The document discusses trends in UK cinema audiences based on research conducted by Pete Buckingham of the UK Film Council. It finds that cinema audiences tend to be young (15-24 years old), from upper-middle class backgrounds, and frequent moviegoers. Buckingham notes some common ways the audience is clustered or segmented (e.g. by age, interests), but argues this is not very helpful for filmmakers. The Film Council's own research identified key factors influencing audience behavior, such as activities prior to seeing a film and word-of-mouth recommendations, to better understand which films might succeed.
i am not sure where i have acquired this so if you are the audience i apologise for not citing your creative and intellectual rights. I suspect I found it somewhere on here or on an OCR training day -
i am not sure where i have acquired this so if you are the audience i apologise for not citing your creative and intellectual rights. I suspect I found it somewhere on here or on an OCR training day -
BDE-SC6 Hangout - “Insight into Virtual Currency Ecosystems”BigData_Europe
Third SC6 webinar was held on 16 February 2017. It was organised by the Consortium of Social Science Data Archives (CESSDA) from Norway and the Semantic Web Company (SWC) from Austria. Theme of the webinar was “Insight into Virtual Currency Ecosystems” presented by Dr. Bernhard Haslhofer, Data Scientist at the Austrian Institute of Technology.
Communication strategy lessons @ Panteion University (Dept. of Communication, Media & Culture).
This is my first one, a prologue to advertising history.
06/03/2012
http://1story.tumblr.com/
Student powerpoint an introduction to alternative photography techniques 2016Elaine Humpleby
A resource for teachers and students of Photography: written to assist and motivate students in three Alternative Photography Processes; Photograms, Cyanotypes and Chemigrams
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
Hollywood Actress - The 250 hottest galleryZsolt Nemeth
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Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
Crazyjamjam, the TikTok star everyone's talking about! Uncover her secrets to success, viral trends, and more in this exclusive feature on Blog Eternal.
Source: https://blogeternal.com/celebrity/crazyjamjam-leaks/
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdfGenny Knight
As the popularity of online streaming continues to rise, the significance of providing outstanding viewing experiences cannot be emphasized enough. Tailored OTT players present a robust solution for service providers aiming to enhance their offerings and engage audiences in a competitive market. Through embracing customization, companies can craft immersive, individualized experiences that effectively hold viewers' attention, entertain them, and encourage repeat usage.
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
exponentially in recent years. It will grow from
$21.92 billion in 2023 to $28.11 billion in 2024 at a
compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...
Audience pete buckingham what people go to see
1. Audiences:
Trends,
Profiles
and
Patterns:
What
People
Go
to
See,
Why
and
How
to
Reach
Them
Pete
Buckingham,
Head
of
Distribution
and
Exhibition,
UK
Film
Council
In
March
2010,
iFeatures
was
delighted
to
have
Pete
Buckingham
of
the
UK
Film
Council
along
to
one
our
iFeatures
Twelve
workshop
days.
The
following
is
an
edited
transcript
of
that
session:
In
my
experience,
this
is
not
something
that
is
usually
taught
to
people
who
either
write,
produce
or
direct
films.
As
a
result
it
sometimes
seems
a
complete
mystery
as
to
why
financers,
distributors,
TV
companies
etc
are
not
that
interested
in
your
particular
film
or
project.
What
we’re
going
to
try
to
do
here
is
to
uncover
some
of
the
unconscious
or
conscious
rules,
if
you
like,
that
are
being
played
out
in
the
marketplace
on
behalf
of
audiences.
What
we’re
going
to
take
a
look
at
here
is
the
UK’s
cinema-‐going
audience:
Young.
15-‐24s
represent
32%
of
the
population,
but
40%
of
cinema
audience.
By
contrast
55+s
represent
34%
of
the
population,
but
only
20%
of
the
cinema
audience.
35-‐
44s
who
make
up
38%
of
cinema
audience
represent
35%
of
the
population.
Upmarket.
ABC1s
represent
49%
of
the
population,
but
60%
of
the
cinema
audience
which
increases
up
to
66%
amongst
heavy
cinema
goers.
Rule
of
thumb;
the
older
the
audience,
the
more
upmarket.
Frequency.
15-‐34’s
form
60%
of
heavy
cinema
goers
and
within
that
40%
are
from
the
15-‐24
group.
Medium
cinema
goers
are
50%
of
25-‐44’s.
The
55
plus
make
up
32%
of
the
light
cinema
goers.
These
figures
don’t
cover
the
international
market,
although
there’s
evidence
many
of
these
markets
operate
in
the
same
way,
apart
from
France
which
is
a
special
issue.
You
can
see
this
is
a
young
and
upmarket
audience,
surprisingly
enough.
Within
the
film
industry
there
is
a
degree
of
snobbishness
towards
the
so-‐called
multiplex
audiences
–
I
sincerely
hope
you’re
not
part
of
that
snobbishness
–
and
therefore
there
is
a
feeling
that
the
multiplex
audiences
are
comparatively
down-‐market,
which
isn’t
the
case.
1
2.
What
Does
a
Cinema
Audience
Look
Like?
Well
in
marketing
terms
we
can
cluster
them,
which
is
an
extremely
useful
thing:
HERO
SEEKER:
IMPULSIVE
FILM
FANATICS:
IMPRESSIONABLE
MODERN
PARENTS:
FUN
LOVERS:
Not
YOUTH
OF
TODAY:
See
Don’t
go
out
much,
MATERIALIST:
Male,
Pre-‐plan
SOCIALITES:
Kids
pressurising
the
film
literate.
Big
film
films
as
soon
as
they
place
well
in
advance
Fashion
victim,
their
trip,
25-‐44,
go
Male/Female.
Under
parents.
and
video
consumers
come
out
affluent,
film-‐ in
2s,
review-‐led.
25.
Like
dinner-‐drinks.
blockbusters.
Led
by
Word
of
mouth
is
ads.
key.
This
is
a
very
common
way
of
interpreting
what
an
audience
looks
like,
and
a
way
of
understanding
how
we
can
talk
to
them
and
what
they
are
like.
The
problem
is
that
when
you’re
in
a
creative
process
-‐
from
the
writer’s
or
director’s
or
producer’s
side
of
the
fence
-‐
that’s
not
really
much
help
to
you.
It’s
not
much
help
to
you
to
say,
“Well,
is
my
film
a
hero
seeker
film
or
a
youth
of
today
film?”
These
clusters
aren’t
giving
you
enough
information.
When
I
was
at
Film4,
when
we
were
facing
the
issues
around
‘what
kind
of
films
should
we
make’
and
‘why
are
films
working
and
not
working’,
we
set
out
to
look
at
two
things:
How
do
audiences
really
behave
and
why?
Are
there
any
possible
tools
to
help
filmmakers
and
distributors
in
assessing
the
viability
of
the
project?
2
3.
This
research
was
done
in
2001
but
has
since
been
backed
up
by
an
equally
large
piece
of
research
at
the
Film
Council.
It
is
actually
still
as
valid
now
as
it
was
then.
We
did
qualitative
research
–
talking
to
people.
We
spoke
to
some
film
buffs
and
very
mainstream
types,
but
mainly
to
general
film-‐goers,
people
who
enjoy
a
wide
variety
of
films
but
don’t
tend
to
seek
out
arthouse
or
European
films.
We
asked:
What
activities
are
more
important
to
you
than
film?
Men:
Music,
Drinking,
Sport,
Socialising,
TV.
Women:
Music,
Socialising,
Shopping,
TV.
Younger
people:
Music,
TV,
Socialising,
Computer
Games,
Shopping
There’s
one
big
note
here
and
that’s
music.
Music
is
a
really
common
denominator
right
across
age
and
sex
but
interestingly
music
and
film
are
not
aligned
very
strongly.
We
have
a
very
strong
music
culture
in
this
country,
and
yet
the
film
and
music
industry
do
not
align
themselves
very
easily.
Actually
most
famous
films
usually
tend
to
have
a
soundtrack
attached
to
them
that
you
can
remember
–
that’s
not
a
PR
thing,
it’s
because
they’re
working
in
symbiosis
together.
I
urge
you
to
think
about
music
much
more
centrally,
the
music
is
important.
Next:
What
is
it
that
film
represents
for
people?
For
the
vast
majority
of
people,
except
for
film
buffs,
it
is
satisfying
peoples’
unfulfilled
desires.
This
is
what
film
gives
us.
This
is
what
it
is.
It
is
entertainment.
It
is
all
the
things
that
people
do
not
get
from
work.
In
another
MORI
poll,
people
said
that
these
were
things
that
people
don’t
get
from
work,
but
that
they
look
for
in
film
(in
no
particular
order):
Excitement
Ambition
Innovation
Exhilaration
People
to
Admire
Style
and
Glamour
Power
Creativity
The
Surprising
Fun
Imagination
The
Unexpected
These
are
power
words,
these
are
really
strong,
emotional
words
that
need
to
be
borne
in
mind.
If
we
understand
that
people
go
to
the
cinema
to
fulfil
unfulfilled
desires,
and
to
be
entertained,
we
need
to
look
at
how
people
choose
what
they’re
going
to
see.
UKFC
did
a
huge
piece
of
research
on
behalf
of
the
whole
industry
on
this
and
the
biggest
thing
that
came
out
is
that
cinema
is
an
event.
And
since
people
tend
to
go
to
the
cinema
with
at
least
one
other
person
(unless
you’re
a
film
buff),
choosing
what
you’re
going
to
see
means
you
have
to
negotiate.
We
found
that
audience
choices
are
governed
by
the
following:
What
partner
/
friends
want
to
see.
Often,
the
choice
of
film
is
a
compromise.
However,
people
still
want
to
feel
the
film
they
will
see
will
give
them
a
peak
experience
i.e.
they
will
leave
the
cinema
on
a
high.
3
4.
No
one
wants
to
be
blamed
for
choosing
a
‘bad’
film.
Apart
from
the
emotional
reasons
attached
to
seeing
a
‘bad’
film,
it
can
also
feel
like
a
waste
of
money.
In
a
group
of
friends
those
films
that
polarise,
are
unlikely
to
be
seen
-‐
even
if
a
large
minority
like
them.
So,
inclusive
blockbusters
will
always
win
out.
People
do
not
like
seeing
films
on
their
own
and
£7
is
felt
to
be
a
significant
amount
of
money
especially
when
the
group’s
entrance
fees
are
totalled
up
together
There
is
a
currency
going
on
here
about
yourself,
in
other
words,
‘Who
am
I?’,
‘Am
I
able
to
pick
the
right
film?’,
‘Can
I
be
a
trusted
person
with
my
group
of
friends?’
and
so
on.
You
don’t
want
to
choose
the
‘bad
film’,
and
we
all
know
it’s
quite
uncomfortable
sitting
beside
somebody
who
is
not
enjoying
the
film
as
much
as
you
are,
unlike
a
DVD
which
you
can
just
switch
off.
There’s
a
desire
to
have
a
shared
experience.
Given
people’s
desire
not
to
make
a
mistake,
and
also
in
order
to
make
a
quick
and
effortless
decision,
they
look
for
clear
signals
the
film
really
is
one
they
will
like:
DRIVERS
BARRIERS
Genre
I
like
Genre
I
don’t
like
or
genre
not
clear
Actors
I
like
/
top
names
(who
are
well
cast)
No
big
names
and
actors
I
do
not
like,
never
heard
of
them
Producers
I
like:
Tarantino,
Spielberg
&
Scorsese
“Same
few
actors”
i.e
too
predictable/samey
Well
known
book
Don’t
know
the
story
Everyone’s
talking
about
it
i.e.
friends,
critics
and
media
No
one
is
talking
about
/
heard
of
the
film
Good
and
obvious
hook
No
obvious
hooks
or
surprising
twist
Surprising
twist
(Soundtrack)
What
kind
of
information
does
an
audience
use
to
choose
a
film?
See
the
above
list
–
obviously
one
of
the
first
things
is
genre,
i.e.
what
kind
of
film
is
it?
Here
we
go
back
to
the
clustering
principle,
which
is
that
clustering
is
so
useful
to
quickly
define
what
kind
of
film
this
is.
This
is
a
very
quick
shortcut.
“Oh,
I
don’t
like
this
kind
of
film”
or
“I
do
like
this
kind
of
film”.
Then
there
are
some
other
clues
as
well:
maybe
who’s
in
it,
it
might
be
who’s
directing,
it
might
be
that
it’s
from
a
book
of
some
sort
of
incident
or
known
source.
Then
there’s
word
of
mouth
-‐
who’s
talking
about
it,
what
the
critics
thought
or
whatever
it
is,
etc.
There
are
quite
a
lot
of
pieces
of
information,
not
all
of
which
people
will
have.
You
might
not
have
read
the
reviews,
you
might
not
know
anything
about
it,
or
you
might
not
know
the
actors
or
they’re
not
important
enough
for
you,
and
so
on.
/cont’d.........
4
5.
GENRE
It’s
probably
best
to
note
here
that
we
didn’t
do
‘Family’
during
our
research,
we
only
did
’18
Up’.
With
that
proviso,
the
following
are
the
major
genres
that
people
use
in
real
life
–
not
in
the
industry,
in
real
life:
Although
people
generated
a
whole
variety
of
types
of
films/genres
in
the
sessions
(eg
animation)
the
main
categories
were:
FEMALE
Romance
Period
Crime/Gangster
Horror
Action
SciFi
MALE
COMEDY
As
I
mentioned,
these
are
the
‘describers’
that
normal
people
use
when
they’re
talking
to
each
other.
Obviously
you
can
see
on
the
left
hand
side
women
are
more
geared
towards
romance
and
the
males,
obviously,
geared
towards
Sci-‐Fi.
The
unifying
factor
between
the
male/female
divide
is
comedy.
So,
a
Rom-‐Com
will
get
a
bloke
in
whereas
with
a
romantic
film
on
its
own,
you
have
very
little
chance
of
doing
that.
In
order
to
have
maximum
appeal
films
need
to
appeal
to
men
and
women
–
even
if
they’re
paying
attention
to
different
aspects.
Now
what
genre
is
missing
here?
I’ll
tell
you:
DRAMA.
Here
we
stumble
across
one
of
the
first
problems
of
British
Film
Industry.
Statistically,
60%
of
all
films
made
are
actually
drama.
But
no-‐one
ever
says,
“Let’s
go
and
see
this
great
drama”
-‐
it’s
not
said.
We
say
‘Crime’
or
‘Gangster’
or
‘Horror’
or
‘Thriller’
or
‘Sci-‐fi’,
because
we
get
that.
That’s
why
genre
is
important
–
not
because
film
people
think
it
is,
but
because
it
helps
people
to
describe
what
they
do
and
don’t
like.
AMERICAN
V
BRITISH
FILMS
Whenever
the
audience
was
asked
what
films
they
preferred
–
British
or
American,
the
latter
was
nearly
always
selected
(although
in
their
hearts
they
wanted
to
pick
British).
Specifically
American
films
are
positively
associated
with:
Epic;
Excellent,
Exciting,
Exhilirating;
Glamour
and
Style;
Escapism
and
Fantasy;
Heroic;
Romantic.
Most
recognise
that
American
films
have
more
resources
to
deliver
what
the
audience
want
from
a
film.
Also,
American
films
have
helped
define
expections
of
what
a
‘good’
film
is,
ie
high
in
emotion,
visual
and
entertaining
(contrasting
with
UK
films
which
are
felt
to
be
from
a
more
literary,
cerebral,
issues-‐led
tradition).
5
6.
However,
there
are
perceived
negatives,
and
I
have
a
funny
feeling
the
divide
may
be
widening
slightly
between
America
and
the
rest
of
the
world’s
films.
People
see
them
as:
moralistic,
unrealistic,
schmaltzy,
patriotic,
squeaky
clean.
We
don’t
like
these
kinds
of
things
too
much
in
Europe.
My
favourite
example
is
the
very,
very
last
scene
in
‘Saving
Private
Ryan’
where
the
guy
gets
hold
of
an
American
flag.
That’s
exactly
where
the
divide
lies.
What
are
the
positives
of
British
Films?
Characters
and
Situations
I
can
identify
with
Either
fresh
new
acting
talent
or
really
great
actors
eg
Judi
Dench
‘British
humour
is
something
no-‐one
else
can
do’.
Authentic
and
believable:
not
the
‘typical
Hollywood
treatment’
Intelligent,
fresh
and
original
–
likely
to
have
twists
and
turns
and
be
multi-‐layered
Unsentimental,
amoral,
clever
Opportunity
to
see
people
who
really
break
the
rules.
Much
more
daring,
unafraid
to
deal
with
taboos.
At
their
best,
British
films
are
highly
believable
and
easy
for
the
audience
to
relate
to
when
executed
in
a
way
that
is
funny,
clever
and
sometimes
knowing
but
not
schmaltzy
and
sentimental.
Interestingly,
British
soundtracks
contribute
a
great
deal
to
this.
But
there
are
negatives
as
well:
No
known
faces
/
same
old
faces
Depressing
or
grim
locations
and
stories,
or
period
romps
Not
cinematic,
could
watch
on
TV.
Lacking
heightened
emotions
and
themes,
big
names,
high
production
values.
No
real
peak
moments
so
do
not
engender
real
emotions
Moralising
and
worthy
Limited
and
predictable
(‘either
working
class
or
middle
class
and
seem
very
samey’)
Cont’d//..................
6
7.
Now
obviously
some
of
this
is
controversial,
but
what
I
want
to
do
now
is
look
at
a
tool
for
trying
to
map
how
people
perceive
films.
So
here
we
have
a
matrix,
where
we
have
the
four
areas.
American
positive
ones
are,
let’s
summarise,
as
‘uplifting’
and
‘glamorous’
or
‘life
affirming’.
But
their
negative
is
‘schmaltzy”,
‘moralising’,
‘sentimental’,
and
‘patriotic’.
Positive
of
British
is,
let’s
call
it,
‘knowing’
and
‘clever’
and
the
negative
is
‘unglamorous’
and
‘gritty’:
So,
using
this
grid
as
a
starting
point,
we
can
start
to
plot
the
films
that
British
audiences
do
or
don’t
want
to
see:
7
8.
You
really
want
to
be
in
the
coloured
area,
not
to
close
to
schmaltzy
and
moralistic.
And
you
probably
want
to
avoid
being
down
in
the
unglamorous
and
gritty
quadrant
which
audiences
say
they’re
not
that
interested
in.
Having
said
that,
there
are
some
films
down
the
bottom
here
–
Fish
Tank
and
Precious
for
instance,
that
have
been
quite
successful
on
their
own
terms.
However,
Fish
Tank
took
around
six
hundred
thousand
pounds,
which
is,
for
that
kind
of
film,
quite
big
but
in
real
terms
is
still
very
small.
Precious
was
huge
in
America
($45-‐50
million)
but
only
made
half
a
million
here.
8
9.
But
there
are
also
some
films,
like
Trainspotting
and
Billy
Elliott,
which
on
synopsis
alone
would
seem
to
be
down
in
the
unglamorous
and
gritty
area,
but
which
in
practice
have
done
something
creatively
interesting
and
been
successful
with
UK
and
international
audiences.
Perhaps
it’s
because
they’re
life
affirming,
have
characters
audiences
can
identify
with,
but
these
films
became
HUGE
hits.
Slumdog
Millionaire
is
another
great
example
–
you
can’t
get
much
more
‘gritty’
than
the
Mumbai
slums
–
its
definately
up
in
the
left
hand
quadrant
near
schmaltzy,
but
it’s
also
uplifting
and
was
sold
like
that.
And
there
are
plenty
of
other
examples:
Full
Monty,
second
biggest
British
film
of
all
time
(pipped
by
Mamma
Mia),
and
starring
the
normally
unglamorous
and
gritty
Robert
Carlyle.
East
is
East
–
there’s
another
one.
You
look
at
the
plotline
of
that
film
and
you
think,
‘Christ
Almighty!’
-‐
but
it’s
the
way
it’s
done.
There
are
other
factors
which
will
affect
whether
people
go
and
see
it.
For
example,
if
it’s
subtitled,
you’re
going
to
have
a
problem
with
UK
audiences
because
there
is
a
perceived
barrier
there.
But
if
you’re
down
at
the
bottom
of
this
matrix,
you
need
to
understand
that
it’ll
be
very
difficult
for
you
to
break
out,
and
that
you’ve
already
set
your
project
some
boundaries.
Of
course,
that
may
be
fine
with
you.
But
your
distributor
and
financiers
will
know
that
financially,
the
potential
of
the
film
is
extremely
restricted.
There
are
some
slightly
depressing
statistics
on
British
film
that
show
how
much
the
industry
struggles
with
these
issues:
Out
of
all
the
388
British
films
released
in
2000-‐2004,
total
box
office
was
£572million.
The
average
was
£1.4
million,
with
only
21%
taking
over
£1
million,
33%
took
£100K
-‐
£1
million,
and
46%
took
under
£100K.
Similarly,
of
808
films
certified
between
1998
–
2004,
only
45%
were
released.
These
statistics
are
slightly
out
of
date,
but
they
still
hold
true
today.
Similarly
of
the
535
films
certified
between
2003
–
2006,
only
44%
were
released
–
in
2004
the
figure
was
60%.
To
summarise
all
of
the
above
then:
In
order
to
draw
on
the
strengths
of
British
film
and
have
a
truly
competive
edge,
your
film:
MUST
BE
MUST
NOT
BE
Clear
genre
(will
answer
the
male/female
issue)
Genre
unclear
Great
hook
and
ideally
a
great
twist
Poor
hook
and
poor/no
twist
Great
soundtrack
Poor
soundtrack
Well
known
story,
actors
and
producers
Not
a
well
known-‐story/actors
and
producers
Cinematic
(theme/
way
looks
and
feels)
Something
we
could
watch
on
TV
In
the
knowing
and
clever/uplifting
(life
affirming)
quadrant
Schmaltzy
and
moralistic
In
the
depressing,
unglamorous,
gritty
quadrant
9
10.
THE
FESTIVAL
TRAP
So,
this
map
shows
something
else,
a
trap
that
I
think
is
laid
out
for
filmmakers.
And
that
is,
that
just
because
you
win
at
festivals,
doesn’t
mean
people
will
go
and
see
your
film.
So
what
happens
is
films
like
Vera
Drake
win
awards,
but
this
doesn’t
equate
to
success
at
the
box
office.
I
think
film
companies
gets
seduced
by
this
and
you,
if
you’re
not
careful,
start
to
make
films
that
actually
no
one
wants
–
ie
down
the
unglamorous
and
gritty
end
of
things.
To
a
degree
you’re
kind
of
right,
and
the
awards
and
festivals
do
gravitate
around
this
kind
of
stuff.
The
problem
is
that
audiences
don’t.
There
really
is
a
disconnect
here.
What
tends
to
happen
is
that,
if
you’re
not
careful,
you
are
held
up
by
a
public
sector
system
for
1,
2
or
3
movies
-‐
all
of
which
get
highly
praised
-‐
none
of
which
get
actually
seen
really,
properly
or
otherwise.
Then
you’re
left
and
then
you’re
stuffed
and
then
you
don’t
understand
why
nobody’s
knocking
on
your
door
to
make
that
next
film.
So
be
careful
of
the
siren
call
of
awards.
10