SEC Filing Document

Company: Ambitious Entertainment, Inc.
Ticker: 
CIK: 1900851
Filing Type: DRS/A
Document Type: DRS/A
Date Filed: 2025-10-08
Accession Number: 0001493152-25-017387
Exchange: 
SIC Code: 7812
SIC Description: Services-Motion Picture & Video Tape Production
URL: https://www.sec.gov/Archives/edgar/data/1900851/000149315225017387/filename1.htm

Chunk 28 of 63
Word Count: 1413
Character Count: 9491

Document Content:

reasonable measures to secure, protect, and maintain copyright protection for all our products under the laws of the applicable jurisdictions. Motion picture piracy is an industry-wide problem. Under the copyright laws of Canada and the United States, copyright in a motion picture is automatically secured when the work is created and “fixed” in a copy. We intend to register our films for copyright with both the Canadian Copyright Office and the United States Copyright Office. Both offices will register claims to copyright and issue certificates of registration, but neither will “grant” or “issue” copyrights. Only the expression (camera work, dialogue, sounds, etc.) fixed in a motion picture can be protected under copyright. Copyright in both Canada and the United States does not cover the idea or concept behind the work, or any characters portrayed in the work. Registration with the appropriate office establishes a public record of the copyright claim.

Ordinarily,
a number of individuals contribute authorship to a motion picture, including the writer, director, producer, camera operator, editor,
and others. Under the laws of both the United States and Canada, these individuals are not always considered the “authors,”
however, because a motion picture is frequently a “work made for hire.” In the case of a work made for hire, the employer,
not the individuals who actually created the work, is considered the author for copyright purposes. We intend for all our films to be
works made for hire in which we will be the authors and thereby own the copyright to our films.

Canada’s
copyright law is distinguished from that of the United States by recognizing the moral rights of authors. Moral rights refer to the rights
of authors to have their names associated with their work, and the right to not have their work distorted, mutilated, or otherwise
modified, or used in association with a product, service, cause, or institution in a way that is prejudicial to their honor or
reputation. Moral rights cannot be sold or transferred, but they can be waived. We intend that all individuals who contribute to the
creation of any of our motion pictures will be required to waive any such moral rights that they may have in the motion picture.

For
copyright purposes, publication of a motion picture takes place when one or more copies are distributed to the public by sale, rental,
lease, or lending. Publication also refers to an offering made to distribute copies to a group of persons (wholesalers, retailers,
broadcasters, motion picture distributors, and the like), for purposes of further distribution or public performance. A work that is
created (fixed in tangible form for the first time) on or after January 1, 1978, is automatically protected from the moment of its creation.
The work is ordinarily given a term enduring for the author’s life plus an additional 70 years after the author’s death.
For works made for hire, the duration of copyright will be 95 years from publication or 120 years from creation, whichever is shorter.

Although
we plan to copyright all of our film properties and projects, there is no practical protection from films being copied by others without
payment to us, especially overseas. We may lose an indeterminate amount of revenue due to motion picture piracy. Being a small company
with limited resources, it will be difficult, if not impossible, to pursue our various remedies. Motion picture piracy is an international
as well as a domestic problem. It is extensive in many parts of the world.

Government
Regulation

The
cost of producing and distributing filmed entertainment has increased substantially in recent years, in part due to the demands
of creative talent as well as industry-wide collective bargaining agreements. Many screenplay writers, performers, directors,
and technical personnel in the entertainment industry are members of guilds or unions that bargain collectively on an industry-wide basis.
Actions by these guilds or unions can result in increased production costs and may occasionally disrupt production
operations. If such actions impede our ability to operate or complete a motion picture, they may substantially harm our
ability to earn revenue.

Ambitious
Entertainment engages both union and non-union talent and crew, depending on the project and jurisdiction of production.

●	Union
Talent. To date, the Company has utilized unionized actors primarily under agreements
with the Screen Actors Guild–American Federation of Television and Radio Artists (“SAG-AFTRA”)
in the United States and the Union of British Columbia Performers (“UBCP”) in
Canada. For example, All My Friends Are Dead was produced with unionized actors under
SAG-AFTRA/UBCP and was also covered under Directors Guild of America (“DGA”)
agreements for director services.

●	Union
Crew. Certain projects have engaged unionized crews. For instance, the production Fate
was produced under agreements with the International Alliance of Theatrical Stage Employees
(“IATSE”) and the Directors Guild of Canada (“DGC”).

●	Non-Union
Crews. Other productions have been staffed with non-union crews, depending on budget,
location, and financing structure. These arrangements can provide cost flexibility while
still maintaining professional production standards.

The
Company evaluates union versus non-union engagement on a project-by-project basis, taking into account budget, location, financing, and
distribution requirements. As Ambitious transitions to an owner-producer model and scales larger productions, management anticipates
increased reliance on unionized talent and crew in order to meet distributor, streamer, and guild compliance requirements.

are also subject to state and federal workplace laws and disclosure obligations, including those enforced by the U.S. Occupational
Safety and Health Administration and similar state organizations. Our operations will depend on compliance with collective bargaining
agreements and applicable labor laws. Strikes or other work stoppages by members of these unions could delay or disrupt our activities,
and the extent to which future collective bargaining agreements may affect our business is not currently known.

addition, with regard to digital content developed
for children, the Company is subject to a variety of laws and regulations, including the U.S. Children’s Online Privacy
Protection Act and the rules promulgated by the U.S. Federal Trade Commission thereunder (“COPPA”). COPPA imposes
restrictions on what website operators can present to children under the age of 13 and what information can be collected from them.

The
Company’s business operations are based in the United States, and Ambitious intends to establish a physical office in Los Angeles,
California, with an opening targeted for Fall 2025. A preferred office location has been identified, and management is in the process
of finalizing lease arrangements. Establishing a permanent Los Angeles presence is expected to strengthen the Company’s direct
accessibility to major studios, streaming platforms, financiers, and creative talent.

Although
Co-President Kirk Shaw maintains his family residence in Vancouver, British Columbia, all business operations of Ambitious are conducted
in the United States. The Los Angeles office will serve as the Company’s primary corporate headquarters and hub for content development,
production, and distribution activities.

Ambitious
Entertainment utilizes available tax credits and incentives for each project it produces, whether the production occurs in Canada, the
United States, or other jurisdictions. The calculation and structure of these benefits vary by jurisdiction, as each region has its own
rules and programs designed to support film and television production.

key element in maximizing these benefits is the engagement of “above-the-line” talent, including lead actors, directors,
and key creative personnel. By securing recognized talent in lead roles, the Company often ensures eligibility for higher credit levels
under both Canadian, U.S. state, and foreign tax incentive programs. Management actively evaluates each production’s creative team
and location to optimize available credits while maintaining production quality.

These
tax credit strategies contribute to cost efficiency, enhance project profitability, and support the Company’s ability to finance
and produce content within budget while retaining ownership of intellectual property. For example, in connection with the upcoming feature
film Cancel Me, management has conducted preliminary research on three potential production locations—Colombia, Kentucky,
and New Jersey—each offering different tax credit structures and incentives. As of August 31, 2025, no final decision has been
made regarding the location of principal photography. The Company is analyzing tax credit benefits, labor rates, crew availability, and
logistics in order to select the most advantageous jurisdiction.

production location will be chosen prior to the commencement of principal photography, and the Company intends to apply the applicable
tax credits to reduce net production costs, consistent with its overall owner-producer strategy.

Employees

of July 8, 2025, we had zero full-time employees and zero part-time employees. We only utilize consultants in the ordinary course of
our business in connection with the production of digital media projects or motion pictures.

Legal
Proceedings