This document provides case studies and background information on several film production and distribution companies. It examines the production companies behind films like Rogue One, Fantastic Beasts and Where to Find Them, The Girl With All the Gifts, and others. It provides details on budgets, revenues, marketing strategies, distribution methods, and exhibition for each film. It also summarizes several prominent production companies like Lucasfilm, Warner Bros, Heyday Films, and independent funders like the BFI, outlining their objectives, films produced, and partner relationships.

1. CASE STUDIES
Michelle Grace

2. GLOSSARY
• Conglomerate – a group/institution which owns several smaller companies
• Subsidiary company – a company that has been set up by a larger
company
• Vertical integration – a strategy in which a company extends its operations
onto one or more aspects of the production path – when the production
company also has ownership of distribution/exhibition
• Horizontal integration – when a production company expands into other
areas of one industry/when two firms in the same industry, at the same stage
of production, come together
• Independent company – a company producing films outside of major studio
systems

3. ROGUE ONE
Production Company – Lucasfilm, Walt Disney Studios
Motion Pictures
Distributor: Walt Disney Studios Motion Pictures
Budget: $200,000,000 (estimated)
Revenue: $1,041,442,512 (Worldwide)
Marketing:
• Personal relationships (uses and gratifications theory) –
references to previous films in trailers etc, encourages
audience to watch in order to find out what happens to
these characters
• Star appeal – director (Gareth Edwards) is highly
credited/leading actress Felicity Jones is a popular actress
• Posters – first poster released is different to that of
previous Star Wars instalments (i.e no cast seen)/series of
close-up cast posters (star appeal)
• Trailers – first trailer debuted on Good Morning
Britain/second trailer debuted during Olympics (synergy)
• Online – website shows short clips/downloadable
wallpapers/social media links
Distribution:
• Only distributed to cinemas so far – audiences must visit
the cinema to watch it, generating a larger box office profit
Exhibition:
• Exhibited in IMAX, 2D and 3D
• Shown in

4. FANTASTIC BEASTS AND WHERE TO
FIND THEM
Production company: Warner Bro’s/ Heyday Films
Distributor: Warner Bro’s
Budget: 180 million USD
Revenue: $807,622,943
Marketing:
• Posters, Trailers, social media- Facebook, twitter and
Instagram pages/hashtags.
• Personal Relationships – existing Harry Potter fans
attracted through use of same font/style etc, promoted by
Harry potter websites/actors/author (i.e mention of JK
Rowling on poster)
• ‘A new era of the wizarding world’ suggests continuation of
the franchise – engages previous fans
Distribution:
• Currently released within the cinema, meaning this is
where majority of profits are generated
• Will be released on DVD on March 7th.
Exhibition:
• Exhibited primarily in Europe/countries include Portugal,
Ukraine, Turkey, South Korea, Hungary, Denmark, Chile,
Brazil, the UK and USA.
• Use of IMAX and 3D

5. THE GIRL WITH ALL THE GIFTS
Production Company – Poison Chef, BFI Film fund,
Altitude Film Sales
Distributor: Warner Home Video (UK DVD)/Warner Bros
(UK Theatrical)
Budget: $4,000,000 (estimated)
Revenue: $1,894,773 (Worldwide)
Funding: BFI Creative Film Funding
Marketing:
• Star Appeal – Gemma Aterton
• Trailer shown in cinemas, prior to movies of a similar
genre/storyline
• ‘Exclusive unseen footage’ promised on DVD cover
Distribution:
• Theatrical distribution in UK, USA, Singapore, Austria,
Germany, Hungary, Spain etc – individual distributors
for each
• Distributed to DVD in the UK only, via Warner Home
Studio
Exhibition:
• Primarily exhibited in 2D, in cinemas (countries listed
above)
• Released on DVD in the UK

6. FLORENCE FOSTER JENKINS
Production Company – Qwerty films, Pathé Pictures International,
BBC Films
Distributor: Paramount Pictures (USA, Theatrical), 20th Century Fox
(UK, Theatrical),
Budget: $29,000,000 (estimated)
Revenue: $44,272,267 (Worldwide)
Funding: Funded by EU’s ‘Creative Europe MEDIA Programme’,
which ‘supports the audio-visual sector during a time of
transformation by digital technology’
Marketing:
• Aimed towards upper classes (i.e A/B socio-economic groups),
due to iconography (costumes, setting etc) on poster/in trailer
• Aimed towards British Audiences – strong accents used in
trailer/typical British setting
• Audience identification – idea of being bad at something/having a
dream to do it
• Star Appeal – actors and their names displayed on poster (Meryl
Streep/Hugh Grant)/cast interviews, and ‘From the director of The
Queen and Philomena’ promises a degree of quality (names of
these films are more recognisable than the directors name)
• Social media celebrating/promoting the actors
• TV Spots – show short clips, using star appeal and humour
Distribution:
• Theatrical distribution in UK, USA, Argentina, Canada, Greece,
Italy, Portugal, Philippines, France, China etc – individual
distributors for each
Exhibition:
• Theatrical exhibition in countries listed above
• Exhibited in cinemas/on DVD

7. 71
Production company: Warp Films/Creative Scotland
Distributor: Studio canal, Studio Canal UK, Roadside attractions.
Budget: £8.1million
Revenue: $2, 170,847
Funding:
• Funded by the BFI (British film institution) creative film funding
• Could mean the production is more likely to be aimed at those within the
UK as the BFI is a UK based company
Marketing:
• Marketed through many different platforms, such as posters, trailers,
and social media (i.e Facebook pages)
• Star Appeal – i.e main actor Jack O’Connell
• Reviews/Awards on poster – suggest a higher quality movie
Distribution:
• Can be seen on platforms such as YouTube, google play, DVD and Blu-
ray, as well as film 4 and the BFI player – link to technological
convergence
• Originally shown within cinemas
Exhibition:
• Shown at film festivals (i.e BFI film festival 2014/Sundance Film Festival,
as shown on poster) - implies it was created more independently, as
film festivals are for more niche audiences
• Can be seen within multiple countries - including Germany, France, UK,
USA, Canada, Brazil, Norway, Spain and Australia (primarily exhibited
within Europe)

8. WARP FILMS
Type of company – British Independent
Films Produced:
• Submarine (2010) – Comedy/Drama/Romance
• This Is England (2006) – Crime/Drama
• The Midnight Beast (TV Series, 2012)
• 71 (2014) – Action/Drama/Thriller
Most Successful –
• This is England (2006) – earned $8,739,576 worldwide gross,
and won a BAFTA for Best British Screenplay
Values/Aims:
• Describe themselves to make ‘distinctive, amusing and
thought-provoking content’
• Aim to ‘support creative people’ and hope that, in 10 years,
they will be counted as ‘among the best anywhere’
• ‘Offer an alternative point of view to the mainstream’
Working Relationships:
• Supported by a partnership with ITV Global - signed a
‘development deal’
• Created with financial support from NESTA (an ‘innovation
foundation’) and receive funding from the BBC and Film 4 to
aid distribution

9. HEYDAY FILMS
Type of company – British private Company
Films Produced:
• Harry Potter series (2001-2011)
• Gravity (2013)
• Fantastic Beasts and Where to Find Them (2016)
• Paddington (2014)/Paddington 2 (2017)
• We’re The Millers (2013)
Most Successful –
• Harry Potter series – known worldwide, total movie
sales for all films was approximately $7,216,000,000
Values/Aims:
• Make both films and TV Dramas
• Aim to work with big studios
Working Relationships:
• Have worked with distributors such as Warner Bros,
Lionsgate, Studiocanal, Walt Disney Motion Picture
• Currently on a ‘joint venture’ with NBCUniversal

10. LUCAS FILM
Type of company – American Subsidiary Company
Films Produced:
• Chicken Little
• Star Wars Franchise
• Robots
• Indiana Jones Franchise
• ZombieLand
Most Successful –
• Indiana Jones – total income of approximately
$697,258311
Values/Aims:
• Create work that ‘spans the entire entertainment spectrum’
• Help guide projects through all the evolutionary phases -
including creative development, psychological production,
post productions, and technological enhancements
Working Relationships:
• Owned by Disney, and are in a working partnership with
them

11. THE BFI
Type of company – British Independent
Films Contributed To (i.e through funding):
• Carol (2015)
• 12 Years A Slave (2013)
• The Girl With All The Gifts (2016)
Values/Aims:
• Support high-quality, British independent releases/new
creatives – i.e by investing funding into projects, for
production, distribution or exhibition
• International strategy – aim to help films achieve
‘maximum economic growth and cultural reach’
• Aim to be representative and diverse, and to reflect
changing attitudes/people- i.e Steven McQueen
became the first black director to win Best Picture, for
12 Years A Slave
Working Relationships:
• Award funds from the National Lottery
• Funding Partners include – British Film Commission,
Creative England, Creative Skillset, Film London
• Partnership with Arts Council England