Project Summary Mystic Traveler 1 3 B Sho

A Motion Picture Production of Aquarian Entertainment, LLC 1

An Epic Historical Science Fiction Trilogy ©

Executive Summary

A Humanitarian Profit–Making Film Endeavor
Presented By
Synergy Services Foundation
A Non-Profit Foundation

From Aquarian Entertainment, LLC
A Worldwide Profit Venture guided by Humanitarian Vision

Following below is a basic summary of our 3 epic film productions. The films will be
released in a stunning manner, never utilized before now. Also there’s several firsts
in our film production, in marketing, merchandising, and advertising venues. Our film-
making plan goes into great detail, yet this summary gives important facts which will
be of interest to those involved. In the end, probably 50% of our film profits will be
directed toward fulfilling the foundation’s worldwide humanitarian endeavors.

Synergy Services Foundation – Jon Gerlach – CEO
Lachlen French - Executive Producer
303-437-4768. Fax 267-285-5967 Aquarian Entertainment, LLC
synergyservicesfoundation@juno.com executives@mystictraveler.biz

Copyright, Library of Congress © Washington, DC
Registered Writer’s Guild West LA Calif. #883848


Synergy Services Foundation--a non-profit organization formed 1999, was created to serve people every-
where, impartial to race or locale. Its Mission is to serve the world by spreading and sharing healing
and high-technology human services, which lift humanity’s daily ‘state’. Synergy Services performs this
through a unique philosophy. Our intention is to fund humanitarian ventures that transform society.
This means funding Medicine, Technology, Entertainment, Education, and the Arts. In short, we will
finance projects which feed humanity’s body and spirit. Below, you will see a description of our
entertainment venture, meant to provide an alternative to the current degraded violent programming
purveyed in our daily media.
PROJECT SUMMARY
Mystic Traveler is a stunning concept in filmmaking and film marketing. It is science fiction with a twist
--an epic adventure in metaphysics. It’s an historical drama whose story line includes mysterious
paranormal powers. Just as ‘the Force’ in the Star Wars trilogy captivated audiences worldwide, Mystic
Traveler will take audiences to a place we’ve rarely seen before-–inside of consciousness.
Our Milky Way galaxy is the starting point. But the Cosmos and its history, is the background.
However, the film begins in the near future, then, travels back to 1000 BC. At one point, this film travels
to before the big bang. We witness the birth of thought and energy, which expand to a starting point for
our Cosmos. The epi-phenomenon of personal consciousness is presented as the tapestry, which gives
life to our cosmic experience.
The Mystic Traveler trilogy is filled with high-adventure and romance, extraterrestrial struggle,
the death and resurrection of heroes, and…the eternal battle man has with his own Self. It is an
archetypal adventure. It has a similar spectacle as The Lord of the Rings trilogy or Gladiator, and it has the
galactic quality of the Star Wars trilogy. Our writer takes great pride in utilizing historical events with
actual veracity. The inspiration the film-story brings, and the “feel-good” lift it delivers have only a few
counterparts in films past. With September 11 and Middle East crises, we need the images this film
provides. This is modern film making at its ‘leading edge’ digital best.
We’ve engaged the services of well-respected filmmakers who will also answer the question that
has been like a grail-quest for many decades in filmmaking. “How can you assure yourself a larger profit
Now when releasing your film? Is there a way to Double your profit?” We believe we have the answer. Of
course it takes having a Mystic Traveler to make that claim. This is not your standard ‘cop-buddy’
movie. Nor is it a run-of-the-mill comedy, romantic comedy or teen-farce. This is high-concept epic film
making. This is science-fiction with worldwide even galactic borders. It also takes the time to have a
purpose. Its mission is to exhilarate the audience.
So, how shall we propose to do this? First, make the segments of Mystic Traveler simultaneously.
Like the Lord of the Rings trilogy, we save money on each creating the production schedule just once,
and with the highest quality available to filmmakers. The Production Values will be upper echelon. The
acting, directing and producing will be at the best level of creativity because our committed filmmakers
are engaged in a multi-year Labor of Love-- a labor that will please everyone else too.
We will use efficacious filmmaking strategies, locations, and technologies to make our budget
as reasonable as possible, without sacrificing quality; so we will shoot in Europe. At 163 million-Euro
dollars to make 3 films, 4 soundtracks, 3 Video-Albums and Novels, we even look reasonable
(compared to today’s reported studio film-budgets). Note: The 163M Euro budget also includes funds
for film Ads and Soundtrack--Video Album Ads. Many films made in the Hollywood Studio system where
costs spiral out of control, have film-budget scenarios in excess of our Independent film budget which is
sufficient to make 3 films. For example, the Lord of the Rings trilogy and the last two Matrix films were
made side-by-side at once, and the studios spent over 300 million in each case almost a decade ago
without marketing costs included. With our new movie Video Music Albums and our Coffee-table Top
Photo-Journal of these epic films (with screenplays included) we will also create new Profit Centers never


before seen in the film industry.
To the point--for the first time in film history, we will release a sequel within a few months of its
predecessor. So many films now (even the most successful ones) are in theatres for a shorter time than
most realize. This is true because there are so many theatres in America--so many multiplexes. The
newest Batman made a half a billion dollars in 3 months, as Ironman made near 400 million similarly.
Spiderman III made similar money--garnering over 240 million dollars in two weeks. The previous
Pirates of the Caribbean II and DaVinci Code made between 170 - 200 million in their first week; and after
four months in release, each exceeded 1.2 billion dollars in revenues at the worldwide box office,
without any other profit centers yet included. These films had a built-in audience.
Matrix Reloaded, Spiderman III and Star Wars–Attack of the Clones were released on 5,000 to 8,000
screens. The newest “Star Wars III--Revenge of the Sith” was released on 9,000 screens, making $154M in
the first FOUR days. In the recent past, a 4,000 screen-release was outstanding. Before that, 2,000 to
3,000 screens was the standard for a major release. Since the advent of the multiplex however, films like
Harry Potter, Lord of the Rings, Jurassic Park III, and the films named above, have seen profits soaring
into the stratosphere of $250 million to near $400 million in just 5 to 8 weeks. This is conspicuous profit
making in a short period of time; and…it is just U.S. profits (before the film goes to the rest of the world).
Although, it has been a well-known rule of thumb, till recently, that the rest of the world’s profits very
often equal U.S. profits. Recently we have seen the rest of the world’s income surpassing US profitability
on several films, such as Troy, Last Samurai, and Alexander. As more country’s film industries grow,
and their film-goers increase, the rest of the world’s profits becomes a significant area on which to
focus. Make a 21st century quintessential film… of an archetypal ‘world-story’… and you Win.
When the marketing people for Mystic Traveler, along with our Ad campaign, Theatrical Trailers
and Cast Interviews all inform the public, we are releasing the films within a few months of each other,
it will become a media and filmmaking event. This release concept should actually improve marketing.
It could even increase ticket sales (at least for those films deserving to employ the strategy). It’s quite a
concept. Can Mystic Traveler claim to have a built-in audience…and desire many Screens? Yes.
Mel Gibson’s film Passion of The Christ (a film in a similar vein as ours) in 9 weeks of initial release,
made near $375 million dollars; making money faster than any film in Hollywood history, also putting
it in the top 6 movies of all time. His DVD release in September of ’04 garnered over 250 million in 2
weeks time. Imagine if Gibson’s film had had a sequel. What would the films have garnered together
with that audience having a sequel to appreciate? To date his film’s approached a billion dollars world-
wide. This is very encouraging to us as we have the same story to tell, yet in an entirely different and
inspiring presentation. And by making 3 films, releasing sequels within 4 or 5 months, we will
compound our profits rapidly. Gibson’s success with “Passion” proves once again there is a vast group
of filmgoers who are hungry for metaphysical material in their film going. It was The Force in Star Wars
that captured people’s imagination. Often people do not realize that Star Wars is a metaphysical film.
It’s also why we see so many new TV programs with special powers present in the characters. We like
gifted people and super men. We like the paranormal. Approximately 175 million people go to a
Christian church each Sunday, even though 240 million people call themselves Christian. These people
and regular moviegoers as well, have presented their case to filmmakers with this commercial success,
“make movies for us too.” Our intention here is to serve this metaphysically excited market.
So, in making Mystic Traveler we not only capitalize on the sci-fi Film-Genre above, creating
tremendous profits in a proven motif—(which regularly outperforms all other genres) but we also
create a tripling effect in our profits. We do this by releasing the sequels when most filmgoers have
seen the 1st chapter. The Mystic Traveler films are effect-laden adventures in space and time and
consciousness. They’ve got galactic settings with cosmic parameters. They’re truly films in the tradition
of Hollywood’s mainstream. We just absorb them -- with wide eyes.
Adding Mystic Traveler to the list of Hollywood’s epic film adventures, where the film’s promise
is actually commensurate with the audience’s expectation…is our intent…and That is our expectation.
Our unique approach to film-release may even create a new format for filmmaking in the future.


PROFIT OPPORTUNITIES TRIPLED

Make 1 6 hour film … and release it in 3 segments”.
Make 3 U Ticket Sales from each moviegoer.
Make 3 U Pay-per-View profits on Cable and at Hotels, etc..
Rent 3 Video DVDs at Blockbuster and video stores.
Make 4 U Soundtracks (an orchestral one and three ‘popular’ ones as well)
Make 3 U Video Albums
Make 3 U Novels
Make 3. Coffee-Table Top Books
Rent 3 3 films to HBO, Showtime, Starz/Encore, Cinemax and all the cable/movie networks.
Make 3 U Rentals to all the TV Networks
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It’s a concept that’s as entrepreneurial as they come, having Over 31 profit centers. Simply put, it makes
money Now … when all evaluation actually occurs.
Another film technology recently introduced in the film-industry is a brand new state of the art
post-production process, which can turn normal 2 dimensional flat-image-movies into ‘three dimensions’.
Disney’s Monster House July 2006, was presented in this new technology. Journey to the Center of the
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Earth, 2008, also was released in this stunning process. This film process is far different than the 3-D
people remember from 40-50 years ago. It is all based on the digital dot matrix in modern filmmaking.
It becomes like a large picture window on the world where the ‘depth’ goes deep into the background
of the image, making it very realistic. An article in Scientific American, June 2006, explained the new
technology as transforming the movie experience for audiences that witness it. Directors who have seen
scenes from their own films in this new 3-dimensional process have sworn off 2 dimensions--
including George Lucas, Peter Jackson, Steven Spielberg, and Jim Cameron to name a few. Why would
directors present in two dimensions, when they can shoot in Three. This makes it ‘special’ to go to the
theatre again, and it gives the theatrical movie-going experience something that cannot be achieved at
home or anywhere else. This is the first quantum leap in visual film presentation in 50 years. It is needed
by the industry, as some people watch movies from their easy chair with their home theatre systems.
The process will cost about 4 million Euros per film, yet discussions are already present in the industry
which suggest adding a few dollars to the ticket price, for all films in 3-Dimensions. Our film will be
mostly shot at studios in Ireland, and also Spain, who expect payment in Euros, which is why we
require their currency. So Mystic Traveler will be ‘in line’ with the newest cutting edge film presentation
which the great directors will work with. We will be on the leading edge with our film presentation too.
The final dimension to this strategy…is the other “market” that does not normally go to movies:
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the ‘metaphysically-minded market’. It could end up being a wildcard, creating special profit ratios. They
could add millions of Ticket Sales that are not normally present. So, even if sales are average (but
compounded in a 3 Film release) and enhanced by this wildcard market, U.S. profits could rise into an
stratospheric realm. When our Music soundtracks and Video Albums, Novels, Pay-per-view rentals,
Home Video profits, Coffee-Table-top-books (with script inside) are factored in, or when we compute
the rest of the world’s film-income, well…perhaps we should just consider that, without words.
We at Synergy Services Foundation--the films’ parent, will fund the production from, Aquarian
Entertainment, LLC, which is creating the films. Now, we invite you to discuss this endeavor -- an
endeavor in humanitarian entertainment. Following, is data on the film’s synopsis, summary, its
budgets, and profits. The question is, would you want to be involved in a production like this?


MYTHIC and ARCHETYPAL FILM MAKING
Mythic stories are always popular. They’re enduring, exciting. Archetypal stories of mythic journeys,
great darkness, climbing impossible mountains, meeting overwhelming opposition and reaching for
the stars, excite the child in us all. The “Greatest story ever told” is a description of the archetypal Jesus
story. It may be humanity’s greatest story of enormous effort, powerful personal sacrifice, defeating
dark forces, redemption, saving the day, and coming back with the long-awaited fire. Mythic stories
actually resemble Jesus’ story--What is that shining light in the night sky? One motivation for writing this
new 21st century Jesus film was to capture the imagination of our youth, regarding his incredible
persona and story; but from a heroic point of view, not a religious one. The fact is Luke Skywalker was
patterned after Jesus, as are many characters. But the story of Jesus is odd in a way, because of its gaps.
In the Bible we learn of his birth in one paragraph then a few lines later we see him for brief moments
as a 12 year-old (“confounding the teachers of the temple with his wisdom”); then…we see him next, a
few lines later, as a 30 year-old man starting his ministry. We all know the story of his ministry, but
what about the first 30 years of his life? … well, they are called ‘the Lost …or Missing Years’.
However, there is a surprising amount of literature, legend, oral and written history regarding
Jesus from several continents and many nations of which many people are not aware. They make for
great storytelling and better filmmaking. There are tales of Jesus in his youth briefly in the British Isles,
with who the Talmud calls ‘his Great-uncle’, Joseph of Arimathea, a tin-trader. In fact, William Blake
wrote a poem postulating Jesus in England. There are tales of Jesus’ travels in Egypt, Kashmir, India
and Tibet, where he’s said to have studied with masters of the day. So our writer being a student of the
Bible and history both has created a telling of Jesus’ youth that is not only credible but likely, if this
literature is accurate. In any case it makes for excellent film-entertainment which is our goal. It is filled
with epic adventure, mystic places, romance, ancient mentors, space brothers, shipwrecks, brigands,
Arabian caravans, Tibetan snowfields, and monasteries at the top of the world. These films are an
incredible spectacle, yet remarkably, not religious ones, as this film is not about religion. This is the Hero
Story at its best. A young man in the first century lives in the desert (just like Star Wars Luke Skywalker)
he grows to manhood and ‘changes the world’ (galaxy). He’s a powerfully Centered and gifted youth.
‘MYSTIC TRAVELER’ -- SYNOPSIS
The film opens in deep space--blackness. Then we see our Milky Way galaxy from a great distance. We
get closer; it is beautiful, then we enter it, seeing spectacular images. We arrive at Earth and an Essene
spiritual village. The camera leads us to a focus on the maiden Mary, in meditation. She is in reverie,
having a meditative vision. The camera goes up into her eyes and We see Her vision. At the end of film
III, after witnessing a most remarkable, stunning and unexpected conclusion to the films, the camera
pulls away from her eyes and her beautiful placid Face, and we realize we have just witnessed Her
meditation--not a depiction of life but a spiritual Vision of her Heart. She softly smiles, quietly says, Yes.
First she sees a mysterious white haired older gentleman, Mylin sipping coffee in a 21st century café,
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in Enniskillen, Ireland. He’s telling a story to listeners of how the Lost Ark of the Covenant--an ancient
communication device -- came to rest in Ireland. As he tells his story, the movie audience realizes that
he has lived the story. We see him like a Merlin Character--protector of the Ark, and Spiritual mentor.
He tells us of a person from long ago, who came to earth from a place of Light with a mission to end an
invasive influence, poisoning human consciousness; creating slavery and hatred on earth. This mystery
person ‘beamed’ to earth, being born into a family in Galilee, to practice the purifying life of the Essene
Spiritual Tradition. We see this young child Jesus grow up in this ancient tradition, studying at Qumran-
--the Site of the Dead Sea Scrolls. He prospers there in knowledge and awareness completing an
extraordinary Elder-Initiation - while only being 11…amazing even his Essene Masters.
At 11 he’s invited to travel to Ireland and England, (a source of gold and tin for Palestine) with
his great uncle, Joseph of Arimathea, a tin-trader of great wealth. He teaches the youngster about business
on the journey, as well as the ancient history/mythology of their people. In Ireland, Jesus is invited to
dinner at a castle, to meet the secretly protected Royal family of Israel (who Mylin saved at the fall of
Jerusalem in 586 BC). This fact of ‘Israelite royalty in Ireland’ is also historic. He also meets Mylin--now

over 600 years old. Mylin comes specifically to meet and give training to a youngster ‘from afar’. The
next day, they go off on a week-long horse back adventure, seeing ancient ruins, hearing mystical
secrets, learning of galactic powers, Druid priests, and the hiding place of the Lost Ark. He is wide-eyed
and awed by his adventure. He learns of spiritual-physical disciplines only gifted students receive.
Next, traveling with the Royal family through the Irish Sea, the young Jesus rescues a drowning
Princess washed overboard with the rising up of a storm. After these travels, Jesus returns to Israel,
where his family attends the week long Spring Holy Days in Jerusalem. This is where he “confounds
the teachers of the temple with his wisdom”. At this annual meeting HE represents all Essene-Elders…
SO…at this meeting Elders from other spiritual disciplines such as the Pharisees, have to accept his
presence. However, they try to embarrass him, testing him. But without guile, he innocently confounds
their attempts with startling erudition and mystical knowledge. The scene is magical.
We then ‘Dissolve’ to his 18th year. We see his strength and adroitness as a youth escaping intended
injury from a Roman “accident”. We feel his relations with family and neighbors. We see his father,
Joseph, now older, and meet his 6 younger brothers and sisters, mentioned by name in the Gospels, ages
8 to 17. They help Dad in the carpentry/building business. We get to know his family and their
affectionate ways. However, his father Joseph suddenly passes-on and so, Jesus becomes the head of
the family, and its business. Soon, his uncle comes once again asking permission of Jesus’ mother,
Mary, if he might take Jesus on a caravan to the Far East, to develop a silver-mine there. The wealth
they need to survive 1st century realities will be theirs. The caravan trip is agreed to.
On this journey we witness a series of special experiences, which Jesus passes through. We see
Jesus save a group of friends from brigands; he also meets a youthful beloved Soul Mate, an Indian
lass--Tera, who is exactly his age -- sharing even his birthday. The love story that ensues is one of the
truly deep, innocent tales of Love that filmmaking has seen. As biblical verses say: ‘he’ll pass through all
aspects of human experience and temptation just as everyone else does’. His remarkably mature and centered
nature succeeds with wisdom and grace. The trip is indeed successful, as he creates security for his
family’s financial needs. He then ends his stay being invited to a monastery in the sky, in the highest
mountains of Tibet, where he learns the inner quantum secrets of Time-space and Matter-energy.
Mystic Traveler II-III lead us through his incredible training and departure from the east to a
port, taking a sailing ship to the Gulf of Aqaba…and on to Judea and Nazareth. Then, when he arrives
home, we go through a jubilant family reunion, and a most refined, dramatic exposition on 1st century
politics--of Roman occupation, Jewish rebellion and widespread spiritual longing--more an historic and
metaphysical adventure. Jesus’ passage through questioning into Agreement and then full-blown
Engagement of the mission is spectacular. The special-effect images that persuade him toward his
purpose will be incredible sequences. The 40-day Fast/Temptation is going to be a visual presentation
unseen in any film before. The film’s healings and miracles will be shown with 21st century digital
effects. As a Master of time-space/matter-energy he performs amazing deeds that only an individual
with ‘Quantum Energetic Knowledge’ could achieve. Even Jedi knights would be awed by his power.
His Spiritual mission, without sanctimony or pretension becomes one of the most coherent
presentations of spiritual philosophic thought for Individual souls that we’ve yet seen. As he teaches,
it’s not about birthing religious dogma but providing a Path of resistance-less living. He teaches balancing
Action and Response regarding life’s losses and victories. In short, he teaches Harmony with Life--
moment-to-moment. His purpose--demythologize Pharisaical religious facades (said to govern these matters)
and he then reveals and opens up their Awareness to truly realized Spirituality. A film truly shows it.
The famed betrayal of his mission is beautifully explained. The frightening Death is agonizingly
agreed to; and his departure is seen in a unique manner never before considered. The film allows us to
see his mission with a new perspective—“to live peaceably in our outer experience— by living from
that place within us, where ‘wonder’ dwells.” From now on, whenever we see a ‘Sparkling light in the
night sky’ we may pause to ponder its meaning. When measuring violence Now we may see through
its weakness. This is a film for the 21 st century--one that deserves to be seen. In Mystic Traveler Time
and Space are malleable wavelengths of energy…Consciousness is the medium. This is a different kind
of filmmaking.


MYSTIC TRAVELER I - III
Aquarian Ent. LLC & SSF-Jon Gerlach Jon Ackelson Direc
Producers: Michael Mann, Fred Wardell, Jon Ackelson, 3rd Est. Budget 10/1/2008
Lachlen French and Steve Collin Prep & Principal Appx. 69 weeks
Locations: Ireland, Spain, Europe Simultaneous-Post: Appx. 45 weeks
Acct# Category Title Page Total
1100 Story & Screenplay 1 3,000,000
1200 Producers & Staff 1 5,167,773
1300 Director & Staff 1 5,500,000
1400 Cast 2 50,000,000
1500 Travel & Living 3 2,875,000
TOTAL ABOVE THE LINE 66,542,773
2000 Production Staff 4 2,026,480
2100 Extra talent 5 995,168
2200 Set Design 6 996,680
2300 Set Construction 7 12,418,736
2400 Set Striking 8 136,000
2500 Set Operations 9 11,236,800
2600 Special Effects (CG) 10,11 14,275,744
2700 Set Dressing 12 1,888,576
2800 Properties 13 989,040
2900 Wardrobe 14 1,388,080
3100 Make-Up & Hair 15 501,024
3200 Electrical 16 1,036,544
3300 Camera 17 3,767,140
3400 Production Sound 18 533,440
3500 Transportation 19 2,610,355
3600 Location Expenses 19 2,895,840
3700 Pic. Veh. & Equipment 20 2,268,000
3800 Film & Lab 21 1,879,000
4000 Second Unit 22 1,990,588
4100 Tests 23 12,000
4300 Stock Shots 24 80,000
TOTAL PRODUCTION 68,925,235
5000 Film Editing 25 3,010,020
5100 Music 26 10,509,400
5200 Post Prod. Sound 27 869,600
5300 Post Prod. Film & Lab 28 1,764,480
5400 Optical Effects 29 900,000
5500 Titles 29 210,000
TOTAL POST PRODUCTION 29,263,500
5600 3-Dimensional Film Process $12,000,000
6500 Publicity 31 1,220,000
6700 Insurance 31 1,488,630
TOTAL GENERAL CHARGES 14,708,630
7100 Completion Bond 32 3,232,945
8100 Contingency 32 5,226,917
TOTAL ABOVE LINE 66,542,773
TOTAL BELOW LINE 96,357,227
TOTAL ABOVE & BELOW The LINE -with 3-D Process- 175,900,000
ANCILLARY MARKETING FUND 4,100,000
(NOT the P & A the Distributor Pays)
GRAND TOTAL U Euro$
U $180,000,000


FILM PROFIT-MAKING PARAMETERS
When you have Three film ticket-sales on a 3 film release, profits can essentially triple. Here are some
facts about profit potential. This is just US profits not the whole world. It is also based on 45 million
regular US filmgoers that exist here.
The following projections are not based on a ‘glowing optimistic scenario’, where all 45 million
regular filmgoers attend our films, but only 45% of them--less than half. Regular film-goers are defined
as those people who attend movies monthly or weekly. These estimates are not guarantees but projections.
The Average US ticket now costs $8.00 but industry insiders say the price in a few years will be $9.00
(including kids, seniors, matinee, and adult prices all averaged together). “3-D” ticket prices will probably
be 3 to 5 dollars higher.
 Fact one: there are approximately 45 million “regular movie goers” here in the U.S.
 If all of those go to see a new/popular film (and no one else) the film makes about $405M.
(That’s tremendous. That’s a ‘blockbuster’; and that’s earned in 6 months, inside the US.)
 Profits are shared between the Theatres [approx.50%] Distributor [approx.15%] (with independent
financing), and Aquarian Entertainment, LLC and its actors/crew [approx.35% ].
 Let’s assume only 45% of the regular film group, goes to our films, i.e. 20M @ $9.00 ea.
(That’s approx. $180M Gross, now, multiply ‘times Three’…for 3 Films…then you have $540M). That’s
America’s box-office without other profit centers included--OR the rest of the world’s Box-office.
Compare this to the new ‘Batman’ film, which made Over $500M U.S., even before the DVD release.
Now, there’s a Wild Card market of 240 million metaphysically minded people in the US who are a
potential market for us. Why? Because these people believe Hollywood does not really make films for
them. With this project we will give them THREE within six months. Please assume just 5% of this
market (who do not normally go to films) Go to see our Film. That’s 12 million people. Multiply that by
3 (for 3 films) that’s 36 million tickets @ $9.00 ea.-(that’s $324 million more dollars of profit).
By conservative estimates, this totals $864 million in just the U.S.
By comparison, Mel Gibson’s ‘Passion’ box-office grossed in the US over $375M, with just one film.
Now…the rest of the world’s box-office profits are often said to Equal the US market.
Many films in a Sci-fi, special-efx, or Adventure genre (as opposed to romantic or teen comedies)
are popular in all cultures, so international profits should be excellent too.
TRUE SUCCESS
 If the film becomes truly popular it improves (you get Repeat Ticket Sales); Or, you may have greater
numbers of regular film-goers attending (more than just 45%) Or larger numbers of metaphysically
minded people attending (more than just 5% of them) then, the sky’s the limit for profitability. This is
just the United States. When we take World profitability into account, it becomes a proposition in
substantial returns, particularly on a “three Film release”.
 The profits above do not include a Music Profit Center where we have estimated our grosses at
$173M-- an excellent profit based on multiple music products. This $173M of gross profit includes
triple Music albums and it includes triple Video Music Albums, which WE uniquely have, and is a
“first” in the film industry. It’s a new profit center with very little cost to us. We will take film
footage from the film (which we will already own) and edit it in behind each of our soundtrack
songs. This will allow people--young people most likely, to SEE the music from the film while they
listen to the music…but on their DVD player at home on TV, or in-car DVD players, on I-pods, etc..
 Of course, we will have standard CDs for Auto and home usage too. On a page below are spread-
sheet projections and they are more detailed and complete than the previous page. All projections
are not being presented as guarantees of earnings but projections. The projections on this page also do


NOT include personal DVD sales or rentals, which are like making a 2 nd film release [or perhaps equal
to a ½ film release]. ‘The Passion’ grossed over $250 million in just September 2004, only weeks after the
video’s release. We have assumed our DVD sales to be similar to Gibson’s film to date, except that we
have three films in the DVD marketplace, not one. Because much of the Income from these Film and
Soundtrack scenarios is plowed back into fulfilling the foundation’s entire purposes, then we’ll be able
to fund its other missions -- while serving the educational/inspirational ones too.
SOUNDTRACK PROFITS (international Market-spanning)
Intended Executive Producer: Alan Parsons Intended Film Underscore Composer: John Williams
Intended Co-Exec. Producer: Bono Theme song: Bono & Tim Rice (‘Lion King’ fame)
The creative music principle behind this Soundtrack’s song selections is simple—use music that is
appropriate for the film and, this music will mostly be from popular music of the recent past although
having a New song (composed just for the film) will be added. 32 songs are planned for 3 soundtracks so
one original song could be added comfortably. All the songs selected have Melodies that are inherently
beautiful, if not infectious. The lyrics are truly appropriate for the film (and the scenes they specifically
relate to). These songs have been selected with great care.
Since most of the music will come from the past, it will All be ‘Re-recorded’; not only to bring the
“sound” into the Present…but to have current artists, who are popular Now record them—making them
seem New. We can also make the ‘sound’ of each song, appropriate for the feeling of the scene that it
relates to. It is probable that many of our songs will actually be new to younger listeners. Another benefit
to this ‘re-recording’ is the film company will own the Soundtrack’s publishing rights (along with the
original composer of course) and Profits will not have to be split up with old publishers from years ago.
It should be noted...other than Opening and Closing Credits songs and occasional instrumentals
only 3 songs in 32 are played on the screen during the movies. This is not an opera. The songs do appear
on the music album (along with a Film Underscore album) and…they appear on the Video Albums. This
new video Music-Marketing Profit Center will essentially be Music Videos on DVD for home
consumption, so people can watch the movie music (related to a perfect scene) as well as listen to it. We
may even have the lyrics on the bottom of the screen in the DVDs. These videos will appear on MTV or
VH-1 as well, creating crossover Marketing & Profitability, increasing ticket sales for the Film and Music
store sales both. The Christian community will be very interested in these albums, as they are rarely
marketed to by the film industry. It should be noted that Mel Gibson’s “Passion” soundtrack went
Platinum in the first month, and all it included was orchestral music. We of course, have not seen the
final result of DVD Video sales and rental success on “The Passion”– it will make money for years;
(although in its 1st 2 weeks it made grosses in excess of $250M); AND…predictions have been that
millions will buy a copy for the home movie library. With our production, we will of course have 3
films for people to purchase, for their library. So the Music-Video profit centers are summarized below:
1. Soundtrack Album for Mystic Traveler 1
2. Video Album for Mystic Traveler 1
3. Soundtrack Album for Mystic Traveler II
4. Video Album for Mystic Traveler II
5. Soundtrack Album for Mystic Traveler III
6. Video Album for Mystic Traveler III
7. Mystic Traveler I-III Orchestral Underscore Soundtrack from our proposed John Williams composer.
Other Profit Centers include DVD rentals and Sales of the films…at Blockbuster, Net-flix, Red-Box stores
and such like. What this means is Home Video Profits are tripled as well.
8. Mystic Traveler 1 DVD
9. Mystic Traveler II DVD
10. Mystic Traveler III DVD


11 Next … Pay-per-view Profits are tripled as well… Hotels, Airlines, Cruises, On-Demand
12 Mystic Traveler 1 Pay-per-View
13 Mystic Traveler II Pay-per-View
14 Mystic Traveler III Pay-per-View

A PROPOSED CAST LIST
An interesting aspect to the casting in these films, is that even though there are 12 disciples and several
other main characters, each has only a few scenes in which they are highlighted; So even though there
are many they’re all required for just a short time during filming…for their high-lighted dialogue.
Other Jesus films of the past have seemed to care little for the interestingness and fan appeal of
the disciples and the various members of Jesus’ group. The disciples in these other films all seem to be
scrawny unshaven Italian men who are somber or lifeless, and dressed in sand colored burlap sacks.
We will not make this mistake. The actors playing the individuals in “Mystic Traveler” are all going to
be unique characters with personality, intelligence, camaraderie, humor and strength. The women in
his group will be powerful, attractive forward thinking females. The costuming will give each character,
his or her, own uniqueness.
When one realizes most of these actors will indeed have very Key roles…but with only a few
lines in a few scenes, one can see how the expense will be reasonable when asking for just a few days of
their time. It may become a trend to be one of the characters in our 21st century production Jesus story.
Along with the salary for each, we will set aside a good fraction of profits, for the well known ‘name’
actors who are in our film, playing smaller roles, to make it worth their time and talent.

POTENTIAL ENSEMBLE CAST POTENTIAL CAMEOS
Sean Connery Collin Firth
Juliette Binoche [“Chocolat” ] Denzel Washington
Liam Neeson [“Rob Roy” “Shindler’s List” ] Chow-Yun-Fat
Gabriel Byrne [“Stigmata” “Man in Iron Mask”] James Earl Jones
Julia Ormond [“Sabrina”… “1 st Knight” ] Michelle Yeoh
John Rhys Davies [“Lord of the Rings 1-III” ] Danny DeVito
John Corbett [ “My Big Fat Greek Wedding” ] Nicolas Cage
Kurt Russell [ “Tombstone” “Dreamer” ] Anthony Hopkins
F. Murray Abraham. [“Finding Forester”, “Amadeus” ] Mary Steenbergen
Kenneth Branagh [“Hamlet”, “Henry the 5th” ] Julianne Margolies
Tom Welling [ “Smallville” ] Alfre Woodard
Tyler Posey Garcia [ “Maid in Manhattan” ] Andy Garcia
Projected revenue after Five Years on our three films is estimated at $1.5 billion. Ironman made near a
quarter of a billion dollars in 3 weeks time. The most recent “Batman,” 2008, earned over 500 million
dollars in 3 months. The DaVinci Code, 2006, made $1.2 Billion in 4 months at the worldwide Box-Office.
Conservative claims create solid feelings of confidence because with just one film, regarding just the
‘tortuous last 12 hours’ of Jesus’ life (garnering an ‘R’ rating) Gibson’s Passion neared a billion with fewer
‘centers’ over 3 years time. Children’s ticket sales were lost to the R rating. Imagine profits with a PG
rating. Our $1.5b projection would be a multiplier of all profit-centers over 5 years on 3 films. Films
make money over decades of continuous showings in all media, making constant profits on every
showing in these media. A spreadsheet on these profit projections follows. However, this $1.5B 5 year
projection is only the United States; it does not include the rest of the world, in the profit centers in all
those foreign territories, who are just as eager and maybe more so to buy a piece of history…with
beautiful music and art onscreen…just as any American child or adult would also.
Equity Participation:
Founders have contributed their money, time, creativity, and industry labor efforts for several years.
Equity will of course be distributed for investors and or joint venture partners.


quot;Mystic Traveler I-IIIquot; are adventure-filled, archetypal quot;epicquot; period tales filled with taut struggle, romance,
and amazing special effects. It’s an attractive form for filmgoers. The films are being produced in the early
21st century for a projected cost of approximately $54 million Euro dollars each. That is only a few million
dollars more than film President, Jack Valenti reported as the ‘average cost’ of a release in 1998 (page 16).
And these ‘average costs’ were for films other than the Special Effects films or period-piece Epics. We therefore
feel the budget for the Mystic Traveler films is responsible. It is made feasible because an independent film
company is making the film; and because the industry’s Computer Generated Technology has advanced so.
Also, we will shoot most all the film’s “interiors” in a large sound stage in Dublin, Ireland-- a nation
that has many financial incentives for filmmakers. Much of the “exteriors” will be shot in Spain, with all the
film industry’s technologies and personnel in abundance at each location. In addition, we will incorporate
new digital tools for production, meticulous development and pre-production planning; new possibilities
and technologies for distribution. When it is realized that the films will be released over 3 to 5 months--
making the sequels available to the film-goers after they’ve seen the first chapter, it will reveal a ‘tripling’ of
film profitability in our profit centers and in a short period of time.
People have wondered “Is there a way to actually increase a film’s profits when released”? The answer is
‘Yes’. Make one 6 hour film, releasing the three segments within a several months of the initial release.
Since people know this Jesus story already (but never seen like this) it is a natural to present the films
coherently over a time span of Christmas to Easter. Those months are perfect.
We’ve come to realize that the most profitable movie of all time Titanic was made successful because
young women and girls went to see the film repeatedly. There was something in the film that captured the
feminine imagination. Mystic Traveler has a similar substance and tone. This film could be said to be the
Jesus story from the feminine point of view. His relationship with his mother Mary is so close, his sisters too;
the young Princess he saves from drowning, he had earlier befriended, and we get to see his kindness and
charm with his young beloved, Tera. All the women in Jesus’ disciple-group reveal Jesus as a unique
expression of male and female equality, and respect. The women in our films ‘frame’ Jesus, perhaps more
than any other element, except for the interior relation he experiences with the Divine. We feel that this
unique compassioned feminine viewpoint of Jesus, and this Telling, will strengthen the success and
profitability of our films, especially when placed next to his incredible power, love and charisma...which
seems to have been lost or missing from other Jesus films in the past. Our Special Effects will also add to him.
The profitability of the Broadcast Media over the years can be strong. Several years after theatrical
release, our films will be shown all year long on television—(on cable movie channels, cable TV stations, and
network television). Consider also the well-known fact that TV is the greatest Profit center for movies over
all others, as decades of movie presentations on network and cable, makes tremendous income. Annually
televising Mystic Traveler at Holiday times makes good sense. It’s easily understood that network, cable, and
movie channels, such as TNT, might annually air the Mystic Traveler films during these seasons. Our films
may join “It’s a Wonderful Life”, “Ben-Hur” or the ‘Ten Commandments’ films on appropriate holy days, for
many decades to come. In short, Broadcast profits should be special for Mystic Traveler. When our income
potential is compared to the remarkable profitability of Gibson’s ‘Passion’ we can see that the opportunity
for our Christ-centered epic/period-piece/special-effect film to have tremendous international appeal. This
is particularly true when releasing several films…with more profit-centers.
And in our way, if we can add harmony to our planet’s collective psyche, during these troubled times,
it will be an added blessing. When hundreds of millions feel a similar simultaneous inspiration, it helps.
Our 21st century populace deserves a quintessential presentation regarding humanity’s timeless Brotherhood.
Finally, please note that in 2+ years when the film is released, ‘showings’ on I-Pods, cell-phones, in-car
Video Screens, and many other marvelous unknown profit niches, will have emerged as ways for our
partners and Synergy Services Foundation to make greater profits. And, because we are an independent
filmmaker, we can hold our costs to a ‘standard’ established ten years ago; and our profit potential has and
will continue to increase far in excess of the 1998 average, which was profitable back then. We look forward
to this most exciting journey that is Mystic Traveler.


CONSERVATIVE SPREADSHEET PROJECTIONS
Below, is a spreadsheet noting the market-niches and profit centers in mostly the U.S. Profits from the rest
of the world’s profits some say could Double the U.S. amount of income. Others say with more countries
than just our one nation it could more than double. The final number seen below is the number being
‘duplicated’ at some level in worldwide evaluation. The estimates below are for a Conservative level of sales
success. We feel if a Conservative Profit number produces a positive outcome in an analyst’s mind then true
financial success will be seen as a windfall--as money from heaven. When computing International box-
office profits, a general rule of thumb is that the worldwide box-office film profits often Equal the US profits,
although even that has recently been surpassed. “Troy”, Alexander,” “The Last Samurai” and others, have
made almost 2 times the amount of box office profit abroad as they did in the U.S.. Still, in America we have
higher ticket prices, and more filmgoers with more spendable income than most countries, so our profits are
truly important. Below, we see ‘5’ year Profit Estimates. Films of course make money for many decades of
TV programming but the first 5 years are the ones analyzed and relied upon. Please remember the profit
perspectives here are for three films, released side by side, all within 6 to 8 months.
5 Year Projections on THREE Films MYSTIC TRAVELER I-III
PROFIT Estimates Conservative estimates over 60 months 1st 24+ months The ‘Multiplier’ is Our portion of
(no Guarantees implied) (Distributor/Exhibitor-Take removed) In Production the Profit-Split with Distributors
and Others
Profit Centers Unit price Projected Film Goers Times 3 Films Metaphysical Event Totals Multiplier
( expenses deducted) Amt. % ‘ergo.’ Market For 3 films
45% of 45M film goers Normal Film goers US 5% of 240M People x3 =36 Mill
3X 20,333,000 people = U.S. 61,000,000 = 97,000,000 is the Total Audience
novel Mystic Traveler 1 $19.95 100,000 =65%
units $1,296,750.
novel Mystic Trav’lr 2-3 $19.95 175,000 =65%
units $2,296,310.
Coffee Table Top Book I $39.95 62,500 (Photo Journal, W/ script inside) =75%
units Diary) $2,496,875.
Coffee Table Top bk2-3 $39.95 87,500 (Photo Journal, W/ script inside) =75%
units Diary) $3,495,625.
U.S. Theatrical Tickets $9.00 61,000,000 =$540,000,000.00 $189,000,000. =35%
U.S. Christian Tickets $9.00 (X 3 @ 5% of 240M = 36m) X $9.00 $324,000,000. $108,000,000. =35%
U.S. Special Ticket $5.00 (religious 4,000,000 Attendees x3 $20M =$60,000,000.00 $30,000,000. =50%
Sales / Showings groups) tickets shared portion
U.S. Repeat Ticket sales U.S.+ Christian aud. $33,310,000.00 $33,310,000. Allow
Worldwide Box-office 100% of (US Net B.O. Profit $287,500,000.00 $287,500,000. Allow
“Duplicating U.S.” duplicated)
US DVD Video Sales x 3 $20.00 15 million Sale (rental) units =$900,000,000.00 $450,000,000. =50%
US Pay-Per-View Yr. 3 $2.30 10 million Customers Viewing $ 23,000,000.00 $17,500,000. Allow
US Premium Cable Yr 3 $16,000,000.00 Flat fees $12,000,000. Allow
US 1st Tier Cable Yr 3-5 $52,250,000.00 Flat fees $37,250,000. Allow
US TV Networks $50,000,000.00 Flat fees $35,000,000. Allow
Rentals, Year 5
US CD’s John Williams $20.00 each 2.3% of U.S.& Christian $ 40,000,000.00 To be Shared w/ $24,541,000. =55%
‘Underscore’ audience ‘above’ artists@ 55-45%
US 3 CDs Soundtracks $20.00 x 3 3.5% of U.S.& Christian $179,500,000.00 To be Shared w/ $112,035,000. =55%
–33 songs – 11 each CD audience ‘above’ artists@ 55-45%
US 3 Video Music Albums $35.00 each x 3 3.5% of U.S.& Christian $357,875,000.00 To be Shared w/ $177,388,000. =55%
33 songs total audience ‘above’ artists@ 55-45%
(MUSIC TOTAL) [ $313,964,000] [$173 M, us]
mostly U.S. profits Profit Estima. $ 1,513,524,000
Five Years
This does not include decade after decade of television presentations on cable TV, Network TV, Pay-Per-View, Cable
Movie Channels, and all accumulating Profits to Partners over the years. Nor does it include profits from
Foreign Territories--in Music, toys, books, pay-per-view, novels, in the above centers. But, by bringing
in the rest of the world’s profits, adding IN foreign sales, it could double on the U.S. profits above.


MOTION PICTURE “BUDGETING/COST” and “PROFIT” INFORMATON:
It is very difficult to obtain perfectly accurate figures from the studios and independent producers of
motion pictures on the quot;actualquot; costs of making their films. As in many businesses, they have many reasons to
keep this information to themselves. So the following figures are based on news releases and articles, but they are
relatively accurate.
In general, film budgets have increased yearly with films involving special effects and epics, or period pieces
or quot;costume dramasquot; having the largest budgets of all. To view a condensed history of films budgeted in the area
of 100 million dollars, we should go back to 1963 and the film quot;Cleopatraquot;. This was the first of the quot;high budgetquot;
films by any standard set before or since. In today's dollars, quot;Cleopatraquot; cost $268 million ($44 M in 1963). The
“Ironman” hit, cost $185M to produce in 2007, and made $98 million in its first five days.
By 1997 the average studio budget was $52.4 million with an additional $23.2 for marketing ($75.6 M). Yet,
in that same year, 1997 quot;Titanicquot; set a record with a budget reported between $250 and $300 million. Of course
the return has also made history, ($1,835,400,000 box-office worldwide to date and still counting.) The dollar
profits stated below are JUST Box-office not all the other profit centers.
Other examples in the last decade or so include but are not limited to, quot;The Patriotquot; which cost about $100
million, making a worldwide box office of 215M. quot;The Matrixquot;, films cost $302M total, and made $1.7B worldwide.
The quot;Harry Potterquot; films cost 360M & earned box office of $900M+. The quot;Lord of the Ringsquot; films cost $297M and
have earned $2.9B. “Armageddon” cost nearly $90M and made $385M worldwide. The last three “Star Wars” films
cost $115m to $130M each and have made to date 1.3B, with the third chapter out in May 2005 earning over
$375M to date. quot;Pearl Harborquot; cost $135 million and made $450M internationally. quot;Troyquot; cost $150 million and has
returned $497M. These are box-office only without video, music, toys, novels, or other profit centers.
2005’s quot;The Cauldron of Firequot; (a Harry Potter film) had a budget in excess of $120 million. The quot;War of the Worldsquot;
from Spielberg had a budget in excess of $250M with marketing costs included, and the list goes on with many
other films in the recent past, and soon coming future with these kind of budgets.
However, even though motion pictures continue to cost more and more to make, they also have the potential
to return a greater profit, especially the ‘effects film’ and/or ‘the epic’:
USA Today: Contributing: Susan Wloszczyna
…quot;There are only three places you can go to do movies,quot; Gordon says. quot;The present, the future and the past. It
has been a ‘time’ to get back to the past.quot;
.. There's a huge after-market for the epic, which can sell better on DVD than on screen. Gladiator, for
instance, grossed $188 million at the box office in North America, but brought in $288 million in VHS
and DVD sales and rentals. The genre is tailor-made for how-they-did-it extras and deleted footage from grand
battles.
Gods & Generals will become a different movie when it is transferred to disc. The 3½-hour film will
become a six-hour opus and will include, among other extras, the ‘Battle of Antietam’. quot;The sound, the
visuals, are going to be great on DVD,quot; says ‘Generals’ director Ron Maxwell.
Technology affords extra profit centers for a film… and many opportunities to multiply.
Following is part of an interesting article on these opportunities, as well as the cost of film production and its
reporting practices after release:


Demystifying Motion Picture Investments
Understanding the Numbers by Stan Williams, Ph.D.

…But the most egregious and misleading of this reporting is the way the popular press documents a film's
revenue. Take for example reports about the major studio release quot;Lost in Spacequot; (1998). It was reported that the
film cost $80 million to make, $24 million to market, but grossed only $69 million at the domestic box office, of
which only 50% was returned to the producers. Simple arithmetic makes quot;Lost In Spacequot; sound like even the
investors were lost—to the tune of $69.5 million.
But, what the popular press did not report, (probably because even the trades have a tough time tracking it) is
the additional revenue collected from a variety of other potential distribution sources. These include foreign
theatrical distribution (in some 40 territories); VHS and DVD home video rentals; rental store sell-through to
consumers; wholesale video sales to retail stores; and licensing to premium cable, pay cable, and TV for network
premiere and syndication. Then recall that all of those markets exist in many territories around the globe. There is
also potential profit from the novelization and the film's music soundtrack. And, as if this wasn't enough, savvy
producers often will negotiate with fast-food restaurants for cross-promotion, and the sale of toys or figurines, and for
what is called quot;product placementsquot; where manufacturers will pay the producers a fee based on the number of
seconds that a star carries around a can of, say, Pepsi.
So what did Lost In Space actually gross when all revenues were counted? Only the producers know for sure. But
inside reports say the gross was at least $350 million. Of that amount, the producers will likely profit 25% of the
difference between revenue and cost, or $61.5 million. That's a far cry from a $69.5 million loss. Popular
perception is often not close to reality, so much for news clippings.

Following is an article regarding the future of the filmgoer market for motion pictures … a market that has been
steadily developing right on track.

March 10, 1998:Collapse of the Common Wisdom: How Movies Beat the Competition
A Recounting of a Very Good Year, by JACK VALENTI, President and CEO of the ‘Motion Picture
Association of America’ given at ‘ShoWest’, Las Vegas, Nevada.
“Over the next ten years, the U.S. population will increase by roughly 12%, reaching 300 million human
beings. Based then on demographic trends and movie-going history, we ought to have in the year 2010, a
12% gain in movie admissions from this date, lifting our total to some 1.6 billion in ticket sales. This
advance will be led by the Over-40 age group who should enlarge their admissions by 25%, to some 512
million, followed by the 12-20 age-group with an expansion of 16%, at 405 million admissions. The 21-39
age-group will remain fairly constant, accounting for some 500 million admissions.
Exhibition has good reason to view the future with a wide-lens optimism. Climbing ever higher
mountains, the number of U.S. theater screens nears 32,000, the envy of the world. These screens, most of
them state-of-the-art, hospitably welcomed an industry total of 458 new films released in 1997. However,
from the seven major studios came a slightly less total of films released, 197 in 1997 as compared to 215 in
1996.
However, you would not choose to have me spread before you a vast canvas of jubilant arithmetic
without a little downside, now would you? Of course not, which is why I now come to costs. The average
negative cost (which includes overhead) of the MPAA companies ascended to $53.4 million, a rise of 34%
over 1996! Or…to put it more gloomily, an escalation of 166% in the last ten years.
Marketing, advertising and Prints costs didn't lag either. These average costs moved to $22.2 million, a
growth of 12.2% over 1996. Thus, the average total negative and marketing costs for MPAA company
films reached $75.6 million.” (1998 quote of Jack Valenti—President MPAA).


Now, as we consider Mystic Traveler I-III…its special audience, its epic, sci-fi, costume drama strata, and its
mythic and archetypal story-telling, we can truly say we have confidence in our product and our audience.
When the size of the audience’s expectation is met and satisfied, people walk out smiling and talking
…feeling uplifted. We feel very good in what is a labor of love, and that this labor will generate success…and
profits…as they go hand in hand.

Thank you for your time and consideration; we look forward to your questions and comments.


E XECUTIVE MANAGEMENT- PROFILE/BIOS for

Motion Picture Productions

MYSTIC TRAVELER I-III

Created By:

Aquarian Entertainment LLC

Produced By:

SYNERGY SERVICES FOUNDATION
Through Picture Corporations, Mystic Traveler Partners I, II and III,
LLC

The following few pages reveal short paragraphs of each executive’s Resume’ / Bio. Our other documents
provide the entire listing of their professional background experience, which includes over a hundred
man-years in the film industry.

Jon D. Ackelson
Director / Producer / Writer / Production Manager / Executive / Educator

Degrees Held: University of Denver, CO Continuing Education
Bachelor of Arts Director’s Guild of America Workshops
Master of Arts Univ. of Miami, FL
President – Aquarian Entertainment LLC – Director of “Mystic Traveler I-III”
In a continually successful career in the Motion Picture and Television industry in Los Angeles, California, the
industry’s heart, and across the nation, Jon is a Director, Producer, and Writer, in a career spanning more than
thirty-five years. In addition to working as a Producer/ Director/ Writer in the film and television industry, he’s served
as a Cinematographer/Camera operator, Editor, Lighting Designer/ Art Director as well as a professional Acting
Coach, Educator, a Corporate Executive, and Communications Consultant.
Within the Entertainment Industry, he’s Produced and Directed and performed as a Writer for TV series and movies.
In the quot;In Search Of...quot; series, starring Leonard Nimoy, for CBS Television, Jon was the moving force for several
seasons. He’s made many made-for-television-movies, assorted dramatic television programs and situation comedy
pilots and series, numerous reality-based programs and created many documentaries, commercials and
infomercials. Through his commercial and infomercial production, he’s worked in the field of marketing and
advertising with some of the leading advertising agencies in the United States.
He’s currently developing and Producing the films Mystic Traveler a theatrical release about the entire life of Christ,
with Synergy Services Foundation and Aquarian Entertainment, LLC. Having ‘broken down’ every scene in the
scripts, he knows every nuance of the films. Recently he served as Producer, Writer, Director for an award winning
public relations piece, Keepers of Time (airing on PBS) for the OSPRA organization of the Pine Ridge Indian
Reservation, and has entered into development as Producer, Writer, Director for The Other Stranger, a major motion
picture based loosely on the amazing life adventures of renowned Native American Attorney, Mario Gonzalez and
is working in various stages of film production on Deadly Awakening (a story of one man’s journey to regain a life
stolen from him as a boy…by a governmental black ops organization, who wants him dead before he remembers),
The Wishing Willow (an animated children’s feature) and Who’s in the House a dramatic series for Showtime. He’s
also worked with May 14th Productions and InVision Entertainment in several positions.

FREDERICK R. WARDELL
2828 Cochran Street, Suite 201 Simi Valley, CA. 93065
Phone (805) 501-3439 Fax (805) 583- 2771
cfwardell@cs.com
H

Producer of Mystic Traveler I-III and VP of Production for Aquarian Entertainment, LLC, Fred Wardell is a founding member
on our film team. Fred’s professional experience in film making, whether for theatrical release, or on Network and Cable episodic
Television Series, or made for television movies, covers more than a generation of American home entertainment. Fred has been
involved in every management and creative position in all the studios and all levels of professional Film Making and
Entertainment production.

FILM HISTORY POSITION/TITLES
PRODUCER – DIRECTOR -- LINE PRODUCER – ASSIS’T DIRECTOR – PRODUCTION MGR

Motion Picture and Episodic Television Productions At:
Warner Brothers, Glen Larson Productions, New World Entertainment,
Universal Studios, Hearst Entertainment, Trans-World Entertainment,
Faculty Member Columbia College, Hollywood, California.
President and CEO of InVision Entertainment.

SELECTED ‘Theatrical Release Film Features’ and “Movie of the Week” Credits:

PROJECT TITLE POSITION PRODUCTION COMPANY
The Champ Assistant Director MGM Features
A Fine Romance Production Manager (PM) New World Pictures
The Judas Project Associate Producer /PM Independent Feature
Nickel and Dime Associate Producer/PM Independent Feature


He's My Girl Production Manager Empty Box Productions
Interceptor Associate Producer Hess/Kallberg Productions
The Odd Pair Assistant Director Trans World Entertainm’t
Street Wars Associate Producer Independent Feature
Inadmissible Evidence Assistant Director Hearst Entertainment
Blind Vengeance Assistant Director Hearst Entertainment

Prime Time – 15 years – Episodic Television Series Credits:

Charlie's Angels Assistant Director Spelling/Goldberg
C.H.I.P.S. Assistant Director MGM
The Dukes of Hazzard Assistant Director Warner Brothers
Emerald Point (Pilot) Assistant Director 20th Century Fox
Enos Assistant Director Warner Brothers
Elvis - The Series Assistant Director/PM New World
Quail Lake (Pilot) Assistant Director New World
Force Three Assistant Director Force Three Prod.
The Whiz Kids Assistant Director Universal Television
The B.A.D. Cats Assistant Director Glen Larson Prod.

Michael Mann
Producer / Co-Producer / Director / Writer

Michael Thomas Mann, a Producer for Aquarian Entertainment and “Mystic Traveler” has been active in
the entertainment business, pursuing a career with a wide variety of disciplines after graduating from
California Institute of the Arts in 1975 with a Degree in Fine Arts for Film Making.
Michael is currently the Producer and Director of a feature length documentary film called “We will find
a way.” It is a-behind-the-scenes exploration of the men and women responsible for the launching of
the International Space Station. These American and Russian space heroes over came incredible odds
to accomplish a technological milestone for the betterment of mankind. The film emphasizes
international cooperation, moving beyond politics to achieve the next level in our exploration of space.

Michael is a member of the Writers Guild of America, having been a writer for several television
production companies and TV series, including: Universal Studios, “Adam 12”, Al Burton Productions “The
New Adventures of Lassie”; Stephen Bochco Productions “Doogie Howser M.D.” His feature-length
motion picture scripts include: “The Secret of the Dove,” “Dreams Schemes and Thelma Green,” “The
Unholy Salvation,” “Paris 10367,” “Edgar,” and most recently a feature length computer animated
project entitled “The Power of the Purr.”
Michael’s thirty-year production experience also includes functioning as Location Manager for the
entire Film or Television production. His feature credits include: “Multiplicity” starring Michael Keaton, for
Columbia Pictures; “Stuart Smalley” for Paramount Pictures; “Free Willy II for Warner Brothers Studios;
“Star Trek IV” and “Star Trek V” starring William Shatner and Leonard Nimoy, for Paramount Pictures;
“Night Mother” for Universal Studios.
Michael’s Location Management Television Credits over 25 years, including 2007 are: the Network
Television Hits, “The O.C.” for Warner Bros Television “The Practice” from David Kelly and ABC Television,
“My So-called Life” an ABC Television Series, “The X-Files” for 20th Century Fox Television, “Hotel” from
Aaron Spelling Television. “Starsky and Hutch,” “Charlies Angels” and “Hart to Hart” from Aaron Spelling
Television. Over the decades Michael has worked on six other Television Motion Picture Pilots, and
seven other Television Series.
In 1977 Michael and his partner Gene Kraft set up a Main Title Design Company, Kraft/Mann Visuals that
produced main title sequences for Television and Feature Films. Their credits include: “The Sword of
Justice” Television Series for Universal Studios, “The Last of the Good Guys” for Columbia Pictures
Television and the Television Movie “Salem’s Lot”


Steve Collin
POB 3057, Aspen, CO 81612
970-920-2400 Fax: 970-925-9011 E-Mail. steve970@gmail.com
BIOGRAPHY

Age 56, Married, One daughter – age 21
Citizen/passports in both the US and UK
Education:
‘68- 70 Syracuse University, Communica. Major
‘70- 71 College du Leman, Geneva, Switzerland
‘70- 72 London Film School, London, UK

As an Executive over the past 10 years, Mr. Collin has been instrumental in organizing and developing
the films, Mystic Traveler, through the entertainment firm, Aquarian Entertainment, LLC as well as Synergy
Services Foundation a humanitarian organization. He’s worked diligently on the foundation’s worldwide
endeavors--a Movie Studio project, Real Estate Development, and on the water purification goals that
our foundation has. He also has been Founder, President and Director in several new
Telecommunications and Space Ventures. Before 1997 to the present, he has, in the ten-year period
prior, worked at several companies in New York City in all aspects of international Television and Film
Production, and was a member of the production teams on four Olympic Games, all of which were
broadcast worldwide via satellite. With his introduction of the Satellite services he began a career in
Satellite Communications. Steve has broad expertise in new business creation, raising capital, strategy
and management, marketing and sales, with a particular focus on international telecommunications,
and the commercial Space business. Recently he has been working closely with vendors of fixed
wireless broadband hardware, pushing to develop a cost effective means to bring broadband services
to the 30 million residents and businesses in rural markets, who do not have access to urban quality
broadband digital services.
2003– Founder and CEO– National Broadband LLC. NBB has acquired two fibers on the Wiltel national
fiber optic network, which extends over 37,000 miles and has contracted with Wiltel for access at 422
existing access points on the fiber network. NBB has acquired proprietary technology developed by
MRV Communications, Intel and Tarari, which will be introduced later in the year. The new venture will
offer wireless broadband services to communities located within 40 miles of the access points on the
fiber network.
2000-2002, Founder and President of BroadBand West, LLC. This venture is opening facilities in rural
communities to bring broadband digital communications services to markets of 10,000 persons or less.
The first facility opened in Aspen, CO in March 2001 and utilizes 155MB of fiber optic capacity from
Qwest Communications, hardware from Cisco, Lucent and Western Multiplex to provide broadband
using T-1, and 802.11 unlicensed wireless. The six-person company has achieved a control-ling position
in the Roaring Fork Valley, from Aspen to Glenwood Springs and has created a model for cost effective
rural digital telecom using wireless and fiber facilities. Current customers include AT&T Broadband,
Aspen Skiing Company, Ski.com, three ISP’s which serve the valley, the Town of Basalt, the Town of
Carbondale, and 150 small businesses serviced by a wireless broadband network.

LACHLEN P AUL F RENCH
360 Sly Fox Way, Sedalia, CO 80135, Ph. 303-437-4768 Fax 267-285-5967
executives@mystictraveler.biz synergyservicesfoundation@juno.com

Executive Producer - Aquarian Entertainment, LLC
Screenwriter-Author: Mystic Traveler I-III
Lachlen French has been involved in both humanitarian and business endeavors over several decades. Whether it is his
work developing the humanitarian Synergy Services Foundation, the film company Aquarian Entertainment, the
telecom corporation, Multi-Link, or his employee Leasing company, Employer One; his has been the way of uniting the
two aspects of life, the Physical with the Spiritual side. In the early 1980’s Lachlen was the Public Speaking Voice of


the Barksdale Self–Esteem Foundation; as well as being a minister, after graduating from the school of Divinity which
he attended. He has degrees in Theology, Psychology, and Communication. He delivered seminars on Self-esteem to
audiences all over California. Now he is serving the Motion Picture Development and Team Building function as
Producer and funds-finding Executive Producer for the films Mystic Traveler films-- productions whose Creative and
Production Management are in place, and whose financial negotiations may currently arise.
As the author and writer of the Mystic Traveler trilogy (dealing with the human condition and the state-of-the-world) his
stories are intimately related to our needs as a planet surviving in our portion of space. It is this vision and this
metaphysical awareness that makes these significant endeavors his main activity now. “We have our Self, each other,
and our Planet” is one of the guiding principles of the foundation—and is the motivation to improving our world in
this century. This is the Century that will define our planet’s future” is another core assumption.
As an author Lachlen completed his metaphysic-quantum physics book Breath of Light, a spiritual book, blending
ancient wisdom from his translating one of the ancient Gospels mirroring what Quantum Science teaches us. Nurturing
self-esteem in the light of Spiritual Attunement is why it’s currently being promoted for literary representation. The
likes of St. Martin’s Press, who we have introductions with, may in fact be a single publisher of record for all the
printed material associated with Mystic Traveler Films.
Lachlen French grew up in an Entertainment family--The son of Director/Producer, Writer, Actors. He himself has
extensive experience on stage, performing leading roles in over 700 stage performances in 6 states, and, in front of the
camera, in TV and film.

JONATHAN A . GERLACH
SYNERGY SERVICES FOUNDATION CEO
Jonathan Gerlach is crucially experienced in the activity of business law and management and in ‘non-profit’ business
matters, guiding endeavors to exist properly in the world of humanitarian and profit-making both. He is a unique blend of
mental abilities in Art and Business and Science. His initial life passion was archeology, cave art and sculpting there from. As a
scientist/archeologist he has incredible attention and perception toward detail. As an artist, he sees Into things, and what
matters. As a General Counsel he guides, instructs, protects and harmonizes the crucial matters of business propriety.
His ability at meetings to see both the large picture and the fine-points is invaluable. His business management abilities
and human skills are just right for these endeavors. He articulates and conveys the essence of a situation in heart-
warming ways, acceptable to many different listeners. As General Counsel he has that necessary perspective rarely
found in someone who is actually on staff. List of experiences and responsibilities below.

PROFESSIONAL EXPERIENCE

Safe Passage International, LLC Denver, CO
Executive Vice President & General Counsel 1991 – Present
Heritage Conservation Program
Executive Director 2000 – Present
 Heritage Conservation Program: He arranged and administered international insuran ce business among
leading travel industry companies charitable giving and to natural/cultural heritage conservation projects in the
United States, and elsewhere. He performed this in conjunction with 501(c)(3) entities and qualified
international concerns. Advised organizations on matters including conservation, preservation & archaeology.
 Safe Passage International, LLC: Brokering Travel insurance services for tour operators and administered
group insurance programs. Fiduciary responsibility for up to $24 million annually in trust funds on behalf of
domestic and foreign companies, including monthly financial reporting and final account reconciliation. Assists
in forming strategic alliances involving complex negotiations. Design and implement administrative services;
wrote insurance contracts and trust agreements; review and coordinated ad copy; and ensured compliance with
state and federal laws, rules and regulations. Work closely with clients, regulators, travel industry executives,
insurance professionals, auditors, actuaries, underwriters, accountants and attorneys, in the U.S. and abroad.


Project Summary Mystic Traveler 1 3 B Sho

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