Tuesday, 26 February 2019

FILM INDUSTRY: LEGEND

Our third case study film is: Legend (2015) dir. B. Helgeland

   Who produced the film? 
Working Title and Studio Canal

 Who owns this production company and what other films have they produced? 
Working Title is a British film and television production company owned by Universal Pictures. The company was founded by Tim Bevan and Sarah Radclyffe in 1984. It produces feature films and several television productions. Eric Fellner and Tim Bevan are now the co-chairmen of the company. 
Financing for Legend was provided by StudioCanal, which also distributed the film throughout the territories of the United Kingdom, France, New Zealand and Germany in addition to handling international sales, which started at the beginning of the Cannes Film Festival.[38] On 30 April 2014, Brian Oliver's Cross Creek Pictures acquired the North American distribution rights to Legend from StudioCanal, with a planned 2015 theatrical release through Universal Pictures in its distribution deal with the studio and Oliver also named as a producer on the film.[39][40]

• Who directed the film? 
Brian Helgeland. He attended the Cannes Film Festival with Working Title's Tim Bevan and Chris Clark to talk to potential buyers of the film and showing test footage of Hardy playing the twins.[30][31]

• What other films have they directed? 
This is Helgeland's fifth feature film. The American screenwriter, film producer and director is most known for writing the screenplays for L.A. ConfidentialMystic River, and A Nightmare on Elm Street 4: The Dream Master.



• What was the budget? 


• Who stars in it? 
Tom Hardy. From a marketing perspective, the hook of Legend was obvious. “The idea of Tom Hardy playing both roles in the movie was something that made people think this is going to be something very special because he is an amazing actor,” explains Spearing.
“When you get a very unique selling point like that for a movie, it is very hard to resist.

• What other films have they been in?
Hardy made his film debut in Ridley Scott's Black Hawk Down(2001) and has since appeared in such films as Star Trek: Nemesis (2002), RocknRolla (2008), Bronson(2008), Warrior (2011), Tinker Tailor Soldier Spy (2011), Lawless (2012), Locke (2013), The Drop (2014), and The Revenant (2015), for which he received a nomination for the Academy Award for Best Supporting Actor. In 2015, Hardy portrayed "Mad" Max Rockatansky in Mad Max: Fury Road and both Kray twins in Legend. He has appeared in three Christopher Nolan films: Inception (2010), The Dark Knight Rises(2012) as Bane, and Dunkirk (2017) as an RAF fighter-pilot. He starred as Eddie Brock / Venom in the antihero film Venom (2018).

Hardy's television roles include the HBO war drama miniseries Band of Brothers (2001), the BBC historical drama miniseries The Virgin Queen (2005), Bill Sikes in the BBC’s miniseries Oliver Twist (2007), ITV's Wuthering Heights (2008), the Sky 1 drama series The Take (2009), and the BBC historical crime drama series Peaky Blinders (2013–2017). He created, co-produced, and took the lead in the eight-part historical fictionseries Taboo (2017) on BBC One and FX.[1]
• What technology has been used to make the film? (What cameras did they use? How was the film edited? What CGI was involved?) 
Read How Tom Hardy Plays His Own Twin in ‘Legend’ The film employs tricks both classic (the split screen) and contemporary to show the characters in the same shot. In “Legend,” when the camera needed to follow the characters, it would be motion-controlled, a process in which a computerized camera’s movement is programmed in advance, enabling its path to be repeated exactly. That made the process of adding doubles to the frame much smoother. For actors, playing multiple characters in one film is a particular challenge. In the case of “Legend,” Mr. Hardy had to figure out the best way to act with himself. The double stand-in for Mr. Hardy was Jacob Tomuri, who was also his stunt double in “Mad Max: Fury Road.” But Mr. Tomuri is not an actor, so responsibility for the voice fell to Mr. Hardy.
“I would record both the brothers’ dialogue in the morning, so that we could have a guideline for Jacob to mime to while I spoke as the other brother,” Mr. Hardy said in a phone interview from London. Both performers wore earpieces to hear the side of the conversation that wasn’t being delivered live. Then they would switch positions and record the scene again.
In one charged scene, the twins get into a furious physical fight. Mostly this involved Mr. Hardy performing as each brother, opposite Mr. Tomuri. But in some moments — as when the brothers slap each other in the face multiple times — the choreography was so complicated that Mr. Tomuri, whose body stays in the frame, was given a digital face replacement.
Read: How CGI and old-school trickery created two towering Tom Hardy performances in one film: Cinematographer Dick Pope reveals the mix of new-fangled and classic filmmaking tricks that created Hardy's award-winning dual role in gangster movie "Legend".

• How was the film marketed? Which different marketing tools were used?
On 13 June 2014, the first image of the film was published, featuring Hardy as the Kray twins.[8][43] A promotional poster attracted publicity because it made a two-star review from The Guardian appear to be a four- or five-star review by placing the two stars between the heads of the Krays.[44][45]
Benjamin Lee describes the 'movie marketing gold' of the two-star review and his Tweet that went viral.
Double the Hardy meant double the opportunity. As well as the ubiquitous image of back-to-back Hardy on the posters, the creative for the campaign also included TV spots that specifically focused on Ron or Reggie and an innovative cascade advert in the Metro that revealed the two Kray twins. It was a campaign aimed to be “unmissable”, especially during its opening weekend.
 • What examples of synergy with other products/merchandise can you find? n/a

 • What examples of cross media convergence can you find? n/a

• What examples of technological convergence can you find? n/a

• Where and when was LEGEND released (nationwide, worldwide) and in what cinemas?
Financing for Legend was provided by StudioCanal, which also distributed the film throughout the territories of the United Kingdom, France, New Zealand and Germany in addition to handling international sales, which started at the beginning of the Cannes Film Festival.[38] On 30 April 2014, Brian Oliver's Cross Creek Pictures acquired the North American distribution rights to Legend from StudioCanal, with a planned 2015 theatrical release through Universal Pictures in its distribution deal with the studio and Oliver also named as a producer on the film.[39][40]

• What formats was it available in (digital / 3D etc…)? 
Legend was released on DVD and Blu-ray in the United Kingdom on 25 January 2016 and in the United States on 1 March 2016.[46]

• Who is the target audience?
Having posted StudioCanal’s biggest-ever openingLegend hit the £10m ($15.2m) mark at the UK box office this week. While it has surpassed all expectations for the distributor, the signs were there early on that it had strong potential.
“From when we started working on the film, we wanted to put the film in the period so we used period music in the first trailer in the UK to create that distinctive feel,” outlines Hugh Spearing, head of UK marketing at StudioCanal.
“At the time it was our biggest trailer launch to date and that gave us a good indication that people were interested in the movie and the concept.” Source: ScreenDaily Marketing A Legend
Hugh Spearing, head of marketing at Studiocanal, presented Legend, which stars Tom Hardy as the East End’s notorious gangster twins Ronald and Reggie Kray.

The film opened to £5.1m over 5-days and went on to take £18.2m in the UK, the company’s second highest-grossing film behind Paddington.
When approaching Legend, Hugh Spearing and Studiocanal believed from the start that they had the concept for a hit.
“The reason we got involved in the film was the central idea of Tom Hardy, who was becoming an iconic British actor, playing both of the Kray twins, iconic figures themselves,” said Spearing.

The company took the project to Cannes, showing rehearsal footage of Tom Hardy in character at the festival, an approach Spearing described as highly successful: “It sold incredibly well before it even started shooting.”
In the first week of production, the company released a still of Tom Hardy in character as both Ronald and Reggie Kray; even though the image wasn’t a part of the actual film, it proved very popular, particularly online, and is still used to promote the film today.

The next step was releasing an initial teaser trailer for the film, which quickly became Studiocanal’s biggest trailer ever in terms of online interest. “That meant we knew there was interest” recalled Spearing.
As a result of the buzz generated, he said the company felt confident utilising “a big budget across all types of media”.

In particular, the social media campaign for Legend proved highly successful. “It was our most successful and engaged campaign to date,” recalled Spearing.
The company also managed to make use of the burgeoning stardom of Tom Hardy, who Spearing notes is often reluctant to do much press or social media but in the case of Legend was very engaged.
The resulting hype saw the film open strongly and go on to be one of 2015’s top 20 releases in the UK.  “It didn’t just work in London,” noted Spearing, referencing the film’s success in locations such as Portsmouth, Norwich and Sheffield.

"Now arrives Legend, which lands with a stunning £3.70m plus £1.49m in Wednesday/Thursday previews, for a five-day total of £5.19m. Brian Helgeland’s film certainly benefits from the UK audience’s existing awareness of, and interest in, the film’s subject – the Kray brothers remain the most notorious London gangsters. However, Hardy is also a key selling point: given his reputation as a highly committed actor, his performance in the dual roles of Ronnie and Reggie Kray exerted a powerful curiosity factor.





Monday, 25 February 2019

FILM INDUSTRY: ROMA

Case studies
Roma (2018) dir. A. Cuaron
Rogue One, A Star Wars Story (2016) dir. Gareth Edwards
Legend (2015) dir. Brian Helgeland

Complete the sheets that track the value chain of production, distribution, marketing and exchange

Our first case study film is: Roma (2018) dir. A. Cuaron

Roma is a 2018 drama film written and directed by Alfonso Cuarón, who also produced, shot, and co-edited it. Set in 1970 and 1971, Roma, which is a semi-autobiographical take on Cuarón's upbringing in the Colonia Roma neighborhood of Mexico City, stars Yalitza Aparicio and Marina de Tavira and follows the life of a live-in housekeeper of a middle-class family.


   Who produced the film? 
Nicolas Cellis
Alfonso Cuaron

 Who owns this production company and what other films have they produced? 

• Who directed the film? 

Roma is a 2018 drama film written and directed by Alfonso Cuarón,


• What other films have they directed? 
Children of Men, Gravity, Y Tu Mama Tambien, Harry Potter and the Prisoner of Azkaban (1999)

What was the budget? 
$15 million
Netflix does not issue revenue figures

• Who stars in it? 

• What other films have they been in?
film debut as Cleo in Alfonso Cuarón's 2018 drama Roma, which earned her a nomination for the Academy Award for Best ActressAparicio is the first Indigenous American woman, the fourth Latina, and the second Mexican woman to receive a Best Actress Oscar nomination

• What technology has been used to make the film? (What cameras did they use? How was the film edited? What CGI was involved?) 

While Cuaron is known to produce big screen experiences, and shot “Roma” on 65mm (the film used the Alexa65 digital camera)
Cuarón shot the movie on 65mm using a “really pristine, almost never-before-seen black and white.” The film’s sound design is also instrumental to the experience, as it was constructed using state-of-the-art Dolby Atmos technology.


Cuarón tells Lubezki how he filmed ‘Roma’ — even one quiet shot needed 45 camera positions

Lubezki asked his long-time collaborator to explain the many rules he broke while making a film that could earn him his first cinematography nomination

As the director embraced being his own cinematographer, he asked himself: "What would Chivo do?"

Cuarón discussed the controversial decision for “Roma” — a movie shot on large-format film best appreciated on a big screen — to partner with Netflix. While the release plans for the movie remain unclear, Cuarón said the streaming giant was the best home for a secretive project that may be the closest he has come to an autobiography, and brought him back to his roots.

The film’s sound design is also instrumental to the experience, as it was constructed using state-of-the-art Dolby Atmos technology. 

• How was the film marketed? Which different marketing tools were used?
The film had its world premiere at the 75th Venice International Film Festival on 30 August 2018, where it won the Golden Lion
It began a limited theatrical run in the United States on 21 November 2018, before streaming on Netflix in the US and other territories starting on 14 December 2018.
Limited theatrical release in the UK in Curzon Cinemas

 • What examples of synergy with other products/merchandise can you find? n/a

 • What examples of cross media convergence can you find? n/a

• What examples of technological convergence can you find? n/a

• Where and when was ROMA released (nationwide, worldwide) and in what cinemas?
In April 2018, it was announced Netflix had acquired distribution rights to the film.[24] A teaser trailer was released on 25 July 2018. 
While Netflix has not publicly disclosed box-office figures for Roma, sources deduced that the film made $90,000–120,000 in its opening weekend, 23–25 November, and a total of $200,000 over the five-day Thanksgiving frame, including selling out theatres in Los Angeles and New York City. Had the results been officially reported, its approximate venue average of $66,600 would have ranked among the best ever for a foreign-language film.

After Roma was nominated for Best Picture at the 91st Academy AwardsAMC Theatres and Regal Cinemas both issued statements saying that Roma would not be part of the line-up at either chain's annual Best Picture showcase. AMC said in their statement that this was due to them never receiving a license from Netflix to screen Roma in their theatres. Both theatre chains have refused to screen films from Netflix due to policies that stipulate a minimum 90 days between theatrical exhibition and home viewing.

• What formats was it available in (digital / 3D etc…)? 
Only available on Netflix

• Who is the target audience?
Cuarón admitted a conventional theatrical release “worried” him because “Roma” is a “Spanish-language drama shot in black and white” featuring “a cast of unknown actors.” A source told IndieWire these factors contributed to at least one studio passing on the film since having “no name” actors makes “Roma” a tougher sell. Cuarón wanted to partner with a distributor offering a more aggressive theatrical plan, which is what he said Netflix offered.
“It has to reach the biggest audience possible,” Cuarón said. “For me, when Netflix made a pitch to us, this film being so intimate for me, I was really concerned with the film not being able to reach as much of an audience as possible. Not even talking commercially, but securing a long life for the film … 


Wednesday, 30 January 2019

PLANNING: CASTING

WORK FOR WEDNESDAY 31 JANUARY PERIOD 4 & 5

Write a post entitled PLANNING: CASTING
In your post, first draw a portrait (write / describe) of each character in your production. Then, underneath each of these, describe your casting decisions. Consider what presentational platform to use: Visme, Canva, SlideShare?

The recent release of the Examiner's Report threw up useful points, such as the good practice of including a post on casting. See their comment (in yellow) below beside an example from a student blog. You will present the casting with images, such as your casting of the character (and perhaps a stereotype character from a film?):

Monday, 21 January 2019

PLANNING: CHARACTER DEVELOPMENT

Hot seating your characters (like this) can help you develop how you represent them. 

It also gets everyone on board by delving into the backstory of the character. 
Pick a realistic interview situation and write the script outline.
Video your interview (make it brief) and post it on your blog together with the following information (in your own words).

PLANNING: CHARACTER DEVELOPMENT
Pen Densham is an Academy award-nominated writer and film director


For my character in my film opening entitled *********,  we decided to interview our protagonist in order to develop his character further.
We were inspired by an article written by Charlie Sierra about building the back story to film characters in which he quoted from Riding the Alligator, a book written by Pen Densham, an Academy Award nominated filmmaker.
In one of the chapters in the book, he provides a check list of questions every writer and director should ask of themselves when they are developing their characters. The purpose of this is to outline a deep understanding of your characters for both the actors and director, and for motivating a character’s choices or actions.

My Character Interview

(Example) As my film opening features only one character in a world without anyone else, we decided that rather than a questionnaire interview, we would use a video diary of our character asking himself and answering the questions as if he is communicating through the camera to anyone who might find it, which is a creative way to handle the questionnaire whilst still keeping with the solitary theme of the opening...(video interview + script follows)
(Example) One of my central characters is a young girl, we have decided to compose a series of exchanges that she made using What's App with her friend in which she confides her worries about her sister. Her friend asks her a series of questions about her state of mind... (screenshots of What's App exchanges follow)
(Example) Our protagonist is a senior police officer who is struggling with his job (meeting targets; pleasing a critical boss) and his family (his daughter challenges him and he questions his ability to relate to her). He is interviewed by a police psychiatrist after the incident when he knocks down a teenager on his bike.