My Summer of Love was Pawel Pawlikowski's acclaimed film that won several awards including the Alexander Korda Award for outstanding British film. It had an unconventional development process where Pawlikowski found the locations and cast before developing the screenplay. This included an 8 month process to find unknown actresses for the lead roles. The film was financed through the BBC and other UK funds and had a successful festival run, particularly at Edinburgh. It was then distributed in the UK and US to positive reviews and an impressive initial box office of £80,000 on 25 sites in the UK. Considering its critical acclaim and awards success, despite its unknown cast, My Summer of Love seems to have been a successful film for Pawlik
This document provides guidance for students taking Section A of the A2 Media Studies exam. Section A focuses on theoretical evaluation of the student's own media production work. It consists of two questions worth 50 marks total. Question 1(a) asks students to describe and evaluate their skills development over their AS and A2 coursework. Question 1(b) requires students to analyze one of their coursework pieces in relation to a key media concept. The document outlines the requirements and marking schemes for each question, and provides sample exam questions and an exemplar response to help prepare students.
The document discusses how new technologies have continually impacted and transformed the film industry over time. It outlines 13 key technological developments, from the introduction of sound and color films to DVDs, digital filmmaking, and streaming. Each new technology offered improvements to the viewing experience for consumers and new opportunities for the film industry to profit from re-releasing films through additional distribution windows. While new technologies provided alternatives to the cinema experience, they also enhanced the spectacle and uniqueness of viewing films on the big screen. The future of film is shifting to a digital era that redefines the very nature of images and the filmmaking process.
The document discusses different perspectives on who holds the most power in the film industry - audiences or distributors. It then provides details on the role and responsibilities of film distributors, including acquiring films, deciding release dates and marketing strategies. Key points made are that theatrical revenues only account for 25% of profits, while DVD accounts for 40%, and that distributors consider global, regional, national and local factors when planning a release.
This document provides guidance for studying the film industry section of a media studies exam. It discusses key topics students should be prepared to write about, including film production, distribution, and audience consumption as related to contemporary media institutions. The nature of technological convergence and its impact on the film industry is emphasized. Students are advised to choose a specific studio or production company to use as a case study and consider how its films are produced, distributed, exhibited, and consumed by audiences. The impact of digital technologies and changing formats are areas of focus. Sample exam questions are provided that may ask students to discuss issues around targeting audiences or responding to changes in the media industry.
Rogue One: A Star Wars Story is a 2016 film directed by Gareth Edwards. It was produced by Lucasfilm and distributed by Walt Disney Studios Motion Pictures. The film has a budget estimated between $120-150 million. It tells the story of Jyn Erso, a criminal recruited by the Rebellion to steal the plans for the Death Star. Key members of the cast include Felicity Jones as Jyn Erso and Mads Mikkelsen. The film was released in theaters on December 16, 2016.
The document discusses the Star Wars franchise, including its films from 1977 to 2005, and how Lucasfilm marketed the franchise through various means. It details how Star Wars Episode II was marketed through cinema and TV ads, billboards, and viral marketing. It also discusses Lucasfilm's subsidiaries for licensing, merchandising, publishing, games, and more which helped expand the Star Wars brand globally.
The document discusses several key technological changes that have impacted the film industry and cinema experience over time, from the introduction of sound in the late 1920s to recent developments in digital filmmaking and HD 3D. It notes that each new technology has aimed to enhance the viewing experience and spectacle of cinema. While new technologies allow alternative viewing experiences like home cinema, the unique cinema event itself cannot be easily replaced. The film industry adopts new technologies both to create improved profits through new distribution windows and formats that encourage multiple purchases, as well as to enhance production capabilities. However, technologies must also be understood within their historical and social contexts.
The document discusses various aspects of film production, including the roles of producers, financiers, and audiences. It notes that film is both a creative and commercial endeavor, requiring significant financing to fund production, distribution, and marketing. Producers are responsible for securing financing, overseeing budgets, and ensuring films appeal to audiences to be profitable. Securing name actors and directors can help "bankability" but success is never guaranteed. Films require complex financing deals involving multiple investors like studios, distributors, and broadcasters. The goal is for films to earn 2.5 times their production budgets to become profitable after accounting for all costs.
This document provides guidance for students taking Section A of the A2 Media Studies exam. Section A focuses on theoretical evaluation of the student's own media production work. It consists of two questions worth 50 marks total. Question 1(a) asks students to describe and evaluate their skills development over their AS and A2 coursework. Question 1(b) requires students to analyze one of their coursework pieces in relation to a key media concept. The document outlines the requirements and marking schemes for each question, and provides sample exam questions and an exemplar response to help prepare students.
The document discusses how new technologies have continually impacted and transformed the film industry over time. It outlines 13 key technological developments, from the introduction of sound and color films to DVDs, digital filmmaking, and streaming. Each new technology offered improvements to the viewing experience for consumers and new opportunities for the film industry to profit from re-releasing films through additional distribution windows. While new technologies provided alternatives to the cinema experience, they also enhanced the spectacle and uniqueness of viewing films on the big screen. The future of film is shifting to a digital era that redefines the very nature of images and the filmmaking process.
The document discusses different perspectives on who holds the most power in the film industry - audiences or distributors. It then provides details on the role and responsibilities of film distributors, including acquiring films, deciding release dates and marketing strategies. Key points made are that theatrical revenues only account for 25% of profits, while DVD accounts for 40%, and that distributors consider global, regional, national and local factors when planning a release.
This document provides guidance for studying the film industry section of a media studies exam. It discusses key topics students should be prepared to write about, including film production, distribution, and audience consumption as related to contemporary media institutions. The nature of technological convergence and its impact on the film industry is emphasized. Students are advised to choose a specific studio or production company to use as a case study and consider how its films are produced, distributed, exhibited, and consumed by audiences. The impact of digital technologies and changing formats are areas of focus. Sample exam questions are provided that may ask students to discuss issues around targeting audiences or responding to changes in the media industry.
Rogue One: A Star Wars Story is a 2016 film directed by Gareth Edwards. It was produced by Lucasfilm and distributed by Walt Disney Studios Motion Pictures. The film has a budget estimated between $120-150 million. It tells the story of Jyn Erso, a criminal recruited by the Rebellion to steal the plans for the Death Star. Key members of the cast include Felicity Jones as Jyn Erso and Mads Mikkelsen. The film was released in theaters on December 16, 2016.
The document discusses the Star Wars franchise, including its films from 1977 to 2005, and how Lucasfilm marketed the franchise through various means. It details how Star Wars Episode II was marketed through cinema and TV ads, billboards, and viral marketing. It also discusses Lucasfilm's subsidiaries for licensing, merchandising, publishing, games, and more which helped expand the Star Wars brand globally.
The document discusses several key technological changes that have impacted the film industry and cinema experience over time, from the introduction of sound in the late 1920s to recent developments in digital filmmaking and HD 3D. It notes that each new technology has aimed to enhance the viewing experience and spectacle of cinema. While new technologies allow alternative viewing experiences like home cinema, the unique cinema event itself cannot be easily replaced. The film industry adopts new technologies both to create improved profits through new distribution windows and formats that encourage multiple purchases, as well as to enhance production capabilities. However, technologies must also be understood within their historical and social contexts.
The document discusses various aspects of film production, including the roles of producers, financiers, and audiences. It notes that film is both a creative and commercial endeavor, requiring significant financing to fund production, distribution, and marketing. Producers are responsible for securing financing, overseeing budgets, and ensuring films appeal to audiences to be profitable. Securing name actors and directors can help "bankability" but success is never guaranteed. Films require complex financing deals involving multiple investors like studios, distributors, and broadcasters. The goal is for films to earn 2.5 times their production budgets to become profitable after accounting for all costs.
This document provides an overview of the film industry, including production, distribution, and exhibition. It discusses how a small number of major film distributors dominate the UK market and primarily distribute Hollywood blockbusters. This limits the variety of films shown in cinemas. Despite increasing screens, fewer films are being distributed. Digital distribution is important for independent films as it reduces costs compared to physical film prints. Hollywood films are very popular in the UK market, but this dominance poses challenges for British film producers.
The passage summarizes changes in the British film industry since 1984. It discusses the revival of the cultural and economic fortunes of British cinema in the 1980s and 1990s, including the rise of multiplex theaters. Key production companies during this period included Channel 4, Handmade Films, and Palace Pictures. Genres like art cinema, costume dramas, and social realism flourished. By the mid-1990s, films like Four Weddings and a Funeral and Sense and Sensibility showed the two main directions of British cinema - heritage films and more contemporary adaptations.
This document provides an overview of the film industry, focusing on production, distribution, and exhibition. It discusses how films are funded and made (production), marketed and released in cinemas and other formats (distribution), and consumed by audiences paying to view films (exhibition). The document outlines the key roles of major studios and distributors in controlling distribution deals and prioritizing large Hollywood blockbusters over independent and foreign films. It also notes the challenges that increased costs of production and distribution pose to Hollywood studios and independent filmmakers.
The document discusses potential media institutions that could distribute a British kidnap thriller film with a low budget of $1.5 million. It suggests that an independent British distribution company similar to CinemaNX, which successfully distributed the film "The Disappearance of Alice Creed", would be a good fit as they have experience with low-budget British thrillers. While smaller British companies like BBC Films or Film4 may be more likely to distribute a solely British film, they have less commercial success. A mainstream company like Sony could also potentially distribute the film widely and increase commercial success, since the film's genre, narrative structure, and rating make it appealing to a broad audience.
The document discusses film exhibition in the UK cinema industry. It provides statistics on the number of screens and cinemas in the UK in 2012, as well as box office figures showing growth that year. It also examines the roles and activities of film exhibitors, who work with distributors to book, market, and screen films. Exhibitors manage cinema buildings, undertake local marketing like newspaper ads and promotions, and rely on concession sales to earn profits beyond box office revenues. Their goal is to attract audiences, especially 16-24 year olds who make up the bulk of cinema goers.
The document discusses the film distribution industry and the debate around whether audiences or distributors hold more power in influencing what films are made and seen. It provides definitions of key terms like distributor and describes the roles and responsibilities of distributors. Some key statistics are presented on worldwide spending on films, average production and marketing costs, and revenue streams. The types of UK distributors and factors considered in acquiring and releasing films are also summarized.
The document discusses the British film industry in 2011-2012. It notes that 2011 was a strong year for British film, with successful independent films like The King's Speech and The Inbetweeners Movie. It provides statistics on the UK film industry's performance internationally and success of British talent abroad. Some key points made are that UK films earned 17% of the $33 billion worldwide box office in 2011, the industry generated over £1.5 billion for the British economy, and British films and talent won numerous awards. The summary highlights the success of British films in 2011 both at home and abroad.
Pawel Pawlikowski's 2004 film My Summer of Love was a critical and awards success that followed an unconventional development process. It won the Alexander Korda Award for Outstanding British Film and the Michael Powell Award. The film was developed with a detailed outline instead of a full script and was cast through open calls to find unknown actresses for the leads. It was made on a low budget with financing from the BBC and other UK sources. My Summer of Love was a commercial success, grossing over £80,000 in its first three days of a limited UK release. The film's development illustrates the importance of the director's vision and finding the right cast in creating a successful independent film outside the typical studio system process
The document provides information about the production of the films Lucy and The Anomaly. Lucy was written and directed by Luc Besson, had a budget of $40 million, and starred Scarlett Johansson. It was an action science fiction film about a woman who gains superhuman abilities. The Anomaly had a much smaller budget of £10,000 and was written and directed by Noel Clarke. It was about a former soldier who awakens in the back of a van with no memory. Both films went through production and distribution, but The Anomaly received poor reviews and did not have commercial success due to its low budget limitations.
- The document compares and contrasts two sci-fi films, Lucy and The Anomaly, in terms of their production, distribution, and reception.
- Lucy had a much larger budget of $40 million compared to The Anomaly's £10,000 budget. It was produced by a major studio while The Anomaly was produced independently.
- Reviews were more positive for Lucy, praising the special effects and Scarlett Johansson's performance, while critics said The Anomaly's low budget hurt the film's quality.
The opening sequence of the film "Red Mountain" begins with ski footage at a resort, showing the main character skiing confidently. It then cuts to a news broadcast about murders and about the main character (Detective Kinsbrook) being suspended from work after a ski accident. The next scene shows Kinsbrook throwing a radio in anger after hearing this news. The sequence ends with a gunshot as Kinsbrook turns on the TV, which is also reporting on his suspension. The film will be set in modern times and shot in both the UK and France.
The document provides a pitch for the film "Red Mountain" which will tell the story of Detective Kinsbrook dealing with unemployment after a skiing accident. The opening sequence will be set in a ski resort and show Kinsbrook's accident before transitioning to his living room where he throws his radio in anger upon hearing news reports of his dismissal. The film will be a modern film noir set in 2012 and primarily filmed in the UK and France, funded independently with limited distribution.
Tell Us A Little Bit about the Film.
A: So this is my first proper film. I previously did a film called "The Crypt" which had a micro-budget and was critically just awful; I mean, it was bad, but it was alright. It was my first proper feature, and it launched me into a better budget for my second film.
The document discusses genre analysis and auteur theory as ways to analyze films. It uses Nick Lacey's five elements of genre (character, narrative, setting, iconography, and technical/audio codes) to categorize the film "A Walk Among the Tombstones" as an action/thriller genre film. It also analyzes how the film's director, Frank Scott, follows genre conventions rather than demonstrating an auteur style. In contrast, the document discusses how Christopher Nolan can be considered an auteur for his non-linear narrative style in "Inception" that goes against conventions. It provides examples comparing the action films "Skyfall" and "Leon" to illustrate how one follows genre conventions for commercial
Jake Scott is behind some of the biggest promos and spots in the business. Now, with a new film out, he talks to Simon Wakelin about commercials, features – and his dad ...
The document outlines the pitch for a film called "Red Mountain" that follows Detective Danial Kennedy struggling after being suspended from the police force. The opening sequence will be set in modern times and introduce Kennedy through a radio broadcast about murders and his skiing accident. It will then cut to Kennedy throwing a radio in frustration in his living room. The film aims to use conventions of film noir through its costumes, locations and plot devices while being independently funded and distributed on a small scale.
The Harold Greenberg Fund newsletter provides updates on several projects supported by the Fund, including:
- Hidden, a Holocaust drama now filming in Berlin, received support from the Script Development and Equity Investment programs.
- Grown Up Movie Star, directed by Adriana Maggs and produced by Pope Productions, received support from the Script Development and Equity Investment programs and was invited to the Sundance Film Festival.
- A Shine of Rainbows won several awards at film festivals and was supported by the Family Film Program.
- The latest funding round approved 27 new projects through the Script Development and Equity Investment programs.
Susannah Hynes is a film producer who is currently working on four films in different stages of production. She is producing Seafront, Corridors of Oppression, The Advisor, and Negative Affirmation. She is also production managing Rock Paper Scissors. Susannah provides updates on casting, locations, and schedules for each project. Additionally, she works as a freelance video editor for companies like SIPPO and Deafway and hopes to get a job as a BBC Production Manager Assistant. Susannah acknowledges challenges in balancing multiple roles and projects but is working to effectively manage her time.
Film trailers have evolved over time from short clips with narration advertising upcoming films to increasingly sophisticated marketing tools. The first film trailer was created in 1914 to promote a Charlie Chaplin film. Throughout the 1950s and 60s, the style of trailers changed as films themselves experimented with new genres and styles. Influential trailer producer Andrew J. Kuehn is credited with advancing the editing techniques used in trailers in the 1960s to effectively draw audiences to theaters. While trailers typically follow a three-act structure to tease a film's plot, they sometimes include scenes that were cut from the final film or even use different actors than the actual film.
The document discusses how the media product challenges and develops conventions of similar real media. It summarizes how the product uses flashbacks, shots, soundtrack, and other elements in both conventional and unconventional ways compared to films like (500) Days of Summer, Juno, Bonnie & Clyde, and others. While drawing inspiration from these films, the product aims to appeal specifically to teenagers by adapting conventions for a 21st century audience and adding unique artistic elements.
Kingsman: The Secret Service Research TaskItsjustrory
The document provides information about the film Kingsman: The Secret Service, including a plot summary, genre classification, budget and box office figures. It then discusses interviews with the director Matthew Vaughn and screenwriter Jane Goldman, who describe their collaborative process and how they sought to make the spy genre more lighthearted compared to recent films. Finally, it states that the target audience for Kingsman spans ages 12 to 60 since it aims to entertain a wide range through its entertainment value and nostalgic references to older spy films.
Daniel Craig returns as James Bond in Spectre. Bond uncovers the existence of a sinister organization called SPECTRE while investigating a cryptic message. He seeks out Madeleine Swann, the daughter of an old nemesis, who may hold a clue. As Bond ventures to the heart of SPECTRE, he learns a chilling connection between himself and the enemy. Sam Smith sings the theme song for Spectre, which producers say is one of the greatest Bond themes. The film sold well in advance box offices before its release, showing its popularity. Heineken capitalized on Bond's popularity with an advertisement featuring Daniel Craig.
This document provides an overview of the film industry, including production, distribution, and exhibition. It discusses how a small number of major film distributors dominate the UK market and primarily distribute Hollywood blockbusters. This limits the variety of films shown in cinemas. Despite increasing screens, fewer films are being distributed. Digital distribution is important for independent films as it reduces costs compared to physical film prints. Hollywood films are very popular in the UK market, but this dominance poses challenges for British film producers.
The passage summarizes changes in the British film industry since 1984. It discusses the revival of the cultural and economic fortunes of British cinema in the 1980s and 1990s, including the rise of multiplex theaters. Key production companies during this period included Channel 4, Handmade Films, and Palace Pictures. Genres like art cinema, costume dramas, and social realism flourished. By the mid-1990s, films like Four Weddings and a Funeral and Sense and Sensibility showed the two main directions of British cinema - heritage films and more contemporary adaptations.
This document provides an overview of the film industry, focusing on production, distribution, and exhibition. It discusses how films are funded and made (production), marketed and released in cinemas and other formats (distribution), and consumed by audiences paying to view films (exhibition). The document outlines the key roles of major studios and distributors in controlling distribution deals and prioritizing large Hollywood blockbusters over independent and foreign films. It also notes the challenges that increased costs of production and distribution pose to Hollywood studios and independent filmmakers.
The document discusses potential media institutions that could distribute a British kidnap thriller film with a low budget of $1.5 million. It suggests that an independent British distribution company similar to CinemaNX, which successfully distributed the film "The Disappearance of Alice Creed", would be a good fit as they have experience with low-budget British thrillers. While smaller British companies like BBC Films or Film4 may be more likely to distribute a solely British film, they have less commercial success. A mainstream company like Sony could also potentially distribute the film widely and increase commercial success, since the film's genre, narrative structure, and rating make it appealing to a broad audience.
The document discusses film exhibition in the UK cinema industry. It provides statistics on the number of screens and cinemas in the UK in 2012, as well as box office figures showing growth that year. It also examines the roles and activities of film exhibitors, who work with distributors to book, market, and screen films. Exhibitors manage cinema buildings, undertake local marketing like newspaper ads and promotions, and rely on concession sales to earn profits beyond box office revenues. Their goal is to attract audiences, especially 16-24 year olds who make up the bulk of cinema goers.
The document discusses the film distribution industry and the debate around whether audiences or distributors hold more power in influencing what films are made and seen. It provides definitions of key terms like distributor and describes the roles and responsibilities of distributors. Some key statistics are presented on worldwide spending on films, average production and marketing costs, and revenue streams. The types of UK distributors and factors considered in acquiring and releasing films are also summarized.
The document discusses the British film industry in 2011-2012. It notes that 2011 was a strong year for British film, with successful independent films like The King's Speech and The Inbetweeners Movie. It provides statistics on the UK film industry's performance internationally and success of British talent abroad. Some key points made are that UK films earned 17% of the $33 billion worldwide box office in 2011, the industry generated over £1.5 billion for the British economy, and British films and talent won numerous awards. The summary highlights the success of British films in 2011 both at home and abroad.
Pawel Pawlikowski's 2004 film My Summer of Love was a critical and awards success that followed an unconventional development process. It won the Alexander Korda Award for Outstanding British Film and the Michael Powell Award. The film was developed with a detailed outline instead of a full script and was cast through open calls to find unknown actresses for the leads. It was made on a low budget with financing from the BBC and other UK sources. My Summer of Love was a commercial success, grossing over £80,000 in its first three days of a limited UK release. The film's development illustrates the importance of the director's vision and finding the right cast in creating a successful independent film outside the typical studio system process
The document provides information about the production of the films Lucy and The Anomaly. Lucy was written and directed by Luc Besson, had a budget of $40 million, and starred Scarlett Johansson. It was an action science fiction film about a woman who gains superhuman abilities. The Anomaly had a much smaller budget of £10,000 and was written and directed by Noel Clarke. It was about a former soldier who awakens in the back of a van with no memory. Both films went through production and distribution, but The Anomaly received poor reviews and did not have commercial success due to its low budget limitations.
- The document compares and contrasts two sci-fi films, Lucy and The Anomaly, in terms of their production, distribution, and reception.
- Lucy had a much larger budget of $40 million compared to The Anomaly's £10,000 budget. It was produced by a major studio while The Anomaly was produced independently.
- Reviews were more positive for Lucy, praising the special effects and Scarlett Johansson's performance, while critics said The Anomaly's low budget hurt the film's quality.
The opening sequence of the film "Red Mountain" begins with ski footage at a resort, showing the main character skiing confidently. It then cuts to a news broadcast about murders and about the main character (Detective Kinsbrook) being suspended from work after a ski accident. The next scene shows Kinsbrook throwing a radio in anger after hearing this news. The sequence ends with a gunshot as Kinsbrook turns on the TV, which is also reporting on his suspension. The film will be set in modern times and shot in both the UK and France.
The document provides a pitch for the film "Red Mountain" which will tell the story of Detective Kinsbrook dealing with unemployment after a skiing accident. The opening sequence will be set in a ski resort and show Kinsbrook's accident before transitioning to his living room where he throws his radio in anger upon hearing news reports of his dismissal. The film will be a modern film noir set in 2012 and primarily filmed in the UK and France, funded independently with limited distribution.
Tell Us A Little Bit about the Film.
A: So this is my first proper film. I previously did a film called "The Crypt" which had a micro-budget and was critically just awful; I mean, it was bad, but it was alright. It was my first proper feature, and it launched me into a better budget for my second film.
The document discusses genre analysis and auteur theory as ways to analyze films. It uses Nick Lacey's five elements of genre (character, narrative, setting, iconography, and technical/audio codes) to categorize the film "A Walk Among the Tombstones" as an action/thriller genre film. It also analyzes how the film's director, Frank Scott, follows genre conventions rather than demonstrating an auteur style. In contrast, the document discusses how Christopher Nolan can be considered an auteur for his non-linear narrative style in "Inception" that goes against conventions. It provides examples comparing the action films "Skyfall" and "Leon" to illustrate how one follows genre conventions for commercial
Jake Scott is behind some of the biggest promos and spots in the business. Now, with a new film out, he talks to Simon Wakelin about commercials, features – and his dad ...
The document outlines the pitch for a film called "Red Mountain" that follows Detective Danial Kennedy struggling after being suspended from the police force. The opening sequence will be set in modern times and introduce Kennedy through a radio broadcast about murders and his skiing accident. It will then cut to Kennedy throwing a radio in frustration in his living room. The film aims to use conventions of film noir through its costumes, locations and plot devices while being independently funded and distributed on a small scale.
The Harold Greenberg Fund newsletter provides updates on several projects supported by the Fund, including:
- Hidden, a Holocaust drama now filming in Berlin, received support from the Script Development and Equity Investment programs.
- Grown Up Movie Star, directed by Adriana Maggs and produced by Pope Productions, received support from the Script Development and Equity Investment programs and was invited to the Sundance Film Festival.
- A Shine of Rainbows won several awards at film festivals and was supported by the Family Film Program.
- The latest funding round approved 27 new projects through the Script Development and Equity Investment programs.
Susannah Hynes is a film producer who is currently working on four films in different stages of production. She is producing Seafront, Corridors of Oppression, The Advisor, and Negative Affirmation. She is also production managing Rock Paper Scissors. Susannah provides updates on casting, locations, and schedules for each project. Additionally, she works as a freelance video editor for companies like SIPPO and Deafway and hopes to get a job as a BBC Production Manager Assistant. Susannah acknowledges challenges in balancing multiple roles and projects but is working to effectively manage her time.
Film trailers have evolved over time from short clips with narration advertising upcoming films to increasingly sophisticated marketing tools. The first film trailer was created in 1914 to promote a Charlie Chaplin film. Throughout the 1950s and 60s, the style of trailers changed as films themselves experimented with new genres and styles. Influential trailer producer Andrew J. Kuehn is credited with advancing the editing techniques used in trailers in the 1960s to effectively draw audiences to theaters. While trailers typically follow a three-act structure to tease a film's plot, they sometimes include scenes that were cut from the final film or even use different actors than the actual film.
The document discusses how the media product challenges and develops conventions of similar real media. It summarizes how the product uses flashbacks, shots, soundtrack, and other elements in both conventional and unconventional ways compared to films like (500) Days of Summer, Juno, Bonnie & Clyde, and others. While drawing inspiration from these films, the product aims to appeal specifically to teenagers by adapting conventions for a 21st century audience and adding unique artistic elements.
Kingsman: The Secret Service Research TaskItsjustrory
The document provides information about the film Kingsman: The Secret Service, including a plot summary, genre classification, budget and box office figures. It then discusses interviews with the director Matthew Vaughn and screenwriter Jane Goldman, who describe their collaborative process and how they sought to make the spy genre more lighthearted compared to recent films. Finally, it states that the target audience for Kingsman spans ages 12 to 60 since it aims to entertain a wide range through its entertainment value and nostalgic references to older spy films.
Daniel Craig returns as James Bond in Spectre. Bond uncovers the existence of a sinister organization called SPECTRE while investigating a cryptic message. He seeks out Madeleine Swann, the daughter of an old nemesis, who may hold a clue. As Bond ventures to the heart of SPECTRE, he learns a chilling connection between himself and the enemy. Sam Smith sings the theme song for Spectre, which producers say is one of the greatest Bond themes. The film sold well in advance box offices before its release, showing its popularity. Heineken capitalized on Bond's popularity with an advertisement featuring Daniel Craig.
“The Tell-Tale Heart” is a short story by Edgar Allan Poe first published in 1843. It is told by an unnamed narrator who endeavours to convince the reader of his sanity, whilst describing a murder he committed. The victim was an old man with a filmy “vulture eye”, as the narrator calls it. The murder is carefully calculated, and the murderer hides the body by dismembering it and hiding it under the floorboards.
Considered to be one of Steven Berkoff’s best dramatizations, The Tell Tale Heart is based on the short story of the same name by Edgar Allan Poe. First published in 1843 and widely held to be a classic of the Gothic fiction genre, it tells the gruesome tale of a lonely servant who plots to kill an old man because of his evil ‘vulture’ eye. The murder is carefully planned, with the body dismembered and hidden under the floorboards.
This document provides an overview of the role of the producer in filmmaking. It notes that the producer job title is ambiguous, as producers can play many different roles from financing a film to overseeing its production. It uses the example of the producers who received Academy Awards for the film 12 Years a Slave to illustrate this ambiguity. While some names like the director Steve McQueen were clearly involved in the creative aspects of the film, the precise roles of other credited producers like Brad Pitt are less clear. It concludes that film production is a collaborative process, making it difficult to attribute authorship to any single individual like the director.
The document discusses how the media product, which is an opening for a film called "The Story of Us", uses and develops conventions from other films. It analyzes how the ident, typography, use of photos and flashbacks, shots, and overall concept draw inspiration from films like Juno, Bonnie and Clyde, Blue Valentine, 500 Days of Summer, Restless, Waiting For Forever, and One Day. However, it also explains the ways these elements have been developed or improved upon to make the opening more original and appealing to their target audience of 11-19 year olds.
The document summarizes interviews with several people involved in the production of the film Anna Karenina by Working Title Films. It discusses the initial plans to film in Russia, the challenges that posed, and the decision to change to a theater set design. It also covers the film development and budgeting process, challenges during filming in Russia, and the roles of the production and post-production teams.
Similar to 08 g322 section b case study - my summer of love (20)
The document discusses the process of film production from development to distribution. It notes that film production requires significant financing to fund all stages of development, production and distribution. The key roles of producer and financier are discussed. Producers are responsible for securing financing, overseeing the project and ensuring it meets the expectations of financiers. Securing financing is a lengthy process that can take years and involves creating packages to convince multiple investors to fund production costs in the hopes of generating profits.
1) The document analyzes and summarizes the filmmaker's short horror film called "The Chalet".
2) The film tells the story of three teenage friends who go to make a film near an abandoned house based on a supposed murder that occurred there. They soon discover their imagination has become a dark reality.
3) The analysis discusses how the film uses techniques like sound, editing, and cinematography to build tension and establish its horror genre. Elements like ominous music and isolating the characters contribute to its unsettling aesthetic and align the viewer with the characters' fear.
1) Short films are typically under 40 minutes and focus on a simple idea or message in a concise way. They allow ideas to be expressed quickly.
2) The documentary "Lost" follows a man struggling with dementia as he believes his wife is missing, but the audience learns it is his memories that are lost.
3) The film uses poetic transitions between scenes and manipulated storytelling to reflect the experience of dementia and create confusion similar to the protagonist.
This document provides an analysis of a short film titled "Contact" made by the filmmaker. The film is about a young woman who encounters a mysterious presence when she arrives home alone. It falls under the horror genre with elements of psychological horror and science fiction. Through cinematography and editing techniques, the filmmaker aims to create a sense of tension, isolation, and ambiguity without dialogue. An open ending is used to leave the resolution ambiguous and require an active interpretation from the audience. The analysis discusses how genre conventions, visual style, narrative structure, and audience reception were considered in the film's production.
1) Short films are defined as original motion pictures under 40 minutes that are often screened at film festivals. They must draw audiences in quickly by compressing narratives and are more likely to have open endings that leave questions.
2) The student's short film "Luna" falls under the crime mystery genre about a girl searching for her missing cousin. It uses unconventional editing between dream sequences and reality to explore themes like life and death.
3) The film has an open ending through the use of an "enigma code" where the audience is left questioning what happened to the missing cousin, similar to other short films analyzed. This leaves room for different interpretations of the narrative.
The document provides an analysis of Evie Stylianou's short film "Dear Tony". It summarizes that the film tells the story of a cancer patient Grace on her physical and metaphorical journey. It uses elements of dark comedy early on before transitioning to tragedy. The film borrows techniques from documentary like breaking the fourth wall. It follows Grace chronologically on one day using jump cuts between locations. Visual elements like muted tones and the increasing use of the color green are used to reflect Grace's internal struggle and decision to reject treatment. The analysis discusses how various techniques were used to elicit an emotive response from audiences and effectively tell the story within the short time frame.
The document provides an analysis and summary of the short film "The Lottery" by the filmmaker. It discusses the film's narrative structure, characters, themes, filming techniques, and reception. The film uses surreal elements and nonlinear storytelling to depict a man whose life changes when he wins the lottery but squanders the money due to arrogance. It was influenced by other short films and combines drama with comedy. Audience feedback was positive about the characters, story, and visual effects, though some found the plot predictable. Overall the filmmaker was pleased with the technically challenging project and how it brought the comedy to life.
- The document discusses a short psychological thriller film created by the author that follows a male character's daily routine which is disrupted by a female character.
- The film uses montage editing to show the passage of time and develop the characters' repetitive routines. It also incorporates audio motifs and leaves some elements, like what is in the basement, ambiguous.
- At the end, it is unexpectedly revealed that the female character, not the male, is the one who attacks the man, playing with audience expectations of the "serial killer" character type. The open ending leaves the audience to imagine what happens next.
1) Short films have a specific structure that focuses on conveying a story with succinct scope. They allow creative freedom and the chance to be discovered.
2) The student made a short film called "Unexpected Item" on a low budget using natural lighting. It tells the story of a boy ambushing his friend to tell a joke story.
3) The film uses shifts in color tones, editing styles, and an unreliable narrator to create comedy and suspense, surprising the audience with a twist ending like other similar short films. The audience responded positively to the film.
Crystal Chan analyzes several short films and her own short film "Happy Birthday" in relation to short film conventions. She discusses how her film conforms to conventions like runtime, natural lighting, location filming, and character development. Her film tells a coming-of-age story through a series of flashbacks from the perspective of the female protagonist. She uses techniques like color grading and editing to convey emotion and establish tone. While her film has a resolution, some discussed shorts like "Echo" and "Operator" end without resolution, a convention more common in short films.
The document provides an analysis of the film "The Exam" in comparison to other short films based on various criteria such as narrative structure, genre, characters, and intended audience reaction. It examines how "The Exam" uses techniques like flashbacks, editing pace, and character performances to establish certain genres and elicit laughter from viewers. However, it notes some viewers decoded elements differently and did not find parts funny due to how certain issues were portrayed lightly. The analysis draws on theories around narrative, representation, and decoding of texts to understand how "The Exam" was both conventional and unconventional in certain aspects for short films.
This document provides a summary and analysis of a short film created by the author. The short film follows the process of creating a song from sampling an existing song to writing lyrics and recording. It aims to have a documentary style with minimal dialogue. The author analyzes how various film techniques like camera work, editing, sound, and cinematography were used to shape the narrative and create realism. Audience reaction confirmed that the film succeeded in engaging viewers and focusing their attention on the song creation process rather than the characters.
This document provides an analysis of the student's short film "Till Death Us Do Part". It summarizes the plot, which follows the deterioration of a married couple, Rose and Stanley, over 20 years until Rose implies murdering Stanley. The student discusses how they drew inspiration from other short films in terms of genre, narrative structure, editing techniques, and use of sound and mise-en-scene. Feedback from peers is also mentioned, which led to clarifying edits. In analyzing their own film, the student compares elements like genre, locations used, narrative approaches, and how their film fits structural models of storytelling.
Despite similar themes, the endings of ‘Echo’ and ‘Tea Party’ are vastly different. ‘Echo’ leaves the viewer with little hope through its depressing final shot, while ‘Tea Party’ provides a more ambiguous and romantic ending through Noah becoming a guardian angel, granting viewer satisfaction. The film is broken into three clear parts influenced by Tzvetan Todorov’s three-act model: a setup of Noah’s disorientation; a confrontation where Noah tries to understand his situation; and a resolution where Noah realizes his new role. Microelements like Noah’s positioning in light and cinematography position the viewer with Noah to understand his connection to Evie. Doors in the film symbolize passageways
Tim and Tiffany are forced to retake an exam under the supervision of their strict teacher, Mr. Jones. As Tim works through the exam, he has flashbacks providing clues and context for the questions. These flashbacks depict his school experiences and home life. Mr. Jones grows frustrated with Tim's flashbacks, believing them to be cheating. Tiffany also complains. After quickly finishing the exam thanks to his flashbacks, Tim smiles, confident he has passed, while Mr. Jones and Tiffany are startled by the final question.
This document provides a summary of a short film script titled "Lost". It follows an elderly mixed-race man as he goes about his day in his home. Scenes show him in different rooms of the house, interacting with his daughter Claire and an unseen woman named Laura. The man goes up to the attic to search for old photos at Laura's request. While in the attic, he finds a photo album and looks through old blurred photos. Later he goes to the supermarket, where he runs into an old friend. Throughout the script, music is heard which seems to trigger memories or moments of confusion for the man.
1) Joe tells Alice a story about going to the supermarket where he was followed by a strange woman who claimed he looked like her deceased son. She hugged Joe and then told the cashier Joe would pay for her items.
2) When Joe realized what was happening, he abandoned his shopping and chased after the woman in the parking lot.
3) Joe caught up to her and grabbed her leg to stop her from leaving as she tried to get in her car. He tells this story to Alice, eating the biscuit Alice had been eating earlier.
I used a variety of media technologies at different stages of my coursework, including:
- Blogger to document my work and share videos and presentations from other sites.
- Prezi and PowerPoint to plan and explain topics. These were embedded in Blogger.
- After Effects to create graphics for my trailer ident.
- SurveyMonkey and Excel to collect and analyze audience feedback.
- Facebook to get feedback on rough cuts from a private group.
- YouTube to host and share videos and for research.
- iPhone for location footage and voice memos during construction and evaluation.
- Photoshop and FinalCut to construct, edit, and evaluate my work.
1) Film production involves many stages from development to distribution. It is a commercial venture that requires significant financing to be successful.
2) The producer oversees the entire filmmaking process from developing the initial idea through distribution. This includes securing financing, hiring key crew, and ensuring the film meets investor expectations.
3) Making a film is an uncertain process. Many ideas do not make it past development due to creative or financial challenges. Successful producers must have a good sense of public taste and the ability to convince skeptical investors to take on financial risks.
The UK film industry had total revenues of over £4.1 billion in 2016, up from £4 billion in 2013. Cinema admissions were down 2% year-over-year but have remained relatively stable since 2007. Public funding for film in the UK reached £523 million in 2016, up 26% from 2015, largely due to an increase in film tax relief. The top two films of 2016 were Rogue One: A Star Wars Story and Fantastic Beasts and Where to Find Them.
More from Alleyn's School Film Studies Department (20)
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তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
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Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
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Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
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1. AS Media Studies
Study Notes
Unit G322 Section B
Audiences and Institutions
The Film Industry
Part 8
My Summer of Love
107
2. Case Study – My Summer of Love - From Script to Screen
Pawel Pawlikowski's acclaimed My Summer Of Love won the Alexander Korda Award for
the outstanding British film of the year at the 2005 British Academy Film Awards.
Released in October 2004 as a follow-up to Pawlikowski's previous feature, Last Resort, it
also won the prestigious Michael Powell Award for Best British Film at the Edinburgh
International Film Festival and went on to premiere internationally at the Toronto Film
Festival where Focus Features picked it up for US distribution.
Set in contemporary Yorkshire, it charts the
relationship that blooms one hot summer
between two very different 16-year-old
girls, Mona (Natalie Press) and Tamsin
(Emily Blunt).
Mona is working class, rebellious, bored
with life and with the newfound religious
convictions of her ex-con brother Phil
(Paddy Considine). Tamsin is well
educated, spoiled and cynical. Each girl is
wary of each other's differences when they
first meet, but this coolness soon melts into
mutual fascination and attraction. Adding
further volatility to the summer heat is Phil,
who tries to impose his new found religious
fervour upon his sister Mona.
Film magazine Screen International called
My Summer Of Love a 'freewheeling
evocation of the emotional neediness and
spiritual emptiness that briefly bind the girls
to each other.'
In July 2002, Pawlikowski was looking to
make his next project. He'd read and been impressed by Helen Cross' novel My Summer Of
Love and suggested to his producing partner Tanya Seghatchian (Harry Potter) that they
develop it as his next film.
Seghatchian says: "It was clear that he wanted to make a film the following summer and that
he had a strong instinct for the sort of film that he wanted to make. The film was going to be
loosely inspired by the book and would include two characters from the novel, some of the
plot and a newly invented character, sourced from Pawel's imagination and a documentary
that he had made ten years previously."
Optioning and Development
Seghatchian and Pawlikowski were keen to make the film in a way that would enable them
to keep creative control. They optioned the novel from literary agent Julia Kreitman at 'The
Agency' through their production company Apocalypso Pictures. They then set about looking
for the cast.
108
3. "That's a very untypical way of developing a film," points out Seghatchian. "Conventionally
you would approach financiers to option the novel and commission the development of a
screenplay. The producer, screenwriter/director and possibly a script editor would then
develop the screenplay from the source material. That would go through various drafts. And
then, when the financiers and the development group decided it was ready to go into pre-
production, a casting director would come on board and the film would move onto a different
level."
From the very beginning, however, Pawlikowski and Seghatchian knew they were going to
develop the project differently. "For Pawel, making the film was contingent on his finding
the right actors to embody the central roles. He was interested in finding actors - preferably
unknowns - who he could then hang the film on. He had worked previously with Paddy
Considine, and wanted him to play the character of a newly converted born again Christian
in the film, but he was also adamant that he would like to uncover two originals to play the
young female leads," explains Seghatchian.
Casting
A casting director was hired and given a set of character breakdowns for the two girls. The
casting director then approached agents and began to arrange a series of open calls around
the country in drama schools, youth groups and local theatres.
"It was a long process and took far longer
than normal," says Seghatchian. "But
Pawel wanted to get it right. Finding a pair
that would work well together was key."
In the end, it took about eight months to
cast Press and Blunt in the lead roles.
The initial casting process was further
staggered because limited funding was
available early on. "We didn't have very
much money - at that point we were
paying for the development ourselves,"
says Seghatchian. "We paid for the option and for the initial casting director and searching
fees. We were discussing the possibility of a development deal with the BBC, but had to
keep the momentum going if we were to shoot the following year, so we were prepared to
take the risk of financing the initial development ourselves whilst still in the early stages of
negotiation."
Scripting and Scheduling
While the casting process was taking place, Pawlikowski reduced the book to a detailed
outline of the scenes from the novel he liked and started scripting in new ideas, original
elements and other themes that he wanted to incorporate into the story. Pawlikowski and
Seghatchian worked on the outlining in collaboration with playwright Michael Wynne. They
generated a more detailed treatment, which contained some dialogue and fully-fledged
scenes and Pawel's reworking of the story, which by now also incorporated a sense of the
landscape.
Once it was clear that there were enough elements in place to proceed to pre-production,
producer Chris Collins, who had worked with Pawlikowski as the Associate Producer on
109
4. Last Resort, came on board and broke down the shooting document in order to budget it and
outline a potential production schedule.
Again, this is a very unusual way of developing a film. Film financiers normally insist on a
fully developed screenplay to give them a complete understanding of the picture they are
investing in. However, because Pawlikowski had made The Last Resort in a similar way, the
BBC, who were now on board as the development financier, felt confident of moving
forward with the flexible detailed outline.
Financing
Armed with the two girls, Paddy Considine, a detailed shooting document, a budget and a
schedule, the team went out to raise the rest of the finance.
Says Seghatchian: "We went to all the usual suspects of UK financing sources and came out
with interest from the Film Consortium, which had a deal with the UK Film Council and the
tax partnership Baker Street. The Film Consortium also owned the sales agent, The Works,
so we were able to get them to generate the sales estimates that would dictate the overall
financing risk for the parties involved."
It took three months to sort out the legal documents to allow the financing to fall into place.
"Deals take that long," points out Seghatchian. "Because so many parties were involved it
required everyone to sign off on everything and to work out what their investment and
recoupment schedules were. The legal documentation for these three party deals can be
complicated and we enlisted the support of our solicitor Jeremy Gawade at legal firm Lee &
Thompson to help us put the financing together."
Shooting My Summer of Love
Whilst the financing was being sorted out, a crew was also being assembled. Pawlikowski
was keen to crew up with people he had worked with before and so they brought on many of
his previous collaborators Ryszard Lenczewski (director of photography), David Charap
(editor) and Julian Day (Costume Designer). The production designer who Pawel had
worked with previously wasn't available so John Stevenson - who'd worked with Collins on
Tomorrow La Scala - was hired. Hair and make up artist, Tara McDonald, completed the
individual departments.
110
5. A first assistant director was also brought on board. Pawlikowski hadn't used one on Last
Resort and Chris Collins had doubled as a first, but "we decided we did need a first assistant
director on this film as it was a more complicated shoot," says Seghatchian. "But we kept to
a relatively small crew for as long possible and brought people on a daily basis when we
needed more manpower."
Location Scouting and Production Design
Pawlikowski also did much of the location scouting himself. "His films are informed by a
very strong sense of landscape. He didn't have a location manager scouting for locations for
him - he found them himself, early on in the development process, as they were to inform the
nature of the film as much as the cast or script," explains Seghatchian.
However, a location manger was employed once the film was in production to manage the
locations, set them up and tidy them up.
Pawlikowski and his Art Department then worked on the look of the key locations. For
example, the big country house that Tamsin's family lives in was completely overhauled:
floors were sanded, wallpaper put up and furniture hired in.
The Shoot
And then production began. Originally the plan
was to shoot the film chronologically. But as the
film started shooting, Britain was gripped by a
mini-heatwave. Wanting to take advantage of the
wonderful weather and fearful that it might not
hold, a decision was taken to move all the
exterior shoots to the first week.
Unconventionally, the Producers had also built
into the production plans at the outset the
opportunity for a split shoot - which would give
Pawlikowski more freedom to experiment and reflected the looseness of his desired
development and filming processes. Two thirds of the film was shot, then edited together,
before the final third was filmed.
PR firm McDonald & Rutter were hired to take care of production publicity during the shoot
and a unit photographer, Suzy Allnut, was brought on board to take Unit stills. "We'd
decided we didn't want much production publicity, so we agreed to limit location reports to
one feature. Andrew Pulver of The Guardian wrote a piece which came out whilst we were
filming in August 2003," says Seghatchian.
During editing, attention turned towards music for the film. An Edith Piaf track 'La Foule'
was already scripted in, but the idea of using Goldfrapp emerged during the editing process
when Pawel decided to use their track 'Lovely Head'. Whilst clearing that track for usage, the
team approached the band about writing some original music for the film as well.
Distributing My Summer of Love
As soon as My Summer Of Love was completed, the search began for a UK distributor. The
BBC, which had UK rights to the film, held a special screening and invited UK distributors
111
6. to come along.
ContentFilm soon acquired the rights. "They wanted to release the film this year which was
something we wanted to do to," says Seghatchian. "We didn't want it to wait on the shelf for
a long time. We felt it was a summer film and that it would be good to release the film while
summer was in still in people's memory."
"We knew we wanted the UK Premiere of the
film to be at Edinburgh and the Edinburgh
International Film Festival had invited My
Summer Of Love to world premiere in its
competition section." Edinburgh, says
Seghatchian, "was hugely significant for the fate
of the film". It won the festival's top prize and,
more importantly, garnered a string of very good
reviews. "The film came out at Edinburgh when
there was a genuine sense that there was some
good British films out there. It meant that there
was a real goodwill feeling amongst the press who
wanted to help to support films they liked."
Keen to build on the momentum of the Edinburgh screening, ContentFilm hired McDonald
& Rutter to handle press and publicity for the UK release. The financiers, distributors and
producers agreed to try and position the film to appeal to both the traditional art house
market and more regular, mainstream moviegoers.
"Even though we weren't star-driven, we thought we might be able to sell the film on the two
new discoveries, introducing home grown stars of the future. The press did pick up on that.
And found the girls very easy to photograph and place." says Seghatchian.
After Edinburgh, the film's international sales
agent The Works took the film to the Toronto
International Film Festival, an annual autumn
meeting point for buyers and sellers of films. "A
lot of US buyers saw it and loved it and there was
a bidding war for it," says Seghatchian. "And we
managed to sell it to the company we wanted to
sell it to for a good price, Focus Features."
US distributor Focus have worked on a string of
high profile films - including Lost In Translation
and The Motorcycle Diaries. Their acquisition of My Summer Of Love only served to boost
the profile and the positive press surrounding the film post-Edinburgh. Back in the UK, the
release date was drawing near. Posters were designed and a poster and print campaign
launched for the film. Eventually the film was launched on October 22 on 25 sites, taking a
very impressive £80,000 in its first three days. It played particularly strongly in the art-house
friendly West End of London where it grossed £56,408 from 15 locations.
Q1. What was the final box office gross for My Summer of Love? Considering its
success with critics and at award ceremonies, do you consider it to be a successful film?
How does the story of its development illustrate what you’ve learnt about the process of
film making in previous sections of this booklet?
112
7. to come along.
ContentFilm soon acquired the rights. "They wanted to release the film this year which was
something we wanted to do to," says Seghatchian. "We didn't want it to wait on the shelf for
a long time. We felt it was a summer film and that it would be good to release the film while
summer was in still in people's memory."
"We knew we wanted the UK Premiere of the
film to be at Edinburgh and the Edinburgh
International Film Festival had invited My
Summer Of Love to world premiere in its
competition section." Edinburgh, says
Seghatchian, "was hugely significant for the fate
of the film". It won the festival's top prize and,
more importantly, garnered a string of very good
reviews. "The film came out at Edinburgh when
there was a genuine sense that there was some
good British films out there. It meant that there
was a real goodwill feeling amongst the press who
wanted to help to support films they liked."
Keen to build on the momentum of the Edinburgh screening, ContentFilm hired McDonald
& Rutter to handle press and publicity for the UK release. The financiers, distributors and
producers agreed to try and position the film to appeal to both the traditional art house
market and more regular, mainstream moviegoers.
"Even though we weren't star-driven, we thought we might be able to sell the film on the two
new discoveries, introducing home grown stars of the future. The press did pick up on that.
And found the girls very easy to photograph and place." says Seghatchian.
After Edinburgh, the film's international sales
agent The Works took the film to the Toronto
International Film Festival, an annual autumn
meeting point for buyers and sellers of films. "A
lot of US buyers saw it and loved it and there was
a bidding war for it," says Seghatchian. "And we
managed to sell it to the company we wanted to
sell it to for a good price, Focus Features."
US distributor Focus have worked on a string of
high profile films - including Lost In Translation
and The Motorcycle Diaries. Their acquisition of My Summer Of Love only served to boost
the profile and the positive press surrounding the film post-Edinburgh. Back in the UK, the
release date was drawing near. Posters were designed and a poster and print campaign
launched for the film. Eventually the film was launched on October 22 on 25 sites, taking a
very impressive £80,000 in its first three days. It played particularly strongly in the art-house
friendly West End of London where it grossed £56,408 from 15 locations.
Q1. What was the final box office gross for My Summer of Love? Considering its
success with critics and at award ceremonies, do you consider it to be a successful film?
How does the story of its development illustrate what you’ve learnt about the process of
film making in previous sections of this booklet?
112