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.
The document provides a simplified overview of film history, narrative structure, cinematography techniques, and film theory. It discusses key events in the development of film from 1888 to 1999. It also outlines Vladimir Propp's 7 character types and Tzetan Todorov's stages of narrative disruption, recognition, repair, and restoration. Finally, it analyzes three pivotal scenes from the film "The Godfather".
Considered to be one of Steven Berkoff’s best dramatizations, The Tell Tale Heart is based on the short story of the same name by Edgar Allan Poe. First published in 1843 and widely held to be a classic of the Gothic fiction genre, it tells the gruesome tale of a lonely servant who plots to kill an old man because of his evil ‘vulture’ eye. The murder is carefully planned, with the body dismembered and hidden under the floorboards.
Meet Shakespeare’s most notorious villains with Steven Berkoff as your informed and entertaining guide. From the ‘genius villain’ that is Richard III to the ‘wannabe villain, Macbeth’ — not forgetting Hamlet, Iago and Shylock — Berkoff explores some of the Bard’s most notorious characters in a performance that is part masterclass in Shakespearean acting, part stand-up comedy and part academic analysis.
Sitcoms typically follow a basic structure: they set up an incomplete situation and disrupt expectations for comedic effect, undermining ideas of normalcy. This structure allows sitcoms to deal with varied social groups and genres through hybridization. Sitcoms are also economically efficient for networks, using limited characters and reusable sets to keep costs low while enabling flexible scheduling and repeat airings.
This document discusses the classical Hollywood narrative structure and how it applies to the film "The Crazies." It begins by outlining the classical Hollywood narrative structure as an equilibrium being disrupted by an event, causing disequilibrium that must be resolved with a new equilibrium. It then analyzes whether "The Crazies" follows this structure. It determines that the film does not follow it because the disruption occurs at the beginning rather than the middle. However, it notes there appears to be a new equilibrium at the end, but this is undermined by a final scene showing further disruption has not ended.
Paul Schrader's film Dying of the Light had its intended expressionistic color palette massaged down to a more functional style by the film's backers during post-production. The finished film, starring Nicolas Cage as a CIA agent facing encroaching dementia, is an inert affair where even Cage's acting is less manic than usual. Schrader's career has languished in recent years as he has alienated producers and supporters while pursuing personal projects off the map at the cost of commercial success.
This document discusses conventions for horror film trailers, posters, and magazines. It notes that trailers for horror films typically have a fast pace, use straight cuts and special effects to create tension, and include both diegetic and non-diegetic sounds. The document also provides examples of common horror film narrative elements, characters, settings, and iconography. It analyzes how these conventions may differ for Hollywood versus independent British films in their targeting and presentation across different mediums.
After an oil rig crash causes a strange outbreak that turns people into cannibalistic creatures, John Fredgrow finds himself trapped alone in a building with the infected horde outside. He has lost most of his friends to the outbreak. Though the creatures are banging at his door, he now hears only the whispers of his dead friends trying to persuade him to open the door and join them. As his supplies run low, their temptations become more enticing. The short film will follow this format: shots of friends before the outbreak, cuts to John alone in a dark room hearing the whispers behind the barricaded door, and it will end with John holding a gun to his head as the screen fades to black
The document provides a simplified overview of film history, narrative structure, cinematography techniques, and film theory. It discusses key events in the development of film from 1888 to 1999. It also outlines Vladimir Propp's 7 character types and Tzetan Todorov's stages of narrative disruption, recognition, repair, and restoration. Finally, it analyzes three pivotal scenes from the film "The Godfather".
Considered to be one of Steven Berkoff’s best dramatizations, The Tell Tale Heart is based on the short story of the same name by Edgar Allan Poe. First published in 1843 and widely held to be a classic of the Gothic fiction genre, it tells the gruesome tale of a lonely servant who plots to kill an old man because of his evil ‘vulture’ eye. The murder is carefully planned, with the body dismembered and hidden under the floorboards.
Meet Shakespeare’s most notorious villains with Steven Berkoff as your informed and entertaining guide. From the ‘genius villain’ that is Richard III to the ‘wannabe villain, Macbeth’ — not forgetting Hamlet, Iago and Shylock — Berkoff explores some of the Bard’s most notorious characters in a performance that is part masterclass in Shakespearean acting, part stand-up comedy and part academic analysis.
Sitcoms typically follow a basic structure: they set up an incomplete situation and disrupt expectations for comedic effect, undermining ideas of normalcy. This structure allows sitcoms to deal with varied social groups and genres through hybridization. Sitcoms are also economically efficient for networks, using limited characters and reusable sets to keep costs low while enabling flexible scheduling and repeat airings.
This document discusses the classical Hollywood narrative structure and how it applies to the film "The Crazies." It begins by outlining the classical Hollywood narrative structure as an equilibrium being disrupted by an event, causing disequilibrium that must be resolved with a new equilibrium. It then analyzes whether "The Crazies" follows this structure. It determines that the film does not follow it because the disruption occurs at the beginning rather than the middle. However, it notes there appears to be a new equilibrium at the end, but this is undermined by a final scene showing further disruption has not ended.
Paul Schrader's film Dying of the Light had its intended expressionistic color palette massaged down to a more functional style by the film's backers during post-production. The finished film, starring Nicolas Cage as a CIA agent facing encroaching dementia, is an inert affair where even Cage's acting is less manic than usual. Schrader's career has languished in recent years as he has alienated producers and supporters while pursuing personal projects off the map at the cost of commercial success.
This document discusses conventions for horror film trailers, posters, and magazines. It notes that trailers for horror films typically have a fast pace, use straight cuts and special effects to create tension, and include both diegetic and non-diegetic sounds. The document also provides examples of common horror film narrative elements, characters, settings, and iconography. It analyzes how these conventions may differ for Hollywood versus independent British films in their targeting and presentation across different mediums.
After an oil rig crash causes a strange outbreak that turns people into cannibalistic creatures, John Fredgrow finds himself trapped alone in a building with the infected horde outside. He has lost most of his friends to the outbreak. Though the creatures are banging at his door, he now hears only the whispers of his dead friends trying to persuade him to open the door and join them. As his supplies run low, their temptations become more enticing. The short film will follow this format: shots of friends before the outbreak, cuts to John alone in a dark room hearing the whispers behind the barricaded door, and it will end with John holding a gun to his head as the screen fades to black
Soap operas typically include recurring conventions in their storylines, characters, and settings to keep audiences engaged. They usually feature multi-strand storylines centered around relatable issues like relationships, family problems, and illness. Characters tend to stay the same and drama is used to raise awareness. Storylines aim to allow audiences to identify with characters. Settings are commonly residential areas that facilitate interactions between recurring characters. Both male and female characters often follow archetypes like heroes, villains, and vulnerable characters. Teenage characters may be helpers, troublemakers, or innocent victims. Original trailers use fantasy concepts, dramatic music, and intrigue to preview dramatic upcoming storylines.
Sitcoms are typically set in a limited location like a home or workplace to keep production costs low. They feature a small group of main characters stuck in an ongoing situation or dysfunctional relationship that is the source of comedy each episode, like being part of a family. Plots revolve around everyday problems and misunderstandings rather than life-threatening crises. This format allows characters and situations to remain largely unchanged from episode to episode, keeping the show familiar and affordable to produce repeatedly.
The document discusses influences for a thriller plot from various films and TV shows. Taken, The Missing, Thirteen, Captain Phillips, and The Walking Dead provided influences for kidnapping scenes, emotional abuse depictions, confinement of the protagonist, and an effective teaser trailer idea showing bloodied hands. Key elements taken were a normal lifestyle turning hostile, makeup used to indicate abuse, and holding someone hostage in a small space like a car trunk.
This document provides details for filming the music video "Can't Fight the Moonlight" including the location, equipment needed, costumes, shoot dates and cast contact information. Scenes of characters Sophie and Grace arguing with a male character will take place on the Burn Valley walkway. Additional filming of the song's first verse and chorus will occur in the surrounding Burn Valley area among the trees.
This document summarizes how the production of the student's thriller "Invisible Lives" uses and develops conventions of real media products while also challenging some conventions. It was inspired by "The Third Man" and uses its dystopian city setting. Low-key lighting, suits worn by the stalker character, and costumes for female victims were influenced by other films. While reinforcing some stereotypes like using young female victims, it also challenges others like age stereotypes by having an older male perpetrator. Location and visual conventions of dark streets are also used from influences like "Once Upon a Time in America" but the setting is not a conventional claustrophobic space.
The film Drag Me To Hell begins with an opening scene set in 1969 where a family seeks help from a medium after their son stole a silver necklace from a gypsy and is now cursed. During a séance to remove the curse, an invisible entity attacks the family and drags the boy into hell. This establishes supernatural and horror elements that the film will explore as it follows the main character Christine dealing with a curse after denying a gypsy woman's request.
The movie storms theaters in 2017. It continues the story of parapsychologist Elise Rainier, portrayed by Lin Shaye, as she faces her own demons from her traumatic childhood. However, the movie is criticized for flaws in its timing, pacing, and narrative due to disastrous writing and the franchise being handed to inexperienced directors. Entrusting a major franchise to a newcomer like Adam Robitel, an Emmy-nominated producer and editor but inexperienced filmmaker, results in a movie that lacks intensity and fails to refresh the franchise.
Sitcoms are a genre of comedy that uses recurring characters and common settings like homes, workplaces, or pubs. They contain elements of both drama and humor to create comedic but situational stories. While older sitcoms may be suitable for all ages, more recent sitcoms often contain mature content and are generally intended for viewers 16 and older. Famous examples include Only Fools and Horses about two brothers pursuing wealth, and The Office about the humor of a typical workplace. Sitcoms are characterized by their use of recurring themes like family, workplace, or groups of friends in humorous situations.
The document discusses conventions of British independently made drama films and how the group's production will follow these conventions. It will focus on the life of a working class individual living in a rural Midlands community to highlight isolation and represent social issues like depression, alcoholism, and fatherless children. This challenges stereotypes while producing emotional responses in the educated, niche audience for whom social realism films are targeted.
Clover suggests that the horror research is problematic for a few reasons. Statistical surveys are often sponsored by major studios and don't account for many independently produced horror films. Additionally, some horror films don't get a theatrical release and instead rely on videocassette rentals, an audience that is hidden from research. Rental data from a few outlets also showed that horror films were predominantly rented by adolescent males. Overall, Clover indicates that the typical horror audience breakdown consists mainly of young men, with varying proportions depending on the subgenre.
The trailer uses common horror film conventions to set up the plot and introduce the protagonist and antagonist. It begins with an establishing shot of a house at night that creates feelings of isolation and discomfort. The protagonist, a babysitter, is introduced as she watches over two children. Supernatural elements are hinted at through quick cuts showing an evil-looking boy. As the trailer progresses, the boy gets closer and more aggressive towards the protagonist. She is portrayed as a strong character fighting against the spirit of her unborn twin brother who is antagonizing her. Editing, sound, and camera shots are used to build tension and scare the audience.
Melodrama is a dramatic genre that uses exaggerated emotions and melodramatic plot devices to appeal to the audience's emotions. It features one-dimensional, stereotypical characters like purely evil villains and innocently good heroines. The exaggerated and unrealistic storylines are meant to provide a cathartic experience for viewers who can root for the good characters and boo the bad ones. Soap operas have more complex characters but still rely on emotional melodrama.
The document discusses the definition and characteristics of melodrama. Melodrama refers to dramatic works that exaggerate plot and characters to appeal to emotions. It features exaggerated emotions, stereotypical good and evil characters, and intense conflicts without complex or conflicted characters. The over-the-top style is meant to provide a cathartic experience for audiences.
In most thriller films, gender is commonly represented through stereotypes such as the heroic male who saves the weak female prize. The Bourne Identity follows this pattern with the female lead initially portrayed as weak but becoming hardened through the story. Shutter Island subverts expectations by representing the female character as both weak-minded yet also driving the male detective to insanity. The Hunger Games reverses stereotypes by portraying Katniss as the heroic bow-wielding female who must often save the weak male Peeta, though some scenes still depict conventional stereotypes of femininity and romance.
This chapter analyzes the 1993 film Groundhog Day using cultural and feminist techniques. The film centers on Phil Connors, a selfish weatherman trapped in a time loop, reliving Groundhog Day repeatedly. The chapter examines how the film satirizes modern culture's increasing simulation, using representations like Phil's weather reports. Initially, Phil exploits his lack of consequences, but grows to find meaning through helping others. By connecting with Rita, Phil breaks free of the loop, showing simulations lack reality's impact and relationships offer fulfillment. The chapter argues the film warns against detachment from others into simulated worlds.
This document provides information about the film "The Rain Horse" including its production details, cast, crew, and film festival screenings. It was funded by BBC Films, the UK Film Council, and Film London. It was directed by Sebastian Godwin from a story by Ted Hughes and stars Jason Isaacs, Aaran Thomas, and Jodie Tomlinson. The document also discusses symbolism in the film and details about costumes, camera shots, and sound used.
“The Tell-Tale Heart” is a short story by Edgar Allan Poe first published in 1843. It is told by an unnamed narrator who endeavours to convince the reader of his sanity, whilst describing a murder he committed. The victim was an old man with a filmy “vulture eye”, as the narrator calls it. The murder is carefully calculated, and the murderer hides the body by dismembering it and hiding it under the floorboards.
This document provides information about the film "Madness in the Method" including a disclaimer, synopsis, director's vision, details about the cast and crew, and information about production, marketing, distribution, investments and perks for investors. It describes the film as a Hollywood set comedy thriller that follows Jason Mewes' character Jay as he tries to emerge from the shadow of his friend Kevin Smith and takes increasingly psychopathic actions. The director's vision is to shine a light on the dark underbelly of Hollywood while having fun and retaining a big budget feel. Details are provided about the experience and credits of key members of the cast and crew, including Jason Mewes, Dominic Burns, Rob Weston,
The Dark Knight was directed by Christopher Nolan and received critical acclaim, winning several awards including Best Supporting Actor for Heath Ledger's portrayal of the Joker. The film follows Batman, Gordon, and Dent as they try to stop the Joker from wreaking havoc in Gotham City. While reviews were overwhelmingly positive, some viewers debated whether it should be classified as an action or thriller film. The document provides details about the plot, characters, critical reception, and analysis of the opening scene of the film.
1) Genre provides audiences with familiar codes and conventions to create expectations about the types of stories, characters, and themes in a film.
2) Producers can use genre as a guide to conform to audience expectations or challenge conventions.
3) While genre gives audiences comfort, it can also limit films and actors that break out of expected types. Blending genres or subverting expectations can both please and surprise audiences.
Alex, a successful executive, returns home to his wife and daughter and their beautiful country home. But something sinister is going on; there’s an atmosphere of dread, as though some terrible tragedy has polluted his home. Then the focus shifts from the unspoken pain of Alex’s family to cataclysmic event that’s unfolding ‘out there’ in the surrounding landscape.
In Extremis is a new film from Red Rock Entertainment. A powerful business executive returns home to his family and their lavish lake house for the weekend. Within hours of his return, a cataclysmic event takes place out there in the landscape. The world beyond their garden is now deserted, the skies above them threatening and toxic.
Soap operas typically include recurring conventions in their storylines, characters, and settings to keep audiences engaged. They usually feature multi-strand storylines centered around relatable issues like relationships, family problems, and illness. Characters tend to stay the same and drama is used to raise awareness. Storylines aim to allow audiences to identify with characters. Settings are commonly residential areas that facilitate interactions between recurring characters. Both male and female characters often follow archetypes like heroes, villains, and vulnerable characters. Teenage characters may be helpers, troublemakers, or innocent victims. Original trailers use fantasy concepts, dramatic music, and intrigue to preview dramatic upcoming storylines.
Sitcoms are typically set in a limited location like a home or workplace to keep production costs low. They feature a small group of main characters stuck in an ongoing situation or dysfunctional relationship that is the source of comedy each episode, like being part of a family. Plots revolve around everyday problems and misunderstandings rather than life-threatening crises. This format allows characters and situations to remain largely unchanged from episode to episode, keeping the show familiar and affordable to produce repeatedly.
The document discusses influences for a thriller plot from various films and TV shows. Taken, The Missing, Thirteen, Captain Phillips, and The Walking Dead provided influences for kidnapping scenes, emotional abuse depictions, confinement of the protagonist, and an effective teaser trailer idea showing bloodied hands. Key elements taken were a normal lifestyle turning hostile, makeup used to indicate abuse, and holding someone hostage in a small space like a car trunk.
This document provides details for filming the music video "Can't Fight the Moonlight" including the location, equipment needed, costumes, shoot dates and cast contact information. Scenes of characters Sophie and Grace arguing with a male character will take place on the Burn Valley walkway. Additional filming of the song's first verse and chorus will occur in the surrounding Burn Valley area among the trees.
This document summarizes how the production of the student's thriller "Invisible Lives" uses and develops conventions of real media products while also challenging some conventions. It was inspired by "The Third Man" and uses its dystopian city setting. Low-key lighting, suits worn by the stalker character, and costumes for female victims were influenced by other films. While reinforcing some stereotypes like using young female victims, it also challenges others like age stereotypes by having an older male perpetrator. Location and visual conventions of dark streets are also used from influences like "Once Upon a Time in America" but the setting is not a conventional claustrophobic space.
The film Drag Me To Hell begins with an opening scene set in 1969 where a family seeks help from a medium after their son stole a silver necklace from a gypsy and is now cursed. During a séance to remove the curse, an invisible entity attacks the family and drags the boy into hell. This establishes supernatural and horror elements that the film will explore as it follows the main character Christine dealing with a curse after denying a gypsy woman's request.
The movie storms theaters in 2017. It continues the story of parapsychologist Elise Rainier, portrayed by Lin Shaye, as she faces her own demons from her traumatic childhood. However, the movie is criticized for flaws in its timing, pacing, and narrative due to disastrous writing and the franchise being handed to inexperienced directors. Entrusting a major franchise to a newcomer like Adam Robitel, an Emmy-nominated producer and editor but inexperienced filmmaker, results in a movie that lacks intensity and fails to refresh the franchise.
Sitcoms are a genre of comedy that uses recurring characters and common settings like homes, workplaces, or pubs. They contain elements of both drama and humor to create comedic but situational stories. While older sitcoms may be suitable for all ages, more recent sitcoms often contain mature content and are generally intended for viewers 16 and older. Famous examples include Only Fools and Horses about two brothers pursuing wealth, and The Office about the humor of a typical workplace. Sitcoms are characterized by their use of recurring themes like family, workplace, or groups of friends in humorous situations.
The document discusses conventions of British independently made drama films and how the group's production will follow these conventions. It will focus on the life of a working class individual living in a rural Midlands community to highlight isolation and represent social issues like depression, alcoholism, and fatherless children. This challenges stereotypes while producing emotional responses in the educated, niche audience for whom social realism films are targeted.
Clover suggests that the horror research is problematic for a few reasons. Statistical surveys are often sponsored by major studios and don't account for many independently produced horror films. Additionally, some horror films don't get a theatrical release and instead rely on videocassette rentals, an audience that is hidden from research. Rental data from a few outlets also showed that horror films were predominantly rented by adolescent males. Overall, Clover indicates that the typical horror audience breakdown consists mainly of young men, with varying proportions depending on the subgenre.
The trailer uses common horror film conventions to set up the plot and introduce the protagonist and antagonist. It begins with an establishing shot of a house at night that creates feelings of isolation and discomfort. The protagonist, a babysitter, is introduced as she watches over two children. Supernatural elements are hinted at through quick cuts showing an evil-looking boy. As the trailer progresses, the boy gets closer and more aggressive towards the protagonist. She is portrayed as a strong character fighting against the spirit of her unborn twin brother who is antagonizing her. Editing, sound, and camera shots are used to build tension and scare the audience.
Melodrama is a dramatic genre that uses exaggerated emotions and melodramatic plot devices to appeal to the audience's emotions. It features one-dimensional, stereotypical characters like purely evil villains and innocently good heroines. The exaggerated and unrealistic storylines are meant to provide a cathartic experience for viewers who can root for the good characters and boo the bad ones. Soap operas have more complex characters but still rely on emotional melodrama.
The document discusses the definition and characteristics of melodrama. Melodrama refers to dramatic works that exaggerate plot and characters to appeal to emotions. It features exaggerated emotions, stereotypical good and evil characters, and intense conflicts without complex or conflicted characters. The over-the-top style is meant to provide a cathartic experience for audiences.
In most thriller films, gender is commonly represented through stereotypes such as the heroic male who saves the weak female prize. The Bourne Identity follows this pattern with the female lead initially portrayed as weak but becoming hardened through the story. Shutter Island subverts expectations by representing the female character as both weak-minded yet also driving the male detective to insanity. The Hunger Games reverses stereotypes by portraying Katniss as the heroic bow-wielding female who must often save the weak male Peeta, though some scenes still depict conventional stereotypes of femininity and romance.
This chapter analyzes the 1993 film Groundhog Day using cultural and feminist techniques. The film centers on Phil Connors, a selfish weatherman trapped in a time loop, reliving Groundhog Day repeatedly. The chapter examines how the film satirizes modern culture's increasing simulation, using representations like Phil's weather reports. Initially, Phil exploits his lack of consequences, but grows to find meaning through helping others. By connecting with Rita, Phil breaks free of the loop, showing simulations lack reality's impact and relationships offer fulfillment. The chapter argues the film warns against detachment from others into simulated worlds.
This document provides information about the film "The Rain Horse" including its production details, cast, crew, and film festival screenings. It was funded by BBC Films, the UK Film Council, and Film London. It was directed by Sebastian Godwin from a story by Ted Hughes and stars Jason Isaacs, Aaran Thomas, and Jodie Tomlinson. The document also discusses symbolism in the film and details about costumes, camera shots, and sound used.
“The Tell-Tale Heart” is a short story by Edgar Allan Poe first published in 1843. It is told by an unnamed narrator who endeavours to convince the reader of his sanity, whilst describing a murder he committed. The victim was an old man with a filmy “vulture eye”, as the narrator calls it. The murder is carefully calculated, and the murderer hides the body by dismembering it and hiding it under the floorboards.
This document provides information about the film "Madness in the Method" including a disclaimer, synopsis, director's vision, details about the cast and crew, and information about production, marketing, distribution, investments and perks for investors. It describes the film as a Hollywood set comedy thriller that follows Jason Mewes' character Jay as he tries to emerge from the shadow of his friend Kevin Smith and takes increasingly psychopathic actions. The director's vision is to shine a light on the dark underbelly of Hollywood while having fun and retaining a big budget feel. Details are provided about the experience and credits of key members of the cast and crew, including Jason Mewes, Dominic Burns, Rob Weston,
The Dark Knight was directed by Christopher Nolan and received critical acclaim, winning several awards including Best Supporting Actor for Heath Ledger's portrayal of the Joker. The film follows Batman, Gordon, and Dent as they try to stop the Joker from wreaking havoc in Gotham City. While reviews were overwhelmingly positive, some viewers debated whether it should be classified as an action or thriller film. The document provides details about the plot, characters, critical reception, and analysis of the opening scene of the film.
1) Genre provides audiences with familiar codes and conventions to create expectations about the types of stories, characters, and themes in a film.
2) Producers can use genre as a guide to conform to audience expectations or challenge conventions.
3) While genre gives audiences comfort, it can also limit films and actors that break out of expected types. Blending genres or subverting expectations can both please and surprise audiences.
Alex, a successful executive, returns home to his wife and daughter and their beautiful country home. But something sinister is going on; there’s an atmosphere of dread, as though some terrible tragedy has polluted his home. Then the focus shifts from the unspoken pain of Alex’s family to cataclysmic event that’s unfolding ‘out there’ in the surrounding landscape.
In Extremis is a new film from Red Rock Entertainment. A powerful business executive returns home to his family and their lavish lake house for the weekend. Within hours of his return, a cataclysmic event takes place out there in the landscape. The world beyond their garden is now deserted, the skies above them threatening and toxic.
A road movie genre typically follows a protagonist embarking on a journey of self-discovery as they leave home and encounter various challenges along the way. Film noir crime dramas are often filmed in black and white and feature dark themes of betrayal, flashbacks, and an amateur detective investigating a crime in an urban setting. Coming-of-age films focus on a character's progression from youth to adulthood through exploring their personal growth and identity. Psychological thrillers depict the unraveling of the mind, presenting a battle between characters' perceptions of reality that is often only revealed at the end.
This document discusses codes and conventions of action/adventure films. It describes the genre as featuring an intensifying journey with increasingly dangerous scenes. Narratives typically involve a quest for a valuable object and follow a main protagonist overcoming a series of obstacles. Characters are placed in exotic, dangerous locations and aim to please audiences with thrilling sequences. The document also explains Todorov's narrative theory of equilibrium being disrupted, recognized, and repaired, and Propp's character roles that are often seen, using the films Die Hard and Shrek as examples.
This document provides a proposal for a drama film about a girl named Ruby Livingstone who dreams of escaping her working class background in suburban London to succeed in the capital's center. The proposal includes a synopsis of Ruby's story and how it relates to Todorov's theory of narrative structure. It outlines why the drama genre is suited to tell this story and influence or teach the audience. Details are given about the target 15-30 year old audience and films that could serve as influences. The director, cast, production details, distribution plan, marketing strategy, soundtrack, and title sequence idea are presented, with an estimated budget of £2.5 million.
This document provides details about Charlie Spooner's media studies portfolio project on producing an opening sequence for a thriller film called Immortal Beloved. It describes Charlie's role in developing storyboards, props, and acting in the film, as well as research conducted on techniques from films like The Dark Knight Rises, Man on a Ledge, and The Girl with the Dragon Tattoo that inspired the opening sequence. It also profiles the targeted audience for Immortal Beloved as males and females aged 15-35 who enjoy thriller, horror, and action films.
Question 5: How did you attract/address your audience?jumanaismail
The opening sequence of the horror film aims to attract audiences of all ages but primarily targets teenagers due to the main character being 18 years old. Younger audiences can also relate to scenes showing the main character as a child. Additionally, a scary character introduced at the end who is in their 30s could attract middle-aged viewers. Various filming locations around London, including a graveyard and St. Paul's Cathedral, help engage different target audiences by featuring recognizable or ominous settings. The protagonist's visit to her deceased mother's grave allows any audience to relate to the universal experience of death.
This marketing plan outlines a three phase strategy to promote the film "Twinkie". Phase 1 introduces the film and its target audiences. It will appeal to females ages 13-25 by telling a relatable story about friendship. Phase 2 details festival marketing tactics like a puppy petting zoo and meet and greet. Phase 3 researches potential distributors like A24 and Fox Searchlight. Phase 4 presents the release strategy of a platform release in select cities followed by a wide national release, and covers the competitive environment and various advertising approaches across digital, print, television, outdoor and radio channels.
The document discusses genres in film. It states that genre involves conventions that are repeated and varied over time, and that hybrid genres can emerge from a collision of two or more genres. Genre is important for producers to categorize their films and market them to the right audiences. It is also important for audiences to identify the type of film and decide if they will enjoy it. The document then provides examples of analysis of posters and trailers for different genres like slasher, sci-fi and superhero films.
A typical day in Brighton during the mid 1980’s; two working class couples Derek & Dinah, Dave & Doreen are on a day trip to the beach. But Brighton is changing, & the friends can’t keep up. The result is a vengeful act of violence that exposes the gaps & similarities between class, gender & sexual orientations. Brighton Beach compassionately explores the mutual incomprehension inherent in the divide between the middle and working classes. “We might call them yobs & laugh at their Neanderthal struggles with existence,” Berkoff says, “but within there is an awful sadness as they try to claw happiness out of their day.
This document provides information about the film "The Laureate" including:
- The film is about the famous author and poet Robert Graves and his intense love affairs which strained his marriage.
- It will be produced by Deya Productions and Subotica Films, written by William Nunez who will also direct.
- The cast includes Julian Glover as Robert Graves and Patricia Hodge as his mother Amy Graves.
MEDICALEAF, WELLNESS FROM NATURE…
For millennia, cannabis has been utilised and revered for its medicinal and psychoactive properties; it is well documented that physicians from ancient cultures around the world used it to treat pain and other ailments.
More recently, scientists have discovered remarkable medicinal effects: in test tubes, the molecule shielded neurons from oxidative stress, a damaging process common in many neurological disorders and provided the well-publicised ‘miracle’ to alleviate symptoms for epilepsy sufferers.
CBD is one molecule from the cannabis plant and hailed as a therapeutic cure-all. Unlike the better-known ‘marijuana molecule’, THC (delta-9-tetrahydrocannabinol), CBD is not psychoactive, meaning it does not get users ‘high’.
Ria (Jess Impiazzi) is a young woman who finds herself reliving the same day over and over. Each day Ria wakes up to her normal routine but finds a different person playing her husband ‘Jack’ by her side. Why? Because Ria is actually the star of her own reality show A DAY WITH RIA’. Each husband is a contestant, there to show the world what they are made of. Ria re-lives her perfect 1950’s housewife day over and over again, until one day her routine becomes tiresome and Ria holds the current Jack (Charlie Clapham) to ransom. This Jack also happens to be the Vice President (Dean Cain) of the USA’s son. These dramatic turns of events mean the public discover the true massive conspiracy behind Ria, her husband(s) and one man’s (luke Goss) secret vendetta against the Vice President.
The animated film shows a simplified, fictionalised, story, concentrating upon the central characters. The true history is, however, just as interesting, and thoroughly epic in nature.
In 1899 a sailing ship, the Forrest Hall, was in danger off the northern coast of Exmoor, England. It had left Bristol on the 12th of January on a journey to Liverpool where it was to be refitted.
There was only a skeleton crew including apprentices on board. A tug boat, the Jane Joliffe, was towing the ship as the worst storm of the year was beginning to batter the coast. The line from the tug snapped, causing the two vessels to collide.
Tola Bashir, CEO of Supreme Jets (named Best New Luxury CEO 2018 UK), comments: ‘For some time now, the path to selecting the best services at the best prices has been dramatically eased by such platforms as Comparethemarket.com, Confused.com and other comparison sites, allowing customers to quickly and securely find the best deals for their insurance, financial and other needs. These services are aimed at the general public to help make the most common financial decisions. Supreme Jets has now taken this to new heights, offering a comparison service for top end luxury private jet charters.’
Ralph, a once-famous screenwriter and film director, is in his seventies and terminally ill. He has two final missions in life: to be reconciled to his long-abandoned son Michael and secretly, to ensure he is not a burden to his younger devoted wife, Anna, as he goes “into that good night”. But Ralph wrecks all hope of reconciliation when he picks a fight with Michael’s girlfriend, Cassie. Later, alone, Ralph receives the sinister and mysterious “Visitor” whose services he has hired to provide the painless ending to his life. But The Visitor plays a devastating trick.
Walking With Elephants is a documentary film about the declining elephant populations in Africa and the obstacles they face. It will follow herds of elephants across 7 African countries to show the barriers to their continued survival, including habitat loss, poaching, and being confined to ever-shrinking reserves. The film aims to convey the intelligence and social structures of elephants, the importance of allowing their long migrations to continue, and what needs to change for elephants to avoid extinction. It will be informed by experts from Singita, an organization that manages over 1 million acres of protected land housing elephant herds.
The Compassionate Film Series is a Mini-Series of 3 One-Hour broadcast slot TV documentaries related to Tibetan Buddhism made for the international marketplace. They have been developed by British film and television Production Company Illumina Studios & Media Ltd with Award Winning filmmakers, journalists and authors as creative contributors.
Dystopia is a ten part Sci Fi Series. It´s the year 2037. Our world is dying, slowly, from a virus that has rendered mankind infertile. Not a single child has been born in 25 years. Governments are now powerless puppets for the biggest corporations and Biocorp, the worlds biggest, keeps promising a cure that never comes. A pair of scientists (Michael Copon and Simon Phillips) attempting to create the worlds first teleporter, manage to create something even more powerful: time machines.
Dusty and Me, formally known as Slapper and Me is the tale of Derek Springfield. Derek is an 18-year-old misfit, who has just returned home at the end of his studies to wait for his Oxbridge results that he’s hoping will result in his permanent escape from his home in the industrial outskirts of Hull.
The Comedians Guide To Survival is the story of failed stand up comedian James Mullinger. Here, we see that he has come to the cross roads in his life, no one wants to see him perform, his wife is fed up, and the day time boss has given him an ultimatum; take a promotion and never do stand up comedy again or stick to the comedy and lose his job. To add salt to the wound, his boss, the editor of COQ, wants him to interview the greatest comedians in the UK and North America for an upcoming comedy special, with the added caveat that he must secure an interview with the ever elusive Dustin Langer, the world´s greatest stand up, or the promotion is off the table.
Our show is best described as factual entertainment and is full of fun and adventure, with glamorous presenters, stunning locations across the USA and Cuba with great music and fascinating people. There is a liberal sprinkling of comedy zingers throughout! Award winning film director, Sebastian Lyte takes the audience deep into the fabric of the boating and motorcycling community and brings to the screen, a true insight into this fascinating world. Our standout presenters,
This document provides a series bible for "Boats N' Bikes 2", outlining 6 potential episodes for the second season of the show. Each episode involves the presenters exploring different boating and motorcycle activities in locations across the USA and Cuba. Episode synopses describe the presenters reviewing boats, riding with motorcycle clubs, drag racing, sailing, powerboat racing, exploring Ernest Hemingway's boat in Cuba, visiting a yacht club, and going fishing. The document also provides background on the writer, producer, director and crew, and information on distribution networks and account management for the series.
Boats 'N' Bikes is a 26-episode TV series following four presenters as they travel across the USA on a motorcycle, reviewing boats and motorcycles. It will air on AMGTV in the USA and be distributed internationally. The series is produced by Sebastian Lyte and has secured sponsors and distributors.
The last remnants of humanity live in an underground research facility, where A.I. lifeforms are being created to aid mankind in it’s recovery of the world. But when one A.I. escapes the facility, Eve Gabriel, the lead scientist, makes a shocking discovery, one that will lead her to question her fate, her purpose and her humanity.
A contractor has hired two killers, A and B, for an undisclosed job. They are drugged and trapped in a truck with the contractor's murdered body. It is revealed they were hired to kill each other due to past transgressions. As they discuss their lives and situation, it becomes clear one will kill the other by the conclusion in a shocking twist.
The document provides background information on the director, writers, main cast, and production companies involved in the film titled "The London Firm". It includes short biographies of key personnel and descriptions of the production companies.
Bobbi Johnson is a young literary sensation facing her difficult second novel. Already dealing with a crazed stalker and her junkie ex-boyfriend, Bobbi is convinced by her publisher to use new smart editing software and finds herself going head-to-head with an artificial intelligence determined to write her book for her.
Shakespeare’s Heroes and Villains is a journey through Shakespeare’s most notorious villains with Steven Berkoff as your informed and entertaining tour guide. From the “genius” villain that is Richard III to the “wannabe” villain, Macbeth, to the “student” villain Hamlet, Berkoff portrays each of these and then goes on to analyse and discuss their motivation and what influences their decisions.
The Convent aka Heretiks, is a new film from Director Paul Hyett. In a darker age, superstition overrules common sense and faith tested to its limit. Amid such darkness, the currency is fear and suspicion. At the heart of our story is a young woman, Persephone. Her past is a mystery that we feel compelled to discover. Her present, in contrast, cannot be clearer as we find Persephone accused of the murder of her master and mistress; her apparently devoted employers and protectors. Surely only supernatural forces in this age of extreme darkness could have created such a desperately sad scene.
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Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
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Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
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The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
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The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
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2. 2 The Stolen
DISCLAIMER:
Red Rock Entertainment Ltd is not authorised and regulated by the Financial Conduct Authority (FCA). The content of
this promotion is not authorised under the Financial Services and Markets Act 2000 (FSMA). Reliance on the promotion
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3. The Stolen 3
CONTENTS
5 .......................................................................................................... Synopsis
6|7 ......................................................................................... Director Vision
8 .......................................................................................... Director | Writer
9 ........................................................................................ Writer | Producer
10 | 11 ....................................................................... Executive Producers
12 |13 ...................................................................................... Creative Team
14 | 15 .......................................................................................................... Cast
16 ...................................................................................... Music (original Score)
17 | 19 .................................................................. Production Companies
20 | 21 .......................................... Investment Schemes (EIS | SEIS)
22 .............................................................Perks & Benefits of Investing
5. The Stolen 5
Y
oung Charlotte Lockton (Alice Eve) 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.
Synopsis
6. 6 The Stolen
Director’s Statement
on Visual Style
T
he film’s visual style is just
one way I’ll be interpreting
this story for the big screen…
all of the decisions that will run
behind the visuals will be mirrored
in the sound-scape and score, and
in the pacing, rhythm and tone of
the piece.
THE STOLEN is a fascinating
fusion of Classic Adventure Story
with something much more
modern: the focus on the female
lead, and consequently the tender
story at its core.
It is inherently visual and cinematic;
playing like a western in the way it
places characters in and against
the environment.
In that regard, I’ll employ a classic
visual trope from the genre: the
juxtaposition of the land in wide-
angle with the faces in close-up. It’s
in these close-ups that we’ll get a
sense of the film’s modernity—how
a woman like Charlotte battles her
way through an increasingly harsh,
hostile world in her single, dogged
pursuit to achieve her goal.
Thematically, the adventures
she encounters on her journey
serve as vivid ‘bloodings’, each
one stripping her of all previous
formalities and preconceptions.
Visually and stylistically, I’ll follow
this progression—from images,
pacing and rhythm that are
sumptuous and richly textured,
stately and familiar…to something
much more stripped, stark,
raw, ragged and jagged, and
brutally elemental.
I have no plan to impose a modern
mode of film-making on this piece
for the sake of it. The twist in
the narrative (that it’s a Western
told from the women’s point-of-
view) is enough to give this film
its unique quality. The joy of the
piece, in fact, lies in the chance to
take visual ideas that are familiar,
being commonly associated with
the classic ‘male genres’, but put
women at their focus.
The framing of a close-up of
Charlotte’s face against the deep
background of Goldtown main
street will reference Ford, Hawks,
Fuller and Leone…but with a
vitalizing difference…and therefore
with something new to say.
Where there will be something
modern is in the film’s need to
express Charlotte’s journey. She is
discovering the rules of this world
as she goes along—she doesn’t
Niall Johnson
7. The Stolen 7
belong in it at first, but has to find
the means to fit.
The idea will be to show the world
in a style which is outwardly
familiar to us, but then also show
Charlotte’s more personal world,
which focuses on her intimate
psychology throughout the
journey. These close-ups will be
instantly different to the others.
They will be all about Charlotte,
rather than about referencing
genre tropes. The world we’re
familiar with from other movies is
something alien and threatening
to her; she sits beside it and
outside it, until such time as her
only recourse is to fully immerse
herself in its rules and conventions.
At that point, the style I’ve
employed to separate her will
vanish, and she will suddenly be
shown fitting comfortably within
the genre images—dominating
them, in fact. That’s her journey.
In the 1850s, even with settlers
arriving at the height of its Gold
Rush, New Zealand was an
untamed wilderness. From barren
plains to deep forests, from vast
lakes to mighty mountain ranges,
these settings will function as
characters in their own right,
giving keys stages of the narrative
their own unique tone. Each
location changes Charlotte in
some way, and so each location
will be chosen and shot for its own
unique properties.
But the most important landscape
of them all will be the face of
Charlotte herself. It’s here that the
real meaning of our story plays
out. Her journey is the focus of the
Director’s
Statement
on Visual
Style
movie, her relentless drive (even in
her most vulnerable moments) is
its spine, and her transformation is
its heart.
I’ll be visually charting the changes
she undergoes—in her clothes and
poise; in her behaviour to others;
in her walk and talk; in the way
she handles the environment;
in the way she constantly has to
push herself through dangerous,
threatening barriers; in the way
we shoot and light her; in the
way the music will paint her
emotional and psychological arc—
to show how she changes from
being an unwilling and frightened
stranger in a strange land to
a hero who wins, survives and
ultimately belongs.
8. 8 The Stolen
N
iall Johnson began writing
and directing after
graduating with First
Degree Honors in Drama from
Bristol University.
After writing and directing three
low-budget feature films including
‘THE BIG SWAP’ and Christmas
film ‘THE GHOST OF GREVILLE
LODGE’ starring Prunella Scales,
he came to Hollywood’s notice
with his 2002 supernatural script
WHITE NOISE. Starring Michael
Keaton, it opened January 2005
at #1 in the UK and US, and broke
through the $100m barrier on
theatrical release.
In the same year, Niall directed
black comedy KEEPING MUM
from a script he wrote with
Pulitzer Prize-winning novelist
Richard Russo, starring Rowan
Atkinson, Maggie Smith, Kristin
Scott Thomas and Patrick Swayze.
Its worldwide release was
commercially and critically
successful: London’s Mirror called
it “British comedy at its very best”,
while Ebert & Roeper gave it their
coveted “Two-Thumbs Up”.
Niall has written for such producers
as Universal Pictures, Gold Circle
Films, Summit Entertainment,
Nick Wechsler Productions, Hal
Leiberman, Julia Palau, Samuelson
Productions, Ecosse Films, Material
Entertainment, Future Film Group,
and De Angelis Productions. He
is attached to direct a number of
these projects.
He has recently completed
directing the action/thriller/sci-fi
pilot ‘THE FIGHT ROOM’ for Cork
Films. He is currently completing
the film ‘Mom’s List’ starring Rafe
Spall and Emilia Fox to screen at
the Cannes Film Festival 2016.
Director | Writer
Niall Johnson
9. The Stolen 9
E
mily Corcoran, Cork Films
Ltd Emily is a native New
Zealander and the director of
Cork Films Ltd.
The company is based in London
and New Zealand. Cork Films
has experience in shooting in
both countries.
Emily won a place on the
prestigious H. Club100 2013
Creative Entrepreneurs for Film,
organised by The Guardian
Professionals Network and The
Hospital Club.
She wrote and produced the
feature film ‘Sisterhood’, shot in
London and New Zealand, secured
a UK theatrical deal, and was also
released in the USA, Australia and
New Zealand.
Writer | Producer
Emily Corcoran
ItmadetheOfficialSelectionoffour
international film festivals and was
nominated for a number of awards
including winning ‘Best First Film’
at the British Film Festival in
Los Angeles.
Emily Produced the feature film
‘Confine’ starring super model
Daisy Lowe and Alfie Allen
(Game of Thrones.) ‘Confine’
which has been nominated and
won dozens of awards at film
festivals worldwide, among some
of these are a nomination for ‘Best
UK Feature’ at the Raindance
Film Festival 2012 and Winner
of ‘Best International Feature’
at Anchorage.
‘Confine’ was released theatrically
in July 2013 in the UK, with 20/20
Films and Koch Media.
In 2013, Emily has Co-Produced
‘Winter’ starring Tommy Flanagan
(Sons of Anarchy,) and triple
Cesar nominee Judith Godreche
and Exec Produced by Rolling
Stone, Ronnie Wood.
She has also Associate Produced
‘Cryptic’ starring Ed Stoppard,
‘SuperBob’ in association with
Channel 4, the horrors ‘X-Moor’
and ‘Patch of Fog’ and the arthouse
drama ‘Country of Hotels’.
She co-wrote and produced the
pilot ‘The Fight Room’ which made
Official Selection of the New York
Television Festival 2014.
10. 10 The Stolen
J
ulia was the owner operator
of the enormously successful
sales and distribution outfit
J&M for 20 years.
She has produced and executive
produced 10 award winning
feature films including ‘Keeping
Mum’ starring Kristin Scott
Thomas, Dame Maggie Smith
and Rowan Atkinson, ‘Head in the
Clouds’ starring Penelope Cruz
and Charlize Theron, ‘The Guilty’
starring Bill Pullman and ‘The
Revenger’s Comedies’ starring
Sam Neill, Helena Bonham Carter
and Steve Coogan, among others.
She is currently Executive
Producing the ‘Secret Sharer’ with
Oscar winner Peter Fudakowski.
Julia is also currently producing
‘Red Mansions’ starring Kate
Hudson and Dan Stevens.
Executive Producers
Julia Palau
11. The Stolen 11
Executive Producers
Red Rock Entertainment is an film-finance company, based at the
world-famous Elstree Studios, home to some of the biggest TV
shows on UK television and the studio of choice for many successful
British filmmakers.
Working in conjunction with many of the UK’s top production companies
to raise equity for film, TV content and film distribution, Red Rock
Entertainment offers a number of tax-efficient opportunities to investors.
It primarily works on projects that are at an advanced stage and are
looking for the final tranche of financing.
Its focus is on film and TV projects that have commercial appeal, an identifiable audience, controllable costs
and a sound financial structure. As executive producers, Red Rock Entertainment can arrange for investors
to visit sets during filming, appear as extras and attend private screenings. It also regularly arranges seminars
at Elstree Studios, at which high-profile corporate and financial specialists offer advice and insight into the
various tax advantages of investing in the UK film industry.
Heretiks 1
Her etiks
A PAUL HYETT FILM
TELL-TALE
HEART
THE
SHAKESPEARE’S
HEROES & VILLAINS
STEVEN
BERKOFF
STARRING
IN
CK FILMS
STEPHEN COOKSON
FILMS
&
AWAIT
FURTHER
INSTRUCTIONS
a johnny kevorkianfilm
david Bradley Abigail Cruttenden Sam Gittens
Holly Weston Grant Master Neerja Naik Kris Saddler
starring
MADNESS IN THE METHOD 1
ETHODETHOD
ADNESSADNESS
MM
Jason
Mewes
Danny
Trejo
Matt
Willis
Kevin
Smith
Stan
Lee
Teri
Hatcher
Vinnie
Jones
Casper
Van Dien
Judd
Nelson
Dean
Cain
Mickey
Gooch
Gina
Carano
ENDEAVOR 1
Some journeys are measured by what you sacrifice to get there
JANUARY 2017
1 DYSTOPIADYSTOPIA 1
THEY HAVE THE MOST IMPORTANT MISSION.
THEY MUST NOT FAIL.
THEY ARE THE LAST.
Drama Series: 10 x one hour
HOW FAR WOULD YOU GO TO PROTECT THE ONES YOU LOVE?
SEAN
BROSNAN
PETER
OUTERBRIDGE
EVA
LINK
MICHAEL
HOGAN
SIMON
PHILLIPS
ELEPHANT Templeheart Films Posters A3.indd 4 28/06/2016 09:44
12. 12 The Stolen
J
oe Bleakley is an art director and production designer, known for
The Lord of the Rings: The Fellowship of the Ring (2001), The Lord
of the Rings: The Return of the King (2003) and The Lord of the
Rings: The Two Towers (2002), King Kong (2005)
Production Designer
Joe Bleakley
Director of Photography
Matthew Knight
M
athew Knight has worked in the camera department of a number
of big budget movies, like ‘THE HOBBIT’, ‘RISE OF PLANET OF
THE APES’ and ‘THE AVENGERS’. Mathew was the Director of
Photography on the New Zealand western ‘GOOD FOR NOTHING’ shot
in Southland, New Zealand and being released by Screen Media Films in
the US and Canada.
13. The Stolen 13
T
racey Collins has production designed and costume designed on
a number of period pieces in New Zealand. These include ‘THE
MEDICINE WOMAN’, ‘WAITANGI: WHAT REALLY HAPPENED’. She
has also costume designed big budget films such as ‘UNDERWORLD:
RISE OF THE LYCANS’.
Costume Designer
Tracey Collins
Make-Up Designer
Richard Muller
R
ichard Muller has worked extensively in big budget movies in
both Europe and New Zealand. He has worked on the recent
production of ‘INTO THE WOODS’ starring Meryl Streep and Emily
Blunt, all three ‘HOBBIT’ movies, Tim Burton’s ‘ALICE IN WONDERLAND:
THROUGH THE LOOKING GLASS’ starring Johnny Depp, Alan Rickman,
Helena Bonham-Carter and Anne Hathaway.
WAITANGI:
WHAT REALLY
HAPPENED
14. 14 The Stolen
Cast
J
ack Davenport first major role however was that of public
school educated barrister Miles in the BBC television series
This Life (1996). Recent projects include the stylish Ultraviolet
(1998) where he played a modern-day vampire hunter, The Talented
Mr. Ripley (1999) as Matt Damon’s love interest, and Pirates of the
Caribbean: The Curse of the Black Pearl (2003) as the Keira Knightley’s
intended mate.
Jack Davenport
A
lice Eve, played the female lead role in the American romantic
comedy film She’s Out of My League, She also played the role of
Erin, Charlotte’s Irish nanny, in Sex and the City 2. During 2011, Eve
had a recurring guest role in season 8 of the HBO series Entourage, as a
journalist and love interest to Vincent Chase. Men in Black 3, she played
the role of Dr. Carol Marcus in Star Trek Into Darkness.
Alice Eve
G
raham McTavish is a Scottish television, film, and voice actor.
McTavish has had many roles in British dramas and films such as
Casualty, Jekyll, The Bill, Taggart, and Sisterhood. Graham McTavish
is currently appearing in ‘The Hobbit’ films as one of the leading roles of
‘Dwalin’. He played Stallone’s nemesis in ‘Rambo’ and has appeared in
big budget hits like ‘Columbiana’ and ‘Lara Croft Tomb Raider’.
Graham McTavish
15. The Stolen 15
Cast
R
ichard O’Brien is the cult creator and actor of ‘The Rocky Horror
Picture Show’ and has a large worldwide following. Since then he
has appeared in cult classics such as ‘Flash Gordon’, ‘Spiceworld’,
’Dark City’ and ‘Dungeons and Dragons’.
Additionally he guest starred in five episodes in the third season of the
HTV dramatisation of Robin of Sherwood, as the corrupt druid Gulnar.
Richard O’Brien
C
ohen Holloway is an award winning actor who has appeared in classic New
Zealand films such as ‘Eagle vs Shark’ and ‘Boy’. He took the lead in the
American themed western ‘Good for Nothing’ and has just completed
playing the lead in Jane Campion’s television series ‘Top of the Lake’. Recipient of
the Qantas Film and Television Award for his portrayal of the lead character David
Dougherty in Until Proven Innocent.
Cohen Holloway
S
tan Walker, In just under nine months Stan Walker has achieved the near
impossible; the nineteen year-old singer has evolved from a mere contender,
into one of the most refreshing and shining examples of talent the Australian
music industry has to offer. Stan is no stranger to international screens, having
played the title role in the 2013 hit feature ‘Mt Zion’ and multi-million dollar
international hip-hop film ‘Born To Dance’. Stan was also a judge on the hi TV show
X Factor (New Zealand),
Stan Walker
16. 16 The Stolen
Music (TRIGGER FILMS)
H
ayley Westenra, Classical
singing star, Hayley
Westenra aka ‘The Voice
of an Angel’, has committed to
singing on the soundtrack for
‘THE STOLEN’. Hayley released
her first album ‘PURE’ at the age
of 14 which became the biggest
selling classical albums of the
21st Century.
Hayley has just collaborated on
an album with Ennio Morricone,
entitled ‘PARADISO’.
Since the release of Paradiso,
Hayley has had the honour of
appearing in front of HRH The
Princess Royal at the Royal
Variety Performance.
W
alter Mair Ivor Novello
nominated and Telly
award winning composer
Walter Mair has created dramatic
original scores for feature films,
television drama, and narrative-
driven interactive entertainment.
His latest projects include
Universal’s documentary feature,
Ronaldo, from the producers of
Amy and Senna and directed by
BAFTA winning director Anthony
Wonke; Toby Tobias’ thriller Blood
Orange starring Ben Lamb and
Iggy Pop; and edgy television
drama series such as BBC 1’s Cuffs
from the producers of Ripper
Street and E4’s teen drama mini-
series Glue written by Jack Thorne
(Skins) and directed by Daniel
Nettheim (Doctor Who, The
Hunter). His music can also be
heard in Rockstar’s Grand Theft
Auto video games, Sony’s sci-
fifranchise Killzone, Tom Clancy’s
Splinter Cell: Conviction and
The Creative Assembly’s Total
War series.
Studying in his native Austria, Mair
graduated in music composition
for orchestra at Vienna University
with a major in music composition
for motion pictures from
Salzburg University.
His diverse repertoire
ranges from epic full
orchestral scores recorded
with 80-piece choirs to
intimate, small ensembles
and hybrid electronic
scores featuring an eclectic
mix of live recorded
solo instruments and
found sounds.
Mair maintains a personal
state-of-the-art recording
studio in Soho, London, the heart
of Europe’s post-production
community, recording with A-list
orchestras at major studios
Hayley Westenra
Walter Mair
including Abbey Road Studios
and Air Studios, and works with
filmmakers in Los Angeles and
commercial clients worldwide.
Mair is a member of the British
Academy of Film and Television
Arts (BAFTA) and British Academy
of Songwriters, Composers and
Authors (BASCA).
17. The Stolen 17
Production Companies
C O R K F I L M S
C
ork Films Ltd was set up
by actress/writer/producer
Emily Corcoran and is based
in London and New Zealand.
Cork Films developed and
produced the feature film
‘SISTERHOOD’, which secured
a UK theatrical deal and DVD
deal, and was also released
in the USA, Australia and
New Zealand.
It made the Official Selection of
four international film festivals
and was nominated for a number
of awards, ‘Best Feature’ at
the Marbella International Film
Festival and was nominated for
‘Best Comedy’ and won ‘Best First
Film’ at the British Film Festival in
Los Angeles.
Cork Films Associate Produced
the feature film ‘CONFINE’
starring super model Daisy Lowe
and Alfie Allen (Game of Thrones.)
‘CONFINE’ has been nominated
and won dozens of awards at film
festivals worldwide, among some
of these are a nomination for ‘Best
UK Feature’ at the Raindance
Film Festival 2012, Platinum Reel
Award at Nevada IFF, Winner of
‘Best International Feature’ and
nominations for Best Feature at
Anchorage and Arpa IFF to name
a few.
‘CONFINE’ was released
theatrically in July 2013 in the UK
and in the USA in 2014. It is now
being sold internationally by Atlas.
In 2013, Cork Films Associate
Produced ‘WINTER’ starring
Tommy Flanagan (Sons of
Anarchy,) triple Cesar nominee
Judith Godreche, Bill Milner
(X-Men) and Stacy Martin (star of
Lars von Trier’s ‘Nymphomaniac’.)
The film was Executive Produced
by Rolling Stone Ronnie Wood,
and has gone onto screen at
major festivals such as The
New York Film Festival and
Raindance and is currently being
sold internationally.
‘Winter’ was nominated for a
Discovery Award at the British
Independent Film Awards
this year.
In 2014 Cork Films produced the
comedy short film ‘EARS’ starring
Oliver Phelps (George Weasley
fromHarryPotter)whichpremiered
on the Comedy Central Website
and screened at a number of
film festivals.
They also completed action/
thriller/sci-fi pilot called ‘THE
FIGHT ROOM’ which made the
Official Selection of the New York
Television Festival and has had
offers of pre-buys from the likes of
the UK SyFy Channel.
18. 18 The Stolen
4
squarefilms (4SQF) is an
international sales company
acting as an executive
producer, financier and sales
agent, assisting producers to
procure funding from third party
investors as well as selling all
international and domestic rights.
As a sales agent, 4SQF looks after
all rights management activities
on a worldwide basis including
sales for theatrical distribution,
licensing for television, video-on-
demand (VOD), DVD, hotel, airline
and merchandise.
Andrew Brown and Billy Hurman
each have twenty-four years’
experience in international
film sales having established
relationships with major
International Sales Company
4SQUAREFILMS
Production Companies
financiers, distributors, studios
and independent buyers.
Together they have worked on
over 100 films and are highly
experienced in packaging and
selling independent productions.
Highlights include ‘SHOOTING
FISH’ with Kate Beckinsale;
‘HEARTBREAKERS’ with
Sigourney Weaver and Gene
Hackman; ‘AND WHEN DID
YOU LAST SEE YOUR FATHER’
with Colin Firth; ‘HOW TO LOSE
FRIENDS & ALIENATE PEOPLE’
with Jeff Bridges and Simon
Pegg, ‘LAST ORDERS’ with
Helen Mirren and Michael Caine &
‘IRRESISTIBLE’ with Emily Blunt
and Susan Sarandon.
B
rightlights is one of New
Zealand’s leading lighting
and grip companies.
It’s proprietor, Andrew Rennie,
has worked on big budget
films such as ‘THE LION, THE
WITCH & THE WARDROBE’,
and supplied lighting for ‘Z
FOR ZACHARIAH’ starring
Chris Pine and Margot Robbie
as well as ‘SUNSET SONG’
directed by Terence Davies.
Lighting
Brightlights
19. The Stolen 19
Production Companies
Post Production
R
einhard Besser is one of Germany’s most respected names for film
music and sound post. His company, Herold & Besser Studios, was
responsible for audio post-production for numerous national and
international films.
Walter Mair is the head of music. He’s an award-winning composer and
he brings a huge amount of creativity to TriggerFilms. Walter made a
name for himself working on feature films for Warner Bros, 20th Century
Fox, Constantine Films and Lionsgate.
Bond Company
H
DI-Gerling will be bonding ‘THE STOLEN’. A leading film insurer in Europe and HDI has been trading since
the 1950s. Previous film insurance deals include ‘THE ONLY LOVERS LEFT ALIVE’ starring Tilda Swinton.
By appointing HDI-Gerling to bond the film, we ensure that the film is thoroughly reviewed for viability and
completed. If for any reason there was a problem hindering the completion at any time during production, the
bond company will step in to manage until the film gets back on track.
Alternatively, the bond will give a full payout if there were any complications arising that they could not amend
and the film could not be completed.
F
F R E E WAY
E N T E R TA I N M E N T
Account Management
Freeway act as a collection
account manager to securely,
impartially and transparently
collect, administer and disburse
any audiovisual production’s
revenues that need to be shared
with financiers, production
partners and talent.
If you are entitled to diligently
receiving a pre-agreed share in a
production’s revenues, you can rely on Freeway to ensure to collect all
revenues at source in a secured collection account and to transparently
report the exact status of exploitation of the production and generated
income and timely and accurately pay-out each revenue share to each
beneficiary.
By appointing Freeway as collection account manager (CAM) on a
production, the various revenue streams that need to be shared between
a production’s multiple stakeholders are received in one single purpose
and bankruptcy remote collection account.
In this collection account all collected revenues are allocated to the
financiers, (co-producers), sales agent and talent in accordance with
the production’s pre-agreed revenue sharing waterfall and paid out at
agreed intervals or upon request.
20. 20 The Stolen
EIS Investments
The UK has two government-sponsored investment schemes for direct investment in companies: the
Enterprise Investment Scheme (EIS) and the Seed Enterprise Investment Scheme (SEIS). Both schemes, which
offer generous tax relief, were set up to encourage investment into start-up businesses that are not listed on a
stock exchange. Investment in unquoted companies often carries a high risk. The tax relief is intended to offer
some compensation for that risk.
Enterprise Investment Scheme
Income Tax Relief
The Enterprise Investment Scheme (EIS) was introduced by the UK
government in 1994 with the aim of helping small UK companies to raise
capital from private investors.
While an EIS investment is not without risk, the incentives for those
looking for tax-efficient ways to invest are extremely attractive. These
benefits include:
Investors can claim a rebate of 30% of the amount invested from income
tax paid in the year prior to investment, or on tax that is owed in the
tax year of investment. Relief can be claimed on up to a maximum of
£1,000,000 invested in shares in EIS-qualifying companies, giving a
maximum tax reduction in any one year of £300,000, providing the
investor has sufficient income-tax liability to cover it. Shares must be
held for at least 3 years.
Capital Gains Tax Exemption
If the investment is successful and a profit is made on the sale of shares in an EIS-qualifying company, the
investor will be exempt from capital gains tax on the profit made.
Capital Gains Tax Deferral
If investors have any capital gains
tax to pay in the current or next
tax year, or if they have paid
capital gains tax in the last two to
three years, they can claim back or
defer tax to the equivalent of up
to 20% (or 28% if the gain is on a
residential property or for 2015/16)
of the capital they have invested in
the EIS-qualifying company.
If the gain is deferred, when the
If a loss is made on the disposal of EIS shares then the loss, less the 30% initial relief may be set against income
or capital gains for tax purposes.
Loss Relief
EIS shares are disposed of then
the gain will crystallise at the
prevailing rate at that time. The
payment of tax on a capital gain
can be deferred where the gain is
invested in the shares of an EIS-
qualifying company.
A capital gain can arise from the
disposal of any kind of asset, but
the investment must be made
within a period of one year before
or three years after the gain
arose. There are no minimum or
maximum amounts for deferral,
nor is there a minimum period
for which the shares must
be held.
The deferred capital gain is
brought back into charge
whenever the shares are
disposed of, or are deemed to
have been disposed of under the
EIS legislation.
EIS investors can place a maximum of £1,000,000 in
asingletaxyear, whichcanbespreadoveranumber
of companies.
A company can raise no more than £5,000,000 in
total via EIS investment in a 12 month period.
Investors have no control over companies that
receive their capital and must not hold more than
a 30% stake in any company in which they invest.
Companies seeking investment must be based in
the UK and have a permanent base in the country.
The company’s trade must be no more than seven
years old.
Key Points
Tax relief of 30% can be claimed in the current or
previous tax year (from date of share certificate).
A capital gains deferral can be claimed against the
current tax year.
No inheritance tax to be paid after two years. No
income tax or capital gain tax to be paid on any
profits on disposal.
Loss relief on any monies lost can be claimed at
current tax rate.
Monies must remain in the company for three years
to benefit from the above.
21. The Stolen 21
SEIS Investments
As with the EIS, a percentage (50% in the case of SEIS) of the cost of an investment can be claimed against the
investor’sincometaxliabilityforthetaxyearinwhichtheinvestmentwasmade.Themaximuminvestmentthrough
theSEISinanytaxyearis£100,000.AswiththeEIS,thereisnocapitalgainstax,inheritancetaxtobepaidonanSEIS
investment opportunity.
The Seed Enterprise Investment Scheme (SEIS) complements the EIS by offering a range of tax reliefs to
individual investors who purchase shares in smaller, early-stage companies. The SEIS is intended to compensate
for the difficulties faced by start-ups in attracting investment by offering tax relief at a higher rate than that
offered by the existing EIS.
Income tax relief is available to investors who subscribe for qualifying
shares in a company that meets the SEIS requirements and who have UK
tax liability against which to set the relief. However, there are certain rules
:
Shares must be held for a period of three years. If shares are disposed
of within the three-year period, or if any of the qualifying conditions
cease to be met during that period, relief will be withdrawn or reduced.
Relief is available at 50% of the cost of the shares, on a maximum
annual investment of £100,000.
Relief is given by way of a reduction of tax liability, which requires that
there is sufficient tax liability against which to set it.
A claim for relief can be made up to five years after the January 31
following the tax year in which the investment was made.
Seed Enterprise Investment Scheme
Capital Gains Tax relief
If the investor has a Capital
Gains Tax liability in the year of
investment, then up to 50% of the
amount invested can be offset
against that Capital Gain, with
a potential saving of 10%, being
half of 20% (14% for gains on
residential properties.
Who can Participate in SEIS?
Unconnected shareholders should be entitled to all the aforementioned relief schemes. For connected
shareholders, income tax relief and capital gains tax exemption are not normally available. ‘Connection’
is defined by a financial interest in, or employment by, the company. Financial interest occurs where the
subscriber and their associates (such as parents, children and business partners) control more than 30% of the
company. Employment generally includes directorships but precludes the employment of associates, although
directors can participate in SEIS companies if holding under 30%. Furthermore, there is an exemption for
business angels who become directors.
*The above is intended as brief guide only. Red Rock Entertainment is not a financial advisor and, as with any investment
or tax-related issue, it is important that potential investors seek advice from a financial advisor.
CGT Exemption
If the investment is successful
and a profit is made on the sale
of shares in an EIS-qualifying
company, the investor will be
exempt from capital gains tax on
the profit made.
Loss Relief
If a loss is made on the disposal
of SEIS shares then the loss, less
the 30% initial relief may be set
against income or capital gains for
tax purposes.
Key Points
SEIS investors can place a maximum of £100,000 in
a single tax year, which can be spread over a number
of companies.
A company can raise no more than £150,000 in
total via SEIS investment.
Investors have no control over companies that
receive their capital and must not hold more than
a 30% stake in any company in which they invest.
Companies seeking investment must be based in
the UK and have a permanent base in the country.
Companiesmusthavefewerthan25employees.Inthe
case of parent companies, that figure applies to the
entire group.
The company’s trade must be no more than two
years old and the company must have gross assets
of less than £200,000.
Tax relief of 50% can be claimed in the current or
previous tax year (from date of share certificate).
A capital gains write-off of 50% of any gain can be
claimed against the current tax year.
No inheritance tax to be paid after two years.
No income tax or capital gain tax to be paid on any
profits on disposal.
Lossreliefonanymonieslostcanbeclaimedatcurrent
tax rate.
Monies must remain in the company for three years
to benefit from the above.
Income Tax Relief
22. 22 The Stolen
Private Screenings
A private film screening is the displaying of
a motion picture or film, generally meaning a
special showing as part of a film’s production and
release cycle.
To show the film to its best advantage, special
screenings may take place in low seat-count
theatres with very high quality projection and sound
equipment, and can be accompanied by food and
drink and spoken remarks by producers, writers,
or actors.
Private preview screenings are commonly provided
for investors, marketing and also distribution
representatives, along with VIP media figures.
A red carpet premiere is used in
gala celebrity events. When one
of our films hosts a premiere, our
investors are invited to attend.
An experience not to be missed,
to be a part of the excitement, rub
shoulders with actors, the many
different facets of professionals in
thefilmindustry,includingthepress
and photographers.
Red Carpet
Premieres
Photo’s with the StarsYour Name in
the Credits
Perks & Benefits of Investing
Film Set Visits
Patience is a virtue — and never
more so than on a film set. Pick
your moment to approach an
actor carefully: it’s never a good
idea to disturb talent when they
are shooting a scene, or preparing
to shoot one.
So be prepared to wait for the
right moment to take a picture
or ask for an autograph. You
will probably be assigned with
a ‘runner’ from the production
company, whose job it will be to
look after you and let you know
what’s going on.
Being an investor also gives you
the opportunity to be cast as a
background actor, or extra.
This is a performer in a film or
television show who appears in
a non-speaking capacity, usually
in the background to the central
action —as an audience member,
for example, or a passer-by in
the street. Punctuality, reliability
and the ability to take direction
are important if you want to
experience of thrill of appearing in
front of the camera.
Appearing as
an Extra