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Intandem Films PLC
15 June 2005

Intandem Films Plc (the 'Company')

Directorate change





The Board is pleased to announce that Alastair John Kennedy has been appointed
as Finance Director with immediate effect. Mr Kennedy is a Chartered Accountant
having trained at Ernst and Young. Mr Kennedy was previously employed by
Electronic Arts UK Studio where he was finance director for four years.



Save as disclosed below, there are no further details required to be disclosed
pursuant to schedule 2(f) of the AIM rules.





Andrew McWhirter, the previous Finance Director, resigned as a director of the
Company and the Board accepted his resignation 14 June 2005. Mr McWhirter's
part time consultancy contract with the Company has been terminated.



Alastair John Kennedy, age 41

Current Directorships Past Directorships

Vacationer Ltd None




End


IFM is a film finance company which joined AIM this quarter. It creates a revenue stream and turns a profit by taking a % cut of feature films - helping with both production & promotion/marketing activities. Several films on the books this year including films previewed at Cannes in May 2005.
New Finance Director announced today previously with Electronic Arts (ERTS on NASDAQ) - over 5 years seeing a share price climb from ~$28 to the $60 mark today. One to watch - literally! DYOR

Further info: www.intandemfilms.com

Hello Owl. I'm an investor in Civilian Content. I've looked up Intandem but it seems to be run by Gary Smith who was at Winchester. I know he built up that company, but what happened. I've checked out their website and it looks as though he's off again. Advice please

Hi Owl, any news? Seems to be some volume in this today

Some very good research posted on ADVFN well worth a read.

Thanks mm. This has all the hallmarks of a classic underresearched share which could provide some good returns. I think the market makers have it sewn up at the moment, but when the co start announcing news, I'm going to pile in ahead of them knowing what's happened.

Severe industry health warning on this one with GS at the helm. I'm afraid the arrival of the new FD signals no more to me than that they are gearing up to take more money out of the city. It does not require a high level financial expert to manage the operation of this business, only fund-raising!

"IFM is a film finance company which joined AIM this quarter. It creates a revenue stream and turns a profit by taking a % cut of feature films - helping with both production & promotion/marketing activities. Several films on the books this year including films previewed at Cannes in May 2005."

This is a woefully inaccurate and misleading description of what they do and how they work. Just what is a % cut of a film? Of its budget, of its revenue, of its profits - streuth, why does the film industry attract such stupid, stupid people prepared to swallow this crap?

They do not finance films in the sense of putting money in to finance the budget. They are a sales agent, responsible for selling each film to territorial distributors worldwide and taking a %age of the revenues who also take an execiutive producer role for which they will charge a fee to the budget in return for helping the producer(s) with the complex process of closing multi-party finance. They are competing with many other better, more successful sales agents for films, and I would estimate them to be in the bottom half of the list of any producer's choice of sales agent currently. Their catalogue of films they have actually acquired to sell is hardly inspiring.

Whether your film is previewed at Cannes is mostly a function of the date it happens to be ready to show the Market. Anyone can hire a preview theatre if you get up early enough. It has nothing to do with being selected by a committee, except for the few that are invited to take part in the Festival.

There is no way the average PI is ever going to know enough about this business to be able to make it a sensible part of their portfolio. It is dependent upon some semi expert people choosing some typewritten artefact called a script which they hope will turn into a memorable piece of plastic called a film, all managed by a rank amateur who does this about once every 3-5 years called a producer, most of whom in UK barely have two thirds of the understanding of the 3 aspects of film production - creative, production, financial - let alone the 4th and most important aspect of the whole process, marketing.

Sell IFM, buy Disney.

sd

You seem to be a very bitter person stockdog. Their film about Brian Jones is creating a helluva lot of publicity and has been selected for lots of festivals. They've been awarded Film Council funding for the development of films(hardly "bottom half" of sales agents). I'm encouraged that they don't invest in films which is the high risk area. They take a percentage of the amount the distributor pays which presumably is then used to cover overheads and make a profit.I'm giving them the benefit of the doubt at the moment. These are early days for the company and , along with Civilian Content, I believe it could be a new dawn for British film companies.

Not bitter at all, I assure you, merely vehement in my views. I have no investment interest in them, but do know a good deal about the film business in general. They are indeed part of a consortium among others who have received matching development funding from the UK Film Council. This is no particular measure of commercial viability, especially when you look at the return on UKFC investments in films.

My point is really that everything that is mentioned in the press or on these boards is only the tip of a very skittish iceberg. e.g. "Their film about Brian Jones is creating a helluva lot of publicity" - compared to what objective or industry standard of measurement, may I enquire?

How many of these films do they have in their catalogue and how many more can they get hold of? Err, don't know.

How many of what value do they need to generate sufficient revenues to turn a profit after overheads (incl. director's salaries)? Err, not sure.

To how much can this number grow each year? Somewhere between 6 and 12 a year, after which profitability depends on selection of projects which is in turn dependent on availability of product versus competition by a considerable number of established leading sales agents who are in my wide experience likely to be higher up the list of producer choice than IFM.

How soon will a "good year" arise? How soon after that may it be repeated? It just is not a predictable growth business - each year you effectively start from almost zero again. I wish it was otherwise - I would be wealthier.

I wish you all the best, altoid, but be careful.

sd

Assuming they've got total overheads of 1m pa. They need to generate sales of films of around 7m based on an average of 15% commission to break even. That's probably 4 smallish films. Not a lot really. If they do 8 films with 2m sales of each, Intandem's revenue would be 2.4m commission plus fees of say 400k which would result in a net profit of about 1.5m (assuming an increase in costs to 1.3m) I'm not saying they're going to do this, but that's the potential.I believe the market cap is around 2.5m which leaves a lot of upside.
But thanks for the warning SD and I will keep my eye on them. It's all a question of bringing in the films and I'm unlikely to invest until there's evidence of the films coming through

Thought SD post first class. Too risky for me, but thinking of a punt on PWS on the "buy on the bad news" theory. I like companies with lots of tangible assets and PWS has a large F/D acreage in very expensive West London close to M25. Downside seems to be the approach to film finance in the UK, a subject about which I know nothing. Any thoughts SD?

altoid - your figures are starting to make sense. My thoughts are

I wonder if GS has learnt from experience and will control the overhead - could be 1.5m.

I would allow only half the films to earn them fees, since the remainder will have arranged their own financing.

I would guess at 6 films in the first year.

These thoughts would reduce your profit figure to 500k.

Your figures give a PE of 1.67 and mine a PE of 5 - both pretty low.

My thoughts are not so much to argue against your estimates as to illustrate how widely variable results can be in different trading environments form year to year.

partridge - I'll look at PWS.

sd

partridge - didn't realise PPWS was Pinewood-Shepperton Studios.

Since the UK government has been embarrassing us all with its complete cock-up over tax breaks for UK films both the next Bond and the next Harry Potter are seriously contemplating making them outside UK (that this is being seriously considered was confirmed in person by one of their producers). Not to mention Paramount's $120million recently cancelled in the UK.

I am surprised at their expansion plans frankly, given the future prospects for their revenues. Maybe part of their re-fit will be to make them suitable for other forms of earnings as well.

Before they were merged and floated Candover Investments, I recall, were Shepperton's main investor (with the Scott brothers) who took about 10 years to realise their initial investment on a very poor return. Not a great deal for a venture capital fund.

I would steer well clear.

sd

Thanks SD. Appreciate your input.Think I'll stick to companies whose business is more easy to understand.

Intandem Films is involved in "Executive production" and "International sales" of films. They aim to charge a fee, payable out of the budget, of 1-2% so a 5M pound film would amass them 75K. They will also take a commission on all sales of circa 10-25%. This would be paid via distributors prior to release so they are not dependant upon the box office success.

Fee's are payable up front. The aim is to generate atleast 250K/film. Strategy is to handle around 5 films/year with an aggregate budget of 30M. They are presently working on two films but this should increase significantly with the recent Number 9 films consortium agreement as listed in the above news item ref agreement.

The company website is http://www.intandemfilms.com where details of films can be found. They receive around 10 films/week to access for comercial viability. They are presently in discussions with major films having budgets over $50M and they expect to exploit this market fully.

The recent agreement opens the door and also additional funding availability and ties the company ups with large consortiums such as The Irish Film Board, Channel 4 Movies and The UK Film Council. Again read the above RNS for additional details.

Gary Smith, Chairman, expects the company to have completed atleast 20 films within the next five years with budgets OVER 120M. Once established and in profit they may also move into distribution through aquisition. He continues to say that he believes that people will become much more aware of the company as new films are released and that their strategy is "very low risk". The business model yields high gross profit margins.

Just managed to get some time to have a further look around the company website. Some interesting news articles to be found;

http://www.intandemfilms.com/news/index.htm


"CANNES ROCKS!...Sure To Be The Biggest Stir...STONED" [ 10/05/2005 ]

"CANNES ROCKS!...Sure To Be The Biggest Stir...STONED" EMPIRE MAGAZINE, June 2005

intandem Films are very excited to be taking STONED to the Cannes Film Festival for its premiere market screening, which is hotly anticipated amongst buyers and press alike. The film has become a MUST SEE generating high levels of interest from the industry and the public.


Some upcomming exhibitions are also on the cards;

http://www.intandemfilms.com/festivals/index.htm


Toronto Film Festival

Sept. 817, 2005
http://www.e.bell.ca/filmfest/



American Film Market

Nov. 2 - 9, 2005
http://www.americanfilmmarket.com


Office details:

TBA


Screening schedule:

TBA




Berlin International Film Festival

http://www.berlinale.de


Office details:

TBA


Screening schedule:

TBA


They now have 5 films which they are either selling or working on up from the original 3 previosley mentioned;

Details here http://www.intandemfilms.com/int_sales/worst-nightmares.htm


All in all it looks a very interesting investment. One blockbuster could see the shareprice reach a very substantial higher level. The potential is there for all to see. It is now time for investors to take a serious look at this penny share IMHO.

intandem signs up in 1.8m partnership to develop twenty new films Aug 9 2005







Film financing and distribution firm intandem has joined up with Number 9 Films, Film Four and the Irish Film Board in a 1.8 million deal that will help develop up to twenty new movies.

The contract has been awarded by the UK Film Council as part of their Super-Slate Development Funding Award.

The council will provide the consortium with 300,000 per annum for the next three years, with the companies providing their own matchfunding. intandem's contribution to the consortium will be up to 100,000 per annum.

intandem, which floated on the AIM market in April, will take on the role of executive producer and international sales agent.

Number 9 Films, which has produced films such as Scandal, Interview With A Vampire, The Crying Game and Ladies In Lavender, will

produce the films in conjunction with various other selected producers.

Film Four will acquire the UK television rights.

The consortium is already in negotiations for four projects. One of which is based on a best-selling book in the style of Bridget Jones's Diary.

Twenty-eight consortia applied to the UK Film Council for the award with only four, including Number 9, being offered the highest level of funding. Gary Smith, chairman of intandem, said the funding was great news for the company and for Birmingham.

"We are delighted and honoured to be part of such an exciting and talented group of film makers. This is an important step in intandem's strategy of securing international distribution rights in film projects at an early stage, which we expect to result in a valuable film catalogue.

"We also want the films we produce to be premiered in Birmingham, which will raise the profile of the city."

intandem hopes to continue to expand its list of films and is working with firms in Los Angeles and Canada to create a portfolio of horror movies. The company is to hold the UK launch of Stoned - a biopic of Rolling Stone Brian Jones - in the autumn. Directed by Stephen Wooley from Number 9 Films, it was screened in Cannes in May.

Great post moneyman. I think that the model for this company is firmly established . There is no doubt that the potential is for a substantial increase in the share price. I am still waiting for evidence of more films to show that the model can be put into practice and for evidence of a decent distribution del for the Brian Jones film. If they can achieve that then they will be a raging buy.Frankly I would rather buy at 5 or 6p with the evidence available than the current price without the evidence. I'm definitely watching out for news.

Hello altoid,

I prefer to get in at the bottom but thats me. A poster on ADVFN stated that Stoned got a raving review in last weeks Sunday press so hopefully it will result in distribution deals to be announced.

Do you not think that the recent RNS constitutes that IFM will get a host of films in the future ?

Yes, it should do. But if those come in, the shares will be much higher than 5p! As soon as they announce films from the Film Council and/or Stoned distribution, I reckon there'll be a window of opportunity, on a lower risk basis, to get in before the market realises what's happening at this company.

The deal with UKFC is for development funding. Film development is like oil exploration - pouring money into a hole in the ground. It takes on average 5-7 years to get a development project from scratch financed and into production, although with this consortium that could be 2-3 years - if they ever agree on what they all like, which is a typical problem of consortium development. Of every 1000 scripts, 1 gets made. Of every 10 films made, in this context, as many as half will not break even.

"Announcing films from the Film Council" - sorry guys, you have no idea what you mean.

good luck

sd

Maybe your right on a general basis sd but surely with proven active companies like Stephen Woolley and Channel 4 together with the team at Intandem, the process will be quicker and as soon as they make announcements, it is a demonstration of that activity. I have read an interview with Mr Woolley that Stoned was in development for several years before Intandem came along and put it together in six months. At least they're getting funding from third parties for development. Like I said, I will wait for more positive signs before taking the plunge, but this has huge upside potential as, like an oil exploration company, it only needs one strike to make a massive difference....just look at Cairn!

With oil, when you look for it right through to when you find it, you know it's worth $65 a barrell. With a film, when you start it right through to when you've fininshed it, you have no idea what it's worth until you start to market it. Big difference.

Altoid - you must be able to find better shares to invest in somewhere in the UK markets.

However, I do wish IFM well, since I am a well-invested champion of their broker/NOMAD DGT.

sd

Screen International reviews STONED [ 10/08/2005 ]

Mike Goodridge in Los Angeles 10 August 2005

Dir: Stephen Woolley. UK. 2005. 102mins.

Veteran UK producer Stephen Woolley makes an accomplished directorial debut with Stoned, an absorbing portrait of Brian Jones, the founding member of The Rolling Stones, and the events surrounding his death on July 2, 1969. Rich in period atmosphere and music, the film possesses the same knowing style and historical intrigue as Scandal and Backbeat, both of which Woolley produced.

Like those titles, Stoned should cause a stir in theatrical markets (it is pencilled in for a November 11 release in the UK), especially given the publicity that will be generated by its rock legend subject, the salacious alleged murder at its heart and the enduring popularity of the Stones themselves who have a new CD and tour which kicks off later this month.

Playing at a slew of film festivals this season it enjoys a world premiere at Edinburgh, followed by Toronto, San Sebastian, Rio De Janeiro, Dinard and Stockholm Stoned will pick up attention wherever it screens, setting tongues to wagging and journalists to scribbling.

Based on three books published in the 1990s, the film explores the last three months of Jones life in which Frank Thorogood, the builder renovating his country pile, developed a close relationship with his new boss and was present the night when he drowned in his swimming pool. Both Thorogood and Jones had been taking large quantities of drugs and alcohol. A verdict of death by misadventure was recorded at the time.

In 1993, on his deathbed, Thorogood allegedly confessed that he murdered Jones. The subsequent books, including one by Jones Swedish girlfriend Anna Wohlin, who was also at the house on the fateful night, all asserted that the death was not accidental.

Playing Thorogood and proving again that he is one of the UKs most compelling actors is Paddy Considine, this time sporting a thick London accent. A veteran of World War II, Thorogood was a fairly straight fellow who lived a dreary life in post-war suburbia.

When his best friend, the slick, dubious Stones manager Tom Keylock (Morrissey) enlists him to supervise some home improvements at Cotchford Farm, the East Sussex house where Jones (Gregory) lives, Thorogood is reluctant to take on the job and immediately resistant to the neuroses and apparent helplessness of the rock star.

Slowly, however, he becomes intoxicated by Jones charisma, sexual magnetism and louche lifestyle. Despite continuous mockery and taunts from Jones and his entourage, Thorogood proves a dependable housekeeper, cook and friend, and even becomes sexually enamoured of his boss.

But Jones, who had long since stopped working with the band and was burning through money fed him by the Stones organisation with increasing resistance, never treats his builder as anything more than a glorified servant.

Jones himself is cursed by a lack of work ethic and self-discipline, some extreme sexual peccadillos and an increasing propensity to self-destruction. Although the unquestioned guiding hand behind the creation and musical direction of the Stones, he was fired from the band shortly before his death and had lost the love of his life Anita Pallenberg (Mazur) to Keith Richards (Whishaw).

The film is most beguiling as a portrait, never more relevant than in todays celebrity-obsessed popular culture, of that mysterious star quality possessed by figures like Jones and the allure it holds for the people around them. The glamour, affluence and sexual shenanigans of the famous are in this case dangerously bewitching to the common man.

The chief shortcoming with the film lies in its narrative structure. As scripted by Robert Wade and Neil Purvis, Stoned attempts to tell the history (in flashback) of Jones and the bands rise to fame, in parallel with the Jones/Thorogood story.

While the Jones/Stones background gives context to the Jones character, it distracts from the Jones/Thorogood story which in itself is more dramatic. Likewise the films point of view veers between Jones and Thorogood, who is arguably ironically - a more fascinating character.

Woolley displays a second-nature grasp of his camera and his actors and pulls off some memorable scenes, notably one in which Wohlin (Novotny) is goaded by Jones to seduce Thorogood as well as the tense climactic build-up to the drowning.

Leo Gregory, a young English actor with upcoming credits including Green Street Hooligans and Tristan And Isolde, is generally successful at creating a seductive character in the amoral Jones, a former public school boy who commanded the respect of his musical peers like Hendrix and Lennon before his death at the age of 27.

The director did not enlist the participation of the surviving Stones in the production, and ensures that Richards and Mick Jagger are secondary characters with little part to play in the downward spiral of Jones life.

Like with The Beatles in Backbeat, there is no Stones music on the soundtrack; instead the film effectively employs the blues standards which were covered by the Stones in Jones time as well as other classics of the period like White Rabbit, Lazy Sunday Afternoon and Time Is On My Side.


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