Now You See Me 2 is the 2016 sequel to the heist thriller film Now You See Me. It follows the Four Horsemen who are forced to stage another performance to avoid being arrested by the FBI. The film was directed by Jon M. Chu and written by Ed Solomon, with many of the original cast returning alongside new members. It began production in 2014 and filmed in various locations before being distributed by Lionsgate and Summit Entertainment. While it received mixed reviews for being formulaic, the film was a box office success, grossing over $334 million worldwide against its $90 million budget.
Both The Incredibles and Big Hero Six focus on family complications and share similar themes. Both movies show that teamwork is key to achieving goals, as the villains rely too heavily on technology like remote controls for their plans. The movies also portray how life can be unfair and unexpected events shape our paths. Overall, the movies approach similar issues families face and how life works in different ways through enjoyable animated stories.
Tim Burton is an American film director, producer, artist, writer and animator known for his dark, gothic fantasy films such as Beetlejuice, Edward Scissorhands, The Nightmare Before Christmas, Ed Wood, Sleepy Hollow, Corpse Bride, Sweeney Todd, Dark Shadows and Frankenweenie. He is also known for blockbusters such as Pee-wee's Big Adventure, Batman, Batman Returns, Planet of the Apes, Charlie and the Chocolate Factory and Alice in Wonderland, which grossed over $1 billion worldwide.
The document provides a 1015 word compare and contrast essay analyzing the animated films The Incredibles and Big Hero Six. Both films focus on family complications and share the theme that teamwork is key to achieving goals. Additionally, the films show that relying solely on technology can be a weakness, and that life is sometimes unfair. In conclusion, animated movies are enjoyable for all ages due to their storytelling and themes.
The document discusses several major movie production institutions and which might be suitable for funding an action fantasy film. Warner Brothers is identified as the most likely candidate as it produces many fantasy, action, and action fantasy films. It is a very successful company that could provide sufficient funding. DreamWorks and 20th Century Fox would be less suitable since DreamWorks focuses on animated family films while 20th Century Fox movies generally have more action and are aimed at families. Universal Studios and New Line Cinema are also discussed but not identified as top candidates.
The scene analyzes Woody and Buzz arriving at Pizza Planet where Buzz believes the animatronic guards are real and finds a claw machine shaped like a rocket. Inside, Buzz discovers a group of "Little Green Men" toys who have formed a cult around the claw. Sid then claws Buzz out and hands both toys to Sid. The scene uses bright colors to evoke the space theme and chaos as Woody's plans go wrong, putting himself and Buzz in danger.
The document provides details about the production, distribution, exhibition, and reception of the 2013 British film The Selfish Giant directed by Clio Barnard. It was an independent film backed by the BFI Film Fund and Film4. It was distributed by Film4 and released in UK cinemas on November 15, 2013. The film was shown in 6 independent cinemas and grossed £10,531. It received positive reviews and was screened at the 2013 Cannes Film Festival where it won an award.
The document provides details about the production of the film The Hunger Games: Catching Fire. It discusses the director, cast, filming locations, budget, and marketing campaign. Catching Fire had a budget of $130-140 million and was filmed in Atlanta, Hawaii, and on the Universal backlot. It was distributed by Lionsgate and had a worldwide gross of $862.6 million, making it highly successful.
This document is a compare and contrast essay analyzing the animated films Mars Needs Moms and Final Fantasy VII Advent Children. It compares the genres, with Mars Needs Moms being a family science fiction film and Final Fantasy VII an action film based on a video game series. It also contrasts the studios that produced the films, with Mars Needs Moms produced by Walt Disney and Final Fantasy VII produced by Square Enix, a video game company. Finally, it discusses the different animation techniques used, with Mars Needs Moms using motion capture and Final Fantasy VII using computer-generated imagery.
Both The Incredibles and Big Hero Six focus on family complications and share similar themes. Both movies show that teamwork is key to achieving goals, as the villains rely too heavily on technology like remote controls for their plans. The movies also portray how life can be unfair and unexpected events shape our paths. Overall, the movies approach similar issues families face and how life works in different ways through enjoyable animated stories.
Tim Burton is an American film director, producer, artist, writer and animator known for his dark, gothic fantasy films such as Beetlejuice, Edward Scissorhands, The Nightmare Before Christmas, Ed Wood, Sleepy Hollow, Corpse Bride, Sweeney Todd, Dark Shadows and Frankenweenie. He is also known for blockbusters such as Pee-wee's Big Adventure, Batman, Batman Returns, Planet of the Apes, Charlie and the Chocolate Factory and Alice in Wonderland, which grossed over $1 billion worldwide.
The document provides a 1015 word compare and contrast essay analyzing the animated films The Incredibles and Big Hero Six. Both films focus on family complications and share the theme that teamwork is key to achieving goals. Additionally, the films show that relying solely on technology can be a weakness, and that life is sometimes unfair. In conclusion, animated movies are enjoyable for all ages due to their storytelling and themes.
The document discusses several major movie production institutions and which might be suitable for funding an action fantasy film. Warner Brothers is identified as the most likely candidate as it produces many fantasy, action, and action fantasy films. It is a very successful company that could provide sufficient funding. DreamWorks and 20th Century Fox would be less suitable since DreamWorks focuses on animated family films while 20th Century Fox movies generally have more action and are aimed at families. Universal Studios and New Line Cinema are also discussed but not identified as top candidates.
The scene analyzes Woody and Buzz arriving at Pizza Planet where Buzz believes the animatronic guards are real and finds a claw machine shaped like a rocket. Inside, Buzz discovers a group of "Little Green Men" toys who have formed a cult around the claw. Sid then claws Buzz out and hands both toys to Sid. The scene uses bright colors to evoke the space theme and chaos as Woody's plans go wrong, putting himself and Buzz in danger.
The document provides details about the production, distribution, exhibition, and reception of the 2013 British film The Selfish Giant directed by Clio Barnard. It was an independent film backed by the BFI Film Fund and Film4. It was distributed by Film4 and released in UK cinemas on November 15, 2013. The film was shown in 6 independent cinemas and grossed £10,531. It received positive reviews and was screened at the 2013 Cannes Film Festival where it won an award.
The document provides details about the production of the film The Hunger Games: Catching Fire. It discusses the director, cast, filming locations, budget, and marketing campaign. Catching Fire had a budget of $130-140 million and was filmed in Atlanta, Hawaii, and on the Universal backlot. It was distributed by Lionsgate and had a worldwide gross of $862.6 million, making it highly successful.
This document is a compare and contrast essay analyzing the animated films Mars Needs Moms and Final Fantasy VII Advent Children. It compares the genres, with Mars Needs Moms being a family science fiction film and Final Fantasy VII an action film based on a video game series. It also contrasts the studios that produced the films, with Mars Needs Moms produced by Walt Disney and Final Fantasy VII produced by Square Enix, a video game company. Finally, it discusses the different animation techniques used, with Mars Needs Moms using motion capture and Final Fantasy VII using computer-generated imagery.
The Shaun the Sheep Movie is a 2015 British claymation film produced by Aardman Animations. It relies heavily on Aardman's signature claymation style and took over three years to produce. The film features the voices of several notable British comedians and actors and explores themes of hierarchy, freedom, and friendship through the story of Shaun and the farm animals.
Avatar was written and directed by James Cameron and released in 2009. It tells the story of a paralyzed war veteran sent to an alien moon called Pandora, where he infiltrates the native Na'vi people and falls in love with one of them. When the humans plan to destroy the Na'vi homeland, the veteran switches sides to help defend the Na'vi against the invading forces. Avatar was a financial success, making over $5 billion worldwide and winning multiple Academy Awards. It demonstrated advances in 3D filmmaking and immersive storytelling.
A production company is responsible for developing a film's schedule, budget, script, casting, and more. They provide funding, marketing, and take responsibility if anything goes wrong during production.
The logo for a horror production company called "Grim Studios" features the grim reaper holding a blade with skeletal hands to symbolize death and the paranormal. The bold black text and red and black color scheme relate to the horror genre.
A film distributor is responsible for marketing and deciding a film's release and viewing options. They chose Momentum Pictures as their distributor because it is a leading UK and Irish distributor that has successfully released thriller films.
The film hopes to be funded by the National Lot
This document compares and contrasts the themes, characters, locations, props/costumes, and devices used in the films The Dark Knight and Casino Royale. For themes, The Dark Knight focuses on heroism, morality and chaos while Casino Royale focuses on greed, corruption, betrayal and power. The characters in The Dark Knight each represent different concepts like heroism and chaos, while those in Casino Royale represent the spy genre through betrayal. The locations include Gotham City/New York and various European locations. The props and costumes appropriately represent each genre through Batman's suit and the Joker's makeup in The Dark Knight, and spy gadgets in Casino Royale. Cinematography also differs with establishing shots in The Dark Knight
The Dark Knight's viral marketing campaign called "Why So Serious?" encouraged users to interact with websites and receive messages from either The Joker or Harvey Dent to uncover clues about the film. The campaign spanned the real world and online, making users feel personally involved in the story. It was effective due its large scale worldwide reach, appealing to comic fans and younger audiences who wanted to take a side, and the interest surrounding Heath Ledger's death in his role as The Joker.
1. The document contains box office data and graphs about thriller films. It shows that thrillers made up half of the top 6 highest grossing films on October 6th, 2014, with Gone Girl and The Maze Runner ranking highly.
2. It also includes a graph showing generally steady or increasing ticket sales and market share for thriller films from 1995-2011.
3. Most successful films at the box office have been rated PG-13, allowing both children and adults to view. Titanic, rated PG-13, made over $1 billion adjusted for inflation due to its broader audience reach compared to R-rated films.
The Dark Knight was produced by Warner Brothers and Legendary Pictures with a budget of $185 million. Christopher Nolan returned as director, working with writers Jonathan and Christopher Nolan. Filming took place in several locations from March to July 2007. Warner Brothers implemented an elaborate viral marketing campaign utilizing websites and real-world activities to generate hype and interest among fans leading up to the film's release.
The Lego Movie was produced by Warner Bros., Village Roadshow Pictures, and Lego Systems. It had a production budget of $60 million. It was distributed globally in theaters starting February 2014. The film was a major commercial success, grossing over $469 million worldwide. A sequel and several spin-offs are in development.
The Stolen is a story about Young Charlotte Lockton (Alice Eve), she has settled in the North Island with her wealthy husband, David. But her life’s dreams are shattered when he’s murdered on their farm and her baby son is kidnapped. A month after paying a ransom, frustrated with the apathy of the authorities and distrusting of her staff, she decides to track him down on her own.
And so begins her journey through the wilds of an untamed New Zealand. She comes into contact with Villains, Suffragettes, Hustlers, Chinese Grocers and native Maori Warriors. And she’s forced to join a convoy of Whores, Dancers and Ex-Cons heading for the rough mining community of Goldtown.
There she meets Joshua McCullen (Jack Davenport,) the owner of the mining town: a man who is key to uncovering the truth behind the disappearance of her son, forcing her to fight to the death for what she holds most dear.
‘The Stolen’ is an exciting and unique balance of gripping narrative, dynamic action, arresting visuals, and fully-rounded characters offering ripe potential for great performances.
Save 10% off any FITC event with discount code 'slideshare'.
Details at www.fitc.ca
Technolust: Kitbashing the Future
with Blair Renaud
OVERVIEW
Single developers and small teams around the world are creating entire digital worlds and setting the bar for the future of virtual reality. We’ll talk about how anyone with access to the internet can pillage asset stores, never write a single line of code and still create compelling virtual reality content. From Palmer Lucky’s garage to indie developers and AAA game studios, taking things apart and putting them back together in exciting new ways is the driving force of the new VR revolution.
OBJECTIVE
Blair will show how hackers and indies are defining what commercial VR will be in the future through the story of the last 2 years in VR.
TARGET AUDIENCE
VR content creators, game developers, mobile developers, VR enthusiasts.
ASSUMED AUDIENCE KNOWLEDGE
Minimal awareness of virtual reality technology
FIVE THINGS AUDIENCE MEMBERS WILL LEARN
A little about Technolust and IRIS VR
How to create VR content with little to no funding
Creating believable worlds and people
What makes people sick and how to avoid it
Virtual locomotion and input solutions
The document summarizes the marketing campaign for the 2010 film Inception. It describes 10 steps taken to target an intellectual audience aged 16-30, generate curiosity about the film's complex plot without fully revealing it, and build buzz through clues and puzzles online and in viral games/apps. Traditional techniques like posters, trailers and TV spots were also used but focused on intrigue rather than explaining the storyline. The campaign emphasized secrecy and puzzle-solving to engage viewers and ensure they experienced the full plot for themselves in theaters.
The document summarizes the marketing campaign for the 2010 film Inception. It describes 10 steps taken to target an intellectual audience aged 16-30, generate curiosity about the film's complex plot without fully revealing it, and build buzz through clues and puzzles online and in viral games/apps. Traditional techniques like posters, trailers and TV spots were also used but focused on intrigue rather than explaining the storyline. The campaign emphasized secrecy and puzzle-solving to engage viewers and ensure they experienced the full plot for themselves in theaters.
The marketing campaign for Cloverfield had a low budget but was highly successful. It targeted internet-savvy young people by releasing minimal information and clues over time to generate buzz and discussion online. This included a cryptic teaser trailer, a website with time-stamped photos, fictional character social media pages, and an alternate reality game, all encouraging speculation and demand to see the movie. Though traditional advertising was also used, the slow release of details and unanswered questions meant the only way to find answers was to see the film. This viral campaign established an entire fictional universe and left many plot points unresolved, fueling discussion and speculation about a potential sequel.
The document provides an evaluation of a student's media production project. It discusses the genre, influences, narrative structure, characters, and technical elements used in the opening sequence to establish conventions of the horror/thriller genre. It also addresses how the project represents social groups through the characters and setting, and which media institution might distribute the project based on research into similar films. The student describes the intended target audience and how they would promote and market the film. Reflections on the technologies used and what was learned through the production process are also provided.
The document provides information about several animated films and television shows featuring sharks:
- Help! I'm a Fish is a 2000 Danish animated film about a teen who turns into a fish. It featured songs by Danish girl groups.
- SpongeBob SquarePants is an American animated series about the title character and his friends in the underwater city of Bikini Bottom. It has been hugely successful.
- Street Sharks was a 1994-1995 American-Canadian animated series about crime-fighting human-shark hybrids that was created to promote a toy line.
The document discusses motion graphics, visual effects techniques, and their uses in filmmaking. It provides historical context on the evolution of techniques like matte painting and chroma key compositing. It also analyzes specific title sequences, like those for Stranger Things and Scott Pilgrim vs. the World, that effectively set mood and homage source material through creative motion graphic design. Key visual effects techniques discussed include digital matte paintings, CGI, and the increasing prevalence of fully computer-generated scenes and characters in major films.
Film trailers are advertisements that are shown before a movie begins in theaters. Originally, trailers were shown at the end of movies, but viewers would often leave after the film ended. Now, trailers utilize techniques like montages and quick editing to entice audiences in a short time frame, usually around 2 minutes and 30 seconds. They aim to highlight exciting or important parts of the film without revealing too many spoilers. Trailer production companies create them from early footage before the full movie is edited together.
This document discusses the evolution of crime films from the 1920s to the 1990s and how they reflected social and economic conditions of the time periods. It begins with gangster films of the 1920s mirroring the prohibition era, then film noir of the 1930s adopting darker themes. Crime capers of the 1960s had lighter narratives reflecting the optimism of the time. Crime films of the 1970s captured the economic depression through drugs and violence. Blaxploitation films of the 1970s dealt with issues of racism. Postmodern crime films of the 1990s used nonlinear storytelling, pastiche, and breaking the fourth wall.
1) Jurassic World took over 10 years to enter production and went through many directors, writers and cast changes before Colin Trevorrow was selected as director in 2013.
2) Principal photography for Jurassic World took place between April and August 2014 on locations in Hawaii and Louisiana, utilizing both animatronics and CGI.
3) Ex Machina was filmed over 4 weeks at Pinewood Studios and 2 weeks in Norway in 2013, utilizing minimal visual effects to focus on the performances.
The document provides information about the 2012 science fiction film Prometheus directed by Ridley Scott. It summarizes the trailer, describing the establishing shots that set up the sci-fi setting on an alien planet. It discusses how the trailer introduces the characters and builds mystery and questions. It also provides background on the film's budget, box office performance, awards, and marketing campaign.
The document discusses the history and development of filmmaking from silent movies to modern films using CGI and computer animation. It provides examples of different film techniques like animation used in early Disney films and CGI in Finding Nemo. The document also discusses the film distribution process including advertising campaigns and screening films at premieres and movie theaters. It uses the Harry Potter and Twilight franchises as case studies to illustrate film marketing and promotional events.
The Shaun the Sheep Movie is a 2015 British claymation film produced by Aardman Animations. It relies heavily on Aardman's signature claymation style and took over three years to produce. The film features the voices of several notable British comedians and actors and explores themes of hierarchy, freedom, and friendship through the story of Shaun and the farm animals.
Avatar was written and directed by James Cameron and released in 2009. It tells the story of a paralyzed war veteran sent to an alien moon called Pandora, where he infiltrates the native Na'vi people and falls in love with one of them. When the humans plan to destroy the Na'vi homeland, the veteran switches sides to help defend the Na'vi against the invading forces. Avatar was a financial success, making over $5 billion worldwide and winning multiple Academy Awards. It demonstrated advances in 3D filmmaking and immersive storytelling.
A production company is responsible for developing a film's schedule, budget, script, casting, and more. They provide funding, marketing, and take responsibility if anything goes wrong during production.
The logo for a horror production company called "Grim Studios" features the grim reaper holding a blade with skeletal hands to symbolize death and the paranormal. The bold black text and red and black color scheme relate to the horror genre.
A film distributor is responsible for marketing and deciding a film's release and viewing options. They chose Momentum Pictures as their distributor because it is a leading UK and Irish distributor that has successfully released thriller films.
The film hopes to be funded by the National Lot
This document compares and contrasts the themes, characters, locations, props/costumes, and devices used in the films The Dark Knight and Casino Royale. For themes, The Dark Knight focuses on heroism, morality and chaos while Casino Royale focuses on greed, corruption, betrayal and power. The characters in The Dark Knight each represent different concepts like heroism and chaos, while those in Casino Royale represent the spy genre through betrayal. The locations include Gotham City/New York and various European locations. The props and costumes appropriately represent each genre through Batman's suit and the Joker's makeup in The Dark Knight, and spy gadgets in Casino Royale. Cinematography also differs with establishing shots in The Dark Knight
The Dark Knight's viral marketing campaign called "Why So Serious?" encouraged users to interact with websites and receive messages from either The Joker or Harvey Dent to uncover clues about the film. The campaign spanned the real world and online, making users feel personally involved in the story. It was effective due its large scale worldwide reach, appealing to comic fans and younger audiences who wanted to take a side, and the interest surrounding Heath Ledger's death in his role as The Joker.
1. The document contains box office data and graphs about thriller films. It shows that thrillers made up half of the top 6 highest grossing films on October 6th, 2014, with Gone Girl and The Maze Runner ranking highly.
2. It also includes a graph showing generally steady or increasing ticket sales and market share for thriller films from 1995-2011.
3. Most successful films at the box office have been rated PG-13, allowing both children and adults to view. Titanic, rated PG-13, made over $1 billion adjusted for inflation due to its broader audience reach compared to R-rated films.
The Dark Knight was produced by Warner Brothers and Legendary Pictures with a budget of $185 million. Christopher Nolan returned as director, working with writers Jonathan and Christopher Nolan. Filming took place in several locations from March to July 2007. Warner Brothers implemented an elaborate viral marketing campaign utilizing websites and real-world activities to generate hype and interest among fans leading up to the film's release.
The Lego Movie was produced by Warner Bros., Village Roadshow Pictures, and Lego Systems. It had a production budget of $60 million. It was distributed globally in theaters starting February 2014. The film was a major commercial success, grossing over $469 million worldwide. A sequel and several spin-offs are in development.
The Stolen is a story about Young Charlotte Lockton (Alice Eve), she has settled in the North Island with her wealthy husband, David. But her life’s dreams are shattered when he’s murdered on their farm and her baby son is kidnapped. A month after paying a ransom, frustrated with the apathy of the authorities and distrusting of her staff, she decides to track him down on her own.
And so begins her journey through the wilds of an untamed New Zealand. She comes into contact with Villains, Suffragettes, Hustlers, Chinese Grocers and native Maori Warriors. And she’s forced to join a convoy of Whores, Dancers and Ex-Cons heading for the rough mining community of Goldtown.
There she meets Joshua McCullen (Jack Davenport,) the owner of the mining town: a man who is key to uncovering the truth behind the disappearance of her son, forcing her to fight to the death for what she holds most dear.
‘The Stolen’ is an exciting and unique balance of gripping narrative, dynamic action, arresting visuals, and fully-rounded characters offering ripe potential for great performances.
Save 10% off any FITC event with discount code 'slideshare'.
Details at www.fitc.ca
Technolust: Kitbashing the Future
with Blair Renaud
OVERVIEW
Single developers and small teams around the world are creating entire digital worlds and setting the bar for the future of virtual reality. We’ll talk about how anyone with access to the internet can pillage asset stores, never write a single line of code and still create compelling virtual reality content. From Palmer Lucky’s garage to indie developers and AAA game studios, taking things apart and putting them back together in exciting new ways is the driving force of the new VR revolution.
OBJECTIVE
Blair will show how hackers and indies are defining what commercial VR will be in the future through the story of the last 2 years in VR.
TARGET AUDIENCE
VR content creators, game developers, mobile developers, VR enthusiasts.
ASSUMED AUDIENCE KNOWLEDGE
Minimal awareness of virtual reality technology
FIVE THINGS AUDIENCE MEMBERS WILL LEARN
A little about Technolust and IRIS VR
How to create VR content with little to no funding
Creating believable worlds and people
What makes people sick and how to avoid it
Virtual locomotion and input solutions
The document summarizes the marketing campaign for the 2010 film Inception. It describes 10 steps taken to target an intellectual audience aged 16-30, generate curiosity about the film's complex plot without fully revealing it, and build buzz through clues and puzzles online and in viral games/apps. Traditional techniques like posters, trailers and TV spots were also used but focused on intrigue rather than explaining the storyline. The campaign emphasized secrecy and puzzle-solving to engage viewers and ensure they experienced the full plot for themselves in theaters.
The document summarizes the marketing campaign for the 2010 film Inception. It describes 10 steps taken to target an intellectual audience aged 16-30, generate curiosity about the film's complex plot without fully revealing it, and build buzz through clues and puzzles online and in viral games/apps. Traditional techniques like posters, trailers and TV spots were also used but focused on intrigue rather than explaining the storyline. The campaign emphasized secrecy and puzzle-solving to engage viewers and ensure they experienced the full plot for themselves in theaters.
The marketing campaign for Cloverfield had a low budget but was highly successful. It targeted internet-savvy young people by releasing minimal information and clues over time to generate buzz and discussion online. This included a cryptic teaser trailer, a website with time-stamped photos, fictional character social media pages, and an alternate reality game, all encouraging speculation and demand to see the movie. Though traditional advertising was also used, the slow release of details and unanswered questions meant the only way to find answers was to see the film. This viral campaign established an entire fictional universe and left many plot points unresolved, fueling discussion and speculation about a potential sequel.
The document provides an evaluation of a student's media production project. It discusses the genre, influences, narrative structure, characters, and technical elements used in the opening sequence to establish conventions of the horror/thriller genre. It also addresses how the project represents social groups through the characters and setting, and which media institution might distribute the project based on research into similar films. The student describes the intended target audience and how they would promote and market the film. Reflections on the technologies used and what was learned through the production process are also provided.
The document provides information about several animated films and television shows featuring sharks:
- Help! I'm a Fish is a 2000 Danish animated film about a teen who turns into a fish. It featured songs by Danish girl groups.
- SpongeBob SquarePants is an American animated series about the title character and his friends in the underwater city of Bikini Bottom. It has been hugely successful.
- Street Sharks was a 1994-1995 American-Canadian animated series about crime-fighting human-shark hybrids that was created to promote a toy line.
The document discusses motion graphics, visual effects techniques, and their uses in filmmaking. It provides historical context on the evolution of techniques like matte painting and chroma key compositing. It also analyzes specific title sequences, like those for Stranger Things and Scott Pilgrim vs. the World, that effectively set mood and homage source material through creative motion graphic design. Key visual effects techniques discussed include digital matte paintings, CGI, and the increasing prevalence of fully computer-generated scenes and characters in major films.
Film trailers are advertisements that are shown before a movie begins in theaters. Originally, trailers were shown at the end of movies, but viewers would often leave after the film ended. Now, trailers utilize techniques like montages and quick editing to entice audiences in a short time frame, usually around 2 minutes and 30 seconds. They aim to highlight exciting or important parts of the film without revealing too many spoilers. Trailer production companies create them from early footage before the full movie is edited together.
This document discusses the evolution of crime films from the 1920s to the 1990s and how they reflected social and economic conditions of the time periods. It begins with gangster films of the 1920s mirroring the prohibition era, then film noir of the 1930s adopting darker themes. Crime capers of the 1960s had lighter narratives reflecting the optimism of the time. Crime films of the 1970s captured the economic depression through drugs and violence. Blaxploitation films of the 1970s dealt with issues of racism. Postmodern crime films of the 1990s used nonlinear storytelling, pastiche, and breaking the fourth wall.
1) Jurassic World took over 10 years to enter production and went through many directors, writers and cast changes before Colin Trevorrow was selected as director in 2013.
2) Principal photography for Jurassic World took place between April and August 2014 on locations in Hawaii and Louisiana, utilizing both animatronics and CGI.
3) Ex Machina was filmed over 4 weeks at Pinewood Studios and 2 weeks in Norway in 2013, utilizing minimal visual effects to focus on the performances.
The document provides information about the 2012 science fiction film Prometheus directed by Ridley Scott. It summarizes the trailer, describing the establishing shots that set up the sci-fi setting on an alien planet. It discusses how the trailer introduces the characters and builds mystery and questions. It also provides background on the film's budget, box office performance, awards, and marketing campaign.
The document discusses the history and development of filmmaking from silent movies to modern films using CGI and computer animation. It provides examples of different film techniques like animation used in early Disney films and CGI in Finding Nemo. The document also discusses the film distribution process including advertising campaigns and screening films at premieres and movie theaters. It uses the Harry Potter and Twilight franchises as case studies to illustrate film marketing and promotional events.
Jurassic World was in production from 2001-2015, with many directors and actors attached at different points. Filming took place in Hawaii and Louisiana from 2014-2015. The film was released in June 2015 in 3D and IMAX formats, grossing over $1.6 billion worldwide. It featured innovative digital marketing and tie-in products. Audiences responded positively to its special effects, action, and appeal to a wide demographic.
The document provides background information and discussion questions about the film "Everest", which is based on the true story of two expeditions that were challenged by a fierce blizzard during an attempt to reach the summit of Mount Everest in 1996. The summary highlights that the film depicts the immense risks, hardships, and training faced by climbers in their attempts to summit Everest amid inhospitable conditions. It also notes that the film stars several well-known actors and was directed by Baltasar Kormákur. The discussion guide is intended to help groups make the most of watching the film and then discussing it afterwards using provided questions and activities.
The document summarizes the origins, production, release and reception of the 2010 film Scott Pilgrim vs. the World. It was based on a graphic novel series and adapted all six volumes into the film, though some complained the third act seemed rushed. Edgar Wright directed and Michael Cera starred. It received positive reviews but underperformed at the box office, though found more success on home video and with cult following.
The document summarizes box office information and target audiences for three horror films: IT (2017), Krampus (2015), and Carrie (2013). IT was the highest grossing, making over $654 million worldwide. Krampus's $15 million budget was covered by its $42.7 million domestic gross. Carrie made less domestically than its $30 million budget. All three targeted teenagers and young adults, with IT and Krampus appealing more to 12-25 year olds. Horror films generally thrill audiences with unlikely scenarios they can't experience in real life. The target audience for horror films is typically ages 16-30, though males may be more receptive than females. Special effects have made horror
The document discusses the marketing campaign for the film IT Chapter Two. The campaign prominently featured images of Pennywise and red balloons across multiple platforms including television, online ads, and the actors' social media accounts. This cross-platform promotion helped generate hype for the film's release. The marketing was effective, as IT Chapter Two had a $91 million opening weekend and went on to earn over $472 million worldwide, despite facing some criticism for its lengthy runtime.
This document provides information about the 2010 science fiction film Monsters directed by Gareth Edwards. It discusses the film's production details such as its $500,000 budget, filming locations in multiple countries over 3 weeks using minimal equipment, and starring Scoot McNairy. It describes the distribution company Vertigo Films and unconventional marketing campaign focused on the app Foursquare to generate hype. Box office earnings are provided, with the film making $237,301 worldwide on its limited release.
Fantastic Beasts and Where to Find Them was released in November 2016. It was directed by David Yates with a budget of $180 million. The film is set in 1920s New York and stars Eddie Redmayne as Newt Scamander. It earned $19.15 million on its opening weekend in the UK and Ireland, setting a new record. The film was distributed by Warner Bros Pictures and produced by Heyday Films, the same companies involved in the Harry Potter films. It was marketed heavily using trailers, posters, merchandise and interviews to promote it as an expansion of the Wizarding World franchise.
Short films are made for several reasons: to gain experience, demonstrate skills, and pursue a career in filmmaking. They are shown to friends, family, and peers; used as show reels to attract sponsors and funding; and screened at film festivals and on some television channels and in cinemas. Short films help emerging directors and producers gain recognition and build their portfolios, as evidenced by the careers of directors Spike Jonze and Joe Nussbaum, who both began with short films before finding success with feature films.
GCSE Film Studies: Film exploration examplesBelinda Raji
The 2007 film St. Trinian's was produced by Entertainment Films for approximately £10 million. It was distributed in the UK by Entertainment Films, the largest independent distributor, through posters, trailers, and promotions targeting teenage girls. The film premiered in London in December 2007 and had a general release on December 21st, making it available to students on their school holidays. It played in theaters for 8 weeks, grossing £12 million total at the box office.
Brand Guideline of Bashundhara A4 Paper - 2024khabri85
It outlines the basic identity elements such as symbol, logotype, colors, and typefaces. It provides examples of applying the identity to materials like letterhead, business cards, reports, folders, and websites.
Elevate Your Nonprofit's Online Presence_ A Guide to Effective SEO Strategies...TechSoup
Whether you're new to SEO or looking to refine your existing strategies, this webinar will provide you with actionable insights and practical tips to elevate your nonprofit's online presence.
Information and Communication Technology in EducationMJDuyan
(𝐓𝐋𝐄 𝟏𝟎𝟎) (𝐋𝐞𝐬𝐬𝐨𝐧 2)-𝐏𝐫𝐞𝐥𝐢𝐦𝐬
𝐄𝐱𝐩𝐥𝐚𝐢𝐧 𝐭𝐡𝐞 𝐈𝐂𝐓 𝐢𝐧 𝐞𝐝𝐮𝐜𝐚𝐭𝐢𝐨𝐧:
Students will be able to explain the role and impact of Information and Communication Technology (ICT) in education. They will understand how ICT tools, such as computers, the internet, and educational software, enhance learning and teaching processes. By exploring various ICT applications, students will recognize how these technologies facilitate access to information, improve communication, support collaboration, and enable personalized learning experiences.
𝐃𝐢𝐬𝐜𝐮𝐬𝐬 𝐭𝐡𝐞 𝐫𝐞𝐥𝐢𝐚𝐛𝐥𝐞 𝐬𝐨𝐮𝐫𝐜𝐞𝐬 𝐨𝐧 𝐭𝐡𝐞 𝐢𝐧𝐭𝐞𝐫𝐧𝐞𝐭:
-Students will be able to discuss what constitutes reliable sources on the internet. They will learn to identify key characteristics of trustworthy information, such as credibility, accuracy, and authority. By examining different types of online sources, students will develop skills to evaluate the reliability of websites and content, ensuring they can distinguish between reputable information and misinformation.
2. Directed and Written
Now You See Me 2 is a 2016 American
heist thriller film directed by Jon M.
Chu and written by Ed Solomon.
Production
The film was produced by Lionsgate
and Summit Entertainment.
3. Production
On July 3, 2013, after the box office success of the first film, Lionsgate
CEO Jon Feltheimer confirmed that there would be a sequel to the
film, with production beginning in 2014 for an unspecified release
date.
In September 2014, it was confirmed that Jon M. Chu would replace
Louis Leterrier as director. On October 2, 2014, Michael Caine
confirmed in an interview that Daniel Radcliffe would be playing his
son in the film, and that shooting is expected to begin in December in
London.
In October 2014, it was announced that Isla Fisher would be unable
to reprise her role as Henley Reeves due to her pregnancy, and Lizzy
Caplan was cast as new character Lula to replace her as the Fourth
Horseman.
4. The sequel was thought to be titled Now You See Me: Now You Don't, but
it was announced in November 2014 that the film had changed its title to
Now You See Me: The Second Act.
On January 28, 2015, Henry Lloyd-Hughes was confirmed to play the role
of a tech whiz kid named Allen Scott-Frank.
On December 22, 2014, it was reported that Morgan Freeman was not
going to reprise his role as Thaddeus Bradley, but on January 19, 2015, film
director Chu posted a selfie with Freeman on his Instagram, verifying that
he would return.
5. Filming
On November 25, 2014, Mark
Ruffalo posted to his Facebook that
filming had begun on the sequel, as
the film was shooting in London,
England. On March 11, 2015,
shooting began in China, where
filming took place in Macau and the
Macau Science Centre , and ended
on May 12, 2015 in New York City.
6. Director talks about how he
created those truly electric
scene
• “We’re using little lipstick cameras. We’re
going through shirts and jackets, making things
large so that bigger cameras could go through
things that look like bigger shirts and jackets,”
Chu told io9. “We’re doing little CG touches.
We were doing choreography with the
Steadicam where we’re using our a7S [camera].
Or we’re using our GoPros . We’re using our
drones. We had like, four different types of
drones.”
7. Special Effects
Blind (computer graphics)
Frame store (visual effects)
Cine site (visual effects)
Blue Bolt (visual effects)
Exceptional Minds (additional visual
effects)
Synaptic Studios (additional visual
effects)
Third Floor, The (visualization)
Sample & Hold (cyber scanning)
Motion Associates (LiDAR scanning)
Lidar Lounge (LiDAR scanning)
Mark Roberts Motion Control
(motion control)
8. Distribution
Total Lifetime Grosses
Domestic: $65,075,540 19.4%
+ Foreign: $269,825,797 80.6%
= Worldwide: $334,901,337
Domestic Summary
Opening Weekend: $22,383,146
(#3 rank, 3,232 theaters, $6,925 average)
% of Total Gross: 34.4%
> View All 11 Weekends
Widest Release: 3,232 theaters
Close Date: August 25, 2016
In Release: 77 days / 11 weeks
9. BY COUNTRY | BY WEEKEND
FOREIGN TOTAL 6/2/16 $2,119,525 0.8% $269,825,797 N/A
Argentina 8/18/16 $347,574 38.4% $905,772 10/9/16
Australia 6/2/16 $2,113,972 30.4% $6,943,961 8/7/16
Austria 8/25/16 $153,296 21.3% $720,418 10/2/16
Bahrain 6/16/16 - - $509,560 8/7/16
Belgium 7/27/16 $737,419 33.1% $2,230,356 10/30/16
Bolivia 7/7/16 $21,282 39.1% $54,488 9/11/16
Brazil 6/9/16 $2,253,633 29% $7,759,032 9/11/16
Bulgaria 6/10/16 - - $341,827 9/11/16
Cambodia 6/17/16 - - $59,500 7/17/16
Chile 6/30/16 $341,024 26% $1,310,728 9/11/16
China 6/24/16 $44,378,160 45.7% $97,115,220 7/24/16
Colombia 6/30/16 $663,182 29.1% $2,280,778 8/28/16
Croatia 6/16/16 - - $331,294 9/25/16
Czech Republic 6/16/16 $117,700 20.6% $572,633 8/28/16
Denmark 6/16/16 $263,414 26.9% $978,333 9/11/16
Country
Release
Date
Opening
Wknd
% of
Total
Total Gross / As Of
13. The first posters were a series of
character one-sheets that put all
the new and returning characters
in a glass mirrored room to create
the sense of illusion. There’s not
much to the posters outside of
that, with the title appearing as
“NYSM2” (which seems like a
hashtag more than anything) and
the promise that it’s “reappearing”
on June 10.
14. Another set of character one-sheets came
next that took more of an artistic bent,
presenting the members of the Four
Horsemen in images that look like promo
posters from the late 19th/early 20th
century. They all give off a “carnival
sideshow” vibe and are pretty cool.
Finally there was a theatrical one-sheet
that brought together the whole cast,
placing them in a maze of cards. It’s a lot
of fun and works, in case there was any
doubt, to set the story in the world of
magic. It also helps to convey the same
loose, jazzy kind of tone and attitude that
made the first movie such fun. “You
haven’t seen anything yet,” promises the
copy toward the bottom, acknowledging
that yes, this is a sequel.
15. Three more character posters came out
later that grouped all the main characters
in various ways. So the Four Horsemen
appear on one, Caine, Radcliffe and Cho
on another and Freeman and Ruffalo on
the third. The various settings of the
movie’s story are hinted at by the
transparent nature of the rooms the
actors are standing in, showing the
background of London and so on.
16. Now you see me 2 trailer was launched on 16 March 2016 and later they
started to promote on social media and merged with few companies too.
Partners included:
BMW Motorrad : BMW provided cars for movie .
Fantasma Magic: Created a movie-themed set of beginner magic tricks to get
you up to speed.
The Venetian: The movie shot in part at the hotel.
Sands Resort: Same as above.
Theory11: Created a set of special edition movie-themed playing cards which
are, presumably, perfect for your magic trick needs.
There were also plenty of online ads run that used various versions of the key
art. And with so many posters on outdoor billboard ; they also promoted
posts and profiles on Twitter and Facebook, so there was a significant social
ad spend too.
17. Awards
Golden Trailer Awards 2016
Nominate:
Golden Trailer Summer 2016 Blockbuster
Lionsgate
AV Squad
Teen Choice Awards 2016
Nominated
Teen Choice Award Choice Summer Movie
Choice Summer Movie Star: Male
Dave Franco
Choice Summer Movie Star: Female
Lizzy Caplan
18. Jason’s review on now you see me 2
The Horsemen are back with their second magic act in Now You
See Me 2. Director Jon M. Chu follow-up sequel to the original
2013 movie has its moments of shining, offering up a breezy
feature of magical tricks a plenty and a great cast. Unfortunately,
while entertaining, the film is a shallow endeavor, playing with the
“same old tricks” as the first installment with a befuddled plot,
thinly cutout caricatures, and a sort of “deja vu” premise.
Personally, the movie was just okay (a bit predictable and
formulaic) and didn’t really warrant a theatrical sequel. Unless
you were a die-hard fan of the first movie, Now You See Me 2 is
best viewed as a rental. With tricks, magic, and a heist plot
device returning again with a shell of a script, this second go-
round with “The Horsemen” is underwhelming and unnecessary.