Showing posts with label Task. Show all posts
Showing posts with label Task. Show all posts
Friday, 16 November 2012
Prometheus - Candidates Own Experience of Media Consumption
The developments in technology used in media during recent years has definitely had a positive effect on the film industry. With advancements in technology, such as CGI, allows films like Prometheus to have incredible realistic effects that have a great impact on the audience making the aliens realistic and believable. This development in technology in production and editing also means that the horrifying scenes within Prometheus can be made in such a way that it scares the audience - creating a strong atmosphere in the place of exhibition, for example the cinema. This certain aspect of the use of technology in media has always had a positive effect in the way that Ridley Scott directs his scary scenes, such as the 'alien chest burst' in the first Alien, which would have horrified the audience at that time. This enabled Prometheus to match up to the genre of a sci-fi horror and achieve it. I also feel that the distributor for Prometheus, 20th Centruy Fox, made the film very accessible for the public and assisted the producers a great deal with doing so. Thursday, 15 November 2012
Prometheus - The Targeting of National and Local Audiences
The target audience for Prometheus was close to a worldwide market due to the high status that accompanied the film, which was 20th Century Fox, the distributors for Prometheus. This successful distribution allowed the film to become accessible for almost all audiences and targeted viewers. Ridley Scott is a famous English sci-fi film producer and director, mostly known for his series of Alien, this would have impacted and influenced the British audience to go and see Prometheus. As well as this, Alien fans would have also been highly anticipating the film because of the previous work done by Ridley Scott, which they have been entertained by so far.
Prometheus proved a hit as it's total domestic gross ended up as $126,477,084.
Prometheus proved a hit as it's total domestic gross ended up as $126,477,084.
Prometheus - Technological Convergence
Prometheus had a fairly big budget of $130 million and therefore the technological convergence within the film was quite large, along with this, technological advancements and developments in the technology used in media have made it possible for sic-fi films such as Prometheus to be made via such a standard of digital effects and CGI. There was pressure on the effects to match up to the standard of the previous Alien films (as they were incredible in their time of release) and so, consequently, added to the anticipation of it's release.
As well as this, various films and clips are available to download on iTunes, including a Behind the Scenes package that is available to download for free, which includes "In Character with Guy Pearce" and so on. This is from 20th Century Fox's movie channel on iTunes and is another example of how well known and respected distributors can publicise a film successfully.
As well as this, various films and clips are available to download on iTunes, including a Behind the Scenes package that is available to download for free, which includes "In Character with Guy Pearce" and so on. This is from 20th Century Fox's movie channel on iTunes and is another example of how well known and respected distributors can publicise a film successfully.
Prometheus - The Significance of Proliferation in Hardware and Content
Films such as Prometheus now tend to be sold to online film distributors, such as Netflix and LoveFilm, as audiences have dramatically changed their viewing habits due to the development in technology in media. Viewers no longer feel the need to spend extortionate amounts of money on a trip to the cinema to see a film when they can either buy it on DVD/Blu-Ray as a long term investment or even rent the film from an online distributor and watch it in the comfort of their own home. The introduction of home cinema has influenced the way that film companies have to alter the way they work as they have to consider their production, distribution, and marketing to fit the majority of audiences that prefer to watch a film in the warmth and comfort of their lounge and to publicise the other windows that the film has to offer, e.g. DVD, Blu-Ray, online distributors.
Also, with the forever increasing usage of smart phones, the film industry has had to adapt to the change when it comes to marketing their product and advertising it. As for the Weyland Industries website, Ridley Scott is able to apply a setting so that iPhone and other smart phone users can view it, increasing the publicity of the film even further. This proliferation in hardware has boosted the publicity of Prometheus even further than the already successful viral marketing. 
Prometheus - Cross Media Convergence
Scott Free Productions and Brandywine Productions worked together to produce the film. Scott Free Productions is an English film production company owned by Scott Ridley himself, the director and producer of Prometheus. Brandywine Productions, however, is an American film production company most known for the Alien film franchise. The company was founded by American filmmakers Walter Hill, David Giler and Gordon Carroll. These two small production companies are both familiar with the Alien franchise and so could work together effectively to produce Prometheus at it's best. The film was then passed on to 20th Century Fox to distribute Prometheus in Belgium, France, and Switzerland (May 30th 2012), United Kingdom (June 1st 2012), and in North America (June 8th 2012). Having a major distributor such as 20th Century Fox meant that the film would be largely distributed in these countries, creating lots of extra publicity for the film, this would have been worth the extra expense of having such a well known distributor on board. Although Prometheus relied heavily upon viral marketing as a way of generating anticipation for the film, such a large distributor would have also been a significant factor of it's success as a film.
Prometheus - Technologies Introduced in Recent Years
Blu-Ray advertisement
The advertisement of Prometheus on Blu-Ray influenced the majority of Prometheus viewers to buy the DVD once it had been released, as it offered an alternative ending and beginning to the film. This was so effective because of the massive cliffhanger that we were left with at the end of the film, and the alternative ending may answer our questions as an audience, which appeals to the fans of the Alien series. This boosted sales of Prometheus after the initial releases in cinema, as people who wanted to see the film but were put off by the extortianate prices for a ticket much preferred the investment of Blu-Ray or DVD as a long time product, which they can view over and over. There is also said to be seven hours worth of special features, and an interactive game that you can complete using your tablet. Online distributors also contribute to the success of a film, such as Prometheus, because of their wide variety of films that people can access and rent out. These recent techniques in distributing are increasing in popularity and some companies are becoming extremely well known. e.g. Netflix or LoveFilm. However, free internet streaming of the film has had a negative effect on the success of the film industry, as it is becoming more popular especially with the teenage market. Although this way of viewing the film is illegal, it is still possible to find a decent quality copy of the film online for free - Consequently having a negative effect on the sales of the film. The recent introduction of a 3D cinema experience changes the way the film industry now makes films in the production stages, as more technical and special effects need to be considered when filming, possibly making the process more complicated and difficult, but getting a good response in sales at the end of it. This also has a positive knock-on effect of cinema sales as more people want the real-life experience of 3D and are willing to pay for the benefits. The introduction of IMAX has also benefited Prometheus and, in London's Waterloo, one screen took more than £500,000 in advance ticket sales. IMAX is becoming increasingly popular amongst films such as Prometheus, which has some of the best effects running continuously throughout the film, and to see such effects on a 20 metre high IMAX screen is something sci-fi fans are, evidently, highly anticipating.
The advertisement of Prometheus on Blu-Ray influenced the majority of Prometheus viewers to buy the DVD once it had been released, as it offered an alternative ending and beginning to the film. This was so effective because of the massive cliffhanger that we were left with at the end of the film, and the alternative ending may answer our questions as an audience, which appeals to the fans of the Alien series. This boosted sales of Prometheus after the initial releases in cinema, as people who wanted to see the film but were put off by the extortianate prices for a ticket much preferred the investment of Blu-Ray or DVD as a long time product, which they can view over and over. There is also said to be seven hours worth of special features, and an interactive game that you can complete using your tablet. Online distributors also contribute to the success of a film, such as Prometheus, because of their wide variety of films that people can access and rent out. These recent techniques in distributing are increasing in popularity and some companies are becoming extremely well known. e.g. Netflix or LoveFilm. However, free internet streaming of the film has had a negative effect on the success of the film industry, as it is becoming more popular especially with the teenage market. Although this way of viewing the film is illegal, it is still possible to find a decent quality copy of the film online for free - Consequently having a negative effect on the sales of the film. The recent introduction of a 3D cinema experience changes the way the film industry now makes films in the production stages, as more technical and special effects need to be considered when filming, possibly making the process more complicated and difficult, but getting a good response in sales at the end of it. This also has a positive knock-on effect of cinema sales as more people want the real-life experience of 3D and are willing to pay for the benefits. The introduction of IMAX has also benefited Prometheus and, in London's Waterloo, one screen took more than £500,000 in advance ticket sales. IMAX is becoming increasingly popular amongst films such as Prometheus, which has some of the best effects running continuously throughout the film, and to see such effects on a 20 metre high IMAX screen is something sci-fi fans are, evidently, highly anticipating.
Prometheus - Media Ownership
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Prometheus was distributed by 20th Century Fox, one of the six major major American film studios. Such a massive distriubtor alongside the two studios producing the film, Scott Free Productions and Brandywine Productions, and a budget of $130 million almost promises success for Prometheus after it's release. Having a distributor such as 20th Century Fox guarantees that the film will be heavily distributed across the country that it is to be shown in and therefore giving the film a huge scope and making it accessible to all potential audiences. A well-known distrubtor such as this also has all the finance needed to distrubute the film well and has a recognizable name and corporation, which may also attract an audience to the film as the company is linked to many other successful films and can be trusted.20th Century Fox also backed and distrubted the earlier films within the Alien franchise, continuing with Ridley Scott's strand of films. This would attract audiences and fans of the earlier Alien films to see Prometheus, also increasing the success of the film.
20th Century Fox distributing Prometheus follows the traditional theory of 'big companies make/distribute big films' and therefore make all the money.
Saturday, 10 November 2012
Five Cool Things About Prometheus Marketing
1. Ridley Scott returns to science fiction
Ah, the prodigal son returns. God bless Ridley Scott and his many incarnations - one involving a story of the Crusades as the West went off to war in Central Asia and modern day Babylon - but it is in his role as a master of science fiction in which he can do no wrong. From the infamous Apple 1984 commercial, where he cut his chops creating arresting video, to Alien, where Scott once and for all proved his geek bona fides as a master of the genre.
2. Who is Sir Peter Weyland?
Forget Howard Roark, Ayn Rand's cartoonish Creator. Weyland, the founder of the Weyland Corporation, which caused so much trouble in the Alien films, has always been a bit of a mystery. Is Sir Peter a bit of a Sir Ridley, and vice versa? Both, clearly, have been fascinated by mythology and by science. Sir Peter, according to his fictional TED Talks biography, is the son of an Oxford educated Professor of Comparative Mythology and a self-taught software engineer. And Sir Ridley, like Stanley Kubrick, seems obsessed by the intersect between science and art, between artificial and artistic intelligence.
3. The Weyland Corporation
With a 218 trillion dollar valuation, the shadowy Weyland Corporation's ambitions are more than international in scope - they are, indeed, galactic. "There are other worlds than this one," Sir Peter boldly declared, "And if there is no air to breathe, we will simply have to make it." Hello?
The company's website is just masterful, the stuff that social media geek conversation is made of. There is actually an Investor Information page on the site, the sort one would find on any corporation website, only this one has fictional - but fascinating - charts ("Weyland Employee Satisfaction Rate") as well as graphs of data that, no doubt, added value to the whole "Prometheus" experience. It only heightens the excitement.
Hello? If Weyland Corporation had a fictional LinkedIn account, how many would apply? Which brings us to...
4. The viral marketing strategy
They had me at the fictional TED talk, given in 2023. It was, of course, an instant social media success - to date over 6,000 retweets and over 21,000 Facebook likes. There were also viral movie poster. This viral video campaign has been studiously calculated to tickle the g-spot of every tech geek, every aficionado of science fiction practiced at the highest levels. Sir Scott is best when he allows his creativity full reign, creating whole worlds out of thin air.
5. The stars
Nooni Rapace, Michael Fassbender and, of course, Sir Ridley. I. Was. So. There.
Credit to IFC Fix for this post
Ah, the prodigal son returns. God bless Ridley Scott and his many incarnations - one involving a story of the Crusades as the West went off to war in Central Asia and modern day Babylon - but it is in his role as a master of science fiction in which he can do no wrong. From the infamous Apple 1984 commercial, where he cut his chops creating arresting video, to Alien, where Scott once and for all proved his geek bona fides as a master of the genre.
2. Who is Sir Peter Weyland?
Forget Howard Roark, Ayn Rand's cartoonish Creator. Weyland, the founder of the Weyland Corporation, which caused so much trouble in the Alien films, has always been a bit of a mystery. Is Sir Peter a bit of a Sir Ridley, and vice versa? Both, clearly, have been fascinated by mythology and by science. Sir Peter, according to his fictional TED Talks biography, is the son of an Oxford educated Professor of Comparative Mythology and a self-taught software engineer. And Sir Ridley, like Stanley Kubrick, seems obsessed by the intersect between science and art, between artificial and artistic intelligence.
3. The Weyland Corporation
With a 218 trillion dollar valuation, the shadowy Weyland Corporation's ambitions are more than international in scope - they are, indeed, galactic. "There are other worlds than this one," Sir Peter boldly declared, "And if there is no air to breathe, we will simply have to make it." Hello?
The company's website is just masterful, the stuff that social media geek conversation is made of. There is actually an Investor Information page on the site, the sort one would find on any corporation website, only this one has fictional - but fascinating - charts ("Weyland Employee Satisfaction Rate") as well as graphs of data that, no doubt, added value to the whole "Prometheus" experience. It only heightens the excitement.
Hello? If Weyland Corporation had a fictional LinkedIn account, how many would apply? Which brings us to...
4. The viral marketing strategy
They had me at the fictional TED talk, given in 2023. It was, of course, an instant social media success - to date over 6,000 retweets and over 21,000 Facebook likes. There were also viral movie poster. This viral video campaign has been studiously calculated to tickle the g-spot of every tech geek, every aficionado of science fiction practiced at the highest levels. Sir Scott is best when he allows his creativity full reign, creating whole worlds out of thin air.
5. The stars
Nooni Rapace, Michael Fassbender and, of course, Sir Ridley. I. Was. So. There.
Credit to IFC Fix for this post
Prometheus - When Movie Marketing Goes Very Right
Any major studio film these days is going to have a marketing campaign that includes some kind of online element. Often that means a trailer. Sometimes film clips are thrown in there too. But what every studio exec would really like is something about the film that goes viral - that has people passing it on to friends. With Prometheus, the upcoming film from director Ridley Scott, Fox has scored a major viral victory.
First there was the TED talk from the future. The short video shows Guy Pierce as fictional Weyland Industries head Peter Weyland, giving a TED talk in 2023. The piece was first screened at the real TED conference in February. According to the LA Times, TED organisers helped to make the film look like what they envision a talk will really be like in the future. (Look at previous post for the video).
Now Fox has released a second video. This one is about David, a robot who understands human emotions that he does not feel, and who is creepily life like. Actor Michael Fassbender who plays David in this short made to look like a corporate video about a cool new product.
The latest video is almost a little movie into itself. We learn a lot about David and the world he lives and works in and the video is just incredibly entertaining.
On top of all that there's this Website for Weyland Industries. The movie promo site could easily be mistaken for an actual corporate website. My favourite bit is the "about" section. It includes the standard corporate information like number of employees: 837.53 million. Secondary locations: 160 countries and 63 colonies. There's a corporate time line that includes facts such as in 2042 Weyland Industries donated $5 billion to Little Explorers, a charity "dedicated to the education of troubled middle school students."
There are several reasons this marketing is proving to be so effective. The movie (which is likely a prequel to Scott's Alien) has been shrouded in mystery. Sci-fi fans have been chomping at the bit to get any information they can about the film's plot. The current marketing campaign provides lots of tasty tidbits.
The promos are also good enough to pull in movie lovers who have never seen Alien. This summer is going to be crowded. Prometheus will be up against a new Spider-Man, The Dark Knight Rises and The Avengers. Those franchise films are based on well-known heroes. Prometheus doesn't have that advantage so the film makers (and the studio) have had to be smarter about their marketing. Mystery + well done promos = marketing gold.
Will it help at the box office? That remains to be seen. The film hits theatres June 8th.
Credit to forbes.com twitter - DorothyatForbes
First there was the TED talk from the future. The short video shows Guy Pierce as fictional Weyland Industries head Peter Weyland, giving a TED talk in 2023. The piece was first screened at the real TED conference in February. According to the LA Times, TED organisers helped to make the film look like what they envision a talk will really be like in the future. (Look at previous post for the video).
Now Fox has released a second video. This one is about David, a robot who understands human emotions that he does not feel, and who is creepily life like. Actor Michael Fassbender who plays David in this short made to look like a corporate video about a cool new product.
The latest video is almost a little movie into itself. We learn a lot about David and the world he lives and works in and the video is just incredibly entertaining.
On top of all that there's this Website for Weyland Industries. The movie promo site could easily be mistaken for an actual corporate website. My favourite bit is the "about" section. It includes the standard corporate information like number of employees: 837.53 million. Secondary locations: 160 countries and 63 colonies. There's a corporate time line that includes facts such as in 2042 Weyland Industries donated $5 billion to Little Explorers, a charity "dedicated to the education of troubled middle school students."
There are several reasons this marketing is proving to be so effective. The movie (which is likely a prequel to Scott's Alien) has been shrouded in mystery. Sci-fi fans have been chomping at the bit to get any information they can about the film's plot. The current marketing campaign provides lots of tasty tidbits.
The promos are also good enough to pull in movie lovers who have never seen Alien. This summer is going to be crowded. Prometheus will be up against a new Spider-Man, The Dark Knight Rises and The Avengers. Those franchise films are based on well-known heroes. Prometheus doesn't have that advantage so the film makers (and the studio) have had to be smarter about their marketing. Mystery + well done promos = marketing gold.
Will it help at the box office? That remains to be seen. The film hits theatres June 8th.
Credit to forbes.com twitter - DorothyatForbes
Friday, 26 October 2012
Critical Reception
The Other Guys received mostly positive reviews from critics, garnering a 79% "Certified Fresh" rating from top critics on review aggregator Rotten Tomatoes, the consensus being "While not the best collaboration between Will Ferrell and Adam Mckay, The Other Guys delivers bursts of comedy during a summer devoid of laughs." Peter Travers of Rolling Stone praised the film, saying, "Don't let anyone spoil the wildly hilarious surprises. Ferrell and Wahlberg will double your fun. Guaranteed." Some critics praised The Other Guysas the best police film of the year, comparing the film to the critically panned Cop Out, with Richard Roeper stating, "Note to Kevin Smith: THIS is how you do a spoof of the buddy-cop genre," and Stephen Whitty of The Star-Ledger said in his mixed review, "Measured against this year's other police farce - remember Cop Out? - it looks absolutely heroic." The Other Guys also received the "Best Comedy Film" award for 2010 at the first annual Comedy Awards.
Accolades
2010 Comedy Awards
- Best Comedy Film (won)
- Best Comedy Actor Film - Will Ferrell (nominated)
- Best Comedy Director Film - Adam McKay (nominated)
2011 Teen Choice Awards
- Choice Movie-Comedy (nominated)
- Choice Movie Actor-Comedy - Will Ferrell (nominated)
- Choice Movie Actress-Comedy - Eva Mendes (nominated)
- Choice Movie Chemistry - Will Ferrell and Mark Wahlberg (nominated)
- Choice Movie Hissy Fit - Mark Wahlberg (nominated)
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Wednesday, 26 September 2012
The Business - Understanding Filmmaking
The Idea
Sources of Inspiration
This can be found in newspapers, books, films, or just in general conversation.
The Producer
The producer makes the idea a reality. Producers see lots of films so are in a position to know which ideas will sell. However, audience tastes can change dramitcally in the years it takes to make a film. The producer needs to attract a good writer and a good director for the project.
The Director
The director will work with the producer to develop the idea into something that can be filmed. The quality and past work of the director will become a key selling point for the producer to attract financial backing later on. Directors usually have agents, they act on behalf of the director to get the best deal in return for their time and skills, and then they take a percentage cut.
The Writer
The relationship between the producer, writer and director is the key creative traingle in the business. Producers have clear ideas of what they are looking for from a writer, and usually approach the writer and brings them on board the film they want to make.
Treatment
The writer will write a one page description of the main story and characters of the film. It should be written in a style that fits the genre of the film and give the reader an idea of what makes the film unique and interesting to watch.
Pitch
A pitch contains all the information the producer needs in order to sell the idea to financiers to commission a script. E.g. a one-liner, the genre, the target audience (market), the people attached, the rough budget, and a brief synopsis of the film.
Development Finance
Pitching the Project
The producer uses the treatment and pitch to get money to develop a script. The funding needed to support the project is called 'Development Funding'. A producer can invest in the development herself and if she can afford this, she will retain all the rights to the resulting package herself - This is of high risk as there is no external verification of the inspirational idea.
Production Companies
The producer approaches film production companies for development money. In return for the development funding, the production company will ask for the right to take the outcome of the development progress and to be involved in the making of the film. This means that they can receive a large percentage of future profits.
Sales, Distribution, Broadcast
The sales company sometimes provide development money for projects which they feel are marketable and in return ask for the right to sell the film to distribution companies and to take a percentage of the resulting revenue. The broadcaster will ask for the rights to show the film on a number of their TV channels in return for development money. The distribution company will ask for the right to distribute the film to exhibitors, retailers, rental companies, and broadcasters, and then take a percentage of the resulting revenue in return for development money.
Public Investment
The producer can also apply to a public funding body for a development grant. E.g. UK Film Council.
Private Finance
The producer can even pitch the film to private investors, in the hope that they will support the project. The investor gets the right to take the outcome of the development process, and to be involved in the making of the film.
Tying Down the Writer
The Writer's Agent acts on behalf of the writer to get the best deal for the writing and percentage cut.
The writer will commit to delivering a number of drafts of the script to the producer, in return for various financial benefits. There are 'Writers' Guild Minimums' for how much a writer should be paid for first drafts.
Script Development
Synopsis
A synopsis is written in the present tense and describes what the audience will see on the screen. It helps the writer and producer to check that the key elements of a script are in place and that the major events happen at the most effective stages of the story.
Step Outline
This contains short written descriptions of all the scenes that will eventually make up the script, detailing the action, showing where scene breaks will occur, describing important plot event and developments in characters. The writer plans the overall structure and pacing of the film.
Drafts
Must still be fully formatted in the standard way that everyone in the industry expects. The terminology used, page layout, font, and paper size have been standardised for years - The writer must follow them exactly. This is done to enable the script to be turned into a film in the easiest way possible. The script needs to effectively describe what will appear on the screen.
Revisions
The draft is then sent to the financiers. Writers often ask for script editors to help them - These are script experts who help writers to overcome problems they encounter during the writing process. There may also be story editors supporting the writer as well.
Final Draft
Once the director, the producer, and the writer have all approved the script, it becomes a final draft. For the writer, this is the finished product and is taken forward to the next stage. The director will now take the lead. The writer receives a fee and will also get another fee on the first day of principle photography, and possibly a percentage of the producers net.
Sales Treatment
This is a synopsis designed to sell the film to potential financiers. It is an advert for the script and uses more emotive language that the writers' original synopsis - It focuses on the key selling points.
Packaging
What is packaging?
The producer comes up with a rough budget, based on the initial rough budget. It is an estimate of how much funding she can expect to secure the script, and where she intends to channel it to make the film sell. This enables her to choose suitably priced 'above the line' talent.
The Cast
Stars are commercial assets, and attract funding to a film. Green Light Names are people with sufficient clout in the industry or at the box office to secure financing for a film. 'Lure Points' are the percentages of future revenues that the producer gives away at this stage to lure people into the package.
The Heads of Department (HODS)
Getting a well known editor on board early can help persuade potential financiers that the finished product will be an enjoyable piece of cinema. The Production Designer is incredibly important for the visual experience of the film, they will design all sets and the objects seen in it, keeping a consistent vision for the production. The Director of Photography is responsible for giving the film the distinctive look that will make it a success.
Detailed Budget and Production Schedule
The Line Producer is the logistical expert. Their responsibilities are to supervise the budget, hire the crew, approve purchase orders, make sure all departments are doing their respective jobs within the budget, and ensure that the schedule is met. The Budget is a long, spreadsheet document that itemise in huge detail the money that the producer intends to spend on making and finishing the film. A key part of the budget is insurance costs, since all productions must be insured against public liability, loss of shooting days, and other eventualities. The Production Schedule shows which people need to do what, for how long, and where, in order to get the film made. This remains in draft state until funding, cast, and crew have all been finalised.
Finance Plan and Recoupment Schedule
The Finance Plan is the producers plan of how to raise finance for the film, listing the people and organisation that the producer intends to approach with the project. The Recoupment Schedule is an estimate of how the film will make money, listing estimates of revenue from all likely sources.
The Complete Package
This includes a final draft script, a sales treatment, a list of attached stars and HODs, a detailed budget, a production schedule, a finance plan, and a recoupment schedule. The producer must now present this to a number of potential funders.
Financing
The Market
The film finance marketplace is international, and to maximise the chances of getting the funding she needs, the producer must travel. Different countries offer different tax-breaks to those who fund films and so the producer needs to be aware of these laws when deciding which countries to approach.
Investment
Private Finance, Co-Productions (Many production companies worldwide are reluctant to act as the sole investor in a film project. Instead, they will identify a project that fits their demographic, and enter into a partnership with the other production company). Public Investment (They channel public investment into film projects that have commercial or artistic merit, or serve the public interest).
Pre-Sales
The Contract is a legal document that determine who will receive how much and in which order. In general, the more they offer upfront, the more broad-reaching will be their rights over the film in the future. The Sales Company will want the right to sell the film to distribution companies in some or all territories, and to take a percentage of the resulting revenue. The Broadcaster will ask for the right to play the finished film on a certain number of their TV channels. The Distributor will ask for first refusal on the right to distribute the film to cinemas etc. This means that, rather than getting a percentage of revenues in the future, the distribution company has bought the film before it's finished and will get all the revenues that result from distribution in specified territories.
Banks and Gap Funding
Banks will back a range of films with a range of risk levels, to try and even out returns. In return for their investment, they will ask for a share of future revenues, and will charge interest. Gap funding is a loan to cover a shortfall between the money raised so far and the total budget, but interest rates are usually high and the loan is paid off first before other financiers see any money.
Completion Bonds
These are guarantees that if the production runs out of money, the bond issuer supplies the necessary funds to complete the film. They are usually required by investors and banks to protect their investment. The completion guarantor will impose numerous conditions on the producer.
Green Light
Once all the essential funding and insurance is secured, the film gets a 'Green Light'. However this is very complex and a hard thing to achieve for the producer, who has to negotiate all the parallels within the process.
Pre-Production
The Kick-Off Meeting
The Shooting Script - Once a script has gained funding it is locked off and given scene numbers, and it is expected that no major changes will occur. It is used for scheduling, budgeting and for day to day filming. Casting Director - They will need to start shortlist actors for all the roles required by the script. The Editor - They will take on the responsibility of choosing the people that will be required once the film moves into post production. The Head of Sound - During pre-production, he is responsible for hiring his team of sound recordists and boom operators. He will also discuss the sound design of the film with the director and producer. The Director of Photography - He has to work with the production designer and the director to make sure that everyone is clear about that style of film to shoot and will decide the shooting format. The Production Designer - They need to hire an entire team to make sure that all the sets are designed and that the construction department builds them to specification, and oversee all the props and other objects seen in the film. The 1st AD - They are responsible for keeping the filming on schedule and will be present during the pre-production to help plan the shoot. The Line Producer - Responsible for managing every person and issue during the making of a film.
Casting
The casting director will identify possible cast members and will arrange auditions. In large productions a whole casting department is employed to get this process right.
Storyboarding
The Storyboard Artist will draw each key scene in a way that it will be eventually filmed. The Director of Photography will be present at this meeting to make sure they understand the directors requirements for each shot. This allows them to plan each shot in more detail. The Director will plan every frame of the film at this stage by creating a 'paper edit'.
Production Design
The Production Designer works with the set designer and construction team to create artificial sets that suit the needs of the production. The Art Director will take the designs from the production designer and create every detail of the look of the film. The Location Manager scouts for the locations that fit the design of the production and work with the producer, director and production designer to decide which ones to use. The Construction Manager oversees the building of all the film sets, based on the models, storyboards and the set designer's schematics.
Special Effects Planning
The visual effects supervisor is responsible to the director for planning and designing all the special effects needed in the film. The physical effects are designed far in advance of the shoot to give the special effects team time to prepare each one.
The Production Unit
The Production Accountant is responsible for managing the film's finances. Film productions are usually registered as separate trading companies so that the complex financial structures and liabilities can be managed more easily. The Production Manager deals with day-to-day money issues and are responsible for balancing and supervising all the administrative and technical details of the production, budgeting and scheduling, and managing the activities of the entire crew. The Line Producer must write the schedule, arrange contract for equipment hire and personnel, and arrange insurance. The 1st Assistant Director deals with the crew and makes sure they are on schedule, and to assist them. They will work out and write shot plans for each day, and determine the equipment required.
The Shoot
1st Day of Principal Photography
This is the key moment in film production as the shooting begins and the funding is released.
Camera
The Clapper Loader takes unexposed film from it's canister and loads it into magazines. These then slot onto the camera. They will also write and operate the clapperboard, which gives the editor information about which shoot is which. The Grip works exclusively with equipment that the camera is mounted on to make sure that it runs smoothly. The Focus Puller is responsible for keeping the key element in the frame in focus and for shifting focus between elements in the frame. There is also the camera operator and the DoP on the set.
Lighting and Sound
The Boom Operator (responsible for holding the microphone), The Armourer (licensed to carry and operate weapons for use in films), The Make-Up Designer, The Gaffer (a trained electrician responsible for lighting the action), and his Best Boy are all present on the set for this.
Acting
The actors are the only members of the film personnel that will be seen by the public and therefore have a lot of responsibility to make the film a success.
Special Physical Effects
The Visual Effects Supervisor ensures that the shot goes according to pre-production plans.
The Special Effects Supervisor is responsible for every special effect on set. The Health and Safety checks the operation of all elements to guarantee the safety of cast and crew. The Stunt People are used as the insurers of the production will insist that no risks are taken with the actors and will even stipulate what the can and can't do, on and off set.
Chain of Command
Runners, the Assistant Directors (making sure everything runs smoothly on set and kept on schedule), and the Line Producer (acting as a representative of the producer on set) are all present to ensure the project is kept on schedule so financiers and insurers do not step in.
Post Production
Rough Cut
The editor remakes the film the in the edit suite and the assistant editor complies the sequences of the film into an 'assembly' so that the director and editor can see that the film's working, then they work on a rough cut. The rushes from the film are taken to the lab and turned into a roll of negative. These are transferred onto video tapes via telecine and then digitised into a non-linear computer edit suite as digital video files.
Post Production Sound
Foley recording is the recording of custom sound effects during post production in the same way that dialogue is dubbed. Automated Dialogue Reading (ADR) is re-recorded dialogue over the scenes by the original actors in a dubbing studio and is done in addition to or as a substitution for location sound. Instrumental music and existing songs may be used in the film also. The final mix can now be created and is done by a sound editor and they arrange all the tracks as accurately as possible to the locked picture.
Digital Effects and Titles
The credits are added by a digital composer, both the front titles and rear titles. Digital effects are also added, e.g. CGI (Computer Generated Imagery) or compositing: inserting computer generated images into live action footage and layering multiple photographic/CGI elements together.
Grade and Colour
The Telecine Operator makes all the shots look as though they belong visually to the same film. In the grade, they tweak the colours and contrasts to make the film look smooth and uniform.
Final Mix
The Sound Mixer puts the final touches to the film's soundtrack to make sure the film is as engaging and professional as possible. The Broadcast Mix has two channels and will be set to comply with broadcast standards. To allow the film to be shown in multiplex, cinemas and DVD, the final mix is separated into six channels for a Dolby 5.1 mix, which allows the sound mixer to place certain sounds in the theatre.
Final Cut
This means the film is ready for duplication. The sound mix is synchronised with the picture and attached to the edge of the negative (synch and edge). The producer negotiates to secure the final cut of the film, as the investors and attached distribution and sales companies decide what goes in and what gets left on the cutting room floor. The majority of directors do not have final cut on their films.
Sales
Selling the Product
The producer gets help from film distributors, and must secure contracts with the distributors for as many territories as she can and negotiate a good deal in each. The sales agent operates between the producer and the distributor, estimating their value and negotiating distribution deals.
The Trailer
It must sell the key elements of the film to the right audiences as defined at the packaging stage without giving too much away. The producer may commission the trailer herself to sell the film (promo), and as soon as a distribution company is attached, they will commission their own trailers as part of their marketing strategy.
Sales Toolkit
The sales report are detailed sales estimates, which involves taking the producers recoupment schedule and doing more detailed productions. The sales pack contains the key information and marketing materials needed to sell the film to distributors: the trailer being a key part.
Taking the Film to Market
It is vital to have a distinguishable product because the marketplace is very crowded. The producer must try and generate 'buzz' around her film (critical acclaim, audience enthusiasm, a great product etc.) Representatives of distribution companies from around the wold gather at these events looking for the next big thing.
Screenings
Star names virtually guarantee awareness of a film with the public, which makes marketing much easier. A high profile screening can also be great for generating 'heat' around a film.
Deals
The producer negotiates a contract with a distributor for the rights to distribute the film across certain territories. Once the film is sold to distributors, the film is no longer the responsibility of the producer in those territories.
Marketing
The Marketing Team
They must identify the best audience for the film, and find the 'hook' (The USP). They work out the value of this audience at the box office, draw up projections on how it will perform, and set an appropriate marketing budget for launching it. Above-the-Line marketing includes trailers, TV spots, poster campaigns: the most direct way to reach an audience. Below-the-Line marketing is more subtle, involving indirect forms of publicity such as press coverage, product tie-ins and merchandising.
The Audience
Creating positive word-of-mouth is the key part of marketing. The cinema release of a film is a launch event, and the marketing team ensure that the film is hotly anticipated before its release. To do this they need to find their audience and get them talking about the film before the launch. By segmenting the potential audience for the film, the marketing team can be more targeted in their approach, and ensure that the right people hear about the film at the right time.
Advertising
Market research is done with the potential audience on all poster and other marketing collateral to make sure that money spent on advertising is not wasted.
Press and Media Coverage
This is about getting your product endorsed by a third party as positive media is the best way to generate good word-of-mouth about any film.
Internet and New Marketing Models
This way, distributors can target only those people who are most relevant to their marketing objectives, rather and wasting money on nationwide advertising that could be ignored. This is particularly relevant for low-budget filmmakers, with only minimum spend on marketing costs.
Selling the Film to Exhibitors
To get as many of their films shown as possible, the larger distributors often offer a packages to exhibitors, using it as a bargaining tool to persuade the exhibitors to take some of their less commercial products. The marketing budget is determined by the expected level of ticket receipts from a film; the higher the expectation of success, the higher the marketing budget. The cinema programmer is the key decision-maker in the exhibition world and selects the right mix of programming for the venue, responding to local audience interests.
Exhibition
The Premiere
Here, even lesser-known stars will still attract publicity and generate hype. Stars who can 'open' a film are those that will guarantee the film will do well in its opening weekend. However, star power can extend beyond actors as well. E.g. directors and writers.
UK Cinemas
The most important market for any film, as success at the box office can guarantee increased revenues in subsequent windows. Specialist cinemas can ensure that even films with a very niche market can reach their audience and make a profit.
Prints and Logistics
Hundreds of copies of the film are produced by the distributors, and these prints are then rented by the exhibitors who are screening the film. Special logistics companies transport these films to cinemas throughout the UK - This is a niche area of logistics. Making so many prints requires substantial investment from the distributors, and they will reduce their costs by releasing the film in waves.
Box Office Performance
Data about the film attendance is collected continuously, and used by the cinemas to decide which films to cancel and which to prolong. Slow-burners do not flourish well in the cinema market.
Revenues
The box office gross is just the starting measure for what everyone involved will make from the film. Producers can check these reports to figure out roughly how much they will make.
Recoupment
As the profits begin to appear, they will be channelled back to the production accounts department, who begin the long process of repaying the film's financiers. This is done in the strict order of priority laid down in the recoupment schedule during the film's financing.
Other Windows
Hospitality
In-flight entertainment and hotel pay-per-view channels are the first way in which films are sold after their cinema release. This can be a very lucrative window.
DVD and Video
Theatrical release is seen as a platform from which to gain the more lucrative sales on DVD. The UK is the best market for DVD sales in the world and brings in more revenues in this window than the US.
Broadcast
Once all the other windows have been exhausted, the film will be sold to terrestrial TV. If a broadcast company put up money towards the production, they will have first option on the broadcast rights.
The Game of the Film
This window is seen in some quarters as a threat to the film industry and is rivalling films in terms of profile and market share.
Profit?
Only when the gross revenue has gone down the supply chain and the exhibitor, the distributor, and all the investors have been repaid, does the producer get anything at all. When money starts to come back to the production, the 'talent points' must be payed by the producer before herself.
The End?
The final income from a film is never known. Distribution continues in perpetuity and it may even be re-released in the future. It may be years until the producer begins to see any money - if at all.
Sources of Inspiration
This can be found in newspapers, books, films, or just in general conversation.
The Producer
The producer makes the idea a reality. Producers see lots of films so are in a position to know which ideas will sell. However, audience tastes can change dramitcally in the years it takes to make a film. The producer needs to attract a good writer and a good director for the project.
The Director
The director will work with the producer to develop the idea into something that can be filmed. The quality and past work of the director will become a key selling point for the producer to attract financial backing later on. Directors usually have agents, they act on behalf of the director to get the best deal in return for their time and skills, and then they take a percentage cut.
The Writer
The relationship between the producer, writer and director is the key creative traingle in the business. Producers have clear ideas of what they are looking for from a writer, and usually approach the writer and brings them on board the film they want to make.
Treatment
The writer will write a one page description of the main story and characters of the film. It should be written in a style that fits the genre of the film and give the reader an idea of what makes the film unique and interesting to watch.
Pitch
A pitch contains all the information the producer needs in order to sell the idea to financiers to commission a script. E.g. a one-liner, the genre, the target audience (market), the people attached, the rough budget, and a brief synopsis of the film.
Development Finance
Pitching the Project
The producer uses the treatment and pitch to get money to develop a script. The funding needed to support the project is called 'Development Funding'. A producer can invest in the development herself and if she can afford this, she will retain all the rights to the resulting package herself - This is of high risk as there is no external verification of the inspirational idea.
Production Companies
The producer approaches film production companies for development money. In return for the development funding, the production company will ask for the right to take the outcome of the development progress and to be involved in the making of the film. This means that they can receive a large percentage of future profits.
Sales, Distribution, Broadcast
The sales company sometimes provide development money for projects which they feel are marketable and in return ask for the right to sell the film to distribution companies and to take a percentage of the resulting revenue. The broadcaster will ask for the rights to show the film on a number of their TV channels in return for development money. The distribution company will ask for the right to distribute the film to exhibitors, retailers, rental companies, and broadcasters, and then take a percentage of the resulting revenue in return for development money.
Public Investment
The producer can also apply to a public funding body for a development grant. E.g. UK Film Council.
Private Finance
The producer can even pitch the film to private investors, in the hope that they will support the project. The investor gets the right to take the outcome of the development process, and to be involved in the making of the film.
Tying Down the Writer
The Writer's Agent acts on behalf of the writer to get the best deal for the writing and percentage cut.
The writer will commit to delivering a number of drafts of the script to the producer, in return for various financial benefits. There are 'Writers' Guild Minimums' for how much a writer should be paid for first drafts.
Script Development
Synopsis
A synopsis is written in the present tense and describes what the audience will see on the screen. It helps the writer and producer to check that the key elements of a script are in place and that the major events happen at the most effective stages of the story.
Step Outline
This contains short written descriptions of all the scenes that will eventually make up the script, detailing the action, showing where scene breaks will occur, describing important plot event and developments in characters. The writer plans the overall structure and pacing of the film.
Drafts
Must still be fully formatted in the standard way that everyone in the industry expects. The terminology used, page layout, font, and paper size have been standardised for years - The writer must follow them exactly. This is done to enable the script to be turned into a film in the easiest way possible. The script needs to effectively describe what will appear on the screen.
Revisions
The draft is then sent to the financiers. Writers often ask for script editors to help them - These are script experts who help writers to overcome problems they encounter during the writing process. There may also be story editors supporting the writer as well.
Final Draft
Once the director, the producer, and the writer have all approved the script, it becomes a final draft. For the writer, this is the finished product and is taken forward to the next stage. The director will now take the lead. The writer receives a fee and will also get another fee on the first day of principle photography, and possibly a percentage of the producers net.
Sales Treatment
This is a synopsis designed to sell the film to potential financiers. It is an advert for the script and uses more emotive language that the writers' original synopsis - It focuses on the key selling points.
Packaging
What is packaging?
The producer comes up with a rough budget, based on the initial rough budget. It is an estimate of how much funding she can expect to secure the script, and where she intends to channel it to make the film sell. This enables her to choose suitably priced 'above the line' talent.
The Cast
Stars are commercial assets, and attract funding to a film. Green Light Names are people with sufficient clout in the industry or at the box office to secure financing for a film. 'Lure Points' are the percentages of future revenues that the producer gives away at this stage to lure people into the package.
The Heads of Department (HODS)
Getting a well known editor on board early can help persuade potential financiers that the finished product will be an enjoyable piece of cinema. The Production Designer is incredibly important for the visual experience of the film, they will design all sets and the objects seen in it, keeping a consistent vision for the production. The Director of Photography is responsible for giving the film the distinctive look that will make it a success.
Detailed Budget and Production Schedule
The Line Producer is the logistical expert. Their responsibilities are to supervise the budget, hire the crew, approve purchase orders, make sure all departments are doing their respective jobs within the budget, and ensure that the schedule is met. The Budget is a long, spreadsheet document that itemise in huge detail the money that the producer intends to spend on making and finishing the film. A key part of the budget is insurance costs, since all productions must be insured against public liability, loss of shooting days, and other eventualities. The Production Schedule shows which people need to do what, for how long, and where, in order to get the film made. This remains in draft state until funding, cast, and crew have all been finalised.
Finance Plan and Recoupment Schedule
The Finance Plan is the producers plan of how to raise finance for the film, listing the people and organisation that the producer intends to approach with the project. The Recoupment Schedule is an estimate of how the film will make money, listing estimates of revenue from all likely sources.
The Complete Package
This includes a final draft script, a sales treatment, a list of attached stars and HODs, a detailed budget, a production schedule, a finance plan, and a recoupment schedule. The producer must now present this to a number of potential funders.
Financing
The Market
The film finance marketplace is international, and to maximise the chances of getting the funding she needs, the producer must travel. Different countries offer different tax-breaks to those who fund films and so the producer needs to be aware of these laws when deciding which countries to approach.
Investment
Private Finance, Co-Productions (Many production companies worldwide are reluctant to act as the sole investor in a film project. Instead, they will identify a project that fits their demographic, and enter into a partnership with the other production company). Public Investment (They channel public investment into film projects that have commercial or artistic merit, or serve the public interest).
Pre-Sales
The Contract is a legal document that determine who will receive how much and in which order. In general, the more they offer upfront, the more broad-reaching will be their rights over the film in the future. The Sales Company will want the right to sell the film to distribution companies in some or all territories, and to take a percentage of the resulting revenue. The Broadcaster will ask for the right to play the finished film on a certain number of their TV channels. The Distributor will ask for first refusal on the right to distribute the film to cinemas etc. This means that, rather than getting a percentage of revenues in the future, the distribution company has bought the film before it's finished and will get all the revenues that result from distribution in specified territories.
Banks and Gap Funding
Banks will back a range of films with a range of risk levels, to try and even out returns. In return for their investment, they will ask for a share of future revenues, and will charge interest. Gap funding is a loan to cover a shortfall between the money raised so far and the total budget, but interest rates are usually high and the loan is paid off first before other financiers see any money.
Completion Bonds
These are guarantees that if the production runs out of money, the bond issuer supplies the necessary funds to complete the film. They are usually required by investors and banks to protect their investment. The completion guarantor will impose numerous conditions on the producer.
Green Light
Once all the essential funding and insurance is secured, the film gets a 'Green Light'. However this is very complex and a hard thing to achieve for the producer, who has to negotiate all the parallels within the process.
Pre-Production
The Kick-Off Meeting
The Shooting Script - Once a script has gained funding it is locked off and given scene numbers, and it is expected that no major changes will occur. It is used for scheduling, budgeting and for day to day filming. Casting Director - They will need to start shortlist actors for all the roles required by the script. The Editor - They will take on the responsibility of choosing the people that will be required once the film moves into post production. The Head of Sound - During pre-production, he is responsible for hiring his team of sound recordists and boom operators. He will also discuss the sound design of the film with the director and producer. The Director of Photography - He has to work with the production designer and the director to make sure that everyone is clear about that style of film to shoot and will decide the shooting format. The Production Designer - They need to hire an entire team to make sure that all the sets are designed and that the construction department builds them to specification, and oversee all the props and other objects seen in the film. The 1st AD - They are responsible for keeping the filming on schedule and will be present during the pre-production to help plan the shoot. The Line Producer - Responsible for managing every person and issue during the making of a film.
Casting
The casting director will identify possible cast members and will arrange auditions. In large productions a whole casting department is employed to get this process right.
Storyboarding
The Storyboard Artist will draw each key scene in a way that it will be eventually filmed. The Director of Photography will be present at this meeting to make sure they understand the directors requirements for each shot. This allows them to plan each shot in more detail. The Director will plan every frame of the film at this stage by creating a 'paper edit'.
Production Design
The Production Designer works with the set designer and construction team to create artificial sets that suit the needs of the production. The Art Director will take the designs from the production designer and create every detail of the look of the film. The Location Manager scouts for the locations that fit the design of the production and work with the producer, director and production designer to decide which ones to use. The Construction Manager oversees the building of all the film sets, based on the models, storyboards and the set designer's schematics.
Special Effects Planning
The visual effects supervisor is responsible to the director for planning and designing all the special effects needed in the film. The physical effects are designed far in advance of the shoot to give the special effects team time to prepare each one.
The Production Unit
The Production Accountant is responsible for managing the film's finances. Film productions are usually registered as separate trading companies so that the complex financial structures and liabilities can be managed more easily. The Production Manager deals with day-to-day money issues and are responsible for balancing and supervising all the administrative and technical details of the production, budgeting and scheduling, and managing the activities of the entire crew. The Line Producer must write the schedule, arrange contract for equipment hire and personnel, and arrange insurance. The 1st Assistant Director deals with the crew and makes sure they are on schedule, and to assist them. They will work out and write shot plans for each day, and determine the equipment required.
The Shoot
1st Day of Principal Photography
This is the key moment in film production as the shooting begins and the funding is released.
Camera
The Clapper Loader takes unexposed film from it's canister and loads it into magazines. These then slot onto the camera. They will also write and operate the clapperboard, which gives the editor information about which shoot is which. The Grip works exclusively with equipment that the camera is mounted on to make sure that it runs smoothly. The Focus Puller is responsible for keeping the key element in the frame in focus and for shifting focus between elements in the frame. There is also the camera operator and the DoP on the set.
Lighting and Sound
The Boom Operator (responsible for holding the microphone), The Armourer (licensed to carry and operate weapons for use in films), The Make-Up Designer, The Gaffer (a trained electrician responsible for lighting the action), and his Best Boy are all present on the set for this.
Acting
The actors are the only members of the film personnel that will be seen by the public and therefore have a lot of responsibility to make the film a success.
Special Physical Effects
The Visual Effects Supervisor ensures that the shot goes according to pre-production plans.
The Special Effects Supervisor is responsible for every special effect on set. The Health and Safety checks the operation of all elements to guarantee the safety of cast and crew. The Stunt People are used as the insurers of the production will insist that no risks are taken with the actors and will even stipulate what the can and can't do, on and off set.
Chain of Command
Runners, the Assistant Directors (making sure everything runs smoothly on set and kept on schedule), and the Line Producer (acting as a representative of the producer on set) are all present to ensure the project is kept on schedule so financiers and insurers do not step in.
Post Production
Rough Cut
The editor remakes the film the in the edit suite and the assistant editor complies the sequences of the film into an 'assembly' so that the director and editor can see that the film's working, then they work on a rough cut. The rushes from the film are taken to the lab and turned into a roll of negative. These are transferred onto video tapes via telecine and then digitised into a non-linear computer edit suite as digital video files.
Post Production Sound
Foley recording is the recording of custom sound effects during post production in the same way that dialogue is dubbed. Automated Dialogue Reading (ADR) is re-recorded dialogue over the scenes by the original actors in a dubbing studio and is done in addition to or as a substitution for location sound. Instrumental music and existing songs may be used in the film also. The final mix can now be created and is done by a sound editor and they arrange all the tracks as accurately as possible to the locked picture.
Digital Effects and Titles
The credits are added by a digital composer, both the front titles and rear titles. Digital effects are also added, e.g. CGI (Computer Generated Imagery) or compositing: inserting computer generated images into live action footage and layering multiple photographic/CGI elements together.
Grade and Colour
The Telecine Operator makes all the shots look as though they belong visually to the same film. In the grade, they tweak the colours and contrasts to make the film look smooth and uniform.
Final Mix
The Sound Mixer puts the final touches to the film's soundtrack to make sure the film is as engaging and professional as possible. The Broadcast Mix has two channels and will be set to comply with broadcast standards. To allow the film to be shown in multiplex, cinemas and DVD, the final mix is separated into six channels for a Dolby 5.1 mix, which allows the sound mixer to place certain sounds in the theatre.
Final Cut
This means the film is ready for duplication. The sound mix is synchronised with the picture and attached to the edge of the negative (synch and edge). The producer negotiates to secure the final cut of the film, as the investors and attached distribution and sales companies decide what goes in and what gets left on the cutting room floor. The majority of directors do not have final cut on their films.
Sales
Selling the Product
The producer gets help from film distributors, and must secure contracts with the distributors for as many territories as she can and negotiate a good deal in each. The sales agent operates between the producer and the distributor, estimating their value and negotiating distribution deals.
The Trailer
It must sell the key elements of the film to the right audiences as defined at the packaging stage without giving too much away. The producer may commission the trailer herself to sell the film (promo), and as soon as a distribution company is attached, they will commission their own trailers as part of their marketing strategy.
Sales Toolkit
The sales report are detailed sales estimates, which involves taking the producers recoupment schedule and doing more detailed productions. The sales pack contains the key information and marketing materials needed to sell the film to distributors: the trailer being a key part.
Taking the Film to Market
It is vital to have a distinguishable product because the marketplace is very crowded. The producer must try and generate 'buzz' around her film (critical acclaim, audience enthusiasm, a great product etc.) Representatives of distribution companies from around the wold gather at these events looking for the next big thing.
Screenings
Star names virtually guarantee awareness of a film with the public, which makes marketing much easier. A high profile screening can also be great for generating 'heat' around a film.
Deals
The producer negotiates a contract with a distributor for the rights to distribute the film across certain territories. Once the film is sold to distributors, the film is no longer the responsibility of the producer in those territories.
Marketing
The Marketing Team
They must identify the best audience for the film, and find the 'hook' (The USP). They work out the value of this audience at the box office, draw up projections on how it will perform, and set an appropriate marketing budget for launching it. Above-the-Line marketing includes trailers, TV spots, poster campaigns: the most direct way to reach an audience. Below-the-Line marketing is more subtle, involving indirect forms of publicity such as press coverage, product tie-ins and merchandising.
The Audience
Creating positive word-of-mouth is the key part of marketing. The cinema release of a film is a launch event, and the marketing team ensure that the film is hotly anticipated before its release. To do this they need to find their audience and get them talking about the film before the launch. By segmenting the potential audience for the film, the marketing team can be more targeted in their approach, and ensure that the right people hear about the film at the right time.
Advertising
Market research is done with the potential audience on all poster and other marketing collateral to make sure that money spent on advertising is not wasted.
Press and Media Coverage
This is about getting your product endorsed by a third party as positive media is the best way to generate good word-of-mouth about any film.
Internet and New Marketing Models
This way, distributors can target only those people who are most relevant to their marketing objectives, rather and wasting money on nationwide advertising that could be ignored. This is particularly relevant for low-budget filmmakers, with only minimum spend on marketing costs.
Selling the Film to Exhibitors
To get as many of their films shown as possible, the larger distributors often offer a packages to exhibitors, using it as a bargaining tool to persuade the exhibitors to take some of their less commercial products. The marketing budget is determined by the expected level of ticket receipts from a film; the higher the expectation of success, the higher the marketing budget. The cinema programmer is the key decision-maker in the exhibition world and selects the right mix of programming for the venue, responding to local audience interests.
Exhibition
The Premiere
Here, even lesser-known stars will still attract publicity and generate hype. Stars who can 'open' a film are those that will guarantee the film will do well in its opening weekend. However, star power can extend beyond actors as well. E.g. directors and writers.
UK Cinemas
The most important market for any film, as success at the box office can guarantee increased revenues in subsequent windows. Specialist cinemas can ensure that even films with a very niche market can reach their audience and make a profit.
Prints and Logistics
Hundreds of copies of the film are produced by the distributors, and these prints are then rented by the exhibitors who are screening the film. Special logistics companies transport these films to cinemas throughout the UK - This is a niche area of logistics. Making so many prints requires substantial investment from the distributors, and they will reduce their costs by releasing the film in waves.
Box Office Performance
Data about the film attendance is collected continuously, and used by the cinemas to decide which films to cancel and which to prolong. Slow-burners do not flourish well in the cinema market.
Revenues
The box office gross is just the starting measure for what everyone involved will make from the film. Producers can check these reports to figure out roughly how much they will make.
Recoupment
As the profits begin to appear, they will be channelled back to the production accounts department, who begin the long process of repaying the film's financiers. This is done in the strict order of priority laid down in the recoupment schedule during the film's financing.
Other Windows
Hospitality
In-flight entertainment and hotel pay-per-view channels are the first way in which films are sold after their cinema release. This can be a very lucrative window.
DVD and Video
Theatrical release is seen as a platform from which to gain the more lucrative sales on DVD. The UK is the best market for DVD sales in the world and brings in more revenues in this window than the US.
Broadcast
Once all the other windows have been exhausted, the film will be sold to terrestrial TV. If a broadcast company put up money towards the production, they will have first option on the broadcast rights.
The Game of the Film
This window is seen in some quarters as a threat to the film industry and is rivalling films in terms of profile and market share.
Profit?
Only when the gross revenue has gone down the supply chain and the exhibitor, the distributor, and all the investors have been repaid, does the producer get anything at all. When money starts to come back to the production, the 'talent points' must be payed by the producer before herself.
The End?
The final income from a film is never known. Distribution continues in perpetuity and it may even be re-released in the future. It may be years until the producer begins to see any money - if at all.
Tuesday, 25 September 2012
Saturday, 22 September 2012
Tuesday, 18 September 2012
The Usual Suspects - Character Representation
McManus
As we are introduced to this character, he is sleeping on his bed (which looks fairly basic) topless so that his tattoos are revealed. Tattoos are stereotypically linked to a 'chad' or more common person so this gives us the impression that McManus is a rough character. Alongside this, his language that is used in his snippet of speech, mainly consisting of swear words, shows his un-educated character and his restricted vocabulary which emphasises his possible lower class status. It seems that there is non-digetic light shining down onto McManus so that the focus of the scene is solely on him, and so that the audience doesn't get distracted by his surrounding (although we still catch a glimpse of his bare environment) and this light is used for the transition from this scene to the next, as well as the sound bridge accompanying it. Also, the camera shot zooms into McManus' face as part of the same movement of the police force, which makes the audience feel that they are looking in as part of the police arresting him.
Hockney
The most obvious observation is the fact that Hockney is a car mechanics, which is a stable middle class job. He appears clean cut and not an average criminal, this is a contrast to the previous character that we were introduced to. Hockney is very secretive when the police call his name and replies "Who wants to know?" - This makes the audience think that Hockney has got something to hide and there is a certain mysteriousness about him. However, Hockney deliberately reaches underneath the car so that it looks like he is about to get a gun out, however it is simply a cloth to wipe his face, which fools the police. This act of wit makes the audience think of him as a humorous character in the film. The same cloth he picks up is what makes the transition from this scene to the next.
Fenster
The first thing that caught my eye about Fenster was his vibrant choice of suit and the undone butting on his shirt, with the undone bow tie hanging loose from his neck. This gives us the impression that Fenster is some sort of 'Pimp' or maybe doing the walk of shame from staying out all night. Either way, Fenster looks lie he has been doing something that he shouldn't have. This judgement is supported further when the camera shot zooms into the upper half of his body to show more of his facial expressions, and he seems to be cautious of what's around him and if anybody see's him, which makes the audience think he has something to hide. As well as this, he seems to be in a quite run down area, as he walks past a 98cent store, and the area looks fairly cheap in general - a type of area that pimps are likely to situate themselves in. In Fenster's arrest he shows no struggle whatsoever and throws his arms up in the air voluntarily, however he then begins to play with the police by alternating his arms so that they cannot arrest him. This shows that he is a bit of a cheeky character in the film.
Keaton
This scene takes place in a classy, expensive restaurant, and alongside Keaton's posh voice/accent, presents Keaton as intelligent, high class, wealthy and posh. The music is completely different from the background music in the other scenes scenes and is a slow, calming, piano tune (probably being played in the restaurant), which creates a more calming arrest rather than an aggressive one. Also, there appears to be history between Keaton and the officer there to arrest him, which is a contrast to the other characters' scenes as there is some sort of connection between them both. We know this because as soon as the officer beings to talk behind Keaton's back, Keaton recognises the voice and the close up camera shot allows us to see his worried/surprised reaction. However, this relationship seems to lead to a more civil arrest that the others did not have.
Verbal
We are introduced to Verbal with his significant limp. We know that his leg is significant in the film as there is an extreme close up camera shot focusing purely on this, which then pans upwards to reveal the rest of Verbal a section at a time. We don't know what happened to cause this disability so therefore, as an audience, we want to find out - But it might suggest that he has been in an accident concerning criminal activity before. The 'sweater' or vest that Verbal is wearing is a stereotypical dress sense of a posh person so therefore this makes the audience question his class in society. Also, although Verbal is the most quiet of all the men, he seems to be the most threatening as there is something quite menacing about his voice - Which makes the audience question his innocence that he appears to have.
As we are introduced to this character, he is sleeping on his bed (which looks fairly basic) topless so that his tattoos are revealed. Tattoos are stereotypically linked to a 'chad' or more common person so this gives us the impression that McManus is a rough character. Alongside this, his language that is used in his snippet of speech, mainly consisting of swear words, shows his un-educated character and his restricted vocabulary which emphasises his possible lower class status. It seems that there is non-digetic light shining down onto McManus so that the focus of the scene is solely on him, and so that the audience doesn't get distracted by his surrounding (although we still catch a glimpse of his bare environment) and this light is used for the transition from this scene to the next, as well as the sound bridge accompanying it. Also, the camera shot zooms into McManus' face as part of the same movement of the police force, which makes the audience feel that they are looking in as part of the police arresting him.Hockney
The most obvious observation is the fact that Hockney is a car mechanics, which is a stable middle class job. He appears clean cut and not an average criminal, this is a contrast to the previous character that we were introduced to. Hockney is very secretive when the police call his name and replies "Who wants to know?" - This makes the audience think that Hockney has got something to hide and there is a certain mysteriousness about him. However, Hockney deliberately reaches underneath the car so that it looks like he is about to get a gun out, however it is simply a cloth to wipe his face, which fools the police. This act of wit makes the audience think of him as a humorous character in the film. The same cloth he picks up is what makes the transition from this scene to the next.
Fenster
The first thing that caught my eye about Fenster was his vibrant choice of suit and the undone butting on his shirt, with the undone bow tie hanging loose from his neck. This gives us the impression that Fenster is some sort of 'Pimp' or maybe doing the walk of shame from staying out all night. Either way, Fenster looks lie he has been doing something that he shouldn't have. This judgement is supported further when the camera shot zooms into the upper half of his body to show more of his facial expressions, and he seems to be cautious of what's around him and if anybody see's him, which makes the audience think he has something to hide. As well as this, he seems to be in a quite run down area, as he walks past a 98cent store, and the area looks fairly cheap in general - a type of area that pimps are likely to situate themselves in. In Fenster's arrest he shows no struggle whatsoever and throws his arms up in the air voluntarily, however he then begins to play with the police by alternating his arms so that they cannot arrest him. This shows that he is a bit of a cheeky character in the film.
Keaton
This scene takes place in a classy, expensive restaurant, and alongside Keaton's posh voice/accent, presents Keaton as intelligent, high class, wealthy and posh. The music is completely different from the background music in the other scenes scenes and is a slow, calming, piano tune (probably being played in the restaurant), which creates a more calming arrest rather than an aggressive one. Also, there appears to be history between Keaton and the officer there to arrest him, which is a contrast to the other characters' scenes as there is some sort of connection between them both. We know this because as soon as the officer beings to talk behind Keaton's back, Keaton recognises the voice and the close up camera shot allows us to see his worried/surprised reaction. However, this relationship seems to lead to a more civil arrest that the others did not have.
Verbal
We are introduced to Verbal with his significant limp. We know that his leg is significant in the film as there is an extreme close up camera shot focusing purely on this, which then pans upwards to reveal the rest of Verbal a section at a time. We don't know what happened to cause this disability so therefore, as an audience, we want to find out - But it might suggest that he has been in an accident concerning criminal activity before. The 'sweater' or vest that Verbal is wearing is a stereotypical dress sense of a posh person so therefore this makes the audience question his class in society. Also, although Verbal is the most quiet of all the men, he seems to be the most threatening as there is something quite menacing about his voice - Which makes the audience question his innocence that he appears to have.
Teenager Representation in TV Drama
Sid Jenkins representation (Skins, Series 1, Episode 1, Part 1)
Focusing on his bedroom scene;
- Introduces Sid’s bedroom with a plate with cigarette ends, this gives us the impression that he smokes.
- His bedroom is messy, cluttered and dirty. This cluttered background links to his lifestyle as most of the time he doesn’t know who he is/what he wants/what to do and it reflects his appearance e.g. His messy hair.
- In his bedroom you see CD’s, video/computer games, a stereo, and magazines – there are no schoolbooks etc. So, little signs of intelligence.
- Diegetic light is shining through the window situated at the left of the bedroom to show the time of day & the fact that he isn’t up in time for college hints at his lazy/apathetic attitude.
- Lava lamps are situated around the room more than once, this makes us think he is still a little immature and amused by childhood things.
- He has childish duvet covers, which supports the fact that he is immature and childish.
- The high camera shot of Sid’s bedroom looks down at his bedroom to show the scale of the bedroom and his environment – as a person’s bedroom tends to reflect a persons character. This camera shot also makes us feel as though we are looking into the bedroom.
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