Who were the distributors?
The distributors were 'Universal' which are a well known company. They have also distributed films such as, 'Macgruber' and 'Robin Hood'.
Who was the target audience?
The target audience was mainly to teenagers as they can relate to alot of the situations in the film such as gangs, bullying and so on, and also because that was when Shane Meadow experienced simialar situations. But because of the swearing a racist comments it was rated an '18' so the audience was then changed.
How did the film makers decided where to release the film and when?
The film was release on 27th April 2007 in the U.K
Sunday, 23 May 2010
What were the issues for the production company during the production phase?
Was it an easy shoot?
There were some difficulties such as casting 'Shaun'. Meadow's already had his cast from previous films but had to find the right character for the main part. Also, getting it right and setting it in the eighties was difficult. Although he had memories of these times, he had never made a period piece before and portraying the eighties can be as difficult as the Victorian era.
Was any part of the film on location?
Well clearly most of the films was shot on location, for example, estates, but there wasnt anywhere particular they had to go like 'The Boat that Rocked'.
How significant was casting to reach specific audiences?
Well they aimed to reach young audiences just as much as other, but because of racist comments and strong language, the films was certified as an 18 so, the younger audience could not watch it.
How much did the film cost to make?
The film had a budget of £2.2 million , they didnt go over but when the film got released it made a big profit.
Important people-
Shane Meadows- writer/director
Mark Herbert- producer
Daniel Cohen- director of photography
Mark Leese- production designer
Richard Knight- location manager
Jo Thompson- costume designer
Chris Wyatt- editor
There were some difficulties such as casting 'Shaun'. Meadow's already had his cast from previous films but had to find the right character for the main part. Also, getting it right and setting it in the eighties was difficult. Although he had memories of these times, he had never made a period piece before and portraying the eighties can be as difficult as the Victorian era.
Was any part of the film on location?
Well clearly most of the films was shot on location, for example, estates, but there wasnt anywhere particular they had to go like 'The Boat that Rocked'.
How significant was casting to reach specific audiences?
Well they aimed to reach young audiences just as much as other, but because of racist comments and strong language, the films was certified as an 18 so, the younger audience could not watch it.
How much did the film cost to make?
The film had a budget of £2.2 million , they didnt go over but when the film got released it made a big profit.
Important people-
Shane Meadows- writer/director
Mark Herbert- producer
Daniel Cohen- director of photography
Mark Leese- production designer
Richard Knight- location manager
Jo Thompson- costume designer
Chris Wyatt- editor
What are the pre-production issues for the production company when making films?
Whos idea was the film?
Shane Meadows first came up with the idea for 'This is England' when working on his film 'Dead man's shoes' which contained abus. violence and victimisation too. He also, had incidents in his own life involving the skinhead situation.
What are the issues with the genre of the film?
There were some issues regarding the fact it was too violent and contained racial comments, because of this it was certified as an 18. However, councils such as Westminster, believe it should reach teenagers and certain circumstances in the film, happen in some young kids everyday lives.
Was it easy to arrange financial backing for the film?
Well the budget was £2.2 million. They were financially helped by Film Four and other companies. The fact that 'Warp Films' has produced all of Shane Meadow's films helped because that way people who trust that the film could be successful and would be willing to help.
Casting-
It wasn't hard to find casting for this film as Shane Meadows used the same actors and actresses as his previous films that way it cost less:
Thomas Turgoose played Shaun (main character)
Stephen Graham played Combo
Jo Hartley played Cynth
Andrew Shim played Milky.
Who was the producer?
The producer is Mark Herbert. Apart from 'This is England' he has produced other films such as, 'The Journey Man' and 'Four Lions'.
Who was the director?
The director is Shane Meadows who also wrote and came up with the idea.
Who composed the music?
The soundtrack was distributed by Universal record label.
Shane Meadows first came up with the idea for 'This is England' when working on his film 'Dead man's shoes' which contained abus. violence and victimisation too. He also, had incidents in his own life involving the skinhead situation.
What are the issues with the genre of the film?
There were some issues regarding the fact it was too violent and contained racial comments, because of this it was certified as an 18. However, councils such as Westminster, believe it should reach teenagers and certain circumstances in the film, happen in some young kids everyday lives.
Was it easy to arrange financial backing for the film?
Well the budget was £2.2 million. They were financially helped by Film Four and other companies. The fact that 'Warp Films' has produced all of Shane Meadow's films helped because that way people who trust that the film could be successful and would be willing to help.
Casting-
It wasn't hard to find casting for this film as Shane Meadows used the same actors and actresses as his previous films that way it cost less:
Thomas Turgoose played Shaun (main character)
Stephen Graham played Combo
Jo Hartley played Cynth
Andrew Shim played Milky.
Who was the producer?
The producer is Mark Herbert. Apart from 'This is England' he has produced other films such as, 'The Journey Man' and 'Four Lions'.
Who was the director?
The director is Shane Meadows who also wrote and came up with the idea.
Who composed the music?
The soundtrack was distributed by Universal record label.
Monday, 17 May 2010
Optimum Releasing
Optimum Releasing is a film distributor company working in the UK. The company releases many films, especially foreign language films, but is perhaps best known for its anime releases, including the contract to release all Studio Ghibli films in the UK.
Optimum's image is that of a modern, independent new release and back catalogue distributor, and they release films under four strands: Optimum Releasing (Theatrical New Releases), Optimum Home Entertainment (DVD and Blu-ray Disc New Releases), Optimum Classic (DVD Re-releases of back catalogue films) and Optimum World (New and Back Catalogue World Cinema).Their image was mostly created by their work with specialist London-based film graphic design agency All City Media, who created their company ident which features an excerpt from Goodnight Vienna from the techno group LFO's Advance album
They release over 200 films a year and are one of the most prominent distributors in the UK independent film and world cinema market since the closure of Tartan Films in 2008.Optimum was acquired by StudioCanal, a subsidiary of Vivendi SA, in 2006. Since StudioCanal bought Optimum, the French company distribute their large back catalogue of classic British films (many from the Cannon and EMI catalogues) through Optimum releasing under the strand 'Optimum Classic'.
Optimum's image is that of a modern, independent new release and back catalogue distributor, and they release films under four strands: Optimum Releasing (Theatrical New Releases), Optimum Home Entertainment (DVD and Blu-ray Disc New Releases), Optimum Classic (DVD Re-releases of back catalogue films) and Optimum World (New and Back Catalogue World Cinema).Their image was mostly created by their work with specialist London-based film graphic design agency All City Media, who created their company ident which features an excerpt from Goodnight Vienna from the techno group LFO's Advance album
They release over 200 films a year and are one of the most prominent distributors in the UK independent film and world cinema market since the closure of Tartan Films in 2008.Optimum was acquired by StudioCanal, a subsidiary of Vivendi SA, in 2006. Since StudioCanal bought Optimum, the French company distribute their large back catalogue of classic British films (many from the Cannon and EMI catalogues) through Optimum releasing under the strand 'Optimum Classic'.
This Is England
This is England could have ended there, as a kind of prequel to A Clockwork Orange, but Meadows isn't content with telling a simple cautionary tale. Instead, he takes the movie through a predictable crisis to an unconvincing redemption and a final montage that sketches an insufficiently explored turnaround. With a symbolic gesture set to a plaintive Smiths tune, Shaun renounces his nationalist leanings, and whatever rang true about him is sublimated entirely into the stuff of movies. That's not England, that's pure Hollywood
This Is England
Much of the film was shot in residential areas of Nottingham, including St Ann's, Lenton and The Meadows, with one section featuring abandoned houses at the former airbase RAF Newton, outside of Bingham, Nottinghamshire. The opening fight was filmed at Wilsthorpe Business and Enterprise College, a secondary school in Derbyshire.Additional scenes were filmed in Grimsby, Turgoose's home town.
Turgoose was 13 at the time of filming.Turgoose had never acted before, had been banned from his school play for bad behaviour, and demanded £5 to turn up for the film's auditions. The film was dedicated to Turgoose's mother, Sharon, who died of cancer on 29 December 2005; while she never saw the film, she saw a short preview. The cast attended her funeral.
Turgoose was 13 at the time of filming.Turgoose had never acted before, had been banned from his school play for bad behaviour, and demanded £5 to turn up for the film's auditions. The film was dedicated to Turgoose's mother, Sharon, who died of cancer on 29 December 2005; while she never saw the film, she saw a short preview. The cast attended her funeral.
This Is England
Meadows and his production team are in talks with reggae label Trojan to supply the soundtrack.Part-financed by Film Four, the project has a budget of just £2.2 million.
This Is England
This Is England, which was also produced by Warp, earned in excess of $3m (£1.8m) in the UK and over $4m (£2.5m) at the international box office.
Warp has produced all of the Meadows’ films since 2003 and their latest project, mockumentary Le Donk and Scor-zay-zee starring Paddy Considine, premiered at the Edinburgh Film Festival earlier this summer.
Warp has produced all of the Meadows’ films since 2003 and their latest project, mockumentary Le Donk and Scor-zay-zee starring Paddy Considine, premiered at the Edinburgh Film Festival earlier this summer.
Sunday, 16 May 2010
This is England
In its opening weekend This Is England Made £207,676 in the UK and $18,430 in the US
This is England
The film was given an 18 certificate by the BBFC due to racist language and violence. However, councils such as Bristol, Camden and Westminster felt the film should reach teenagers. The film was shown at international film festivals, including London, and Meniscus was allowed to shown it at Grimsby's Whitgift Film Theatre.
On 5 January 2008, the review aggregator Rotten Tomatoes reported that 93% of critics gave the film positive reviews, based on 82 reviews. Metacritic reported the film had an average score of 86 out of 100, based on 23 reviews — indicating "universal acclaim".This made it the tenth best reviewed film of the year. The film appeared on several US critics' top ten movie lists of 2007; it was third on the list by Newsweek's David Ansen, seventh on the list by The Oregonians Marc Mohan, and ninth on the list by Los Angeles Times' Kevin Crust. In Britain, director Gillies Mackinnon rated the film the best of the year and David M. Thompson, critic and film-maker, rated it third. The film was ranked fourteenth in The Guardian's list of 2007's Best Films and fifteenth in Empire's Movies of the Year.
The film won the Alexander Korda Award for Best British Film at the 2007 British Academy Film Awards. It also won the Best Film category at the 2006 British Independent Film Awards, Thomas Turgoose winning the Most Promising Newcomer award.
On 5 January 2008, the review aggregator Rotten Tomatoes reported that 93% of critics gave the film positive reviews, based on 82 reviews. Metacritic reported the film had an average score of 86 out of 100, based on 23 reviews — indicating "universal acclaim".This made it the tenth best reviewed film of the year. The film appeared on several US critics' top ten movie lists of 2007; it was third on the list by Newsweek's David Ansen, seventh on the list by The Oregonians Marc Mohan, and ninth on the list by Los Angeles Times' Kevin Crust. In Britain, director Gillies Mackinnon rated the film the best of the year and David M. Thompson, critic and film-maker, rated it third. The film was ranked fourteenth in The Guardian's list of 2007's Best Films and fifteenth in Empire's Movies of the Year.
The film won the Alexander Korda Award for Best British Film at the 2007 British Academy Film Awards. It also won the Best Film category at the 2006 British Independent Film Awards, Thomas Turgoose winning the Most Promising Newcomer award.
This Is England-Warp Films
Warp Films is the sister company of Warp Records, the Sheffield based label who released Aphex Twin, and Squarepusher among others.
Their approach to filmmaking mirrors their music policy. Namely to support artists with individual visions, providing a platform for left of centre projects. Warp saw the revolution that happened in music 12 years ago, with the accessibility of better equipment allowing artists to lay down tracks in their bedrooms, being mirrored in filmmaking. The rise of digital technology in film, allowing people to shoot cheaply and edit at home contributed to this.
Warp's first project was the Chris Morris BAFTA winning short My Wrongs. Dead Man's Shoes was the company's first feature film. They now follow up that success with This Is England.
In the words of producer Mark Herbert, "Warp films are about having a voice. I hate manufactured indie or manufactured pop. Anything that feels like you're doing something just to fill certain criteria. The ethos isn't a set of rules, it's about not worrying about commercial influences, or ticking the right boxes, and becoming mainstream. No one process is right or wrong."
Of his relationship with Shane, Mark says, "Personally I've got a very good friendship with him. He makes things happen, and he's got a voice. There's something very distinctive and original that only he does, he's very DIY and earthy as a filmmaker and that fits with Warp perfectly.
Their approach to filmmaking mirrors their music policy. Namely to support artists with individual visions, providing a platform for left of centre projects. Warp saw the revolution that happened in music 12 years ago, with the accessibility of better equipment allowing artists to lay down tracks in their bedrooms, being mirrored in filmmaking. The rise of digital technology in film, allowing people to shoot cheaply and edit at home contributed to this.
Warp's first project was the Chris Morris BAFTA winning short My Wrongs. Dead Man's Shoes was the company's first feature film. They now follow up that success with This Is England.
In the words of producer Mark Herbert, "Warp films are about having a voice. I hate manufactured indie or manufactured pop. Anything that feels like you're doing something just to fill certain criteria. The ethos isn't a set of rules, it's about not worrying about commercial influences, or ticking the right boxes, and becoming mainstream. No one process is right or wrong."
Of his relationship with Shane, Mark says, "Personally I've got a very good friendship with him. He makes things happen, and he's got a voice. There's something very distinctive and original that only he does, he's very DIY and earthy as a filmmaker and that fits with Warp perfectly.
This is England
Shane Meadows has always pioneered a unique approach to filmmaking, working with local non professional actors and a core group of friends and family, whilst being open to fresh talent. With the producer Mark Herbert, who first worked with Shane on his previous film Dead Man's Shoes, he is pioneering a Northern Cottage Industry, which Mark refers to as Shane's DIY ethos. Forging relationships that will continue through many films his key collaborators include his Locations Manager and brother-in-law Richard Knight, Stills Photographer Dean Rogers and his Casting Director, Co-producer and partner Louise Meadows. Many of the key crew for this film worked previously with Shane on Dead Man's Shoes including Director of Photography Danny Cohen and Editor Chris Wyatt.
This is England
Shane first hit on the idea for This Is England whilst working on his preceding film, Dead Man's Shoes, a story of victimisation, abuse of power and revenge, in rural England. It was a project that made the director reflect on the nature of bullying and violence. Specifically there was an incident from his own life, when he was about 12-years-old and had become a skinhead, when as he explains, "I thought the be all and end all in life was that kind of hard masculinity in men. I craved to be like a Jimmy Boyle, or a John McVicar, or a Kray.
It's like kids who are into Beckham, I was into Jimmy Boyle in the same way. I wanted to see men fight, and there was an act of violence that I almost prompted, and that was something that became very difficult to live with." Ironically it was this experience, alongside the example set by a figure like Jimmy Boyle, a criminal who became an artist, which ultimately became very influential for Shane in a positive way.
Of his childhood in Uttoxeter in the eighties, then a small Midlands town with a population of around 10 000, high unemployment, and the epitome of Thatcher's rural dispossessed, the director reflects: "Coming from a town like Uttoxeter, nobody expects you to leave and become a filmmaker. In a way my reaction to that act of violence was the first stepping stone to getting out of that way of life."
As Shane sees it, making This Is England has become a way of exorcising the demons of that night of violence, yet the impact of those early experiences can be felt across the body of his work. Indeed all of his films deal with issues of masculinity, from the boys' boxing club of TwentyFourSeven to the compromised boyhood friendship in A Room For Romeo Brass, the question of male power structures and revenge in Dead Man's Shoes, through to the teen tribes and father figures of This Is England. "In film terms it's almost like the Star Wars series," he jokes. "Now I'm into my prequel series. This Is England is made before all of my other films. The others are based on a certain period of time, from 15-years-old onwards when, though I abhorred violence, I was a bit of a small time crook. I think This Is England has gone as far back as I could probably go and found the root of what got me making films to begin with
It's like kids who are into Beckham, I was into Jimmy Boyle in the same way. I wanted to see men fight, and there was an act of violence that I almost prompted, and that was something that became very difficult to live with." Ironically it was this experience, alongside the example set by a figure like Jimmy Boyle, a criminal who became an artist, which ultimately became very influential for Shane in a positive way.
Of his childhood in Uttoxeter in the eighties, then a small Midlands town with a population of around 10 000, high unemployment, and the epitome of Thatcher's rural dispossessed, the director reflects: "Coming from a town like Uttoxeter, nobody expects you to leave and become a filmmaker. In a way my reaction to that act of violence was the first stepping stone to getting out of that way of life."
As Shane sees it, making This Is England has become a way of exorcising the demons of that night of violence, yet the impact of those early experiences can be felt across the body of his work. Indeed all of his films deal with issues of masculinity, from the boys' boxing club of TwentyFourSeven to the compromised boyhood friendship in A Room For Romeo Brass, the question of male power structures and revenge in Dead Man's Shoes, through to the teen tribes and father figures of This Is England. "In film terms it's almost like the Star Wars series," he jokes. "Now I'm into my prequel series. This Is England is made before all of my other films. The others are based on a certain period of time, from 15-years-old onwards when, though I abhorred violence, I was a bit of a small time crook. I think This Is England has gone as far back as I could probably go and found the root of what got me making films to begin with
Saturday, 15 May 2010
Monday, 3 May 2010
What was the impact for marketing and consumption from the following aspects of distribution for your film?
Analyse:
This film poster reaches their target audience as it shows all the main characters and their personalities by their facial expression for example. It gives the audience an insight to the time of the film, which is the 60's, because of their constumes, hair styles and so on. Also, some people can relate to certain characters by either seeing them in other films or older people relating back to their teenage years in the 60's. As well as this, a few of the characters have headphones and a microphone shows music is involved which can also attract them.
Were there any merchandise?
There isn't any merchandise, the film didnt even do successfully let alone merchandise. There may be posters.
Was any additional publicity gained?
Yes, by bringing the film out in other countries and calling it 'Pirate Radio' caused additional publicity.
How did the distributors market the film by utilizing 'the talent' to appear on tv and radio shows?
They marketed it by posters and film trailers which attracted attention and publicity which caused 'the talent' to appear on tv and radio shows.
What kinds of press stories were released as and before the film came out?
After it was released the press criticised the film saying it was too long and that it jumped to places without the audience knowing.
This film poster reaches their target audience as it shows all the main characters and their personalities by their facial expression for example. It gives the audience an insight to the time of the film, which is the 60's, because of their constumes, hair styles and so on. Also, some people can relate to certain characters by either seeing them in other films or older people relating back to their teenage years in the 60's. As well as this, a few of the characters have headphones and a microphone shows music is involved which can also attract them.
Were there any merchandise?
There isn't any merchandise, the film didnt even do successfully let alone merchandise. There may be posters.
Was any additional publicity gained?
Yes, by bringing the film out in other countries and calling it 'Pirate Radio' caused additional publicity.
How did the distributors market the film by utilizing 'the talent' to appear on tv and radio shows?
They marketed it by posters and film trailers which attracted attention and publicity which caused 'the talent' to appear on tv and radio shows.
What kinds of press stories were released as and before the film came out?
After it was released the press criticised the film saying it was too long and that it jumped to places without the audience knowing.
What was the impact for marketing and consumption from the following aspects of distribution for the film?
Who were the distributors?
The distributors were 'Universal' which are a well known company. They have also distributed films such as, 'Macgruber' and 'Robin Hood'.
Who was the target audience?
The target audience for the film is quite wide, I would say it is for teenagers in Britain however there will be many older people willing to see this film from the 60's as that was the time they were teenagers. The fact that the film is a Richard Curtis film will also widen the target audience as he has been writing films for years now and people who are familiar with his films will wish to see them.
How did the film-makers decide where to release the film and when?
It was released in the United Kingdom on 1 April 2009. After the film's failure in the UK, it was re-edited and retitled 'Pirate Radio' for release in the United States and Canada on 13 November 2009.
What was the marketing and advertising strategy for the film?
Film marketing, trailers and posters.
Was there a premiere?
Yes there was a premiere in London.
Was the film distributed to digital cinemas?
It was distributed in digital cinemas such as, Odeon and Cineworld.
When did it go to DVD, HD-DVD?
Dvd and HD was released on the 7th September 2009.
How important are internet downloads and YOUTUBE?
It is important because it's like free advertising such as links on facebook which attracts the audience. For instance, movie trailers will make people want to see the movie. Also YOUTUBE can tell the producers if the movie will do well as they can see how many hits they have got.
The distributors were 'Universal' which are a well known company. They have also distributed films such as, 'Macgruber' and 'Robin Hood'.
Who was the target audience?
The target audience for the film is quite wide, I would say it is for teenagers in Britain however there will be many older people willing to see this film from the 60's as that was the time they were teenagers. The fact that the film is a Richard Curtis film will also widen the target audience as he has been writing films for years now and people who are familiar with his films will wish to see them.
How did the film-makers decide where to release the film and when?
It was released in the United Kingdom on 1 April 2009. After the film's failure in the UK, it was re-edited and retitled 'Pirate Radio' for release in the United States and Canada on 13 November 2009.
What was the marketing and advertising strategy for the film?
Film marketing, trailers and posters.
Was there a premiere?
Yes there was a premiere in London.
Was the film distributed to digital cinemas?
It was distributed in digital cinemas such as, Odeon and Cineworld.
When did it go to DVD, HD-DVD?
Dvd and HD was released on the 7th September 2009.
How important are internet downloads and YOUTUBE?
It is important because it's like free advertising such as links on facebook which attracts the audience. For instance, movie trailers will make people want to see the movie. Also YOUTUBE can tell the producers if the movie will do well as they can see how many hits they have got.
Thursday, 29 April 2010
What were the issue's for the production company during the production phase?
Was it an easy shoot?
There were some challenges with the filming as they had to film some parts in the studio instead of the location because it was on a boat. Also getting people on the boat was a challenge, this meant not every scripted scene went into the final version of the film.
Was any part of the film shot on location, if so where?
External scenes around Radio Rock were shot around the Timor Challenger when she was moored close to Weymouth during the spring and early summer of 2008. However, the internal and studio scenes were all shot in London's Shepperton studios on a plywood mock up of the ship, all built on a steel framework, manouvered by a hydraulic system to re-create the rocking motion of a ship at sea.
How significant was casting to reach specific audiences?
The casting of actors/actresses was very important because not only did they have to be able to play a certain character but they had to be well known names to attract the audience more.
Were there any changes the script during production?
There were changes due to location, some scenes did not end up getting shot so was cut out of the final version.Key people-Key people who paid contribution to the film would be:Richard Curtis-Writer and DirectorTim Bevan and Eric Fellner- Working Titles producersHilary Bevan Jones-ProducerThe castWhat were the technological issues for the studio for producing and distributing the film?Well critics put the film down by saying it was too long and it wasnt very successful. The film was the brought out in other countries renamed as Pirate Radio, but still was unsuccessful.
There were some challenges with the filming as they had to film some parts in the studio instead of the location because it was on a boat. Also getting people on the boat was a challenge, this meant not every scripted scene went into the final version of the film.
Was any part of the film shot on location, if so where?
External scenes around Radio Rock were shot around the Timor Challenger when she was moored close to Weymouth during the spring and early summer of 2008. However, the internal and studio scenes were all shot in London's Shepperton studios on a plywood mock up of the ship, all built on a steel framework, manouvered by a hydraulic system to re-create the rocking motion of a ship at sea.
How significant was casting to reach specific audiences?
The casting of actors/actresses was very important because not only did they have to be able to play a certain character but they had to be well known names to attract the audience more.
Were there any changes the script during production?
There were changes due to location, some scenes did not end up getting shot so was cut out of the final version.Key people-Key people who paid contribution to the film would be:Richard Curtis-Writer and DirectorTim Bevan and Eric Fellner- Working Titles producersHilary Bevan Jones-ProducerThe castWhat were the technological issues for the studio for producing and distributing the film?Well critics put the film down by saying it was too long and it wasnt very successful. The film was the brought out in other countries renamed as Pirate Radio, but still was unsuccessful.
Monday, 26 April 2010
The Boat That Rocked
Whose idea was the film?
The movie is written and directed by Richard Curtis whose prior works include Love Actually, Notting Hill, Four Weddings and a Funeral, plus many UK TV series. He started the idea by thinking back to when he was a child and remembering late nights listening to rock-and-roll dj's who broadcast on boarders outside of the UK.
What are the issues with the genre of the film?
The genre is a comedy and this could cause issues as there is the risk of the audience not finding it funny or somebody could be offended by something. Such as, the marriages only last for 17 hours suggesting that marriage was something you could just "do" and have it be over with whenever you wanted and certain people might not like this as its portraying marriage as a joke.
Where did the idea come from?
The idea originated from a true story. The Boat That Rocked is a comedy set in Britain during 1966, but is based on the real pirate radio station named Radio Caroline, when the BBC only licensed radio broadcaster on the UK mainland was restricted by union agreements to playing a very limited amount of recorded music each week.
Casting-
The main roles were played by:
Tom Sturridge-also starred in 'Vanity Fair'
Jack Davenport-also starred in 'Pirates of the Caribbean series'
Chris O'dowd-also starred in 'How to lose friends and alienate people'
Ralph Brown-also starred in 'Star Wars:Episode One'
Rhys Darby-also starred in 'Flight of the Conchords'
Will Adamsdale-also starred in 'Rosemary and Thyme'
Tom Brooke-also starred in 'Bridget Jones'
Tom Wisdom-also starred in '300'
Katherine Parkinson-also starred in 'I.T Crowd'
Ike Hamilton-also starred in 'Primeval'
January Jones-also starred in 'Mad Men'
Talulah Riley-also starred in 'Pride and Prejudice'
Who was the producer?
The producer was Hilary Bevan Jones.
Who was the director?
The director was Richard Curtis and he was already involved because he came up with the idea and wrote the script.
Who composed the films music?
Nick Angel worked with Richard Curtis to produce the music from the 1960s to the big screen in The Boat That Rocked. “Richard has worn his heart on his sleeve for this film, and the music is an integral part of it” says Angel. “Quite simply, it’s music that Richard loves, and my job was to make sure that we got the songs he wanted in the film.” With Influences such as The Beatles dominating the sixties it wasn't hard to select the perfect music for this film.
The movie is written and directed by Richard Curtis whose prior works include Love Actually, Notting Hill, Four Weddings and a Funeral, plus many UK TV series. He started the idea by thinking back to when he was a child and remembering late nights listening to rock-and-roll dj's who broadcast on boarders outside of the UK.
What are the issues with the genre of the film?
The genre is a comedy and this could cause issues as there is the risk of the audience not finding it funny or somebody could be offended by something. Such as, the marriages only last for 17 hours suggesting that marriage was something you could just "do" and have it be over with whenever you wanted and certain people might not like this as its portraying marriage as a joke.
Where did the idea come from?
The idea originated from a true story. The Boat That Rocked is a comedy set in Britain during 1966, but is based on the real pirate radio station named Radio Caroline, when the BBC only licensed radio broadcaster on the UK mainland was restricted by union agreements to playing a very limited amount of recorded music each week.
Casting-
The main roles were played by:
Tom Sturridge-also starred in 'Vanity Fair'
Jack Davenport-also starred in 'Pirates of the Caribbean series'
Chris O'dowd-also starred in 'How to lose friends and alienate people'
Ralph Brown-also starred in 'Star Wars:Episode One'
Rhys Darby-also starred in 'Flight of the Conchords'
Will Adamsdale-also starred in 'Rosemary and Thyme'
Tom Brooke-also starred in 'Bridget Jones'
Tom Wisdom-also starred in '300'
Katherine Parkinson-also starred in 'I.T Crowd'
Ike Hamilton-also starred in 'Primeval'
January Jones-also starred in 'Mad Men'
Talulah Riley-also starred in 'Pride and Prejudice'
Who was the producer?
The producer was Hilary Bevan Jones.
Who was the director?
The director was Richard Curtis and he was already involved because he came up with the idea and wrote the script.
Who composed the films music?
Nick Angel worked with Richard Curtis to produce the music from the 1960s to the big screen in The Boat That Rocked. “Richard has worn his heart on his sleeve for this film, and the music is an integral part of it” says Angel. “Quite simply, it’s music that Richard loves, and my job was to make sure that we got the songs he wanted in the film.” With Influences such as The Beatles dominating the sixties it wasn't hard to select the perfect music for this film.
The Boat That Rocked- Pirate Radio
The Boat That Rocked itself embodies this conundrum. On the one hand, its magnificent soundtrack makes it clear why 60s pop was to become so exalted. The rest of the film, however, exemplifies some of the most dispiriting features of going demotic. Sentimentality you can stand your spoon up in. Characters thinner than cardboard. Trite dialogue. Clunking predictability. Smug performances. Lazy plotting and threadbare gags. Brutal emotional manipulation. Deliberate refusal to engage with ideas, ethics or even reality. Surely, this kind of stuff must be addling our brains, destroying our critical faculties and rotting our moral fibre, you might well think.
These radio stations introduced enormous and enthusiastic audiences to landmark acts such as The Beatles, The Rolling Stones and The Kinks, as well as legendary solo artists including Jimmy Hendrix, Dusty Springfield, Janis Joplin and Aretha Franklin. The piracy was much to the chagrin of the government, which did its very best to suppress illegal transmissions coming from the waters to the homes of millions of Brits who loved everything they heard
The Boat That Rocked (Pirate Radio) is an ensemble comedy, where the romance is between the young people of the 60s, and pop music. It's about a band of DJs that captivate Britain, playing the music that defines a generation and standing up to a government that, incomprehensibly, prefers jazz.
These radio stations introduced enormous and enthusiastic audiences to landmark acts such as The Beatles, The Rolling Stones and The Kinks, as well as legendary solo artists including Jimmy Hendrix, Dusty Springfield, Janis Joplin and Aretha Franklin. The piracy was much to the chagrin of the government, which did its very best to suppress illegal transmissions coming from the waters to the homes of millions of Brits who loved everything they heard
The Boat That Rocked (Pirate Radio) is an ensemble comedy, where the romance is between the young people of the 60s, and pop music. It's about a band of DJs that captivate Britain, playing the music that defines a generation and standing up to a government that, incomprehensibly, prefers jazz.
The Boat That Rocked
The Boat That Rocked is a 2009 ensemble comedy film, released in the United Kingdom on 1 April 2009. After the film's commercial and critical failure in the UK, it was re-edited and retitled Pirate Radio for release in the United States and Canada on 13 November 2009 - but was still commercially unsuccessful in its new guise.Set in 1966, it tells the story of a fictitious pirate radio station broadcasting to the United Kingdom from a ship moored in the North Sea. The film was written and directed by Richard Curtis and made by Working Title Films for Universal Pictures. Writer/director Richard Curtis is sailing The Boat That Rocked back into the editing room ahead of its U.S. release after the comedy failed to make waves at the British box office.The Boat That Rocked cost more than £30 million to make but took in just £6.1 million in the U.K. in its first 12 weeks of release, with film critics complaining the film was too long.
Working Title Films
Working Title Films is a British film production company, based in London, UK. The company was founded by Tim Bevan and Sarah Radclyffe in 1983. It produces feature films and several television productions. Eric Fellner and Bevan are now the co-owners of the company.
Universal Pictures
Universal Studios
Type Subsidiary of NBC Universal
Industry Filmmaking
Founded Los Angeles, California, U.S.
(June 8, 1912)
Universal Studios a subsidiary of NBC Universal, is one of the six major American movie studios. Its main motion picture production/distribution arm is called Universal Pictures.
Sunday, 25 April 2010
Kidulthood
From interview with Director Menjal Huda:I optioned it for 18 months on the basis that I would not only direct it, but I would produce it as well. We managed to get The Film Council to want to make it with Film Four but after lots of re-writes and meetings that I felt lacked any real direction, we lost all our backing. I had no support. There were times when I just wanted to walk away.At that point what kept you going?
How did you manage to finance Kidulthood?
I got lucky and came into some money which I invested in to the film. I also met a producer, George Isaac, who put some money into the project too. We eventually had a working budget of £650,000 - not the £800,000 I was aiming for, but enough. We had to defer the writer's fee, the producer's fee, and some legal fees. We decided to shoot on 35mm and finish on High Definition, so if the film was a complete pile of rubbish we wouldn't be wasting money on getting a print.So after a lot of trouble and toil, Kidulthood finally got made.How well did it do on the festival circuit?We entered it into Edinburgh and we failed to get in, we entered it into Toronto and after we'd been told they loved the film, they said they weren't going to programme it. We didn't get into Venice or Locarno.
In July 2005 I decided to just do a cast and crew screening, with family and friends invited, and an audience of 750 - 800 people turned up! It just went crazy. That was when the buzz really started.Great - proof that word of mouth really does work. So, did a distributor then pick it up?Actually, the only distribution company that was there was Revolver. We were incredibly excited by the audiences' feedback and we very quickly set up another screening for more distribution companies. It was held in the Empire Leicester Square; a packed house, loads of kids and was a fantastic screening. The audience loved it.
But no one from the distribution companies were interested. Some people walked out. And that's when you think, how much more does it have to be spelled out? The kids are here and you can see their response - they love it.But things ran smoother after the screening?After the screening, things took a strange turn. The distribution deal was done with Revolver but they wanted some minor cuts to the film, which I was unhappy about (as was Noel) because I didn't believe the film would perform any differently with these cuts. They went ahead with it without ever discussing it with me directly.What were the cuts?The main cut is in the sequence where Trife, the lead, is by the river and pulls out the purse that he's stolen from the woman earlier on in the film - and the audience is left wondering why he does this.In my cut, Trife goes back and returns the purse to her.
She invites him to come in for a drink. She is really drunk and we find out her story; that she is a widow, her husband recently died and she has no one. In her drunken state she comes on to Trife but in a pivotal moment he actually tells her how old he is and that he doesn't want sex with her. This is a big moment in the film as he actually admits that he is just a kid - a kid that's grown up too quickly.But on the flipside, Revolver did distribute the film and Kidulthood got a DVD release.
Have TV rights been bought?
Yes, the BBC has bought it.And career wise, on the strength of Kidulthood, you recently won a BIFA, the Douglas Hickox Award for Best Debut Director. How does it feel going through a journey of such turmoil to finally having your work celebrated?Considering how little attention we got from the festivals it was great to get some kind of recognition that we'd done a good job and that we'd made a good film. The BIFAs was the only place we were ever going to get recognition and I'm really pleased that they took note of Kidulthood because it is the most independent film that's been made and come out of the UK.But the Dinard British Film Festival did give you Best Screenplay (2006).It did. But isn't it ironic that the first British film festival that Kidulthood goes to is in France? And, up till now, Kidulthood has yet to be screened at a festival in the UK.
Despite losing your backing, you went on to make your film independently and with great success. What's your advice for filmmakers passionate about making their own independent films?Don't wait for years of development. Get your script right and try and raise the money yourself. There are so many ways to get a film made and it doesn't have to be the traditional route. Be strong and realistic about what you want to achieve and don't take no for an answer.From this interview we can see clear errors in financing from an unknown screen writer, unknown cast and ensemble cast that have equal pay.The film subject about youth's road to destruction may not advertise a pleasing film!The first time distributers, which may not hold the status as other companys like Universal and Warner Bros.2.How much was given to the film for production and distribution? What criteria did the film have to meet to be awarded the funds?Noel Clarke, the award-winning writer and star of Kidulthood, is to direct his first feature Adulthood, backed by the UK Film Council's New Cinema Fund.This is from the BBC website of a review of the Film Council and its policys...The Film Council represents the official public route to get money to make films, but the funding comes at a price.
Unfortunately that price seems to be blandness and a failure to allow alternative lifestyles and different attitudes towards British life to flourish on screen. The Film Council does not have an official policy on the message of the films it makes, which is how it should be. But look more closely at the education policy of the Film Council and its message is clearly made, one of its ‘Indicative Priorities’ reading that it supports ‘advocating the educational importance of film and the role it plays in fostering citizenship, creativity and innovation’.
The trouble is that this message is not constrained to the schools division. Hardly any Film Council movie gets made that does not foster this ideal. But as with so many rules made from above it’s an ideal that’s completely out of touch with urban life. The result is a film industry that makes the most bland, unimaginative and moralistic urban dramas in the world. No wonder then that our movies always seem to suck.The UK Film council has also given Noel Clark £1 Million for the follow up called Adulthood.
4.Why would this film be more successful on DVD than in the cinema?
From a website called World Press.comThe UKFC also supported the release of Adulthood, enabling a much wider release than Kidulthood on 179 prints from Pathe at its widest. Adulthood has many of the pluses from Kidulthood, but I think it suffers a little from Clarke’s ambition to make it a more philosophical film than its predecessor. There is nothing wrong with such an ambition, but for a first time director it is a bit more of a challenge. Clarke is much more the focus himself as an actor in the sequel and it must be difficult to write, direct and act in front of your own camera. I think he might best have been advised to use a different director (Huda is credited as an associate producer – why didn’t he direct?). I think a more genre-based film might have been tighter and more coherent – but then I would probably prefer the overall message of this film (breaking the circle of violence) rather than the typical genre film. In narrative terms, this takes place six years later (thus enabling the actors to play closer to their real ages). Sam (Noel Clarke) is released from prison and is immediately threatened with revenge for his actions at the end ofKidulthood short, I was a little disappointed in the sequel, but it was still a worthwhile effort. For me, the most revealing part of this is the difference that promotional push and a developed profile via DVD distribution can do for a film. Adulthood will end up making some 8 times more at the theatrical box office than Kidulthood. There is some form of lesson about distribution here. More importantly, perhaps, the success of the film blows sky high the industry belief that ‘black films’ don’t sell in the UK. Bullet Boy made £0.5 million, Boyz ‘n the Hood around £1.3 million (admittedly this was in 1991 – so at least double in 2008 prices) but Adulthood has topped that whilst not directly addressing cultural concerns. A wider audience seems to have had no problems with the film. The next step is to see whether Adulthood is sold overseas in cinemas. Kidulthood only seems to have got out of the UK on DVD or TV in the US. Surely the pair could be sold to France, Germany etc.? I’d rather they were exported than a Richard Curtis comedy.
How did you manage to finance Kidulthood?
I got lucky and came into some money which I invested in to the film. I also met a producer, George Isaac, who put some money into the project too. We eventually had a working budget of £650,000 - not the £800,000 I was aiming for, but enough. We had to defer the writer's fee, the producer's fee, and some legal fees. We decided to shoot on 35mm and finish on High Definition, so if the film was a complete pile of rubbish we wouldn't be wasting money on getting a print.So after a lot of trouble and toil, Kidulthood finally got made.How well did it do on the festival circuit?We entered it into Edinburgh and we failed to get in, we entered it into Toronto and after we'd been told they loved the film, they said they weren't going to programme it. We didn't get into Venice or Locarno.
In July 2005 I decided to just do a cast and crew screening, with family and friends invited, and an audience of 750 - 800 people turned up! It just went crazy. That was when the buzz really started.Great - proof that word of mouth really does work. So, did a distributor then pick it up?Actually, the only distribution company that was there was Revolver. We were incredibly excited by the audiences' feedback and we very quickly set up another screening for more distribution companies. It was held in the Empire Leicester Square; a packed house, loads of kids and was a fantastic screening. The audience loved it.
But no one from the distribution companies were interested. Some people walked out. And that's when you think, how much more does it have to be spelled out? The kids are here and you can see their response - they love it.But things ran smoother after the screening?After the screening, things took a strange turn. The distribution deal was done with Revolver but they wanted some minor cuts to the film, which I was unhappy about (as was Noel) because I didn't believe the film would perform any differently with these cuts. They went ahead with it without ever discussing it with me directly.What were the cuts?The main cut is in the sequence where Trife, the lead, is by the river and pulls out the purse that he's stolen from the woman earlier on in the film - and the audience is left wondering why he does this.In my cut, Trife goes back and returns the purse to her.
She invites him to come in for a drink. She is really drunk and we find out her story; that she is a widow, her husband recently died and she has no one. In her drunken state she comes on to Trife but in a pivotal moment he actually tells her how old he is and that he doesn't want sex with her. This is a big moment in the film as he actually admits that he is just a kid - a kid that's grown up too quickly.But on the flipside, Revolver did distribute the film and Kidulthood got a DVD release.
Have TV rights been bought?
Yes, the BBC has bought it.And career wise, on the strength of Kidulthood, you recently won a BIFA, the Douglas Hickox Award for Best Debut Director. How does it feel going through a journey of such turmoil to finally having your work celebrated?Considering how little attention we got from the festivals it was great to get some kind of recognition that we'd done a good job and that we'd made a good film. The BIFAs was the only place we were ever going to get recognition and I'm really pleased that they took note of Kidulthood because it is the most independent film that's been made and come out of the UK.But the Dinard British Film Festival did give you Best Screenplay (2006).It did. But isn't it ironic that the first British film festival that Kidulthood goes to is in France? And, up till now, Kidulthood has yet to be screened at a festival in the UK.
Despite losing your backing, you went on to make your film independently and with great success. What's your advice for filmmakers passionate about making their own independent films?Don't wait for years of development. Get your script right and try and raise the money yourself. There are so many ways to get a film made and it doesn't have to be the traditional route. Be strong and realistic about what you want to achieve and don't take no for an answer.From this interview we can see clear errors in financing from an unknown screen writer, unknown cast and ensemble cast that have equal pay.The film subject about youth's road to destruction may not advertise a pleasing film!The first time distributers, which may not hold the status as other companys like Universal and Warner Bros.2.How much was given to the film for production and distribution? What criteria did the film have to meet to be awarded the funds?Noel Clarke, the award-winning writer and star of Kidulthood, is to direct his first feature Adulthood, backed by the UK Film Council's New Cinema Fund.This is from the BBC website of a review of the Film Council and its policys...The Film Council represents the official public route to get money to make films, but the funding comes at a price.
Unfortunately that price seems to be blandness and a failure to allow alternative lifestyles and different attitudes towards British life to flourish on screen. The Film Council does not have an official policy on the message of the films it makes, which is how it should be. But look more closely at the education policy of the Film Council and its message is clearly made, one of its ‘Indicative Priorities’ reading that it supports ‘advocating the educational importance of film and the role it plays in fostering citizenship, creativity and innovation’.
The trouble is that this message is not constrained to the schools division. Hardly any Film Council movie gets made that does not foster this ideal. But as with so many rules made from above it’s an ideal that’s completely out of touch with urban life. The result is a film industry that makes the most bland, unimaginative and moralistic urban dramas in the world. No wonder then that our movies always seem to suck.The UK Film council has also given Noel Clark £1 Million for the follow up called Adulthood.
4.Why would this film be more successful on DVD than in the cinema?
From a website called World Press.comThe UKFC also supported the release of Adulthood, enabling a much wider release than Kidulthood on 179 prints from Pathe at its widest. Adulthood has many of the pluses from Kidulthood, but I think it suffers a little from Clarke’s ambition to make it a more philosophical film than its predecessor. There is nothing wrong with such an ambition, but for a first time director it is a bit more of a challenge. Clarke is much more the focus himself as an actor in the sequel and it must be difficult to write, direct and act in front of your own camera. I think he might best have been advised to use a different director (Huda is credited as an associate producer – why didn’t he direct?). I think a more genre-based film might have been tighter and more coherent – but then I would probably prefer the overall message of this film (breaking the circle of violence) rather than the typical genre film. In narrative terms, this takes place six years later (thus enabling the actors to play closer to their real ages). Sam (Noel Clarke) is released from prison and is immediately threatened with revenge for his actions at the end ofKidulthood short, I was a little disappointed in the sequel, but it was still a worthwhile effort. For me, the most revealing part of this is the difference that promotional push and a developed profile via DVD distribution can do for a film. Adulthood will end up making some 8 times more at the theatrical box office than Kidulthood. There is some form of lesson about distribution here. More importantly, perhaps, the success of the film blows sky high the industry belief that ‘black films’ don’t sell in the UK. Bullet Boy made £0.5 million, Boyz ‘n the Hood around £1.3 million (admittedly this was in 1991 – so at least double in 2008 prices) but Adulthood has topped that whilst not directly addressing cultural concerns. A wider audience seems to have had no problems with the film. The next step is to see whether Adulthood is sold overseas in cinemas. Kidulthood only seems to have got out of the UK on DVD or TV in the US. Surely the pair could be sold to France, Germany etc.? I’d rather they were exported than a Richard Curtis comedy.
Monday, 19 April 2010
Kidulthood reasons for funding stealth
Stealth Films Ltd
Development Fund
£10,000
17/12/2003
WHY?
Broden the quality, range and ambition f film projects being developed in the uk and to build a telent driven home for writers,directors, and producers.
Development Fund
£10,000
17/12/2003
WHY?
Broden the quality, range and ambition f film projects being developed in the uk and to build a telent driven home for writers,directors, and producers.
Kidulthood- Reasons for funding revolver
Revolver Entertainment
Distribution and Exhibition
£76,295
01/02/2006
Given from the P and A fund
WHY.
The Prints and Advertising Fund is designed to widen and support the distribution and marketing strategy of specialised films and to offer support to more commercially focused British films that nevertheless remain difficult to market.
The UK Film Council's Prints and Advertising Fund has an annual budget of £2 million which aims to benefit audiences by widening:
access to the range of films available;
opportunities to view such films across the UK; and
audience awareness of the range of films potentially available.
Who we fund
Whilst concentrating on specialised film, the fund also backs more commercially focused British films by supporting UK distributors to produce extra prints, increase advertising or enhance media exposure and publicity.
Lottery funds have been awarded to a wide range of films including key Oscar®-winning films A Prophet, The Lives of Others and Tsotsi, award-winning British titles An Education, Red Road, Control and This is England, and acclaimed titles from all over the world including The Curse of the Golden Flower, La Vie en Rose, Volver and Pan's Labyrinth.
Distribution and Exhibition
£76,295
01/02/2006
Given from the P and A fund
WHY.
The Prints and Advertising Fund is designed to widen and support the distribution and marketing strategy of specialised films and to offer support to more commercially focused British films that nevertheless remain difficult to market.
The UK Film Council's Prints and Advertising Fund has an annual budget of £2 million which aims to benefit audiences by widening:
access to the range of films available;
opportunities to view such films across the UK; and
audience awareness of the range of films potentially available.
Who we fund
Whilst concentrating on specialised film, the fund also backs more commercially focused British films by supporting UK distributors to produce extra prints, increase advertising or enhance media exposure and publicity.
Lottery funds have been awarded to a wide range of films including key Oscar®-winning films A Prophet, The Lives of Others and Tsotsi, award-winning British titles An Education, Red Road, Control and This is England, and acclaimed titles from all over the world including The Curse of the Golden Flower, La Vie en Rose, Volver and Pan's Labyrinth.
Kidulthood-problems with finance
Unknown screen writer.
The screenwriter Noel clarke, Kidulthood was his first film therefore people might not have had faith in him to produce a up and coming film.
Ensamble cast.
All cast members have equal billing therfore no well known actors to promote the film.
Subject Matter.
The gand culture element of the film is too "sensitive" for an older audience.
The screenwriter Noel clarke, Kidulthood was his first film therefore people might not have had faith in him to produce a up and coming film.
Ensamble cast.
All cast members have equal billing therfore no well known actors to promote the film.
Subject Matter.
The gand culture element of the film is too "sensitive" for an older audience.
Kidulthood
Kidulthood had a production budget of £600,000. This budget was mostly provided by director Menhaj Huda and producer friend George Issac.
Why would this film have found it difficult to get finance from a production company?
Menhaj Huda directed the film 'Kidulthood' aiming for the finance target of budgeting the film at £800,000. Working with his friend George Issac Menhaj was able to get the total finance up to only 650,000, but he still thought this would be enough to make and produce the film. A problem that they would probably have come across was even though they were working with the production company 'Stealth', this was going to be their first movie, and exhibition companies wouldn't know how the film was goin to turn out.
Another problem that Menhaj would have come across that because his budget was lower than he thought after paying the writer's fee, the producer's fee, and some legal fees, he had to make cuts elsewhere. "We decided to shoot on 35mm and finish on High Definition, so if the film was a complete pile of rubbish we wouldn't be wasting money on getting a print". By doing this the quality of the film wouldn't be as good if they had the higher budget, but it would have been cheaper this way definately for them if the film was a flop and didn't make any money.
Stages of film making
PRODUCTION
This is the phase most people are familiar with.
Production entails actually shooting the film. The director will oversee cast rehearsals of dialogue, movements, stunts ect,and will continue with as many takes as he needs to ensure he captures exactly what he had in mind for a given scene. There are a ton of things that need to be done to prepare for filming each and every day, such as tweaking the lighting, getting the actors and actresses in their outfits and makeup, touching up sets and putting extras in place. At the end of what is often an extremely long day, the director and others may review the "dailies" -- unedited footage that was captured either that same day or possibly the day before. After several weeks or months, production usually ends with a wrap party for everyone who worked on the project. For big blockbusters, we're talking hundreds of people.
DISTRIBUTION
Now it's time to see if all of the hard work from the previous four stages was worth it... the film either goes direct-to-DVD or hits theaters, usually on the heels of a glamorous premiere, a press junket, a website launch and an advertising campaign. This is where we common folk come in; after thousands, millions, tens of millions or hundreds of millions of dollars have been spent getting a movie to the cineplex, we have the power to determine its overall success.
EXHIBITION.
This is the final stage, where the film is released to cinemas or, occasionally, to DVD, VCD, VHS ,Blu-Ray, or direct download from a provider. The film is duplicated as required for distribution to cinemas. Press kits, posters, and other advertising materials are published and the film is advertised.
This is the phase most people are familiar with.
Production entails actually shooting the film. The director will oversee cast rehearsals of dialogue, movements, stunts ect,and will continue with as many takes as he needs to ensure he captures exactly what he had in mind for a given scene. There are a ton of things that need to be done to prepare for filming each and every day, such as tweaking the lighting, getting the actors and actresses in their outfits and makeup, touching up sets and putting extras in place. At the end of what is often an extremely long day, the director and others may review the "dailies" -- unedited footage that was captured either that same day or possibly the day before. After several weeks or months, production usually ends with a wrap party for everyone who worked on the project. For big blockbusters, we're talking hundreds of people.
DISTRIBUTION
Now it's time to see if all of the hard work from the previous four stages was worth it... the film either goes direct-to-DVD or hits theaters, usually on the heels of a glamorous premiere, a press junket, a website launch and an advertising campaign. This is where we common folk come in; after thousands, millions, tens of millions or hundreds of millions of dollars have been spent getting a movie to the cineplex, we have the power to determine its overall success.
EXHIBITION.
This is the final stage, where the film is released to cinemas or, occasionally, to DVD, VCD, VHS ,Blu-Ray, or direct download from a provider. The film is duplicated as required for distribution to cinemas. Press kits, posters, and other advertising materials are published and the film is advertised.
Life of a film
Alice in Wonderland is a 2010 fantasy adventure film directed by Tim Burton, written by Linda Woolverton, and starring Mia Wasikowska, Johnny Depp, Helena Bonham Carter, Anne Hathaway, Crispin Glover, Michael Sheen and Stephen Fry. It is an extension of Lewis Carroll's novels Alice's Adventures in Wonderland and Through the Looking-Glass. The film uses a technique of combining live action and animation.
In the film, Alice is now 19 years old and accidentally returns to Underland, a place she previously visited 13 years ago. She is told that she is the only one that can slay the Jabberwocky, a dragon controlled by the Red Queen. Burton said the original Wonderland story was always about a girl wandering around from one weird character to another and he never felt a connection emotionally, so he wanted to make it feel more like a story than a series of events. He does not see this as a sequel to previous films or a re-imagining. It premiered in London at the Odeon Leicester Square on February 25, 2010 and was released in the United Kingdom on March 5, 2010 through Walt Disney Pictures in 3-D and IMAX 3-D, as well as in regular theaters.
The film was distributed using a range of teaser campaign advertisements.
Production information...
Distributed by:Walt Disney Pictures
Produced by: The Zanuck Company Team Todd Tim Burton Productions Bandersnatch Productions
Total Box Office:$208,600,000 in U.S. and Canada
Production Budget:$250,000,000 Estimated
Running Time:109 minutes
This film was originally set to be released in 2009, but was pushed to March 5, 2010. Motion capture filming began in early October at Sony Pictures Studios in Culver City, California, though the footage was later discarded.Filming also took place at Culver Studios.Burton said that he used a combination of live action and animation, without motion capture.He also noted that this was the first time he had filmed on a green screen.Filming of the green screen portions, comprising 90% of the film, was completed after only 40 days.Many of the cast and crew felt nauseous as a result of the long hours surrounded by green, with Burton having lavender lenses fitted into his glasses to counteract the effect
Sony Pictures Imageworks designed the visual effects sequences.Burton felt 3D was appropriate to the story's environment.Burton and Zanuck chose to film with conventional cameras, and convert the footage into 3-D during post-production; Zanuck explained 3-D cameras were too expensive and "clumsy" to use.
On February 12, 2010 major UK cinema chains, Odeon, Vue and Cineworld, had planned to boycott the film because of a reduction of the interval between cinema and DVD release from the usual 17 weeks to 12. A week after the announcement, Cineworld, who has a 24% share of UK box office, has chosen to play the film on over 150 screens. Cineworld's chief executive Steve Wiener stated, "As leaders in 3D, we did not want the public to miss out on such a visual spectacle. Shortly after, the Vue cinema chain also reached an agreement with Disney, but Odeon had still chosen to boycott in Britain, Ireland and Italy.On February 25, 2010 Odeon had reached an agreement and has decided to show the film on March 5, 2010 The Royal premiere took place at the Odeon Leicester Square in London on February 25, 2010.
Alice in Wonderland opened with over $41 million in North America, setting a new record for an opening-day in March. Alice made an estimated $116.1 million in its opening weekend.
Horizontal and vertical intergration
Definition...The term horizontal integration describes a type of ownership and control. It is a strategy used by a business or corporation that seeks to sell a type of product in numerous markets.Horizontal integration in marketing is much more common than vertical integration is in production. Horizontal integration occurs when a company is being taken over by, or merged with, another company which is in the same industry and in the same stage of production as the merged company e.g a car manufacturer merging with another car manufacturer.
Example of Horizontal and Vertical Intergration...
Warner Bros Studios - Where production takes placeWarner Bros - DistirbutionWarner Bros Cinemas - Exhibition, used to own in the UK
Example of Horizontal and Vertical Intergration...
Warner Bros Studios - Where production takes placeWarner Bros - DistirbutionWarner Bros Cinemas - Exhibition, used to own in the UK
Convergance and ways to consume films
Technical convergance means two things for the film industry; The first of these is that they are able to reach their audiences far easier, hence increasing their profits, However it has also meant that film piracy has become far easier.
How to consume the film James Bond.
There are many ways to consume the film James Bond, through the website http://www.007.com/ you can almost become part of the film. Here are some ways you can consume the film through the website.
How to consume the film James Bond.
There are many ways to consume the film James Bond, through the website http://www.007.com/ you can almost become part of the film. Here are some ways you can consume the film through the website.
- A game avalible for XBOX 360 features the same front cover as the DVD
- Instant Messenger Icons avalible to download
- Wallpapers for your comupter avalible to download
- An APP for your i-pod touch and I-phone avalible to download
- A link to watch the offical music video
- A link to play James Bond top trumps online
How To Consume the film SUPERBAD
- A text message number and the benifit of it is you get a free superbad ringtone
- A link so you can play a superbad game online
- As you enter the website the characters from the film talk to you.
- Links to the facebook site
- A link to put the "Superbad widget" on your webesite
- A link to listen to the live soundtrack on myspace
- A Downloadable Wallpaper for your computer.
- A Downloadable Screensaver for your computer
- Downloadable Buddy Icons for instant messenger
- A Soundboard so you can hear your favorite clips from the film
- Ringtones for your phone
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