the crazy for you fund documents
25 The Crazy for You Fund was one of a number of tax driven investment schemes in entertainment productions that were made between BOSA, OCBC, Capital and other parties in the period 1995-1997.
26 The first relevant document in evidence is a letter of 20 June 1995, in which a framework was proposed between Capital and the "Bank" (at that time BOSA) in relation the assignment of loans made by Capital to investors in various stage productions, including "Crazy For You.". That proposal was accepted on 30 June 1995, and established an arrangement which relevantly provided:
"1. Nature of Proposal
The Bank will, at its discretion, take assignments from Capital of Qualifying Loans (as defined below).
The Bank will pay Capital for each Qualifying Loan an amount equal to the principal amount of the loan as at the date of assignment.
The Bank will also engage Capital to manage all Qualifying Loans which the Bank buys from Capital.
2. Qualifying Loans
The Bank will buy a loan from Capital only if it satisfies the following criteria relevant to each facility, those criteria being set out in the schedules annexed hereto.
The following criteria will also apply, to all facilities:
(i) The Bank's solicitors must have certified that the underlying transaction and documentation in each case is legally satisfactory.
(ii) The borrower must satisfy the Credit Approval Guidelines specified in the Bank's letter dated 24 March 1995.
(iii) The loan must not have been in default at any time.
(iv) The loan must have been made on the terms of the Loan Agreement approved by the Bank; those terms must include:
(a) an acceptable interest rate of not less than 1.75% per annum over and above the Bank's cost of funds as determined by the Bank for each of the terms, the penalty rate to be 3.75% per annum above the Bank's costs of funds;
(b) interest payable monthly in arrears;
(v) The Bank's solicitors must certify that all the Bank's security requirements in respect of the loan have been satisfied.
… (Emphasis added)
27 On 8 March 1996, a key document in relation to the Crazy for You Fund, the Deed of Investment, was prepared. The parties to the Deed of Investment were Mr Coote (as the "Representative"), Phillip Emanuel Productions, (as the "Management Company"), and those persons who would subsequently execute investment applications (the "Investors"). That document recited that:
"A. The Management Company proposes to co-produce a live stage presentation entitled 'Crazy For You' (the 'Stage Presentation') based upon the songs of George Gershwin.
B. The Management Company proposes to commence rehearsals for the Stage Presentation in August 1996.
C. The total Budget Cost being a maximum of $5,500,000, will be met from Investments and as such is the amount proposed to be raised pursuant to this Deed.
D. The terms and conditions of this Deed shall be binding on the Representative and Management Company and each Investor as if each Investor were a signatory to this Deed …" (Emphasis added)
28 Clause 2 defined "Budget Cost" to mean the amount that Phillip Emanuel Productions must contribute to the total budget cost for the stage presentation, plus other costs of Phillip Emanuel Productions, to a maximum of $5.5 million.
29 The "Pre-Production Budget" is defined as that part of the total budget cost attributable to the costs incurred prior to the first public presentation of the stage presentation.
30 The "Running Budget" is defined as that part of the total budget cost attributable to costs incurred by the ongoing public presentation of the stage presentation.
31 Clause 23.1 provided that:
"The Management Company will with all due diligence proceed to expend the Investments in the making of the Stage Presentation pursuant to this Deed within 13 months from the end of the Financial Year in which the Investments are received."
32 The Second Schedule to the Deed of Investment set out a budget, which totalled $5,500,000, in respect of pre-production costs, general overheads, production costs and running costs.
33 In addition to the Deed of Investment there were other constituent documents of the Crazy For You Fund. The first was the Co-Producers Equity Agreement of 29 March 1996 between Gordon Frost Attractions Pty Limited ("Gordon Frost") and the Adelaide Festival Centre Trust ("the Trust"), referred to as "the Producers", and Phillip Emanuel Productions, referred to as "the Co-Producer" (the "Co-Producers Equity Agreement"). In this agreement, Phillip Emanuel Productions agreed to procure investment in the capitalisation of the production by contributing $1,000,000 to the pre-production costs. Recital C provided:
"The Co-Producer has agreed to pay or procure investment in the capitalisation of the Production by contributing or procure (sic) contributions to the funding of Pre-Production Costs on the terms and conditions set out in this Agreement; (see attachment B)"
34 A copy of attachment B was not included in the Court Book.
35 Clause 7 of the Co-Producers Equity Agreement provided:
"(a) The capital required to provide the initial funding of the Pre-Production Costs for the Season is $3,000,000 ('the Capitalisation') which is represented in the Pre-Production Costs budget as in Attachment B.
(b) Provided the Producers are fully complying with all its [sic] obligations under the Agreement and the Co-Producer's Agreement, the Co-Producer shall contribute the sum stated in the Schedule hereto [$1,000,000] towards the Capitalisation on the date or dates and in the proportion referred to in the Schedule; and the Producers shall (whether by itself or from its own resources or by obtaining investments from third party Co-Producers) use reasonable endeavours to procure contributions for the balance of the Capitalisation provided that the Co-Producer may withdraw its contribution by notice in writing if the Producers does [sic] not match the Co-Producer's contribution to the balance of capitalisation pro rata by July 15, 1996. Any sums contributed by the Producers to the Pre-Production Costs in excess of the Capitalisation shall be treated as a loan by the Producers to the Production which shall be repayable in priority to any repayment to the Co-Producer and any other Co-Producer or Co-Producers …" (Emphasis added)
36 The same parties also executed another agreement, known as the "Co-Producers Agreement".
37 Under this agreement, Phillip Emanuel Productions as "Co-Producer" agreed to provide to the Trust and Gordon Frost, as "the Producers", services in connection with the production. Clause 6, which related to the budget, provided:
"The budgets for Pre-Production Costs and Weekly Running Costs for the Production, which have been drawn up by the AFC [the Trust] in consultation with GFA [Gordon Frost] shall be considered final and may only be varied by mutual consent. These budgets are attached and marked as Attachment B and C, respectively."
38 Clause 8(a), entitled "Production Services", provided that:
"The Co-Producer agrees on the reasonable request of the Producers to provide services where applicable in relation to the following:
i. all stage facilities and services;
ii. writing and directing services;
iii. pre-production and production supervision services;
iv. services of actors and actresses;
iv. all musical facilities and services" (Emphasis added)
39 This makes it clear that Phillip Emanuel Productions was bound to provide services and facilities for the running of the production. It appears that these documents were not executed until the first settlement on 19 July 1996, but this is of no significance for present purposes.
40 The next document is the "Production Services Agreement" made between Phillip Emanuel Productions and Mr Coote, as representative of the participants. It contains an agreement by each of the participants to provide services to Phillip Emanuel Productions to assist it in producing the stage production. Clause 2 related to the obligations as to production of the musical and provided:
"The Participant severally agrees to provide such necessary Production Services, facilities and personnel required to co-produce and present the Stage Presentation in accordance with the items and amounts set out in the Stage Presentation Budget." (Emphasis added)
41 Clause 19.1 provided for payment of "fees" for "services" to be made to participants:
"In consideration for provision of Production Services, the Co-Producer shall pay to the Participant, or as it may direct, the fees to be calculated in accordance with Item 11." (Emphasis added)
42 Item 11 of the Schedule to the Production Services Agreement set out the fees to be paid to the participants. These fees, over a period of six years, total 100% of the "Production Contribution Moneys", which is the money invested by each participant. It is apparent from this that the participants' capital was not at risk. The fees were in an amount equal to the total capital investment.
43 The "Production Management Agreement" dealt with the participants' appointment of Phillip Emanuel International, as the production management company, to carry out and perform the participants' obligations to Phillip Emanuel Productions. The parties to the Production Management Agreement were Phillip Emanuel Productions (as "Co-Producer"), Phillip Emanuel International (as "Production Management Company"), Mr Coote (as "Representative") and persons who subsequently became a party to the agreement by virtue of the Deed of Investment (as "Participants"). The relevant provisions of this were as follows:
"3.1 The Participant appoints the Production Management Company and the Production Management Company accepts such appointment, for the duration of the Rehearsal Time and the Season, to supervise and administer the performance of the Participant's obligations to the Co-Producer in accordance with the Production Services Agreement and the Participant's participation in the production of the Stage Presentation upon the terms and conditions of this Agreement.
…
4.1 The Production Management Company covenants with the Participant that it shall require the Production Contribution Moneys to be spent only for the purposes referred to in clause 3.1 of this Agreement or for such additional purposes as required or authorised under the Trust Deed or in respect of which notice is given in the Prospectus and not otherwise.
4.2 The Production Management Company is irrevocably authorised by the Participant to call upon the Representative to make payments to the Production Management Company out of the Production Contribution Moneys Account to enable the Production Management Company to perform its functions under this Agreement." (Emphasis added)
44 Clause 10 of the Production Management Agreement provided:
"10.1 All Pre-Production Expenses and Running Expenses for the Stage Presentation which are to be contributed by a Participant will be contributed by that Participant pursuant to the Prospectus in one lump sum payment of Production Contribution Moneys to the Representative. The Representative will then immediately settle those moneys on the Co-Producer and Production Management Company, who will then expend those funds to meet Pre-Production Expenses for the Stage Presentation, and then Running Expenses for the Stage Presentation as detailed in the Stage Presentation Budget.
10.2 For the avoidance of doubt, on 12 July 1996, all production Contribution Moneys contributed by a Participant will be paid to the Production Management Companyby the Representative to enable it to fulfil its obligations under this Agreement. The Production Management Company must then provide the Co-Producerwith such funds as are necessary to enable the Co-Producer to fulfil its functions under the Production Services Agreement, the Co-Producer's Agreement and the Co-Producer Equity Agreement." (Emphasis added)
45 On 22 April 1996, Phillip Emanuel Productions published the Prospectus. This Prospectus was for the subscription of $5.5 million to be used to finance the production of the musical "Crazy For You". It stated that the stage presentation was a co-production between Phillip Emanuel Productions, Gordon Frost and the Trust. It also stated that participants must play an active role in the production of the stage presentation (this is directed to tax deductibility considerations) and that participants would contract with the Production Management Company [Phillip Emanuel International] to assist them in fulfilling this role. There was a reference to "Participants Entitlements" where it was stated that participants would be entitled to fees which, over the relevant period of six years, would total 100% of the cash value of their initial investment. In relation to income tax concessions, the Prospectus stated:
"The Investment of a Participant could potentially be characterised under section 51(1) of the Tax Act as money which has been expended in the course of an income producing activity, that is, the production of the Stage Presentation. A tax concession may therefore be available to all Participants in the 1995/96 financial year in relation to the full amount of the Investment. However, neither the Management Company nor the Representative guarantees the availability of any tax concession and Investors should refer to the independent taxation opinion on pages 15-18 and to their own financial and legal advisers with respect to the availability of any concessions." (Emphasis added)
46 In relation to "The Producers' Contribution", the Prospectus stated that the Management Company [Phillip Emanuel Productions] would contribute one million dollars to the pre-production costs for the stage presentation. It stated that the running costs for the production were $296,000 per week and that Gordon Frost, the Trust and the Management Company were responsible for any shortfall in the running costs and any losses.
47 Importantly, in relation to security for the payment of fees to participants, the Prospectus stated:
"In respect of the abovementioned fees payable to Participants (up to a maximum of $5,500,000, depending upon total subscriptions under this Prospectus) the Management Company [Phillip Emanuel Productions] will provide or procure the Security (refer definition in Glossary) to secure the fees. As at the date of this Prospectus the Security has not yet been issued. If the Management Company is unable to provide or procure the Security any Investments received will be returned in full to the respective Participants. The Management Company does not anticipate that it will be unable to provide the Security." (Original emphasis)
48 The term "Security" was defined in the glossary to the Prospectus as meaning one or more of the following, as approved by the Representative [Mr Coote]:
"(a) any security, letter of credit, guarantee or bill of exchange issued, guaranteed or endorsed by an Australian bank;
(b) bonds issued by any State Government or the Commonwealth Government or any government or semi-government instrumentality or statutory corporation which is rated at least A- by Australian Ratings, Moody's Investors Services or Standard Poors Index; or
(c) a managed fund comprising of the above securities referred to in paragraphs (a) and (b).
(d) In the event that Participants are borrowing funds from a lender, any security approved by the Investors' Representative and the lender and which may be issued by a corporation or financial institution other than those stated in (a), (b) and (c) above." (Emphasis added)
49 It is apparent that a central feature of the investment in the Crazy for You Fund was that the payment of fees equal to 100% of the amount of the initial investment would be secured by "Security" as defined. This security was important to the investors.
50 The Prospectus included a taxation advice in the form of a letter from Gadens Ridgeway Lawyers ("Gadens Ridgeway"), dated 19 April 1996, addressed to the directors of Phillip Emanuel Productions. The advice listed and described the constituent documents of the Crazy for You Fund. It stated that the budget cost of the production was $5.5 million. In relation to income tax concessions, the advice stated that participants were required to expend funds to facilitate the production of "Crazy For You" under the Production Services Agreement. It continued:
"Subject to the comments in this letter these funds should be deductible pursuant to s.51(1) of the Income Tax Assessment Act on the basis that the expenditure is incurred in gaining or producing assessable income, or alternatively, incurred in carrying on the business for that purpose.
Subject to our comments below, it is our opinion that:
(a) the expenditure of production moneys by participants in relation to the provision of the theatrical production services for 'Crazy For You' is deductible under section 51(1) by reason of these being characterised as outgoings necessarily incurred in carrying on a business for the purpose of gaining or producing assessable income;
(b) the expenditure is available as a deduction at the time, and to the extent to which, the Production Management Company requires the Representative to pay to it the production management fee in conformity with the express contractual stipulation pursuant to the terms of the Production Management Agreement;
(c) provided the participants entered into the contemplated transactions with the dominant purpose of making a profit from the project itself, Part IVA, the general anti avoidance provision should not apply. Further, it is our view that there are no other provisions of the Act that would have a justified application to the transactions contemplated." (Emphasis added)
51 It is not in dispute that the clear inference to be drawn from the tax advice and the Prospectus was that the moneys raised pursuant to the Prospectus would all be applied towards the stage production.
52 Under the heading "Explanation of Budget" the Prospectus stated:
"The Management Company [Phillip Emanuel Productions] is obliged, under the Production Management Agreement, to contribute up to $1,000,000 of the total Pre-Production Costs for the Stage Presentation. In addition to raising the $1,000,000 of the Pre-Production Costs, the Management Company is raising funds from Participants to contribute to the Running Costs of the Stage Presentation. Set out below is the full budget for the Stage Presentation. Section 1 shows the Pre-Production Costs in total, being $3,000,000 and the Management Company's share of those Pre-Production Costs as being $1,000,000. Section 2 of the Budget shows the general overheads payable by the Management Company only with respect to the issue of this Prospectus, and section 3 shows fees payable to the Management Company out of funds raised under this Prospectus. Finally, section 4 of the Budget shows the projected weekly Running Budget, which, if the full amount is raised under this Prospectus, will be paid for a total of 12 weeks (plus part week 13) by the funds invested by the Participants." (Emphasis added)
53 This statement indicates that money was being raised from participants for Phillip Emanuel Productions to contribute both to the pre-production costs and the running costs of the stage presentation.
54 The Prospectus summarised the contractual arrangements concerning the stage presentation as follows:
"In summary, the effect of the Production Services Agreement and Production Management Agreement is that the Investments which are subscribed under this Prospectus are paid to the Representative by the Participants, and that money is then paid to the Production Management Company [Phillip Emanuel International] for its services under the Production Management Agreement. In turn, the Production Management Company must then provide the Management Company [Phillip Emanuel Productions]with funds to enable it to perform its obligations to its partners with respect to the payment of Pre-Production Costs, and to satisfy the other costs to the Management Company detailed in the Budget. The balance of funds will be used to offset Running Costs of the Stage Presentation." (Emphasis added)
55 The Prospectus also contained warnings for potential investors. For example, it stated:
"Investment in stage presentations is subject to a high degree of risk and the investment being the subject of this Prospectus should be considered speculative."
56 There were also warnings as to the uncertainty of the taxation consequences of the participants' investments.
57 The evidence indicates that OCBC did not receive a copy of the Prospectus until some time in June 1996.
58 On 30 May 1996, Mr Park wrote to Mr Lawrence of BOSA (later OCBC) outlining a number of proposed transactions and schemes for the forthcoming tax period. These schemes included the Crazy For You Fund. On 31 May 1996, Cornwall Stodart Lawyers ("Cornwall Stodart") confirmed to its client, BOSA, that it would act on its behalf in the proposed transactions, whereby Capital would lend money to selected participants, and BOSA would take assignments of those loans on certain terms.
59 On 13 June 1996, Mr Lawrence wrote an internal memorandum which listed a number of tax deferment projects that BOSA had been asked to fund for the year ending 30 June 1996. It included the Crazy for You Fund.
60 Mr Lawrence confirmed:
"We will continue to have mortgaged to us our own Term Bonds being the security for our principal."
61 It was a requirement of BOSA, before it was prepared to purchase loans made to investors in stage productions, that the investor be entitled to 100% return of capital invested, which was fully secured. The security was provided by BOSA itself rather than another financial institution. In so doing, BOSA reduced the credit risk of the capital invested in the transaction, but remained exposed to the credit risk of the borrower in respect of interest payments and accordingly, conducted credit checks before it would approve the assignment of a loan.
62 In June 1996, Mr Patterson, a former partner at Cornwall Stodart, was provided with, and reviewed, a number of documents in relation to the Crazy For You Fund on behalf of BOSA/OCBC. On 17 June 1996, Mr Patterson sent a fax to Mr Hutchings of Cornwall Stodart, enclosing a draft of a letter to be provided, by Cornwall Stodart, to Mr Lawrence (as the Manager of Corporate Banking for "OCBC Australia") in relation to the project. Mr Patterson raised some concerns about the transaction. One of these was expressed as follows:
"5. Copy of executed Co-Producers Equity Agreement between Gordon Frost Attractions Pty Ltd and the Adelaide Festival Trust as 'Producers' and Phillip Emanuel Productions Ltd as 'the Co-Producer' dated 29 March 1996. NOTE - we have not been provided with copies of any of the various attachments referred to in this agreement. This is significant, since as we understand this agreement, the Co-Producer is bound only to provide $1 million towards the 'Pre-production costs (clause 7(b)); the Producer is obliged to meet all other expenses of mounting the production - see Recital C and clause 3. If this be correct, we cannot understand why the promoter needs to raise so much money." (Emphasis added)
63 This expression of concern was relied on by the applicant, as a circumstance which should have triggered enquiries, by the respondents, as to how the invested funds were to be used.
64 Dr Patrick completed an investment application and wrote out a cheque for $4,683.00, dated 25 June 1996, to Capital Finance Corporation. This committed him to making the investment, and on this basis he claimed a deduction for the year ended 30 June 1996. The investment application and cheque were given to Mr Ahearn, Dr Patrick's financial adviser, who forwarded them to Pacvest Securities Limited ("Pacvest"), which was the sponsoring broker identified in the Prospectus. On 28 June, Dr Patrick completed a loan application made to Capital Finance, which was received by Capital on 1 July 1996.
65 On 1 July 1996, Mr Coote sent a fax to Phillip Emanuel Productions with a list of the investment applications that had been made to the Crazy For You Fund, including that of Dr Patrick.
66 On 9 July 1996, Mr Park wrote to OCBC to confirm that a new entity, Capital Australasia, had been incorporated to serve as the financing vehicle for the Crazy For You Fund.
67 In early July 1996, credit inquiries were made, at Capital's request, with respect to Dr Patrick's loan application. The results were provided to OCBC to enable it to consider whether to agree to purchase Capital's loan to Dr Patrick. Cornwall Stodart also carried out a due diligence exercise in relation to the proposed loans, including the loan to Dr Patrick. On 8 July 1996, OCBC sent a memorandum to Capital, conditionally approving the assignment to OCBC of the proposed loan to Dr Patrick. On 16 July 1996, Capital Australasia wrote to Dr Patrick, conditionally approving a loan to him.
68 On 17 July 1996, Cornwall Stodart wrote to OCBC setting out the matters that it would certify in relation to each of the loans proposed to be assigned to OCBC by Capital.
69 On 18 July 1996, Cornwall Stodart sent Mr Park a letter, setting out the outstanding matters in relation to the Crazy for You Fund, including the concern expressed by Mr Patterson in relation to the need for funds.
70 Mr Hutchings of Cornwall Stodart then spoke with Mr Olivestone of Pacvest, and the reservation that Mr Patterson had expressed in June was resolved by Mr Olivestone, to the satisfaction of Mr Hutchings. Mr Hutchings then completed the solicitor's certificate, which was signed and issued without this reservation.
71 The first settlement of the investments involving the Capital loans and the assignments to OCBC occurred on 19 July 1996.