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1) Inside access into the development of an epic historical drama based on history's greatest leader.

2) 1st tranche: 100% early preferred return on investment before production begins (investment not guaranteed).

3) 2nd tranche: a portion of the development company's ongoing profits (investment not guaranteed).

4) A $2.4MM development fund. We intend to use bank-financed production funding of $60MM.

5) Join a team that has worked on 23 studio-released movies and series earning over $4 billion in revenue.

6) Join a team with studio relationships including Sony, Universal, Warner Bros, Disney, Paramount/CBS and Lionsgate.

Be on the team that makes the next Braveheart!




Whether you invest $100 or $100,000, each investor will receive 100% of their investment from CYRUS' budget before the picture is produced. After Cyrus begins its global distribution, each investor receives their full proportional share of a portion of the Development Company’s global profits from the Motion Picture, from all its ancillary revenue streams. Each investor is on the same equal terms.

*There is no guarantee that Cyrus will return any portion of the investment, or reach profitability.


All investors get a behind-the-scenes seat with us, plus the following tiers:

$300+ Investor receives a special "Thank You" with investor’s name in the credits of each Picture.

$500+ Investor’s photo included in the Company’s mosaic in the "Thank You" credits of each Picture. Plus previous perk.

$1,000+ Investor receives access online to exclusive members only video footage and updates during development and production of each Picture. Plus, previous perks.‍

$3,000+ Investor receives a digital autographed picture of the main cast. Plus, previous perks.‍

$5,000+ The first 50 Investors receive invitations for two to the Cast and Crew Screening. Plus, previous perks.‍

$10,000+ Investor receives an invitation to be an extra cast member. Travel and accommodation not included. Plus, previous perks.

(The rest of our larger Tiers 7 through 12 are To Be Determined)

Help tell the untold story of history's Greatest leader

The Education of Cyrus written by Xenophon of Athens (370 BC) has been loved by some of history's greatest leaders for two millennia. From Alexander the Great and Julius Caesar, to Thomas Jefferson and Benjamin Franklin, leaders have prized the courageous, noble example set by history's greatest leader, Cyrus.


Cyrus, a Persian prince, reared among a moral and martial society, stands out at a young age in reason and ability. As the grandson of Astyages, King of the neighboring Medes, the boy Cyrus develops deep friendships with the young princes of Media and its surrounding kingdoms in hunting, riding horses, and endless activity together. After returning to Persia as a teen, he is eager to prove his prowess in warfare and joins the Median army in a campaign defending their borders against attack by the Babylonians. Having snuck into the battle’s ranks against his father’s will, his fearless exploits leading the charge into the midst of the enemy drew the hot ire and equally strong praise of his father, King Cambyses. When the Babylonian tyrant once again invades Media, Cyrus, now 30, is chosen by the council of elders to come to the aid of his uncle Cyaxares, king of the Medes after his father Astyages. Cyrus demonstrates the character of the greatest of history’s leaders of men. He conducts conversation over meals with his officers with a blend of seriousness and charm. He persuades the army to make all men equal among them according to merit, rather than rank and prestige. Having gained the advantage, he uses generosity to turn his captured enemy, the Armenian king, into a friend, and proceeds to use further generosity and wisdom to forge an alliance between ancient foes, the Armenians and Chaldeans. After leading his uncle’s and his joined forces in victorious battle against the Babylonians, Cyrus pursues the foe without his uncle Cyaxares, who stays behind, too busy with the meat and drink of victory. After Cyrus finds allies in the rebelling Hyrcanians, a Babylonian leader named Gobryas surrenders to Cyrus and asks for aid in avenging his son. After telling Cyrus the heartbreaking tale of the brutal murder of his son at the hands of the Babylonian tyrant, Cyrus pledges to Gobryas to do what he can against the tyrant. Cyrus suddenly receives an angry summons from a messenger sent by his uncle, King Cyaxares, to send the entire Median army back home. Realizing this could ruin all, he shrewdly invites the Median allies to stay on with him, if they so choose, for glory and riches, resulting in the entire Median cavalry deciding to stay loyal to Cyrus. Thus do they set their faces like flint to overthrow the world’s tyrant in Babylon and set up a new empire founded on liberty and equality for all, setting the stage for the streaming series and final theatrical feature.

Praise for Xenophon's Cyropaedia

Cyrus, a great Persian leader, was so widely and memorably respected that a hundred years later, Xenophon of Athens wrote this admiring book about the greatest leader of his era. Larry Hedrick's Introduction describes Cyrus and his times. Among his many achievements, this great leader of wisdom and virtue founded and extended the Persian Empire; conquered Babylon; freed 40,000 Jews from captivity; wrote mankind's first human rights charter; and ruled over those he had conquered with respect and benevolence. According to historian Will Durant, Cyrus the Great's military enemies knew that he was lenient, and they did not fight him with that desperate courage which men show when their only choice is "to kill or die." As a result the Iranians regarded him as "The Father," the Babylonians as "The Liberator," the Greeks as the "Law-Giver," and the Jews as the "Anointed of the Lord."

--Larry Hedrick, editor of Cyrus the Great
In classical antiquity, The Education of Cyrus by Xenophon was considered the masterpiece of a widely respected and studied author. Polybius, Cicero, Tacitus, Dionysius of Halicarnassus, Quintilian, Aulus Gellius and Longinus thought highly of Xenophon and his work. Among classical leaders, Scipio Aemilianus is said to have carried a copy with him at all times, and it was also a favorite of Alexander the Great and Julius Caesar. Many early modern writers after Machiavelli, including Montaigne, Montesquieu, Rousseau, Bacon, Jonathan Swift, Bolingbroke, Shaftesbury, Edward Gibbon, and Benjamin Franklin also esteemed Xenophon as a philosopher and historian.



Our business plan is a highly sophisticated proven method for securing major Hollywood players. Over the past 30+ years we have provided business, funding and distribution services for 23 studio released motion pictures. We have built up strong relationships with leaders in the entertainment film insurance and banking industry. We enlist the work of A-list screenwriters, directors and actors. Plus, we engage licenses with the world’s leading distributors who connect us to the global market of movie and series binge-watchers, now numbering over 4 Billion. This is your opportunity to be part of a global phenomenon. For the first time, every day investors will have the opportunity to invest in the development fund for a major studio released, insured, bank financed*, globally distributed motion picture franchise

*Bank financing has not been secured yet.



John has provided development and financing planning and execution in every aspect for dozens of motion pictures, television network series and specials, with combined production costs of over $470 million and global rights earnings exceeding $4 billion.

There are dozens of films John Lee has worked on. These are motion pictures you have heard of before, like The Terminator, Crouching Tiger Hidden Dragon, and The Nutty Professor.

John Lee has provided business, global distribution and financing for motion pictures released through Universal, Paramount, Sony, Disney, Warner Bros., HBO and many others.

John has successfully led the vision, launch and/or expansion of five entertainment and media entities, including Impression delivery Corporation that was subsequently acquired by CapCities, and Entertainment Business Group purchased by the Gillen Group.

John's Grandmother was an avid reader, lighting a fire in him to seek for and create audience-overwhelming stories.

John's early career started as a systems analyst then consultant within the Business Systems Division of the NCR corporation by day, while in the evenings writing scripts and stories, and studying entertainment's creative and business craft. John co- founded the highly successful San Diego Repertory Theatre, for which he provided business planning, funding, taught and directed. He executive produced and partially funded his first motion picture, Where's Willy? in 1976, doing many things contrary to his better business judgment.It was a clarifying learning experience.

This led John into international motion picture sales as Controller and then Business Affairs Vice President for global motion picture sales company Howard Goldfarb Distribution. Subsequently, in the same position for Heart Entertainment, he directed the distribution and funding of in-house and client projects and helped measure the value of their pictures' rights and plan their optimal global rights licensing and sales.

Though participating throughout his career in the business and creative aspects of motion picture and television productions, John also led four new-media companies including the direct broadcast satellite entity Impression Delivery Corporation (acquired by CapCities), and the ad sales units of TimesMirror Cable Television (acquired by Cox Communications).

In 1996, John joined the faculty of BYU's Film School, established and taught their Business of Film curricula, leading him to author The Producer's Business Handbook. This book is used by film and business schools the world over, is a standard professional media reference, a best seller in its obscure category, now in its fourth edition published by Focal Press and co-branded by AFM. John has also mentored 27 film students in their productions.

The book continues to benefit many in understanding the hybrid demands of global distribution and finance, and has brought him, as he likes to say, "more recognition, speaking engagements and enjoyable experiences than I deserve."

In 1999 John co-founded and was CEO of Entertainment Business Group, providing motion picture global finance, distribution and related business services to independent producers and industry entities, until The Gillen Group's acquisition.

In 2004, John became the co-founder and CEO of iCommunication Dynamics, and i.TV, Internet steaming television technology entities, eventually selling its majority interest, as well as separately its i.TV concept and domain, which became a top 100 iPhone and iPad application.

In 2008, John became Dean of India's high-tech entertainment and media college, Whistling Woods International, contributing to their expansion, attaining top ten global status, and bringing India its first Media and Entertainment MBA in partnership with Manipal University.

In 2011, John became Managing Director of Entertainment Strategy, where he directed the development, global distribution, funding and oversight of in-house and client entertainment projects.

In 2018, John’s Simple Little Stories co-ventured with Jason Brents’ Lady of the Lake Studios together with their China distribution relationships, forming OneDoor Studios, each partner company contributing three global, wide-audience projects, three of which are also franchise projects. Shortly thereafter OneDoor Studios brought in their crucial third full-partner, writer, director, editor, cinematographer Stephen Wollwerth, through his 3Gates Films.

John, Jason and Stephen now direct OneDoor Studios, currently developing nearly a dozen independent feature motion pictures and series, while expanding their global sales capacities.

John continues to story-search, write, surf, help his wife, Darylann, in her women and children humanitarian work, and together they labor in their most joyous production...their children, grandchildren and extended family.


Chiefly through his 3Gates Films, Stephen became a polished producer, known as a Renaissance Man through the many projects which he produced and contributed to as a producer, writer, director, director of photography, editor - and even an FAA licensed drone pilot in motion picture, television and live event production. Stephen has established multi-cam streaming systems, and has served as a media broadcasting facility director.

Stephen started 3Gates Films in 2010 as designer, engineer, builder and cinematographer of the first aerial platforms that opened the liberating era of drones. Stephen’s innovative breakthrough aerial systems were featured in Scientific American magazine and many other publications and television programs. For a multi-million-dollar Fox Sports television commercial, Stephen became the first person to fly a cinema camera from a Blackmagic Design on a RC platform. He currently holds multiple FAA certifications, including part 107.39 for flights over people, a certification held today by only 18 individuals in the United States.

Stephen was the director of photography and editor on the 8.4/10 IMDB rated 2020 Film Hope for the Holidays released on Amazon Prime Video. He was also director of photography and editor for the 13th season of a PBS docu-series entitled Healing Quest. Stephen’s stock footage has been sold primarily for commercials thousands of times to companies worldwide. His footage has been purchased by National Geographic, Valvoline, Mahindra Tractors, Cenovas Energy, Spike TV, and hundreds of other companies.

In 2019 Stephen amassed a quarter of a million followers on TikTok with tens of millions of views of videos which told stories of miracles in people’s lives. Stephen’s reputation as a world class editor is significantly enabled by his substantial production of live, multi-camera concerts, and his degree in music performance, with a minor in voice.

Stephen speaks Mandarin Chinese with a level of fluency from his 2 years living in Kunming and Xian, China. He is also an instrument rated private pilot, is fascinated with aviation, has continuing electrical engineering projects as a hobby, is an extreme mountain biker and is a father of three sons and one daughter.


In 2015, Jason began to lay the foundation of the mini-studio which would eventually become OneDoor Studios. He astutely applied his lifetime of studying and acquiring great world literature, researching and becoming deeply oriented in the business of global motion picture and series development, production, financing and distribution, as well as engaging relationships with bright key-entertainment industry players.

In July 2018, Jason founded OneDoor Studios with his friend and partner John Lee; they were joined a year later by their friend and third partner Stephen Wollwerth. Since then Jason has been developing IP for the company, setting up and closing development financing, and setting up OneDoor Studio Entertainment Properties, which may become the first entertainment industry Series Regulation A+ development funding platform. As OneDoor’s President, Jason continues to oversee all of its entities, developing their in-house story properties and connecting OneDoor Studios with its various production partners, which include his and OneDoor’s global community of film industry professionals.

Along with continuing to develop industry partnerships, Jason leads OneDoor’s public development funding, bank production financing and expanding the partners’ overall vision of becoming a mini-studio.

Jason began his career as an educator in 2001 teaching in the Bay Area, CA.
Jason developed his entrepreneurial skills in 2005 when he launched a real estate development company, flipping real estate properties on the Big Island. This experience in real estate development helped to prepare him for the similarly financed film industry. In 2009 Jason moved his family to China to teach an international school, instructing some of China’s top international students from over 20 countries in history, government, philosophy, and film-making.

While in China he continued to mine many cultures for rich stories worthy to be developed into successful global motion pictures and series.

Jason speaks Mandarin Chinese with an intermediate level of fluency from his 6 years living in Tianjin, China. He continues to acquire and develop great literature, write, compose music, snow ski, cliff dive, and work together with his wife and five children to enable and uplift one another and everyone they meet to become all we are designed to be.


We invite you to invest in a piece of this history-making experience for as little as $100.

Testing-the-waters legend:

No money or other consideration is being solicited for our Regulation A+ offering at this time and if money is sent in to OneDoor Studios, LLC, it will not be accepted. No offer to buy securities in a Regulation A+ offering of OneDoor Studios and any of its subsidiary companies can be accepted, and no part of the purchase price can be received until OneDoor’s offering statement is qualified with the SEC. Any such offer to buy securities may be withdrawn or revoked, without obligation or commitment of any kind, at any time before notice of its acceptance given after the qualification date.  Any indications of interest in OneDoor’s offering involves no obligation or commitment of any kind. OneDoor Studios, LLC is testing the waters under Regulation A of the Securities Act of 1933, as amended. This process allows companies to determine whether there may be interest in an eventual offering of its securities. OneDoor is not under any obligation to make an offering under Regulation A. OneDoor may choose to make an offering to some, but not all, of the people who indicate an interest in investing, and that offering may not be made under Regulation A.  For example, OneDoor may determine to proceed with an offering under Rule 506(c) of Regulation D, in which case we will only offer our securities to accredited investors as defined by Rule 501(a) of Regulation D.  If OneDoor does go ahead with an offering under Regulation A, it will only be able to make sales after it has filed an offering statement with the Securities and Exchange Commission (“SEC”) and only after the SEC has qualified such offering statement.  The information in the offering statement will be more complete than the test-the-waters materials and could differ in important ways.  You must read the offering statement filed with the SEC.

Management’s Discussion and Analysis of Financial Condition and Results of Operations

You should read the following discussion and analysis of our financial condition and results of operations together with our financial statements and the related notes and other financial information included elsewhere in this offering. Some of the information contained in this discussion and analysis, including information regarding the strategy and plans for our business, includes forward-looking statements that involve risks and uncertainties. You should review the "Risk Factors" section for a discussion of important factors that could cause actual results to differ materially from the results described in or implied by the forward-looking statements contained in the following discussion and analysis.


Calculated Sequels exclusively develops the young adult Calculated book series into a wide-audience global motion picture franchise for distribution by major global studios, distributors and streaming systems.

We want to see the Calculated franchise become one of the next global YA motion picture breakouts like the HUNGER GAMES and DIVERGENT franchises. We aim to see each of its major motion pictures hit blockbuster levels in global box office earnings, inspiring a subsequent streaming series. These objectives are forward looking, cannot be guaranteed, and may never be realized.

Given the Company’s limited operating history, the Company cannot reliably estimate how much revenue it will receive in the future, if any.


OneDoor Studios Entertainment Properties LLC Series Calculated Sequels was incorporated in the State of Delaware in December 2021. One Door Studios LLC (“1DS LLC”) is the sole manager of the Company. The Company is the umbrella/parent LLC which will house future series LLCs for each film as they are being formed. Currently, the Company owns Series Calculated Sequels (the Company raising funds in this Offering), which is the only series that has been created. However more will be anticipated to come. Each company will maintain its own books and records and, as of December 31, 2021, have not engaged in any intercompany transactions. Series Calculated Sequels has zero activity. The financials presented are reflective of the balances of the Company and its underlying series LLC as of December 31, 2021.

Since then, we have:

This offering follows the successful $2 million WeFunder raise of The Calculated Movie (a separate company).
A film franchise is based on a top-rated novel series, released by a leading publisher on Amazon.
1st tranche 110-125% early preferred return on investment before production begins (investment not guaranteed).
2nd tranche: 50% of the development company's ongoing profits (investment not guaranteed).
A $7.2MM development fund for 3 motion pictures. We intend to use bank-financed production funding at $60MM each.
A team that has worked on 23 studio-released movies and series earning over $4 billion in revenue.
A team with studio relationships including Sony, Universal, Warner Bros, Disney, Paramount/CBS and Lionsgate.

Historical Results of Operations

Our company was organized in December 2021 and has limited operations upon which prospective investors may base an evaluation of its performance.

Revenues & Gross Margin. For the period ended December 31, 2021, the Company had revenues of $0. Our gross margin was %.
Assets. As of December 31, 2021, the Company had total assets of $0, including $0 in cash.
Net Income. The Company has had net income of $0 for 2021.
Liabilities. The Company's liabilities totaled $0 for 2021.

Liquidity & Capital Resources

After the conclusion of this Offering, should we hit our minimum funding target, our projected runway is 10 months before we need to raise further capital.

We plan to use the proceeds as set forth in this Form C under "Use of Funds". We don’t have any other sources of capital in the immediate future.

We will likely require additional financing in excess of the proceeds from the Offering in order to perform operations over the lifetime of the Company. We plan to raise capital in 3 months. Except as otherwise described in this Form C, we do not have additional sources of capital other than the proceeds from the offering. Because of the complexities and uncertainties in establishing a new business strategy, it is not possible to adequately project whether the proceeds of this offering will be sufficient to enable us to implement our strategy. This complexity and uncertainty will be increased if less than the maximum amount of securities offered in this offering is sold. The Company intends to raise additional capital in the future from investors. Although capital may be available for early-stage companies, there is no guarantee that the Company will receive any investments from investors.

Runway & Short/Mid Term Expenses

OneDoor Studios Entertainment Properties LLC Series Calculated Sequels cash in hand is $0, as of April 2022. Over the last three months, revenues have averaged $0/month, cost of goods sold has averaged $0/month, and operational expenses have averaged $0/month, for an average burn rate of $0 per month. Our intent is to be profitable in 36 months.

We have not had any material changes in our finances or operations since the time our financials cover. Calculated Sequels is a new company, so its financial history is brand new as well.

Over the next 3-6 months, revenues will be $0. The development, production, and distribution of a global studio released motion picture has a fairly predictable timeline for the creative and business elements involved. Development begins with the attachment of an A-list screenwriter to the project. We project ~18 months to having a studio-ready script. At ~22 months we project that our bank finances for production will become available, enabling our first tranche preferred return to investors of principle investment plus 10-25% interest. At  ~38 months the picture will be released to the global marketplace, at which time we expect it will be profitable. For expenses, we budget about $300k for overhead, $700k for scripting (which takes most of the 38 months...36 months let's say), and then during the last 2 months we spend $1.4 million on the 10% down payments to attach director and lead cast, which enables us to back the contracts into our fully collateralized bank line of credit. We have 3 top entertainment banks competing for our business presently, but there are no agreements currently in place.

Our expenses are as follows:

-Literary rights, motion picture options, and writing fees $1,728,000 (24%)
-Director and actor production retainers $3,816,000 (53%)
-Production manager and casting director fees $360,000 5%
-Marketing and distribution expenses $288,000 4%
-Development talent and professional fees $288,000 4%
-General overhead $144,000 2%
-Operating reserve $216,000 3%
-Investment Platform Fees and Expenses $360,000 5%

As explained above, the film industry is similar to the real estate industry in its transactional nature. During the development of the property, it is not profitable, but when the property is released to the market after ~38 months of development, we are profitable. In raising all the development capital we need to fully develop the property, we enable the bank-financing and subsequent distribution of the motion picture or series.

Our company has overhead capital from the initial Calculated offering that sustains our current short-term burn, and we have several other offerings coming out nearly every month during 2022 which will be similarly afford the company overhead capital.

Any projections in the above narrative are forward-looking and not guaranteed.


1) We depend on outside entertainment talent providers, who may or may not have yet been engaged by us, and who generally will not be officers or employees of the Company. Though we maintain relationships with a broad array of industry veterans, the loss of any independent talent providers, particularly members of the development team, could adversely affect our ability to conduct our operations and realize our projections.

2) The Company was only recently formed, so has limited operating history that prospective investors can use to evaluate our performance. Though our executives have previously developed other film and television projects, each project is unique and their past performance is not necessarily indicative of future results for different projects. Moreover, the lack of a “track record” in the entertainment industry for the Company itself could pose additional obstacles to our business.

OneDoor Studios Entertainment Properties, LLC (“1DSEP”), owns rights to various intellectual property (“IP”) within the media and entertainment industry.  As a Master series limited liability company IDSEP forms individual series, under Delaware law, to develop and exercise specific intellectual property rights, such as the Calculated Sequels films, within the OneDoor Studios Entertainment Properties LLC Series Calculated Sequels Series, a Delaware series limited liability company (“SCS”), which is the Company that's raising funds in this offering.  Investors have the opportunity to invest in particular film IP with 1DSEP to create and develop such film IP according to the business plan and participate as a Profits interest unit holder, and specifically here, in SCS and its Calculated Sequels films.

3) Our financial success is dependent on a number of factors both within and beyond our control. The market appeal and profitability of each of our film projects depends upon the creation of compelling campaigns, the purchase of adequate advertising saturation, the execution of social media campaigns and acceptance by audiences and critics, all of which require skills and none of which can be delivered with certainty. Only a small percentage of film and television projects are ever distributed, and even those projects which are distributed are not always profitable. Any project that we develop, whether alone or in conjunction with the other projects, may not generate sufficient revenues from its distribution and other exploitation to generate a profit or repay development expenses. It is possible we could incur significant development and operating costs with respect to a project without ever reaching a sale and/or distribution agreement for that project.

4) Our operations substantially depend upon the skill, judgment and expertise of our small management team. In the event of the death, disability, or departure of one of our key personnel, our business could be adversely affected. Our executives will devote such time and effort as they deem necessary for the efficient conduct of our business; however, they may be involved with other entertainment production activities from time to time and may not devote all of their time to the business of the Company.

5) Risk is inherent in all investing. No guarantee or representation is made that our business will be successful and there is no assurance that we will be able to realize any revenue. All business conducted by the Company risks the loss of capital. As is true of any investment, there is a risk that an investment in the Company will be lost in whole or part.

6) The film and television industry is complex, dynamic and highly competitive. Negotiating with major motion picture directors and performing talent is a sophisticated process. Obtaining a position for a film project on the theatrical, streaming and/or television network distributor release schedules in a “major territory” is logistically challenging and involves competition with many other projects. Negotiating production-incentive relationships, brand relationships, ancillary rights, international licensing and pre-sales of a film project, qualifying a project for production completion bonds, and “banking” a project’s respective licenses and contracts are complex processes that are unpredictable and highly reliant on the expertise and personal relationships of the our key personnel.

7) Motion picture, streaming and television content development, production and distribution are highly competitive. Our primary market competitors are “major” film studios, numerous independent motion picture, streaming and television production companies, television networks and subscription-based television services, all which will compete with us for the acquisition of literary properties, the services of writers, performing artists, directors, producers and other creative and technical personnel, and production financing. Many of these competitors have significantly greater financial and other resources than the Company. For any of our film projects, it is possible that the unique writing, acting or directing talent necessary for such project may be unavailable or that we may be unable to successfully negotiate for the services of such personnel.

8) Our success in achieving our objectives depends on the value of other entertainment media that is comparable to our film projects (primarily theatrically-released films, streaming video and home media, and cable and network television) in the U.S. and major international territories. If the value of comparable entertainment media decreases relative to current market values, we may not be profitable. Compounding this risk, in order for one of our film projects to generate income, it must obtain production financing, which is generally secured by production incentive programs, brand relationships, pre-sold ancillary and theatrical licensing agreements and the value of unsold international territories. Decreases in the market value of these items may raise the cost of such financing or even preclude us from obtaining such funding, in which case we may not be profitable.

9) Other, larger film and television development and production companies are able to partially reduce their risk of incurring operating losses by simultaneously developing numerous projects that span multiple genres, audiences, markets and platforms. We only have the rights to, and currently only intend to develop, six film projects. This concentration makes us more susceptible overall to the risk of loss if a particular project is unsuccessful. In order to be profitable, we believe that we must successfully develop at least two of our six projects.

10) The development and production of film and television projects can take several years or more. A significant amount of time may elapse between the expenditure of funds by the Company in development of our projects and the receipt of revenue from their distribution. Other investment opportunities may offer greater returns after discounting for time. The likelihood of experiencing other risks described herein could increase the longer it takes to develop our projects.

11) We may require additional financing, beyond the amounts raised in this offering, to complete development of our film projects. There can be no assurance that such additional financing, if required, will be available to us.

12) We may seek debt financing to manage our cash flow or accelerate the development of one or more of our projects. If such debt is secured by rights to a film project and we are unable to meet our obligations under the financing arrangements, the secured party may be able to foreclose on its rights to that project or we may be forced to dispose of the project prematurely. These occurrences could force us to record substantial losses.

13) We intend to sell our developed projects to production companies, which depends upon our ability to obtain the financing necessary for the production companies to purchase our developed projects. Moreover, our share of future income from the exploitation of each of our projects may vary substantially from our projections. While we believe such estimates and projections are reasonable, no assurance can be given that we will succeed in obtaining the projected results, and there is no guarantee that, even if produced, a film project will ultimately generate any net profits.

14) The commercial success of a film project depends on obtaining a distribution agreement with a distributor for that project. Distributors considering such an arrangement will conduct their own internal “greenlight” study of the project, and there is no guarantee distributors will concur with the our own determinations regarding estimates, projections, outlook, etc. for our projects.

15) The commercial success of any film project depends on the relative quality and market acceptance of other competing media content released at or near the same time, the availability of alternative forms of entertainment and leisure activities, general economic conditions at the time and other tangible and intangible factors, all of which are subject to change and generally cannot be predicted in advance.

16) We may incur major losses in the event of certain macroeconomic or other extraordinary events, which may affect markets and consumer behavior in ways that are unexpected, unprecedented or inconsistent with historical trends or results.

17) Neither this offering nor the units being offered have been registered under the securities laws of the United States or the laws of any state or foreign jurisdiction, and no government agency or regulator has recommended or approved any investment in the units.

18) All management authority of the Company is vested in our officers, who are appointed by our management directors and act in accordance with their strategic guidance and decision-making. Both before and after the conclusion of this offering, the sole holder of our units is One Door Studios, LLC, the managers of which are also the officers and directors of the Company.

19) We have indemnified our officers and directors, to the fullest extent permitted by law, from liability for actions (and omissions) taken (or not taken) in good faith and reasonably believed to be in the best interest of the Company. Thus, investors may have a more limited right of action than they would have had in the absence of such indemnification agreements and, if successful, damages may ultimately be paid by the Company itself.

20) With limited exceptions, an investor may not sell, transfer, assign, pledge or otherwise dispose of or encumber any of the units purchased in this offering, or any right or interest therein, whether voluntarily or by operation of law or by gift or otherwise, without the consent of the Company. The units sold in this offering are subject to a minimum one-year holding period under federal securities law. The units are also subject to a “right of first refusal” in favor of the Company, which could have the effect of suppressing their market price. There is no secondary market for the units sold in this offering, and none is expected to develop. Thus, investors will not be able to liquidate their investment in the event of an emergency or for any other reason or rely on their units as collateral for a loan and must be prepared to bear the risk of their investment for an indefinite period of time.

21) The investment agreement that investors must sign to purchase units in this offering requires that disputes be submitted to binding arbitration and that investors waive their rights to a jury trial and to participate in a class action. These provisions could result in less favorable outcomes to a plaintiff-investor involved any such action.

22) Our future success depends on the efforts of a small management team. The loss of services of the members of the management team may have an adverse effect on the company. There can be no assurance that we will be successful in attracting and retaining other personnel we require to successfully grow our business.

23) Though the global pandemic of COVID 19 continues to present the film industry with serious and tangible challenges, IT SHOULD HAVE LITTLE OR NO ADVERSE AFFECT ON CALCULATED SEQUEL’S DEVELOPMENT. It is possible that another outbreak could slow or stop the production of CALCULATED SEQUELS for unknown periods of time. This may adversely affect the producing team’s ability to complete the production. Likewise, a theatrical release may not be possible given the potential global shut down of theaters were there another outbreak.  

24) Investors will be investing in OneDoor Studios Entertainment Properties LLC Series Calculated Sequels ("Series Calculated Sequels"), a registered series of OneDoor Studios Entertainment Properties LLC. Series Calculated Sequels will only participate in the development and production of the CALCULATED SEQUELS and, therefore, investment in Series Calculated Sequels will not entitle an investor to obtain an interest in, or receive a benefit from, any other project or film properties owned, developed, or produced by OneDoor Studios Entertainment Properties LLC or any of its other affiliated entities.

25) Investors will receive Profits Units in Series Calculated Sequels in exchange for their investment. As a "Profits Member" investors will not have any voting rights and will not be entitled to participate in the operation of Series Calculated Sequels.

Other Disclosures


Officer                                 Title                Joined
Jason Brents                 COO           2018
John J. Lee, Jr.         CEO             2018
Stephen Wollwerth        CCO           2020

Voting Power

Holder                                        Securities Held                                                                                   Voting
One Door Studios, LLC      1 Membership Interest (Simple Little Stories                       100.0%

                                             LLC (John Lee), 3 Gates Films LLC (Stephen

                                             Wollwerth), and Lady of the Lake Studios

                                             (Jason Brents) each own ⅓ of One Door Studios)    

Past Fundraises

Date                                Security Amount
Closed 8/24/2022        Custom    $????

Outstanding Debts


Related Party Transactions


Use of Funds

$72,000           95% Marketing and distribution expenses, 5% Wefunder fee

$3,600,000   24% Literary rights, motion picture options, and writing fees, 53% Director and actor production retainers, 5% Production manager and casting director                           fees, 4% Marketing and distribution expenses, 4% Development talent and professional fees, 2% General overhead, 3% Operating reserve, 5% Investment                           Platform Fees and Expenses

Capital Structure

Class of Security Securities
(or Amount)
Authorized Securities
(or Amount)
Outstanding Voting
Profits Units NA 0 No
Membership Units 1 1 Yes

What People Say

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