Days We Have Been Ready To Build & ATG’s Lies


The situation so far…

Days We Have Been Ready To Build...

So 52 days ready to build and no money to pay for anything. Nada. Zilch.

Specifics are as follows;

Build caves – told Production 7 weeks and 3 days ago we were ready to build. Submitted quote for scaffolding. Scaffolding is needed to build the platforms the caves will sit on. Until we have scaffolding, we cannot begin building the caves. After 52 days, still no scaffolding.

Build rocket launch control room – told Production 7 weeks and 3 days ago we were ready to build. Submitted quote for scaffolding (the same quote as the caves as it was all part of one quote). Until we have scaffolding, we cannot build the ‘RLCR’ because it is needed to build the roof which needs to go in first. After 52 weeks, still no scaffolding. By the way — here’s the design for the RCLR.

Rocket Launch Control Room - 1st Floor (Emergency Mode) - 02 Nov 2015

Rocket Launch Control Room – 1st Floor (Emergency Mode) – 02 Nov 2015

Rocket Launch Control Room - Grd Floor (Emergency Mode) - 02 Nov 2015

Rocket Launch Control Room – Grd Floor (Emergency Mode) – 02 Nov 2015

Buses – we need five buses modified to look new and to be suitable for crashing. We had a contractor lined up to do the work. We were told it would take them about six weeks ago. We submitted their quote to Production five weeks ago. They promised to action it immediately. They didn’t. We still have no buses.

Buy Patrol Wagon vehicles – we need two. Production told us they will be bought tomorrow. That was four weeks ago. That’s a lot of tomorrows.

Oasis – Maysaa did a ton of work to get the quote and scope of works ready in time (totally professional as she is a full-qualified architect). Ahmed promised it would be approved by the end of the week. That was three weeks ago. It still has not been approved.

Range Rovers – this is priceless. Literally. Ahmed wants two Range Rovers so he can crash one of them. Total cost just under $250K. This despite the fact the pilot episode Art Dept budget should really be $500K. He said we would get them through Product Placement. That was five weeks ago. Fadi – head of PP – has been emailed by Ray around 10 times about this over the last four weeks. Total number of replies. Zero. Nada. Zilch.

Since arriving in Qatar, ATP has been emphasizing how we are all a team. And yet I have heard from numerous sources that despite the fact ATP has provided us with zero funds to build anything, they have been quietly blaming the Art Dept for not building anything. Even Ahmed has been extremely abusive about the Art Dept.

The only money we have had access to is petty cash which has had to come out of Majid’s own bank account. That’s right. ATP has no legal or financial presence in Qatar — even now — so it depends upon passing petty cash through an employee to pay for trinkets!!! (Is this further proof they are embezzling funds???)

This all seems to reinforce the rumour that ATP has no intention of shooting in Qatar. That it is doing whatever it can to force the shoot back to Jordan. And that it will blame anyone it can (easiest target — Art Dept) to achieve this goal.

What it does not explain is Ahmed. Why is he also blaming the Art Dept? Is he stupid? Is he in on whatever ATP is up to? Has he an alternate plan? Whatever it is, alienating the Art Dept is achieving nothing.

I had a chat with (local unnamed crew member) yesterday. He was appalled about what is going on. He reminded me of a site meeting a few weeks ago about the buses where Ibrahim promised to take responsibility for the buses after our contractor pulled out due to their having been messed about too much by ATP. He made the promise in front of Azmi, Ray, Rita, Hamad, myself, and several other people. When I wrote an email of the minutes of this site meeting, he denied saying it. Everyone was appalled by his bald-faced lie but (local unnamed crew member) was livid. He said that is when it sank in what a complete liar Ibrahim is.

The Circle & The Square


This morning before Abdul ambushed me, the UK crew spoke about how this show would probably never happen. The problem is that both sides are guilty. The argument goes like this;

ATG: There’s not enough money. We can’t make the show.
Investors: You promised to make all 20 episodes for this amount of money. Make it happen.
ATG: There’s not enough money. We can’t make the show.
Investors: You promised to make all 20 episodes for this amount of money. Make it happen.
ATG: There’s not enough money. We can’t make the show.
Investors: You promised to make all 20 episodes for this amount of money. Make it happen.

And so on…

And so the point is that the show will never get made.

We did discuss three options however;

  1. The show is made as an ATG+ show – meaning slightly better than their usual rubbish.
  2. It never gets made.
  3. ATG spend $5-10 million on the pilot then hand the rest of the money back.

I agreed that the only logical option was option 3. At least then the investors might be so impressed they bankroll the rest of the show. The ATG get the rest of the money.

But Ahmed allegedly sees a fourth option. He apparently insists they can do it by hiring cheap labour from places like South Africa. Clearly he does not get that cheap labour is unskilled labour and filmmaking is a skilled job. Personally, I’m concerned about a Qatari talking about hiring cheap labour. Their track record for doing this is not great.

So the UK crew is right. Both sides are to blame.

But none of the above had anything to do with the alleged disappearance of the bulk of the money. That is another issue. And the fact that if this show had been placed into the hands of a real production company and shot in Jordan, it *would* have been possible for the money the show had.

For example, (and I figured this out months ago) the fortress set. Cost in UK = £35,000. Cost in Jordan = £7,000. One 1/5th the cost. If you follow that logic through to it’s natural conclusion, that means $40 million in Jordan is equivalent to $200,000 in the UK. Ten episodes of GAME OF THRONES costs £100 million. That’s £10 million each. Cost of one episode of MEDINAH as shot in Jordan equals $2 million which is equivalent to $10 million in the UK. In other words, if shot in Jordan, the cost per episode of MEDINAH was exactly the same as GAME OF THRONES. But we are not shooting in Jordan. We are shooting in Qatar. Why? Because the Qatari investors no longer trust ATG because Talal told Ahmed the fortress set was going to cost $250-500K!

So you can say that it is both sides fault, but we got here because of the kind of company ATG is and the kind of crook Talal is. If they had been a real production company, everything would be fine.

Ergo, Arab Telemedia Group has killed MEDINAH.

Chris Quits – Part 2


Today wasn’t off to the brightest start. Chris had told ATP he was quitting and heading back to London on Friday (tomorrow). Dominic Smithers had booked his flight for this evening. Terry was determined to go and he told Ray to start phoning around for new jobs.

I’d also heard that ATP were combing through Chris’s contract trying to find loopholes to force him to stay. I was a bit baffled by that as it was my understanding Chris never signed (see earlier blog entry on this). I guess I’ll find more out about this later.

But shortly after breakfast, Terry gave me an update. Andrew McEwan and Simon had told Ray and Terry that Talal had called Chris and was of the impression that Chris would be back in two weeks. This, despite Chris having sent him an email last night saying he had quit.

Then Chris went to tell Ahmed the news. Ahmed didn’t yet know any of this. An hour later Andrew saw him out on the street shouting into his phone. Then not long after this I bumped into Simon and Dominic in the hallway. Simon asked me my plans. I said I was staying for now to see what happens. I asked him his plans. He said he was “terrified” after what he’d just heard was happening to Chris.

He then wandered off and Dominic told me that Simon had just told him to be ready to go to the airport at a moment’s notice. That seemed very dramatic, I thought, and I asked why. Dom said that ATP (and he thinks Ahmed) had just come down on Chris like a ton of bricks. I asked how that was possible. Dom added that he did not know but that Simon had told him that ATP might demand to have our passports to stop us leaving.

He then told me that Ahmed had been stunned by Chris’s statement. Apparently, he had not seen it coming. We both marvelled at how naive Ahmed can be. I want to say this in Ahmed’s defence. He is 26 and out of his depth. He needs good people around him on this job, looking after his interests, but all he has is ATP.

As Dom told me this, Issam came wandering up – all casual – and said to Smithers, “Here is what I can do for you. I can offer you work back in Jordan on Malik.” At that point, I wandered off. We all know what a farce Malik is. And this for a company that has no morality at all. How could Dom possibly say, “Yes”?

Clearly, it is really going to kick off big time over the next few days. We are supposed to be paid on Sunday. That may be in jeopardy as ATP attempt to force control over us with whatever they have.

On an unrelated footnote, I heard yesterday that a few years ago when this was all starting up, the Qatari investors paid ATP US$3 million to do a feasibility study into shooting “Medinah” in Qatar. Such a study would normally cost about $80,000. So where did the rest of the money go?

Oh, one last thing; I have heard several times now that ATP thought they did not have to provide audited accounts because it was private money. But it is not private money; it is the Qatari governments money and, as a consequence of ATP’s failure to deliver, they have been ordered to provide audited accounts. The problem ATP has is that they have received over $10 million and there is no way they have spent more than $3 million on the show. At a meeting earlier this week which I shall talk about tomorrow, Ahmed was finally compelled to say to Abdul, “Where is all the money?” What happened I’ll explain tomorrow.

Arrested Development


It’s been a month since I made an entry in this blog. The truth is that it is exhausting enough having to deal with this company never mind having to have to write about it afterwards.

Currently we are in Doha, Qatar. We arrived on Saturday and already the rot has begun to set in.

Yesterday, I had a meeting with Ahmed – the series creator – in which I asked him what it was he was hoping to get now we were here. Meantime, I was told today by Ray Perry, who had spoken to Terry, that Ibrahim had been heard saying that filming of the series was never going to happen in Doha. This did not bode well.

Several weeks earlier, I have been told by Abdul that Talal had told him that the series would never be shot in Doha. Apparently, Talal told Abdul that ATG would “go through the motions” (or words to that affect) and act like it really intended to shoot the series in Doha, but when the Qatari people found out how much it was going to cost to film in Doha they would panic and the shoot would revert back to Jordan. That might explain why ATG has been working feverishly on a first season budget which, I have heard, will top $125 million.

This seems to fall in line with Arab Telemedia’s Production Crew’s behaviour here in Qatar. So far they’ve bought over the absolute barest minimum of Arab Telemedia crew. They have taken all of the good people we had, kept them in Jordan, and attempted to stick them on other projects being produced by Arab Telemedia. Meantime, nothing is really happening here apart from meetings.

Take for example Abdul. Currently he is stuck at Arab Telemedia 1 in Jordan where he is being hassled to work on other projects. This is despite the fact that Chris and I have repeatedly told Arab Telemedia’s producers that we need him with us. But Arab Telemedia simply doesn’t care what we think.

The story of Abdul’s failure to end up working here in Qatar is highly representative of the unethical and insidious work practices of Arab Telemedia. When we first said that we needed Abdul to come with us, he was repeatedly offered work as a full-time employee at Arab Telemedia. However, he kept turning the offers down. When it became clear to Arab Telemedia that he was not going to agree to become a full-time employee, Arab Telemedia went cold on the idea of allowing us to bring him to Qatar.

The question is why?

My own personal suspicion, and this has been mentioned by several other people, is that Arab Telemedia would have been happy for him to come here if he was an employee of the company because they could pay him a pittance while charging the investors considerably more. However, since Abdul refused to be an employee they were not able to use him as a ‘cash cow’. As a consequence, they refused to allow him to come despite the fact he is an essential and integral part of the Art Department.

Another theory is that’s Ibrahim blocked Abdul coming because Abdul has had arguments in the past with Ibrahim because ATG always pays Abdul late (at one point, nearly six weeks late). So the arguments have always revolve around Ibrahim’s broken promises and Arab Telemedia’s constant failure to pay Abdul’s wages on time.

In an interview today, an ATG employee – Khaldoon – told Abdul that if he became a full-time employee he would no longer have to worry about being paid on time. This was a threat and an acknowledgement of their principle of not paying freelancers properly in an effort to wear them down and make them staff.

Currently Chris is threatening to quit “Medinah” if they do not get Abdul out here. Another reason Chris is threatening to quit is that Arab Telemedia has not paid his wages for the last 4 1/2 weeks. Arab Telemedia cannot claim this is “accidental” because Chris has been reminding them of their failure to pay his wages for the last month. I might also add that the rest of the art department is behind on receiving their wages too.

Before EID (a Arabic festival that took place two weekends ago), Issam was working in the Art Department buildings – a ten minute drive from the production offices as the show’s Line Producer. Line Producers normally wield a lot of power, but it was my observation that ATG had intentionally managed to make Issam powerless by not paying him (at this time, they haven’t paid him for three months!).

Anyway, when Talal got back from Doha, it wasn’t long before things suddenly changed. Issam disappeared. We soon discovered that he was now working in the main offices of Arab Telemedia. But not only had he changed location, his attitude had changed as well. Once a friend to the Art Department, he was now “one of them”. What had suddenly switched Dr Jekyll into Mr Hyde…?

(On an aside, it is ridiculous that the UK crew and ATG see each other as enemies. We try hard not to but they very clearly see us as the enemy and nothing we do to placate them seems t change that. More on this in a later blog entry).

What we heard, which makes sense, was that as a result of Talal’s meeting with the investors in Doha in which – I presume – his lie about the cost of the fortress set was exposed, Issam was to be granted more powers. By the time we relocated to Doha, Issam would be signing for payments as well.

It does not take much imagination to realise what had happened. After Talal was told by the investors that Issam must be granted more power, you would thin that Talal has a problem. But he did not, because at this point Issam was owed around $30-40,000. All Talal had to do was to threaten to not pay Issam and to keep him close by. This is why Issam had suddenly switched sides – he had no choice.

You could argue that Issam is a victim in this situation. And you would be right. The result is that the show has become thoroughly compromised because the Line Producer is supposed to act on behalf of the investors. But Talal has nailed Issam to the wall with the money he is owed. So clearly Issam cannot act on the show’s behalf. How he feels about this, I do not know. 

Today, there was a meeting between the Production and the Art Department to discuss our plan of action over the next 12 weeks. Chris very nearly did not attend.

Last night, he had emailed Issam telling him he was no longer a part of the Medinah team. This was because he had not been paid for the last five weeks, and because Production continued to refuse to bring Abdul over to Qatar. But Chris’s resignation was also a consequence of another ongoing issue.

For the last few weeks we had regularly been emailing Production a “list of things to be done by Production” so that the Art Department could get on with their work. Some of those things were difficult. Others were easy. Others should have been easy. But to date Production has pretty much done none of them.

Last night, Issam sent an email in response to this list in which he accused the Art Department of being hellbent on making life difficult for Production. He then proceeded to go through each point saying why they were effectively each the fault of the Art Department. I shall include that list below so you can decide for yourself. The point of the list was not to make life difficult for Production. It was to see if Production would start to do their job properly again. But the real reason Issam sent that email was to arrest control from the Art Department and to give it back to Production through the meeting we had today. In short, our Art Dept list was to be replaced by today’s Production list that would be cobbled together by Anwar.

Earlier yesterday evening, Chris had a major confrontation with Production and Ahmed over his wages and ATG’s failure to bring Abdul to Qatar. By all accounts, it did not go well. As a result of the meeting and Issam’s email, Chris had had enough and he emailed Issam to say that he had quit.

Despite this, Chris arrived at the meeting having been persuaded to attend by Simon, the director. Ironically Simon later said that Chris should not have attended the meeting because it made his and everybody else’s threats look hollow. (I have been saying this for weeks!) That said, the meeting began somewhat amicably.

Towards the latter part of the afternoon, I brought up the subject of the Construction Manager. Issam had claimed in the previous night’s email, that I had not provided him with contact details for any construction managers (which was not true as I had provided him with them the previous day, the previous Thursday, and the previous Wednesday). I had also told him that we had lost two CMs – Perry and Hugo – and several other construction managers I had approached because of ATP’s refusal to make a commitment. I made the point that we were in a very difficult situation. I told everyone present that we had only one option for a construction manager left.

Ben, an Australian construction manager, had told me that he was available and interested. I had emailed his details to Issam twice the previous week and again yesterday. Issam finally contacted Ben by email and made an offer that threatened to jeopardise Ben’s involvement in the show. Why? Ben had asked if it was a five or six day week. Issam wrote back saying the pay was way below what Ben would expect and that it was also a six-day week. His approach was like a bull in a China shop – almost as if the intention was to alienate Ben.

The entire UK Art Department then preceded to tell Issam that if we were to force the issue of the six-day we would likely lose Ben. Issam was very unhappy about this. He said that his concern was that if he allowed Ben to do a five-day week this would snowball and it would not be long before the entire Art Department wanted a five-day week. We acknowledged that this was a problem. But the point that I stressed was that hiring a CM was a more immediate problem since there were no other options – ATP had exhausted the all.

A good half hour went by while Production, and to a lesser degree Ahmed, argued about how they should agree a five-day week. I kept saying it was because we no longer had a choice. I did not point out that we no longer had a choice because Issam had repeatedly screwed up hiring a construction manager capable of doing the job. (a previous CM had agreed to do it for ATP’s proposed rate but they’d messed him about so much he went and got another job).

Finally, Issam stormed out of the office accusing the Art Department of bullying him and being unreasonable. First Smithers and then I went out to talk to him. We explained that we were not bullying him; rather we were trying to resolve a very serious problem because without a construction manager capable of handling a show of this size there would be no sets, which meant there would be no show.

I had already said in the meeting that if we did not choose Ben and instead decided to see if we could find someone else it would be like playing Russian roulette. Issam refused to believe there could be no other construction managers left. I agreed. I said that was not the problem; the problem was that we had exhausted all of our leads and we had no idea how to find good construction managers who might be available. I said that we might be lucky and find one tomorrow or it could be a week or it could be a month. Our problem, I said, was that we did not have time to find this out because the construction manager was already supposed to be breaking down set plans weeks ago.

Things calmed down. But we were left with a very real problem. And it’s the same problem we’ve had since I got here 4 1/2 months ago and before that when Chris got here and Simon; Arab Telemedia do not listen.

They accuse everybody else of not listening but they fail to listen in the meantime. Issam remarked that we seem hellbent on only using UK crew. We told him that we have every intention of using local crew and training them up but we can only do that if we have the UK crew to train them. Issam said we had made no effort at all to work with local crew. I told him that that was not true and that he knew it because I’d spent the last two months trying to work with Fozan despite Fozan not being a construction manager.

Arguing with ATG employees — and Issam is now one of them — is like arguing with a child. I do wonder if I should read “How To Talk To Children So They’ll Listen”. It really is that bad. If they don’t like what they hear, they don’t hear it. If they don’t like what they see, they don’t see it. They are an impossible company.

In conclusion, we are no more further forward then we were when we were in Jordan. We have lost Abdul, the only person we had who was capable of doing some of the specialised work we need. We have lost Sari who was the only person in Production who seemed to have any idea what he was doing. We have effectively lost Issam who has now become a “tool” (willing or not, I don’t know) of Arab Telemedia.

Meantime, Arab Telemedia is playing the waiting game. Talal told Abdul it was only a matter of time before the shoot went back to Jordan. Two days ago, Ibrahim was overheard saying that this show was never going to get filmed. He may have meant in Qatar. I don’t know.

Ahmed told me yesterday that the budget now is the same as it has always been. This means the budget is still approximately $40 million. I also know that ATG has ordered Issam to do a budget (for filming in Qatar) that is over $100 million. When Ahmed sees that budget he will be furious. This is clearly part of Arab Telemedia’s game-plan. They want a budget that will force the show back to Jordan where Ahmed and the Studio cannot keep an eye on ATG.

The perversity of all this (and I’ve said this before) is that the show could have been shot for $40 million. It just required people who knew what they are doing, and Arab Telemedia clearly not. They haven’t even done something as simple as fix the script locations despite having had months to do it. Today, the production manager, Majid, was out buying shopping bags full of water and biscuits for our meeting. I don’t think I’ve seen a production manager do that since I was a student at film school.

And that pretty much sums this entire production up…

…a show led by a bunch of film students telling a bunch of seasoned professionals how to do the job. There is not a hope in Hell of this show ever getting made so long as Arab Telemedia continues to be attached to it. I suspect they will shoot something eventually, just so they can pretend they were serious about doing so, but they will do it their way and then blame the resultant debacle on the director.

ATG has to go. The question is, when will this happen? And will the show survive it? Or will all the money be gone by then…?


NOTE ADDED May 20th, 2016 (as I forgot to add it at the time of writing the above entry!) – The following email and list was sent to ATG on July 14th, 2015. After which observed ATG do practically nothing on this list within the timeframe specified (they did hire Rita and give Ray a car, but that was practically it). When we continued to update this list showing that ATP was doing next to nothing, they got aggressive and started accusing us of attempting to sabotage the show (while all the time not paying our wages too):-

Email From Chris to Arab Telemedia suggesting way forward

The Way Forward For Arab Telemedia Page 1

The Way Forward For Arab Telemedia Page 2

The Way Forward For Arab Telemedia Page 3

The Way Forward For Arab Telemedia Page 4

Embezzle? Fly? Repeat?


Talal flew out to Qatar Tuesday night. I believe he comes back today.

Wages are late again. I should have been paid Wednesday, Dominic and Ray, Tuesday. Andy on Saturday.

I emailed Jude (politely) and she emailed me back saying Accounts were promising two payments on Sunday. I had to ask if that was two people (entirely possible with this company) or two payments per person. She said the latter.

Chris then emailed Fadi. Perhaps he had not noticed that I had already emailed Jude. He wanted a promise we would be paid. Here is his email and Fadi’s response.

Fadi's Replay re Wages

Click to enlarge

So, no answer then to the question actually being asked. Can’t say I was not surprised. I’m coming to realise this is standard practice for ATG.

The fact is we do not know if we are going to get paid Sunday because it is entirely possible even Talal does not know right now. Why? Because the way I see it there are two options;

  1. Everything returns to normal, the Studio gives Talal the next tranche of money, we get paid, and everything carries on as before.
  2. Talal does not get the money and we do not get paid.

Either way, there’s a problem. Because while we may get paid now, the show will still be in trouble.

I think it is blindingly obvious now what the problem is.

Historically, ATP gets paid to make a show. Say USD$2 million. They pocket their 20% fee of $400K. Then they run up nonsense expenses for a further chunk of the budget. Then they hand over the remainder to Ibrahim who must then shoot the show like a student film^ on what’s left.

They then tried to apply that formula to this show, but there’s a problem.

This week, I was told by Ibrahim that the first season’s budget was done by Ibrahim and Ahmed. Ibrahim told me he hadn’t even read the scripts (don’t forget that this guy is the Producer and here he is telling me he did a budget without reading the scripts!!!). He then claimed he relied upon Ahmed telling him what was needed. As I understand it, they then arrived at a budget of about $37.5 million then applied a $10 million fee. On this basis a deal was struck and ATP were committed to making the show for $37.5 million.*

Only problem was, this budget was for Qatar and when they brought in the professionals to re-budget the show, the budget shot up. Specifically, the art dept cost was about $11 million and visual effects about $6 million. Once all the other departments were added, the budget was way more than $37.5 million.

As a result, Talal pushed to have as much of the show moved to Jordan as possible and then, while production dragged, he began taking his fee and syphoning off whatever else he could get away with. Only problem was, they needed $37.5 million to do the show in Jordan too. So Talal and Fadi allegedly embezzled what they could, while leaving Ibrahim minimum resources to produce the show.

What doesn’t make sense is why they started misappropriating funds when they needed it all to make the show. I can only assume that either;

  1. They really did not believe it could be done for the money – in which case they are idiots because clearly it could.
  2. They never cared about the show and just set out to plunder every dollar they could. Which is even more idiotic because they would have made a lot more money if they’d set out to make the best show possible and had run it for five years.

Anyway, whatever their excuse, Ibrahim now acts like he is paralysed. He will not  commit any funds. Meantime they have spent $3-6 million (possibly more) and shot nothing.

Now the studio is demanding the production move back to Qatar. Chris and I have done the math. Qatar is about 6 to 8 times more expensive than Jordan. So if the show is going to cost $37.5 million in Jordan, it is going to cost about $250 million in Qatar!

ATP signed a contract.

ATP *has* to deliver.

ATP is screwed.

Maybe this is why ATP seems to be quietly planning the set-up other service companies. They may mean to transfer all assets to them. They have local crew on miniscule wages. They might be abandoning ship!

As for Ahmed? Chris and Simon are not talking to him. They found his emails to be offensive so they are giving him the silent treatment in the hope he’ll learn some respect. But Bob told me that Qatari’s don’t do respect because they do not have to. I suggested to Chris that if Talal fails they should get on a plane and visit Ahmed to talk friend-to-friend with him.

So it’s wait and see time again. All we can do now, is see what happens on Sunday.


^ I don’t say this lightly. Aside from going to film school in my 20’s, I also taught at film school for several years, so I was very aware of the intriguing similarities between ATG’s work ethic (and misplaced arrogance) to those of many film students that I taught.

* There follows an audio recording of the conversation I had wth Ibrahim in which he blames Ahmed for the ill-conceived budget, explains why the budget does not work (not his fault, of course), and states that he never read the scripts!

audio