Monday, 21 March 2011

The Disappearance of Alice Creed

The Disappearance of Alice Creed

Making the user a Marketeer  

Working with digital agency Brandmovers, CinemaNX developed an application to be housed in Facebook, with communication tools that would allow it to be shared on Twitter and other social networking sites. Fans were able to sign up on Facebook, despite the activity being over, the users were still able to interact with it.

CinemaNX created a dynamic incentive for user activity through a suite of tools, which participants could use to generate support for their cinema, and earn themselves activity points. These tools, intended to facilitate a viral effect, were a combination of Facebook standard communicators, and on-brand messages relating to movie items or activities.

Facebook:

Users selected Facebook friends and sent invitations to install the application. These were represented as calls to action to support the user’s selected local cinema, but also allowed an option for recipients to select or nominate their own cinema. Each invited friend that installed the application and supported the original user’s cinema earned the user 100 activity points. Each referred installation which supported another cinema earned 20 activity points, and each invitation sent but not completed earned 2 activity points.
Users used the Facebook ‘share’ function to publish a call to action to their newsfeed, which would proclaim their support and encourage their friends to join the campaign.

How the campaign was marketed? (Offline)

After initial competition between several cinema groups, a university film society in Southampton – Union Films – fully embraced the prospect of hosting the premiere, advertising to all their members, asking them to vote for their cinema on their university campus via posters, home page exposure on their website and through a newsletter.
It was this interest in the increasing regional presence for the film that gained the film further coverage in regional and Scottish/Irish publications such as Venue, Leeds Guide, The List, Irish Times, Evening Herald – many of which detailed the underground approach of taking the premiere out of London.

CinemaNX worked with Findanyfilm.com to create an MPU (a standard form of mid-page advertising unit measuring 300 × 250 pixels), encouraging users to click through and vote for their local cinema.
Offline Press: Local and national coverage included ITN, The Observer, The Sun, Daily Mail, Metro, Life, Cineuropa, Female First, This Is Hampshire, Daily Echo.

Alice Creed was one of the most covered premieres that week due to the uniqueness of the location and the approach credible the premiere was.

Union Films fully embraced the prospect of hosting the event: organising all ticket redemption and, with CinemaNX, coordinating all marketing materials including the creation of banners, hiring of a red carpet and associated security staff, laying on a champagne reception and hiring a photographer.

Sunday, 13 March 2011

UK Film Council

UK Film Council

  • Film London are one of the UK Film Council's funding partners, this partnership works by the private partners will invest in the national inward investment function to ensure the UK, its facilities and talent are promoted successfully all over the world. In addition, Film London will employ the knowledge and expertise of an advisory board, which will be drawn from industry partners and stakeholders from the regions and nations. 
  • The Government has pledged to support film across the English regions. The responsibility will fall to the BFI to develop a new strategy for film with regional partners including Creative England. Lottery and Grant-in-aid funding to the English regions will be provided via the BFI.
  • The Film Fund and the Prints and Advertising Fund will continue to accept and assess decisions about funding. Any changes to any of the processes for the funds will be communicated to the industry and published on both the BFI and UK Film Council websites.
  •  It is assumed that UK Film Council employees working in areas not being transferred to the BFI or Film London will be made redundant.
  • The functions that are transferring to Film London are the UK Film Council’s role in encouraging inward investment into the UK in a public/private partnership with Warner Bros., Pinewood Studios Group, the Production Guild, UK Screen Association and other companies.

Monday, 7 March 2011

The Kings Speech

  • Distributor = Momentum Pictures
  • Two years ago, Slumdog Millionaire was a huge hit with the Film Industry (opening grose of £1.83 million)
  • The top six sites were all in London, led by Odeon Leicester Square (£106,000), Vue Westfield (£51,000) and Vue Islington (£45,000). Top regional site was Odeon Guildford, with £28,000 - suburban place, not very likely to make many box office hits, however the demographic audience could live in this location.
  • UK FILM COUNCIL HAS BEEN AXED
  • As from next year, the Government is not going to fund the UK Film Council
  • However, BBC Films and Film4 didn't want to back The Kings Speech, UK Film Council backed it - would not have been made if the Film Council was not present
  • How to get a film to be successful? Strong critical support, bold positioning by distributor, deciding on release date and marathon publicity efforts.
  • Slumdog grosses rose on its second and third weekend, contributing to a £32m cumulative total in Britain.
  • This column has often had cause to quote the "10% rule", which suggests that the UK gross of a film in sterling will usually be around a 10th of the US figure in dollars.
  • Kings Speech funded by six different independent bodies


Five Facts:
  • The production costs –  £9m
  • The film has already grossed $236m worldwide 
  • Its nominations at the Oscars are expected to take that total to over $300m; the industry usually expects worldwide DVD and TV sales to match the box office total again.
  • Much of that cash is shared with the cinemas and international distributors, such as the highly visible Bob and Harvey Weinstein in the United States. But a substantial proportion – $100m to $150m – is expected to make its way back to the UK.
  • The soon to be disbanded UK Film Council provided £1m of lottery money for the film's production budget, while the Aegis Film Fund – whose cash comes from wealthy private individuals

Issues in the British Film Industry

Issues in the British Film Industry

Thursday, 17 February 2011

See-Saw Films Production Company


The King's Speech is a 2010 British historical drama film directed by Tom Hooper and written by David Seidler. The film won the 2010 Toronto International Film Festival People's Choice Award and was nominated for fourteen BAFTAs, of which it won seven; twelve Academy Awards; and seven Golden Globes, with Colin Firth winning for Best Actor. The production company who created this film was "See-Saw Films".

See-Saw Films is an independent film production company founded in 2008 by Emile Sherman and Iain Canning. See-Saw operates out of both London and Sydney.

See-Saw has produced a number of feature films, including: The King's Speech by Tom Hooper, Oranges and Sunshine, starring Emily Watson, The Kings of Mykonos and Anton Corbijn's Linear.

See-Saw has established a first-look deal with Momentum Pictures in the UK and a film finance/equity deal with Paramount Pictures. In addition, See-Saw has worked closely with sister company Transmission Films, an Australian/New Zealand distributor and has a co-development deal in which Buckland Films works with See-Saw to co-finance the development of See-Saw's production slate.

Tuesday, 8 February 2011

Working Title Films

Working Title Films


Who set it up and When?
Working Title Films is a British film production company, based in LondonUK. The company was founded by Tim Bevan and Sarah Radclyffe in 1983.


What were they first successful for? How much money did they make?
'Four Weddings and a Funeral were the first successful film by Working Title, a romantic comedy making them £3,500,000 (estimated).


Filmography, Critical and Financial Success

 Here are all the films that Working Title have made:
  About a Boy 
  Ali G Indahouse
  Atonement 
  Bean 
  The Big Lebowski
  Billy Elliot
  Blood and Ice Cream Trilogy
  The Boat That Rocked
  Bob Roberts
  The Borrowers 
  Bridget Jones's Diary 
  Bridget Jones: The Edge of Reason 
  Burn After Reading
  Captain Corelli's Mandolin 
  Catch a Fire 
  Chicago Joe and the Showgirl
  The Comic Strip
  Dead Man Walking 
  Definitely, Maybe
  Drop Dead Fred
  Edward II 
  Elizabeth 
  Elizabeth: The Golden Age
  Fargo 
  For Queen and Country
  40 Days and 40 Nights
  Four Weddings and a Funeral
  French Kiss 
  Frost/Nixon 
  Gone 
  Green Zone 
  The Guru 
  The Hi-Lo Country
  Hippie Hippie Shake
  Hot Fuzz
  How to Talk to Girls 
  The Hudsucker Proxy
  Inside I'm Dancing
  The Interpreter
  Johnny English
  Johnny English Reborn
  Loch Ness 
  London Kills Me
  Long Time Dead
  Love Actually
  The Man Who Cried
  The Man Who Wasn't There
  Map of the Human Heart
  Mickybo and Me
  Moonlight and Valentino
  Mr. Bean's Holiday
  My Beautiful Laundrette
  My Little Eye
  Nanny McPhee
  Nanny McPhee and the Big Bang
  Ned Kelly 
  Notting Hill 
  Panther 
  Paperhouse
  Paul 
  Plunkett & Macleane
  Posse 
  Pride & Prejudice 
  The Return of the Borrowers
  Robin Hood 
  Romeo Is Bleeding
  Rubin and Ed
  Sammy and Rosie Get Laid
  A Serious Man
  The Shape of Things
  Shaun of the Dead
  Sixty Six 
  Smokin' Aces
  Smokin' Aces 2: Assassins' Ball
  The Soloist
  State of Play 
  The Tall Guy
  Thirteen 
  Thunderbirds 
  United 93 
  Wild Child 
  Wimbledon 
  Wish You Were Here 
  A World Apart 
  The Young Americans 



Financial Success:
The success of Working Title’s formula ('Notting Hill' grossed $374,089,678 worldwide) of using slightly romanticised depictions of Britain and British life coupled with the use of international stars such as Julia Roberts and Renee Zellweger to appeal to an international audience has, in some ways both being of great benefit and great detriment to the British film industry.


How did they effect the representation of the UK Film Industry?