preceding months before filming was to commence in August 2009 the China Brothers were systematically preparing to attack the production – a premeditated and planned war against the “All the Tired Horses” project and the project’s producers and other investors by the China mafia. The mafia war commenced with threats, then extended to using contumelious false and misleading statements in claims by Benjamin China provided in affirmed affidavits accompanying an Originating Summons submitted ex-parte to the Western Australian Supreme Court on the 31st July 2009 (WASC CIV 2376 of 2009 CIV 2583 of 2009). Perhaps what is retrospectively viewed as knee-jerk considerations from the presiding judge Kenneth James Martin the flurry of court orders enforcing interlocutory injunctions on the bank accounts of the production companies that had been set up specifically for services to the project had wide-reaching ramifications; the fact that these orders extended to the producers personal accounts in Australia left all the producers with few choices to continue filming in Australia. To best possibly ensure completion of a film the producers were forced to explore options of completing “All the Tired Horses” outside of Australia. Simultaneously, the producers were required to defend the contumelious legal actions and false claims brought by the China mafia; the producers rights, the rights of other investors and the rights of production crew members have been of paramount importance to those committed and continuing forward to make a film.

The defendants attended a trial held on the 16th March 2010, however the presiding judge Kenneth James Martin decided to adjourn proceedings to a later date; the decision to adjourn the trial was determined by judge Kenneth James Martin upon a last minute application to the court by the plaintiffs legal counsel… that ‘later date’ trial occurred on 5-6 December 2013. What happened in between these dates are events that are more than aptly fitting in the scenes of a mafia movie! 

Despite an Application made by the defendants to Dismiss the Action submitted to the court in November 2011 (it is appalling that this application is still yet to be heard by the court) and also multiple requests over the years to the court to dismiss the debilitating interlocutory injunctions on the defendants the presiding judge Kenneth James Martin has not yet decided to do either.

More than six years on the legal action is still being defended; damages and costs to the production have increased over the years, strong relationships have been strained and tested, loss of earnings and great hardship has been felt and extended to many who are involved in producing the “All the Tired Horses” project. The costs involved and time expended in defending such an aggressive contumelious action are extremely expensive. The emotional stress caused by the China mafia, their associates and assigns on so many people associated with “All the Tired Horses” is immeasurable.

Whilst principal photography initially commenced in August 2009 schedules had to be hastily re-worked; by the end of that year further filming had to be halted as the mafia attacks to the production and people associated with the project continued. The legal attacks on the project have a very negative effect on morale, impacting cast and crew members alike, spreading fear and uncertainty into the Western Australian film community; rumours, especially in the entertainment industry travelled fast and furiously across the country and around the world.

Into 2010 and through the ensuing years the producers persevered with production meetings, further planning and re-structuring efforts; the legal action relentlessly continued negatively affecting the project and people’s lives. Efforts to make a film were grossly impeded. Many hours and great expense had to be directed towards defending the contumelious action brought against the project and producing parties to the detriment of the production and those dedicated to seeing the “All the Tired Horses” film made. Despite offers by the defendants to settle the action amicably the plaintiffs stubbornly refused and the threats and mafioso-style tactics and attacks continued. Police reports were filed and authorities alerted and provided with evidence of the mafia threats, attacks and collusion from associates of the China mafia in their efforts to prevent a film from being made; slander towards the producers and others associated with the Project continues up to the present.

After initiating the legal action against the defendants, Paul China and Benjamin China began colluding to produce a separate film with Brian J. Breheny, a cinematographer who had been employed for the “All the Tired Horses” project to assist and educate Paul China in various aspects of film cameras, lenses and filmmaking processes during the preliminary stages in the project’s development.

The China Brothers

The “China Brothers” captured by Cath Conroy (www.CathConroy.com) Published with permission

According to IMDb (Internet Movie Database) a film titled “Crawl” was officially released in Australia on 20 November 2013Paul China received a credit as a writer and a credit as a director and his brother Benjamin China received a credit as a producer, the film’s cast contained a number of acting talents who had previously auditioned for roles in “All the Tired Horses“. The result is largely seen as a poorly envisaged plagiarised version of the original screenplay that the “All the Tired Horses” project is based upon. Crawl incorporates similar themes and plot lines to the original screenplay of “All the Tired Horses“. Perth actors, Georgina Haig (known for The Mule (2014), Road Kill (2010) and The Sapphires (2012)) and George Shevtsov (known for Dead Calm (1989), Japanese Story (2003)) had been tentatively short-listed for roles in “All the Tired Horses” during professional auditions conducted by Jenni Cohen Casting in late 2008, whilst talent for other roles were being sourced and considered by Faith Martin (highly respected and known for her work on the Australian television series Water Rats (1996) and iconic Australian films including Strictly Ballroom (1992), Satellite Boy (2012) and Cactus (2008) and many other classic Australian films).

In 2012 the China mafia’s associates and assigns attempted but failed to force Tired Horses Films Holdings Pty Ltd into liquidation using Statutory Demands; the company was established to receive a portion of the film’s investment capital that had been invested by China Brothers Productions Pty Ltd for the purposes of making “All the Tired Horses“. An investor into “All the Tired Horses” and a business associate of Shaun China were found to be behind the orchestrated attacks on the project using a number of people and companies connected to Crawl Productions Pty Ltd, a company set up by the China Brothers and associates to produce “Crawl”. A number of the documents presented to support the Statutory Demands by Property About Pty Ltd (a company controlled by associates of Shaun China) in an attempt to wind up Tired Horses Films Holdings Pty Ltd were found to be fraudulent; various parties associated with the attempt had been offered bribes in exchange for their endorsement of certain documents; the Supreme Court of Western Australia dismissed the demands in separate actions (WASC COR 122 of 2012 , COR 123 of 2012, COR 124 of 2012).

On the 15th October 2012 the plaintiffs retained a new law firm supposedly with the idea of bringing in “bigger louder guns” who sought to re-work the plaintiffs false and misleading claims with new twists of deceit. The China mafia’s newly contracted law firm convinced the judge to hive off a section of the claims; thus creating a ‘sub-trial’ or “Trial of Separate Determination” designed at testing the notion that what were legally invested funds in exchange for company shares made in accordance with ASIC and the Corporations Act 2001 were supposedly monies provided on principles of a Quistclose trust – this was a feeble and ill-conceived notion arising from the very concoction of the plaintiffs initial lies and misleading claims. The legal tactic was probably more likely devised and submitted to the court by the new law firm’s principals in the hopes that the defendants would be forced into bankruptcy long before a trial actually came into being?

Off-Screen War - Rambo

Rambo Actor “James With” Fights an Off-screen War

For the remainder of 2012 and most of 2013 attention focused on bringing the legal action to trial for a date determined by judge Kenneth James Martin to take place in December 2013. The setting of the trial date could possibly have been proposed and suggested to the court by the plaintiffs lawyers? The presiding judge Kenneth James Martin may have been swayed to set such a date having been provided with information that falsely implied that an end date was approaching? This could then be construed in cross arguments during the trial by the plaintiffs counsel to declare the “All the Tired Horses” project could not continue past 31st December 2013? The plaintiffs lawyers had not read the terms of the “All the Tired Horses” Production Agreement or if they had, they had conveniently chosen to attempt to twist the wording of the agreement to suit their own unscrupulous legal aims. References during the trial to Monty Python‘s Dead Parrot Sketch from Monty Python’s Flying Circus were in very poor taste and jocularly bantered around by and between the presiding judge Kenneth James Martin and the China mafia’s legal counsel, liberally thrown around to suggest the “All the Tired Horses” project was dead. Such courtroom antics simply demonstrated how mired and burdened the Australian courts and presiding judges have become in the nepotistic mentality that pervades in the courtroom; sad and blatantly indignant behaviour demonstrating that the courtrooms in Australia have become squawking forums at the mercy of unscrupulous lawyers and legal counsel parroting phrases in garbled gobbledygook manipulating case actions seemingly on whims and whimpering whispers, whilst rocking back and forth on elevated perches in polished black shoes and silky weathered robes… Birds of a feather flocking together, making a mockery of the silks… do they even know why they wear such costumes? Or have they been influenced by those courtroom drama movies or productions such as the Silk (TV series) and forgotten what the terms due process, morality, ethics and justice actually mean?

Photography on “All the Tired Horses” recommenced in 2013 only to be halted again by further damage brought by the plaintiffs in their frequently amended claims peppered with lies, false and misleading statements. The obvious manipulation of the Australian court system with their shlock lawyers forcing the continuance of legal action adds to the prejudices experienced by the defendants in the action. Due process has seemingly dissipated; as the years have passed each date set for a court hearing has stretched further and further apart, whilst the presiding judge grapples with his original orders in the face of ever mounting inconsistencies in the revisions of the plaintiffs further and further and further amended Statements of Claims and in contrast to the evidence provided by the defendants. Simply reiterated for clarity here, the plaintiffs claims were deviously trumped up in an attempt to prevent the “All the Tired Horses” film being made after the China Brothers departed from the production in a huff. In December 2013 the producers of “All the Tired Horses” issued Default Notices to Paul China, Benjamin China and China Brothers Productions Pty Ltd. One might reflect here and suggest perhaps that the default notices could have been issued earlier? Suffice is to say that there was a glimmer of hope and going on advice provided to the defendants by their legal advisers it was plausible that the China mafia’s stubbornness and arrogance might waver to the better side of reason and hence that the legal action would be resolved out of court. Unfortunately, dealing with such mafia figures and their aggression has become part of the producing process in respect to “All the Tired Horses” and all who are committed and dedicated to seeing a film made. 

Despite certain deliberation and obviously wrong assumptions made by the presiding judge Kenneth James Martin on 7th February 2014 the court published a decision from the “Trial of Separate Determination” held on 5-6th December 2013; ultimately the judgement handed down was made in favour of the defendants. However, in addition to the trial decision was advice provided by judge Kenneth James Martin and a request that James With was to provide an Undertaking to the court not to incur further expenses or debts on behalf of Tired Horses Films Holdings Pty Ltd from 7th February 2014 onwards and until any application that might be submitted by the plaintiffs to wind up the company. Such advice handed down by judge Kenneth James Martin provided the plaintiffs with yet another angle in which to continue their contumelious attacks on the “All the Tired Horses” project and the producers. It is viewed as quite extraordinary in the course of this contumelious legal attack on the producers and the “All the Tired Horses” project that a presiding judge of the Western Australian Supreme Court would see it as due process and without prejudice to suggest such a “legal option” to the plaintiffs when handing down a trial decision of the court. The China mafia took the suggestion and their appointed law firm ran with it… a flurry of materials were submitted to the court as the judge had set a hearing date for such an application on 21st March 2014.

On 19th March 2014, just two days before the hearing to wind up the company, the defendants were asked to attend an urgent meeting with appointed counsel; once in attendance James With was confronted and given an ultimatum by the defendants appointed legal counsel. The legal counsel had been retained by the defendants and employed to assist and defend against the plaintiffs application to wind up the company; contrary to this, the opposite was being forced on the defendants!

Unconscionably James With was forced at the meeting with the defendants counsel to provide instructions to allow the winding up of Tired Horses Films Holdings Pty Ltd. Statements considered as direct threats to the defendants and the “All the Tired Horses” project were made by the defendants counsel to the effect that if instructions were not provided to allow Tired Horses Films Holdings Pty Ltd to be wound up by orders from the court and a liquidator appointed by the court then they would not be in a position to represent the defendants. Additionally, one of the defendants counsel has previously stated that they had known and been colleagues with Kenneth James Martin before he was appointed a judge of the Western Australian Supreme Court. It seems quite apparent that the Australian courts are weighed down by the huge number of cases and the cost of conducting litigation has become in itself a burden on parties; obvious pressures are being placed on judges, lawyers and those in the legal system to ‘toe the line’ and to resolve cases that have become bogged down by contumelious legal wrangling. One might deduce that in this case due process is being crushed by a stampede of squawking legal parrots? Roughshod shoes are missing in the courtroom and the treacherous trail to trial has become ever more slippery and cumbersome.

On the 21st March 2014 judge Kenneth James Martin provided a decision that ordered Tired Horses Films Holdings Pty Ltd to be wound up under the supervision of a court appointed liquidator, Mr. Giovanni Maurizio Carrello working with BRI Ferrier, an independent national firm that helps organisations manage financial challenges through the provision of insolvency, business advisory and forensic services. The Western Australian Supreme Court orders placing Tired Horses Films Holdings Pty Ltd into liquidation made after the winding-up application submitted to the court adding to the complicit actions of the China mafia and their appointed contumelious lawyers has effectively robbed the “All the Tired Horses” project of approximately One Million Australian Dollars; those invested funds had been properly and legally invested into Tired Horses Films Holdings Pty Ltd for the purpose of making “All the Tired Horses“. The court appointed liquidator is tasked with assessing creditors claims and proofs of debts; under ASIC and the Corporations Act 2001 rules and regulations the company’s employees, creditors (crew members who have worked on the project and others) associated with “All the Tired Horses” are entitled to funds ahead of shareholders. Of course, it would be the case that the liquidator and the court gets paid ahead of creditors. Rhetorical question: Does this kinda feel like the court system is serving its own interests ahead of ASIC and the Corporations Act 2001 regulations that govern companies in Australia?

The Project and the producers continue to be subjected to further abuse from the plaintiffs, associates and assigns.

The next hearing is set for 12th February 2015 and hopefully the court action is soon to be concluded; the producers are optimistically scheduling a release date for a feature length film of “All the Tired Horses” based on this legal action being resolved. In these troubled times of geopolitics and on the anniversary of the attack on Pearl Harbor by the Empire of Japan on Sunday, December 7, 1941 which brought the United States into World War II we publish this summary account of the trials and tribulations in making “All the Tired Horses” – a Morality Driven Drama. The producers wish to thank you for your interest in this project.

There’s a page on Facebook that the words “All the Tired Horses” links to and you might like to review this for more details on the project: https://www.facebook.com/AllTheTiredHorses. We trust you enjoy the updates on the project’s Facebook page and eventually we hope you get to experience the film that we are dedicated to completing as soon as possible.

The Shlepp Entertainment / TRI-US Entertainment team has been working hard on developing WWW.FEARCHASER.COM

and the news has leaked out … Read more on what they’ve been up to at Is Ayi Jihu’s Fearchaser™ film the next big thing?

Stay tuned for more…

AYI JIHU – Fear Chaser Star Fights Fear, Trafficking & Exploitation!

top hollywood blog

hollywood it guy Eric Zuley
Chinese star Ayi Jihu a face that reaches a billion people

The long awaited Ayi Jihu single has finally arrived. The artist referred to as ‘The Chinese Madonna’ has not released a new track for almost a year concentrating and her philanthropic endeavors and her FearChaser® film. Ayi fans have been waiting a long time to see what this trailblazing artist would do next.

It just would not be Ayi Jihu or Shlepp Entertainment if they did anything anyone expected them to do now would it, and once again they stay true to their history and surprise as all again. Not that we should be surprised from a Chinese artist that coins a sentence no other international Chinese artist can right now, ‘Independent, Real Chinese and crossing over’. An artist that has broken the rules and made her own path from day one.

Before we get to the music we wanted to catch up with Ayi about what she has being…

View original post 2,422 more words

SHLEPP ENTERTAINMENT
TRI-US ENTERTAINMENT LOGO

About Global News Ink.

Global News provides stories, blogs, information and insight on entertainment news from around the world predominantly focusing on Shlepp Entertainment Ltd Media, Artists, News and projects as well as Asian news.

Shlepp Entertainment Ltd is a small, but global, Entertainment Company that continues to diversify as a result of the entertainment markets demands.

Originating solely as a production company, Shlepp was originally founded by Stevie Eagle E and Peter Doc Bielig (Doc B) who were known as EEDB, as well as Stevie E and the NAN respectively. Both Stevie Eagle E and Doc B had successful careers in the music industry independently before they came together, but as a team they excelled both as an act and in writing and production.

Now exclusively owned and led by Stevie Eagle E, Shlepp Entertainment Ltd has expanded to movie, animation, photography, web design, and artist development. Its reputation, combined with a foundation of 30 years of success, makes it a coveted entity in the entertainment industry.

Shlepp Entertainment Ltd is a global company with strong connections in the Asian market. Shlepps Chinese artist, Ayi Jihu, fundamentally changed the way Shlepp Entertainment worked. The focus of Shlepp is to create an opportunity for talented artists to cross over from the Eastern to Western world, and in turn, become an international force. Shlepp’s work with Ayi Jihu has surpassed all others in this area and has successfully established her as the first cross over Chinese R&B Pop artist and icon in history.

Shlepp concentrates on building responsible social icons in a selective, unique way that other labels have not considered. This includes creating association with various philanthropic opportunities upon introduction; in other words, paying it forward is not an afterthought. This has been the model in developing Ayi Jihu. This concept has created a rewarding approach to traditional icon status.

Coinciding with the release of her latest single “It’s Magic”, Ayi Jihu has recently been appointed as an Ambassador for SISHA (South East Asia Investigations into Social and Humanitarian Activities). SISHA is a registered Australian not-for-profit organisation that strives to ensure justice and the protection of human rights for victims of human trafficking, bonded labour, physical and sexual assault and other forms of exploitation and oppression in South East Asia. SISHA is a non-religious, non-partisan and non-governmental organisation.
AYI JIHU SISHA AMBASSADOR

Shlepp Entertainment & TRI-US Entertainment have joined together in creating, developing & producing the Ayi Jihu Fear Chaser Chronicles, a franchise property developed and initiated from Ayi’s own life story, in an epic battle between Hope and Fear … One girl holds the key to victory!

For more information:
Shlepp Entertainment http://www.Shlepp-Entertainments.com
TRI-US Entertainment http://www.TRI-USentertainment.com
FEAR CHASER CHRONICLES http://www.FearChaser.com

AYI JIHU FEARCHASER® JOINS THE FIGHT AGAINST HUMAN TRAFFICKING AS NEW SISHA GLOBAL AMBASSADOR.

March 26, 2013
Share
Chinese Star Ayi Jihu announced as SISHA Ambassador

Chinese Star Ayi Jihu announced as SISHA Ambassador

Fresh on the heels of the pre-release of her latest single It’s Magic (due out April 1st 2013) which is all about love. Ayi Jihu seems to be putting her money where her Fear Chasing mouth is as she is announced as an Ambassador for Anti Human Trafficking and Exploitation Organization SISHA

Seasoned Ayi watchers will not be surprised to hear Ayi is representing another Charitable organization but even they will recognize that Ayi Jihu representing SISHA is a little bit more. SISHA is a very hard hitting and proactive organization at the Sharp end of Human trafficking and Exploitation in Asia. This is not a ‘Walk in the park’ or an easy assignment. This is real FearChaser® stuff.
SISHA raids & rescues

Steve Morrish CEO and Founder of SISHA Said. “We are so excited to welcome Ayi Jihu as our new SISHA Ambassador. Working with Ayi, who is incredibly talented and tapped into Asian audiences, is a great honor. Using the artists and collaborating with artists who are passionate about stopping human trafficking in Asia is key in the fight to end modern-day slavery and other types of exploitation.”

Fighting against exploitation

Ayi Jihu who is already a Woman of Action Ambassador representing A celebration of Women foundation inc, as Well as an Ambassador for Federal Association for the Advancement of Visible Minorities (FAAVM) and a Partnership for Peace (AP4P) is up for the Challenge and told us: “This is something I really want to get my teeth into. I have been talking to Steve Morrish and his team for some time about this, but did not want to get involved until I felt I could really make a difference. SISHA get their hands dirty and deal with some of the most tragic stories and situations everyday. I want to help. I am passionate about SISHA and what they do. I will do my best to shine a light on SISHA and what it does and help raise funds if I can.”
AYI JIHU SISHA AMBASSADOR

Chinese Star Ayi Jihu new SISHA Ambassador

If Anyone can do it Ayi Can; Ayi Jihu has a knack of turning heads and we are sure she will do the same for SISHA. We wish her the best of luck.

To find out more about SISHA and what they do visit their official website http://www.SISHA.org

James With RAMBO

RAMBO - James With Sylvester Stallone


As RAMBO opens on atrocities of exploitation… introductory text fills the screen… “THE STRUGGLE BETWEEN THE KAREN FREEDOM FIGHTERS AND THE RULING BURMESE ARMY IS THE LONGEST RUNNING CIVIL WAR IN HISTORY“… and as I write this today it is still on-going

This is a struggle that is very real… Living and working in Asia, I see the constant persecution and exploitation that goes on … We must continue to fight against human trafficking and exploitation … the intensity that Sylvester Stallone puts into his RAMBO character, and in making every effort to draw awareness to this very real plight is something we must take on board… we must put our energy into the things that matter… the issues that need focus… and in doing so create a better world for all … this is precisely the meaning behind the RAMBO franchise of movies.

Although the Preacher Missionary character I played in RAMBO gets blown up at a pivotal point when the Burmese Army attacks innocent Karen Hill Tribe villagers, the words of the Preacher taken from Ephesians 3:16-19 resound eternally…

“…Out of the glorious riches he may
strengthen you with power through his
spirit in your inner being, so that
Christ may dwell in your hearts through
faith, and I pray that you, may have
power together with all the saints…”

Producing any media product requires investment funding. Merchandising is vitally important in the funding model of any celebrity or media project. Sylvester Stallone recently launched RAMBO inspired clothing and there is no doubt in my mind that this fashion line will enable Sly to continue to put his best foot forward… his long career presents a man of passion, sincerity and belief in doing the right thing for the right reasons.


@JamesWith on Twitter

@JamesWith


James With on Facebook

James With Fan Page on Facebook






“Piercing the barrel of a lens” ™JamesWith



“Aiming at cyberspace” ™JamesWith



“Firing arrows of Light” ™JamesWith

SISHA - Expert Advisory Board members in Cambodia

Gina Rinehart & James With in Phnom Penh


SISHA (South East Asia Investigations into Social and Humanitarian Activities)

SISHA (South East Asia Investigations into Social and Humanitarian Activities)

SISHA (South East Asia Investigations into Social and Humanitarian Activities)






Ashton Kutcher to UN: Twitter, Facebook can be Great Weapons in Fight Against Human Trafficking












By Pam Bristow- Huffington Post I was fortunate enough to be present at the United Nations Headquarters in New York on November 4 for the launch of the UN Voluntary Trust Fund for Victims of Trafficking in Persons. To be managed by the United Nations Office on Drugs and Crime (UNODC), the fund will provide humanitarian, legal, and financial aid to victims of human trafficking. The initiative is a central element of the new UN Global Plan of Action;

Read More

via Stop Human Trafficking in Southern Africa!

@JamesWith Twitter Account