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New Hollywood Maverick: Wild Bill Richert January 21-22 FILM SOCIETY OF LINCOLNCENTER WELCOMES WILLIAM RICHERT
"A bold, brash uncompromising figure in the tradition of Orson Welles and John Cassavetes, William Richert burst on to the Hollywood scene near the end of the storied 1970s, first as a screenwriter and then as director of the dazzling conspiracy opus Winter Kills. A critical triumph abandoned by its studio, the movie set the tone for Richert’s career to come—a quartet of highly original, idiosyncratic American features that have maintained an almost clandestine existence, subject to poor distribution and myriad unauthorized versions. "

ABC REVIEWS THE MAN IN THE IRON MASK

ROB REINER AND AARON SORKIN STEAL THE SHOW

Acounting For The Man In The Iron Mask

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WHY SOME INVESTORS AND PRODUCERS GO BROKE...

A FILMMAKER PRESENTS

INFORMATION ABOUT CROOKED BEHAVIOR AMONG THE FOREIGN SALES AND DISTRIBUTIONCOMMUNITY

A WARNING TO INDEPENDENTS AND INVESTORS:

Dear Interested Party:

Thank you for visiting my website. Currently, my investors and I are in a dire contest with the man and company who took the foreign rights to my films without honoring contracts and agreements, a fellow who says "Sue Us" when asked to make things right.

For those of us who cannot afford thousands of dollars in litigation, or the time it takes to sue, it is a good thing the Internet exits. It enables me to state my case universally, and warn others about what can happen a hungry filmmaker meets an unscrupulous salesperson.  Perhaps we can even find "friends of the court" in our pending litigation.

This is a five-year saga, involving hundreds of pages of protests and righteous demands, starting with my first incomplete version of THE MAN IN THE IRON MASK, sold to Hermesfilm of Germany in 1998.

I am putting on the Internet only some of the letters I have written to Richard Rionda Del Castro, Hannibal Pictures and others, although if anybody is interested, I can supply them all.

There has to be a fundamental change in the way film brokering is handled both here and abroad, for the game is not a fair one except for the "majors" with huge litigating divisions.

For the rest of us, only the WRITTEN WORD can suffice to seek out justice or something like justice.

For a quick review, please scan the letters. Accountants are welcome to look at the "registry" sent to me by Richard Rionda Del Castro and Hannibal Pictures.

At the same time they were selling my picture to some territories for as little as five hundred dollars, Richard Rionda and Hannibal Pictures were charging me and my associates upwards of $10,000 per film market location as "distributors" for the same movie.

This is why very few "Independents" are able to make it past their first film as producers. They are not paid. Virtually all the money is taken by Foreign Distributors.

Individuals and groups like Rionda and his company, Hannibal Pictures, hurt a whole culture of struggling artists, actors, directors, producers and artisans with their bogus sales reports and false contract listings.

Perhaps a review of my situation, as only one example, will lead to new trade laws and closer scrutiny of U.S. film sales overseas. Information like this may also help future directors/producers/investors by identifying those who cannot be trusted.

Because Rionda and Hannibal are engaged this very moment in selling our film against our wishes, I am placing unedited letters on the website. Soon the prose will be more concise, and the site as a whole will be easier to read and scan. Thanks for your patience.

Sincerely,

William Richert

 

"…were it not for Hannibal Pictures and it’s CEO Richard Rionda aka Richard Del Castro, our film would have been finished two years ago, and the lives of so many artists would have been spared the financial hardship they have been forced to endure. Even now, it appears that Rionda Del Castro is selling and shipping versions of THE MAN IN THE IRON MASK which he refuses to acknowledge. This hubris on the part of foreign salesmen for American and other films is pandemic to the motion picture independent production/distribution "business" but it is nowhere near fair or legal…Hannibal and its co-horts must be removed from the ability to injure filmmakers and audiences…."

LETTER NUMBER ONE

[THE FOLLOWING LETTER WAS SENT TO RIONDA ON APRIL 20]

HOLLYWOOD, CALIFORNIA

April 20 – May 20, 2002

CANNES, FRANCE MAY, 2002

FOR IMMEDIATE RELEASE: Commencement of INTERNET PUBLISHED Letters to Richard Rionda Del Castro of Hannibal Pictures.

A Filmmaker Speaks out Against A Rotten Thieving Foreign Distributor.

William Richert claims Richard Rionda sabotaged production of indie THE MAN IN THE IRON MASK and then sold his foreign clients copies of unfinished productions without informing them.

UNDER THE CLOAK OF INTERNATIONAL LAW:

Dear Richard,

As you break all the rules of decency and fair play, I shall adhere to the fundamental rule: Thou shall not allow oneself to be injured by inferior men.

You little shit (may I call you a little shit? Michael Eisner called Katzenberg a midget, and Katzenberg got 205 million from Michael Eisner. But maybe you can get more when I call you a "little shit" – or less. Is a piece of shit less than a midget or more than a midget? Katzenberg is no longer a midget, he is a giant. But you remain a little shit.)

NOTICE:

Any legal documents or letters you wish to send to me you may send to:

William Richert

THE INDIVISIBLE STUDIO

 

 

I shall begin this day by sending the letter I was going to send you earlier, but did not send, as you promised (You? Promised?) once again that you would sign off on all rights you claim to have in my film. In return, I agreed not to file civil and criminal charges against you in the U.S., France, Germany, Brazil, Australia, South America, Russia, Hong Kong, Norway, Denmark, Ireland or the Phillipines, etc.

 

You have disappeared once again.

We may or may not find you. Until we do, I will continue my work on the new and different films THE THREE MUSKETEERS & THE MAN IN THE IRON MASK as well as the historical version, A NIGHT IN THE LIFE OF ALEXANDRE DUMAS.

It is my intention to let these films stand as the final evidence of your illegal behavior, since these films would have been available to International buyers four years ago, had you kept your agreements.

When viewing these films in a courtroom setting, the buyers of the early, unfinished productions will perhaps realize at last that you have monumentally defrauded them by not revealing our previous agreements, or honoring them yourself.

You have received dozens of pages of letters from me telling you that you were selling a movie which was unfinished.

Next year, we will offer our new films to festivals throughout Europe. By then film buffs and independents on the Internet will have been exposed to the dialogue in this letter, as well as your prior and future letters to me, and this may promote further interest in finally making foreign sales people of your kind accountable.

You little p.r.i.c.k (may I say that in print? The French do. Hmm. Let’s find out just how far the 1st Amendment takes us. Will somebody measure your little p.r.i.c.k? How will we determine this question: (?) is Richard Rionda Del Castro a "little p.r.i.c.k." a "little shit" or just a "plain old liar" and "con artist…?") {"prick = P.(pompous)R.(rip-off)I.(indecent)C.(crooked)K(knock-off).}

As little shits & little p.r.i.c.k.s often threaten violence against the truthtellers, as you did once or twice before, I should like to remind you that you have already been deported once from the U.S., and that entering into a conspiracy to harm (are you still in business with Phillipe? I remember he lied to me when he said you’d had a "heart attack" during our negotiations, but then it turned out you were in jail in France for the first time, I thought) is punishable by prison. You say you want to raise a family here. How will you do that? From a cell phone in a jailhouse up near Fresno?

Your acts towards those like me who do business with you are the acts of a devious and sociopathic mind, and therefore you suffer no guilt. The self-torment and pain in your voice is the pain of pure vanity being shown a mirror on itself.

As for my doing business with you to begin with: A grizzly caught in a steel trap is not dumb, only unaware of the snares of the uncaring and the greedy. I am no less noble or intelligent because I went into business with you. On the contrary, it is noble to explore and intelligent to learn: In these dealings, I have explored the limits of nobility and the darkening of intelligence when faced with true mendacity. Evil succeeds because it never shows itself until it is too late. It is not too late in this case. You have been spotted.

The Faustian myth is that the Devil identifies himself when he makes his Hellish Bargains -- as if Mephistopheles is a man who keeps his word! -- Instead of the primeval Breaker of the Word, and a Liar. On the contrary, the Devil is a liar start to finish, backwards and forwards, and he only pretends to run from the Cross. We know, in fact, that he uses same to bring the Cloistered to Unholy Orgasm.

But no such luck with the likes of you, Rionda. You bring only loss of hope and dismal dissertations. Your hell is without fire, only ashes. You burn on the fuel of others, a contagion to be warned against.

People like you have got to be identified and filmmakers have got to know about the traps you set, traps that even the smartest among us fall into, because the breadth and scope of the con is so legitimized as it has been around for so long. Prostitution without gratification.

 

I look forward to receiving all the money that you owe me, which I calculate at $112,672 US, plus damages for pain and mental suffering. Even if my back is stronger, as the Arabs say, I still bear the scars along with my fellow Artists and Investors. The amount mentioned does not include any recent sales, which are not legitimate in any case.

This money must be paid in full. You are not getting off the hook on this one, Richard. Not ever.

IN ADDITION: You had better send me copies of the three sales you told me you made at this year’s AFM. You had been informed in writing that you were in Breach of Contract before you attended AFM in 2002. Each of those buyers must be notified, for I will not be complicit in your swindle. All film buyers have the right to know when a producer says the seller is in violation of contract and has been told to Cease and Desist. The legal fees of the buyers, in this case, will be paid by you.

When those buyers, Hermes and others, read this and other letters on the email I am sending to EACH AND EVERY BUYER/SELLER at the Upcoming Cannes grocery market, they will surely look at your round face with a somewhat sharper eye. Is Phillipe still in Florida? What was the plot of MUSKETEERS FOREVER?

You are going to repay in free publicity what you took in time and money from me AND SO MANY OTHERS. I have spent ten years now on this film. I do not deny that the effort has been worth it. Do you really think you can abscond with such a long and difficult labor without a fight, like some bad postman stealing old folk’s pension checks?

In the future, I will sign no document from you or Hannibal Pictures, since you spurn all agreements once they are signed.

I am told that it’s going to cost you and your company at least one to two hundred thousand to sue me for any kind of slander, possibly even more, but again, I think a trial in open court would reveal only more damages from you to those who entrust their work to your care. We’ll let the judge & jury see the films, and then decide. This is all about a movie, and a movie has a right to be well seen and well sold, not hidden under the waistband like a counterfeit watch.

You may think you can ignore all our written and verbal agreements, but there is one deep fact: at issue here is a motion picture hundreds of people worked on for millions of hours, and it will not be stolen by you or anybody else, and since it was created to be a work of art, it will not be maligned either, or corrupted by being presented in an unfinished form, without informing the audience as they deserve. Our movie now has fans around the world. This mystifies you. Maybe you will begin to hear from some of them, and the mystery will be solved.

You have deprived us of our right to the entrepreneurial reward. Nobody worked on this movie to be paid the minimum wage, but to reap the rewards of a risk investment. Selling it for a penny on the dollar, as you have done, is a violation of the basic tenant of show business: to make a hit. You are anti-show-business, and sell goods like a baker, by the pound. These predatory practices have cost us all much money and much time.

The crappy "registry" you gave me is available today on the Internet, as it has been since the day we put it up. The foregoing will be put up during the coming week, as will all correspondence between us, and my Once and Future lawyers, friends, fellow writers actors and producers, especially all of those who worked on our film.

Sincerely,

 

 

William Richert

AKA Alexander Dumas in A NIGHT IN THE LIFE OF ALEXANDER DUMAS

 

SENT TO:

RICHARD RIONDA AKA RICHARD DEL CASTRO

HANNIBAL PICTURES, INC.

1361 North Laurel Avenue

West Hollywood, California 90046

TEL: 323 848 2945 FAX: 323 848 2946 CELL PHONE 213 479 8375

Email: hannibalpictures@mindspring.com

FRENCH OFFICE:

No 380 La Garduere

Bandol, France 83150

Phone 33.49.432.2542

FAX 33.49.432.5011

Mobile: 33.68.770.9467

Email: hannibalpictures@aol.com

LETTER NUMBER TWO

[THE FOLLOWING LETTER WAS SENT TO RIONDA’S LONGTIME PARTNER, PHILLIPE MARTINEZ, WHO IS CURRENTLY PROCUCING AT LEAST TWO PICTURES WITH RIONDA. IN THIS LETTER, RICHERT ASKS THAT MARTINEZ SIGN OFF FOR RIONDA ON THE DISTRIBUTION DEAL, AS RIONDA CANNOT BE TRUSTED. RICHERT HOPES THAT MARTINEZ CAN BE TRUSTED IN THIS INSTANCE, SINCE THE PAIR HAVE AN ESTIMATED 40 MILLION U.S. IN THE BANK, AND THIS COULD BE VULNERABLE IN A LAWSUIT]

TO PHILLIPPE MARTINEZ

CEO

BAUER MARTINEZ STUDIOS

RE: THE THREE MUSKETEERS & ALEXANDRE DUMAS VS HANNIBAL PICTURES AND RICHARD RIONDA AKA RICHARD DEL CASTRO

A LURID TALE OF PARTNERSHIPS, PROMISES AND LIES

 

DEAR PHILLIPPE:

It is my understanding that you and Richard Rionda are presently financial, producing and distribution partners in at least two major motion pictures and other activities.

Richard Rionda Del Castro has further informed me he has 17 million in the bank. You and BAUER MARTINEZ STUDIOS may also be a party to this new loan, as you played a key role in his negotiations with the Imperial Bank on his loan for THE FACE OF DUMAS, from which Rionda has only recently informed me that he took $50,000., in addition to the other amounts.

Rionda knew that all funds from the LHO loan were to be used solely to finish principal photography on THE FACE OF DUMAS. It only becomes apparent in 2002 that LHO and the Imperial Bank and the Montreal completion bond company and the German financier were told something different and contradictory, or engaged in actions which had the same effect.

I do not know how much you and BETAR participated in this, only that you were a constant presence, and that Rionda told me you were his advisor in acquiring the loan.

Anyhow, I don’t want this note to be too lengthy: suffice it to say that if you were/are involved in any financial dealings with Hannibal Pictures, and if you are receiving money from the sales of my copyrighted film THE FACE OF DUMAS, or if you or your company had any role in showing it, I am asking you at once to return all funds and to reveal all documents relating to you and Hannibal, especially those relating to "shared" hotel suites.

This is not merely a "fishing" expedition; it is the beginning of an investigation I am conducting on behalf of all the actors, artists, technicians and investors in my film.

Although I may not yet have all the facts before me, I know this: You were in the offices at Imperial Bank on that very night when Rionda was finally granted the loan of $190,000 because, he told me, you said you would withdraw your business from Imperial Bank and the Lewis. Horwitz Organization if the loan was not made to Hannibal Pictures, Inc. based on the sale of my copyrighted film; a sale which was made one month prior to the loan and prior to my signing the loan agreement.

You are also listed as partner/co-producer with Rionda in the rosters AFM, Cannes, MIFED etc. Rionda tells us all that you are his "mentor." I truly hope it is not your advice he is following.

I have recently been advised that your film "Musketeers Forever," which was made during the time I was doing business with you and Rionda on THE LAST MUSKETEERS, has similar themes, characterizations and plot situations to THE LAST MUSKETEERS.

You were aware that THE LAST MUSKETEERS was copyrighted, and that even though the Musketeers themselves are certainly public domain, the use of their characters in new formats is intellectual property, and subject to copyright laws in the U.S., Canada and France.

Please let us clear these issues up immediately. I will be happy to screen any copy of "Musketeers Forever" to assure myself that you and your investors have not engaged in any form of copyright infringement. I cannot find "Musketeers Forever" on the imdb, or at Blockbusters. Is it only available in Europe?

You are among the first five partners of Rionda that I am writing.

I begin with you because you did all you could to keep me in business with you and Rionda five years ago, first by telling me that he had a heart attack in France instead of revealing, as you did, that Rionda was actually in jail, and later on, in 1999, as I’ve stated, by helping Rionda in the offices of the Imperial Bank, where he obtained a loan under what I now believe were fraudulent circumstances. Rionda claims that I must prove that he is guilty. He forgets that there is no statute of limitations on fraud, so I have plenty of time, even without his 17 million dollar law firms.

Rionda thinks that perhaps, by having 17 million in the bank, and at least 3 other films in production with you and others, he will be able, via his business associate and lawyer Donald Barton, to find a way to forever avoid "paying the piper."

Rionda has always proudly claimed you to be his ‘mentor’ and ‘teacher’ in the Distribution business. In that case, I urge you to remove him from any future contact with filmmakers, as the Catholic Church is now removing abusive Priests, with Zero tolerance, at whatever cost, to save itself if not those already wronged.

Rionda tells me that he is continuing to sell my film no matter what I do, that he will continue to take all the money, and continue to be in breach of contract, since FCB Films is now a "suspended" company due to his refusal to honor his word, his contract and his duty.

Part of the reason he gives for continuing his crooked enterprise is that he has 17 million in "The Bank." I do not know if he is once again using The Imperial Bank, but I cannot imagine any bank that would enjoy this kind of complicity.

If Rionda is conducting this loan the way he conducted the loan for my tiny production, then at least 12 million of the 17 million is going into his account, his lawyer’s account, and the accounts of executives at the bank.

Rionda’s twisted, self-centered logic in all matters is astonishing. He told me he sold three (3) territories at his year’s AFM, but refuses to divulge them as long as I dispute his accounting. In fact, he refers to FCB’s ‘legal status’ as a reason for his non-compliance. This is especially odious, since it is a condition he is personally responsible for, since I – like many independent filmmakers – put costs on my personal credit card when the money he promised was not forthcoming.

I am placing all correspondence, as well as tapes of all conversations between him and anybody I can think of who is a participant in this with him, on the Internet. If you call me, and I welcome any conversation with you, I will first click on my Sony TR900, as this may later be evidence. In addition, this will be part of our "electronic" press kit.

There is a very large body of Law to protect victims of schemes such as Rionda, but laws require honest and decent men to obey them.

Rionda has said that for 20 Grand he has lawyers who could "shut me up."

I can bring 200 witnesses, all professionals in the motion picture industry, all owed money, who can testify to the suffering caused by Rionda and his broken promises to me personally, both verbal and written.

At the very least, I, along with all the others who worked so hard on our film, intend to see that Richard Rionda and Hannibal Pictures Inc., a California Corporation, are removed from any further capacity, contact or ability to harm the faithful hopes of filmmakers and those brave investors who support them.

I do not know if you are one of the producer/distributors of ABSALON. I know that you are presently Rionda’s partner on CRIME SPREE, along with Hermesfilm, and THE PIANO PLAYER. I have started research into the various entities you and Rionda have induced to conduct business with you.

It is well known in the foreign sales community tha you and Rionda share space at film sales markets, and that you raise large sums of money together. The budgets of Rionda’s current films are estimated at north of 50 million +.

I do know that Rionda has kept none of our agreements, and that he scoffs at my demands for a fair accounting and payment, and at my placing all our writings on the Internet. Rionda thinks I lack the fortitude and the resources to contact every single organization at CANNES, as well as all future festivals. He thinks these are impotent gestures, designed only to annoy, but without bite or enforcement. He thinks he can hire more lawyers because he has more money from the productions he has funded via bank loans.

He has always underestimated me.

Refusing to pay my company from the Hermes sale, and refusing to honor his Jan 14, 2000 agreement – an agreement made without honest disclosure on his part -- has cost my company tremendously in time, money and mental anguish.

In fact, Rionda swore to me in January 2000 that the only money he received from LHO/Hermosa of Germany was out-of-pocket expense money. He swore that before taking any sort of "commission" he would fund the making of a 35mmprint – a print which mean theatrical sales could commence – that he failed to make.

I have pages and pages of documents showing all this.

Rionda Del Castro and Hannibal Pictures, Inc. used funds due and promised to William Richert and FCB Films as "seed money" to pay for script options and to hire rooms at sales conventions where financing was obtained for movies like ABSALON, THE PIANO PLAYER and, of course CRIME SPREE – a movie in which he was a partner with Hermes of Germany, the very folks who backed-up his loan from LHO with my feature.

As Rionda Del Castro used my money to seed his current productions, he must provide me with an audit of his producing fees, percentage rights and payback from the production and budgets and future sales of these films.

Rionda Del Castro and Hannibal Pictures Inc. spent upwards of $10,000 of verified FCB funds at Film Markets like MIFED and CANNES to publish lists of available rights to films other than THE FACE OF DUMAS.

It was only one month ago that Rionda Del Castro disclosed to me that he’d taken a $50,000 "commission" from the $190,000 completion budget negotiated by Donald Barton and LHO instead of fulfilling his contractual obligations in 1999.

Rionda Del Castro felt able to reveal these new facts in 2002 because, as he informed me, FCB Films was in "suspension" and had no legal standing. It was strange to hear from Rionda facts about my company which I myself was not yet aware of. It was an outrage for him to gloat over the damage to my company, when this was the direct result of his double-dealing and lies. It was even more despicable for him to say that now that FCB was suspended, he would continue to sell my movie at whatever price he could get, regardless of our contracts.

FCB was not in suspension when Rionda Del Castro paid his lawyer Donald Barton thousands of dollars of FCB funds at a time when there was nothing for his lawyer to do regarding FCB, but plenty for Donald Barton to do as Riondas attorney on CRIME SPREE and THE PIANO PLAYER and ABSOLON and THE FLYING DUTCHMAN.

Each and every one of these films was sold at festival screenings using money from FCB and from money promised to me, William Richert, by Richard Rionda Del Castro as CEO of Hannibal Pictures, Inc., a California Corporation..

It remains to be "Discovered" how much I am due from FCB’s forced investment in these productions at a time when FCB was solvent and attempting to do business with Rionda.

Since no document with Rionda’s signature is acceptable, as he ignores them, I am asking that you "sign off" for Rinoda as his current partner and partner of the past seven years. This is the same method being used today by Colin Powell, in asking the Saudis to sign for Arafat, and agreeing that the U.S. will back up Israel’s declarations.

I am demanding the following from Rionda and ask that you sign as his mentor and legal guardian:

  • Immediate payment in the amount of $112,672 U.S. as requested by my attorney.
  • A complete audit of all of Richard Rionda Del Castro’s transactions relating to sales made with FCB funds and disbursment of FCB funds to other entities and productions.
  • A document signed by you stating Rionda will no longer represent any of my Musketeer productions at any place or any time.
  • A document signed by you and Donald Barton Esq. stating that Richard Rionda will no longer acquire, finance, produce or distributed the completed work of any American filmmaker with a budget of less than 10 million USD. (I figure if an individual can part with 10 million for a movie, he can afford to deal with the likes of Rionda.)
  • A document signed by you stating that no person involved with MUSKETEERS FOREVER, whether from Canada, France or Germany, employed as writer or director or producer, ever read or was told the plot of my screenplay for THE MAN IN THE IRON MASK.
  • Copies of all agreements for ABSOLON, THE PIANO PLAYER, THE FLYING DUTCHMAN and the Hermesfilm CRIME SPREE: EACH OF WHICH USED FACILITIES PAID FOR BY FCB FILMS TO PROMOTE INVESTMENT AND FINANCING.

Unless and until these 5 conditions are met, I will continue my lifelong fight against liars and cheats, with Rionda and Hannibal Pictures, Inc. as Exhibit #1.

I can envision the day when I will see your faces in a courtroom, in front of a judge, with all the facts and documents relating to the past five years "discovered" from Hermesfilm, the Completion Bond Company, BETAR, Hannibal, Liberty Mutual and all the others involved in the saga of this debacle.

Until that day, we will let the whole world watch as this case evolves on the Internet, where fans of our marvelous film, and all those who wish success for a non-corporate cinema, will be able to share the moment.

 

Sincerely,

 

 

William Richert

AKA Alexandre Dumas in A NIGHT IN THE LIFE OF ALEXANDER DUMAS

Ps. I have tried to explain to Richard Rionda Del Castro provisions of the RACKETEER INFLUENCE AND CORRUPT ORGANIZATIONS ACT ("RICO") AS APPLIED TO RIONDA’S FILM PRODUCTIONS WHICH WERE STARTED/ADVANCED THROUGH IMPROPER USE OF FCB FUNDS. Actionable is Rionda’s "directly or indirectly investing income derived from a pattern of racketeering* activity or through collection of unlawful debt in any enterprise affecting trade or commerce." – This means a court may find that as an investor I have a claim Rionda’s current productions as they are part of his illegal enterprise. Rionda, saying Fcb is no longer "viable," ignores the major portion of the Federal ruling, which defines the term "enterprise" in the federal act to include "ANY INDIVIDUAL, PARTNERSHIP, CORPORATION OR ANY UNION OR GROUP OF INDIVIDUALS ASSOCIATED IN FACT THOUGH NOT A LEGAL ENTITY…" Italics mine.

"a pattern of racketeering" requires engaging in at least TWO INCIDENTS of racketeering conduct within two years of each other.

*RACKETEERING CONDUCT: Embezzlement from pension and welfare funds (read: SAG) – Mail Fraud – Wire Fraud – Interference with commerce and fraud in the sale of securities.

FRAUD: Intentional deception resulting in injury to another. Examples: Misrepresentation, Creative Accounting, Overreaching, Predatory Practices, Scam and White Collar Crime.

I have no doubt that we can prove injury to all the profit participants in the deal, including Hannibal’s own buyers if they were unaware of his contracts with FCB and William Richert. A disgruntled investor or anyone else who is "wronged" by the activities of a film distributor may be able to establish that the film distributor engaged in numerous instances of Racketeering activity, i.e. Anti-Competitive Business Practices, questionable or Unethical conduct, Creative Accounting or Sharp Negotiating Tactics, all of which may have an adverse impact on the interests of the investor and/or the other profit participants. n W. Groves Esq.

"Criminal violations may result in fines of $25,000 and/or a twenty-five year prison term and the forgeiture to the United States of any interest or security or contractual right of any kind affording a source of influence over the "enterprise" [read "THE FACE OF DUMAS – THE MAN IN THE IRON MASK."] RICO also provides for civil remedies ANY PERSON INJURED IN HIS BUSINESS OR PROPERTY BY R

 

Email: fcbfilms@hotmail.com

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