Film Title: Atonement
Director: Joe Wright
Genre: Drama, Mystery, Romance, War.
Release Date: 7th September 2007 (UK)
Location/s:
Aldwych Underground Station, Aldwych, Holborn, London, England, UK
(interiors)
Black Park, Iver Heath, Buckinghamshire, England, UK
Bloomsbury, London, England, UK
Coates, Cambridgeshire, England, UK
Dover, Kent, England, UK
Grimsby Docks, Grimsby, Lincolnshire, England, UK
(Dunkirk - street scenes)
Grimsby, Lincolnshire, England, UK
London, England, UK
Nene Washes Nature Reserve, Peterborough, Cambridgeshire, England, UK
(for late 1930s rural France)
Northumberland, England, UK
Ouse Washes Nature Reserve, Cambridgeshire, England, UK
(for late 1930s rural France)
Redcar, Redcar and Cleveland, England, UK
(invasion of Dunkirk)
Seven Sisters, East Sussex, England, UK
Shepperton Studios, Shepperton, Surrey, England, UK
(studio)
St. John's, Smith Square, Westminster, London, England, UK
(Lola's wedding)
Stokesay Court, Onibury, Shropshire, England, UK
(Tallis home)
University College London, Bloomsbury, London, England, UK
(exteriors)
Westminster, London, England, UK
Gold Points:
???
Awards: Oscar (2008), 2 BAFTA Film Award's (2008), 3 Empire Award's (2008), Evening Standard British Film Award (2008), 2 Golden Globe's (2008), Golden Trailer (2008), 2 IFTA Award's (2008), Sierra Award (2007), 2 ALFS Award's (2008), 3 PFCS Award's (2007), Rembrandt Award (2008), SDFCS Award (2007), Satellite Award (2007), Teen Choice Award (2008), Prize of the Forum for Cinema and Literature (2007), World Soundtrack Award (2008).
Nominated 6 Oscar's and 60 other awards.
Funding:
The film is a Working Title production for Universal Pictures.
Audience demographic who found film most appealing: Females Under 18, and IMDB staff.
User ratings:
Males - 38,766 votes - 7.8/10 average
Females - 16,170 votes - 8.3/10 average
Aged under 18 - 2,189 votes - 8.4/10 average
Males under 18 - 970 votes - 8.3/10 average
Females under 18 - 1,215 votes - 8.6/10 average
Aged 18-29 - 37,423 votes - 8.0/10 average
Males Aged 18-29 - 25,950 votes - 7.9/10 average
Females Aged 18-29 - 11,363 votes - 8.4/10 average
Aged 30-44 - 10,906 votes - 7.5/10 average
Males Aged 30-44 - 8,471 votes - 7.5/10 average
Females Aged 30-44 - 2,346 votes - 7.7/10 average
Aged 45+ - 4,331 votes - 7.9/10 average
Males Aged 45+ - 3,163 votes - 7.8/10 average
Females Aged 45+ - 1,128 votes - 8.3/10 average
IMDb staff - 14 votes - 8.6/10 average
Top 1000 voters - 435 votes - 7.1/10 average
US users - 18,082 votes - 7.9/10 average
Non-US users - 36,823 votes - 7.9/10 average
IMDb users - 59,395 votes - 7.9/10 average
Target Audience: British "young adults"
----------
Film Title: Pride & Prejudice
Director: Joe Wright
Genre: (Period) Drama, Romance.
Release Date: 16th September 2005 (UK)
Location/s:
Basildon Park, Lower Basildon, Berkshire, England, UK
(Netherfield)
Burghley House, Stamford, Lincolnshire, England, UK
(Rosings Park)
Chatsworth House, Edensor, Derbyshire, England, UK
(Pemberley exteriors/Pemberley's grand staircase/Pemberley's sculpture gallery)
Groombridge Place, Groombridge, Kent, England, UK
(Longbourn)
Haddon Hall, Bakewell, Derbyshire, England, UK
(Elizabeth's bedroom/the inn at Lambton)
North Lees Hall, Hathersage, Derbyshire, England, UK
Rutland, England, UK
St George's Square, Stamford, Lincolnshire, England, UK
(Meryton village scenes)
Stamford, Lincolnshire, England, UK
(Meryton village/Milliner's shop)
Stanage Edge, Hathersage Moor, Hathersage, Derbyshire, England, UK
(Elizabeth standing on precipice)
Stourhead Garden, Warminster, Wiltshire, England, UK
(Darcy's first proposal - at the Temple of Apollo)
Weekley, Northamptonshire, England, UK
(Mr Collins vicarage)
Wilton House, Wilton, Salisbury, Wiltshire, England, UK
(Pemberley's drawing room)
Wiltshire, England, UK
Gold Points:
???
Awards:
Won Carl Foreman Award for the Most Promising Newcomer (2006), BSFC Award (2005), 2 Empire Award's (2006), Peter Sellers Award for Comedy (2006), Golden Trailer (2006), 2 ALFS Award's (2006), Satellite Award (2005).
Nominated for 4 Oscars, and 35 other nominations.
Any other funding (other than WT):
???
Audience demographic who found film most appealing: Female's under 18.
User ratings:
Males - 18,326 votes - 7.7/10 average
Females - 18,846 votes - 8.3/10 average
Aged under 18 - 1,591 votes - 8.5/10 average
Males under 18 - 304votes - 7.8/10 average
Females under 18 - 1,284 votes - 8.9/10 average
Aged 18-29 - 24,374 votes - 8.0/10 average
Males Aged 18-29 - 11,252 votes 7.8/10 average
Females Aged 18-29 - 13,031 votes 8.4/10 average
Aged 30-44 - 7,667 votes 7.5/10 average
Males Aged 30-44 - 4,586 votes - 7.4/10 average
Females Aged 30-44 - 3,023 votes - 7.8/10 average
Aged 45+ - 3,442
7.8/10 average
Males Aged 45+ - 2,054 votes - 7.8/10 average
Females Aged 45+ - 1,354 votes - 7.7/10 average
IMDb staff - 7 votes - 7.9/10 average
Top 1000 voters - 408 votes - 7.2/10 average
US users - 13,929 votes 8.1/10 average
Non-US users - 23,222 votes - 7.7/10 average
IMDb users - 41,656 votes - 7.8/10 average
Target Audience:
???
Thursday, 19 February 2009
Tuesday, 17 February 2009
Thriller Poster - Millers Crossing
This first picture is a front cover for the DVD of Millers crossing:
The picture below is a long shot, and shows a wide mise-en-scene with simplistic features of a tall wood and gravel road. The long shot includes the height of the trees but only a small stretch of the road, and it disallows us to see who they are or what is exactly happening. This creates mystery and tension, making someone want to buy and watch the film.
a) This man seems to have high authority in the picture as he is suited and is not getting beaten up. However it seems as if he has a lesser status than the other suited man, as he is more like a chauffeur, closing the car door and tucking in his jacket. He seems disinterested in what the other man is doing, and holds himself in a buisness-like manner. He doesn't seem to acknowledge how they've taken a man into the woods, and this shows how the situation is not meant to be publicised, as they've driven far out and there are only the 2 of them dealing with the man in a buisness-like way. The hats they are wearing suggest authority and also hides their facial features.
b) The bottom of the picture is darkened until black, creating the effect that the image is an old one, that has been worn away, like the title. It also gives shadow and mystery because of the added darkness it brings to the image. It slowly and slightly gets lighter toward the figures, giving them more attention and focus in the frame of the mise-en-scene.
c) The majority of the picture is taken up by the tall thin tree's in the background, showing that the picture is set in the woods. The trees hold thriller signifiers, like how the light shines through some of the trunks, however most of the light is blocked out and creating shadows amongst them. This could create a sense of danger, and how they're out of the city life, in the middle of the wood. Because there are obviously a lot of tree's surrounding them, letting not much light in, this could create claustrophobia, as they're hidden away from the outside life.
d) The same writing as the title, showing who directed and wrote the film, at the bottom and out of the way in the mise-en-scene, but made kind of prominent because of the light writing on the darkened background.
e) The man at the edge of the picture seems to be kneeled over in pain which by the look of the middle man's posture, seems to be inflicted by the latter's shoving. This shows that the 2 suited men are powerful and are inflicting pain onto this third man. The 2 suited men are dressed rather like policemen, with the hats and the long coats, portraying the corrupt force or an immoral way of using the power they are given, to sort out crimes, and earn respect.
f) We can see that the road seems to stretch round into the distance, using vanishing points, which is a thriller signifier. The road also seems to curve round, creating a long and non-ending feeling to the road, as if they are really far out, and far away from any help that could be longed and called for from the un-suited man.
g) The title of the film, "Millers Crossing" is written on a sort of slant, higher on the side of the picture that the men are on, emphasising their presence slightly. It's a light brown/cream colour, like a faded letter of coffee stain. The letters are faded around the edges and in the middle, as if they had been bashed or ripped. This creates a feeling of dancer, and the sense that the place isn't safe. The actors names are above, written in the same style of writing but smaller, with the last names capitalized, bringing more attention to the famous surnames, but not drawing attention away from the main title and the scene below it.
And this second one is an advertisement poster, that could have possibly been on a billboard or bus stop, etc:
This poster is also taken at a long-shot, with the tall tree's dominating the upper half of the picture, some in the background, and some in the foreground. The distance shows us alot of leafy ground and the forest looks misty and sort of eer-y. The picture is taken from a camera that seems to be quite low to the ground, as if another person was crouched where the camera is, watching the scene infront of them unfold.
a) The "From the Creators of" title shows the audience another Thriller by the same people who wrote and directed the film. The writing is lightly coloured against a dark-ish background, against the top of the tree's, which seem thicker toward the top of the picture, because of the amount of tree's. It is clearly daylight behind, however the tree's block out most of the natural light, making it dimmer.
b) The title "Miller's Crossing" is in a plain font, that looks quite old. The line through the middle of the words suggests hidden secrets because of how its splitting the title in two. It is against the top of the tree’s, which are letting odd bits of light flow through them, showing that its daytime and light.
c) The figure in the black, with the tall black hat seems to be standing very upright, making himself taller to the man kneeling in front of him. He looks as though he knows what he’s doing, and he’s in charge. In his right hand he seems to be holding what looks like a gun, giving him a sense of power and maybe even danger in this photo. The clothes he is wearing makes him look quite mysterious, as they’re just a plain colour black, not giving anything about his identity away, though suggesting he is a figure of authority.
d) The scene that the two figures are in looks like a forest, with tall tree’s and leaved grounds. They are standing/kneeling in a clearing in the forest, between two tall trees with a backdrop of a thick forest behind them. The lighting seems natural and filled with shadows on the ground, as the tree’s are blocking out most of the sky light.
e) The bottom of the poster holds information about the film. The actors names and the companies that have funded it and produced it. One obvious company involved is Fox, as it has 2 adverts in the bottom corners of the picture.
f) The other man in the picture, who is kneeling at the feet of the black dressed man, seems to be pleading with his hands and voice to the other man. He obviously has a lesser status than the other man, as he is on his knees in a begging position. His clothes seem to be smart, giving him a sense of wealth maybe, however they aren’t tucked in or looking as smart as they probably usually would. This gives the viewer the impression that he is not in control of the situation, and that he is in a bad position.
g) The certificate is 18, in its usual red circle, upper right corner of the poster. This could attract the suitable audience that the film would want, as over 18's would relate to the symbol straight away, and think that the film might be suitable for them, as if it was a 15 there is a chance it might be too "teen-age boy" for them. It could connote that the film is a serious thriller, an "adult film".
The picture below is a long shot, and shows a wide mise-en-scene with simplistic features of a tall wood and gravel road. The long shot includes the height of the trees but only a small stretch of the road, and it disallows us to see who they are or what is exactly happening. This creates mystery and tension, making someone want to buy and watch the film.
a) This man seems to have high authority in the picture as he is suited and is not getting beaten up. However it seems as if he has a lesser status than the other suited man, as he is more like a chauffeur, closing the car door and tucking in his jacket. He seems disinterested in what the other man is doing, and holds himself in a buisness-like manner. He doesn't seem to acknowledge how they've taken a man into the woods, and this shows how the situation is not meant to be publicised, as they've driven far out and there are only the 2 of them dealing with the man in a buisness-like way. The hats they are wearing suggest authority and also hides their facial features.b) The bottom of the picture is darkened until black, creating the effect that the image is an old one, that has been worn away, like the title. It also gives shadow and mystery because of the added darkness it brings to the image. It slowly and slightly gets lighter toward the figures, giving them more attention and focus in the frame of the mise-en-scene.
c) The majority of the picture is taken up by the tall thin tree's in the background, showing that the picture is set in the woods. The trees hold thriller signifiers, like how the light shines through some of the trunks, however most of the light is blocked out and creating shadows amongst them. This could create a sense of danger, and how they're out of the city life, in the middle of the wood. Because there are obviously a lot of tree's surrounding them, letting not much light in, this could create claustrophobia, as they're hidden away from the outside life.
d) The same writing as the title, showing who directed and wrote the film, at the bottom and out of the way in the mise-en-scene, but made kind of prominent because of the light writing on the darkened background.
e) The man at the edge of the picture seems to be kneeled over in pain which by the look of the middle man's posture, seems to be inflicted by the latter's shoving. This shows that the 2 suited men are powerful and are inflicting pain onto this third man. The 2 suited men are dressed rather like policemen, with the hats and the long coats, portraying the corrupt force or an immoral way of using the power they are given, to sort out crimes, and earn respect.
f) We can see that the road seems to stretch round into the distance, using vanishing points, which is a thriller signifier. The road also seems to curve round, creating a long and non-ending feeling to the road, as if they are really far out, and far away from any help that could be longed and called for from the un-suited man.
g) The title of the film, "Millers Crossing" is written on a sort of slant, higher on the side of the picture that the men are on, emphasising their presence slightly. It's a light brown/cream colour, like a faded letter of coffee stain. The letters are faded around the edges and in the middle, as if they had been bashed or ripped. This creates a feeling of dancer, and the sense that the place isn't safe. The actors names are above, written in the same style of writing but smaller, with the last names capitalized, bringing more attention to the famous surnames, but not drawing attention away from the main title and the scene below it.
And this second one is an advertisement poster, that could have possibly been on a billboard or bus stop, etc:
This poster is also taken at a long-shot, with the tall tree's dominating the upper half of the picture, some in the background, and some in the foreground. The distance shows us alot of leafy ground and the forest looks misty and sort of eer-y. The picture is taken from a camera that seems to be quite low to the ground, as if another person was crouched where the camera is, watching the scene infront of them unfold.
a) The "From the Creators of" title shows the audience another Thriller by the same people who wrote and directed the film. The writing is lightly coloured against a dark-ish background, against the top of the tree's, which seem thicker toward the top of the picture, because of the amount of tree's. It is clearly daylight behind, however the tree's block out most of the natural light, making it dimmer.b) The title "Miller's Crossing" is in a plain font, that looks quite old. The line through the middle of the words suggests hidden secrets because of how its splitting the title in two. It is against the top of the tree’s, which are letting odd bits of light flow through them, showing that its daytime and light.
c) The figure in the black, with the tall black hat seems to be standing very upright, making himself taller to the man kneeling in front of him. He looks as though he knows what he’s doing, and he’s in charge. In his right hand he seems to be holding what looks like a gun, giving him a sense of power and maybe even danger in this photo. The clothes he is wearing makes him look quite mysterious, as they’re just a plain colour black, not giving anything about his identity away, though suggesting he is a figure of authority.
d) The scene that the two figures are in looks like a forest, with tall tree’s and leaved grounds. They are standing/kneeling in a clearing in the forest, between two tall trees with a backdrop of a thick forest behind them. The lighting seems natural and filled with shadows on the ground, as the tree’s are blocking out most of the sky light.
e) The bottom of the poster holds information about the film. The actors names and the companies that have funded it and produced it. One obvious company involved is Fox, as it has 2 adverts in the bottom corners of the picture.
f) The other man in the picture, who is kneeling at the feet of the black dressed man, seems to be pleading with his hands and voice to the other man. He obviously has a lesser status than the other man, as he is on his knees in a begging position. His clothes seem to be smart, giving him a sense of wealth maybe, however they aren’t tucked in or looking as smart as they probably usually would. This gives the viewer the impression that he is not in control of the situation, and that he is in a bad position.
g) The certificate is 18, in its usual red circle, upper right corner of the poster. This could attract the suitable audience that the film would want, as over 18's would relate to the symbol straight away, and think that the film might be suitable for them, as if it was a 15 there is a chance it might be too "teen-age boy" for them. It could connote that the film is a serious thriller, an "adult film".
Monday, 16 February 2009
Influences For Our Thriller Film
During our year we have looked closely at our thriller introductions, and the plans we made. We concentrated for a time on the themes of our thriller. Some of which were going to be obvious:
Corruption: as the young boy, Simon, will be robbing a house, and given a gun, which is not that he is used to.
Moral Ambiguity: who is right and who is wrong, is Simon to blame for the stealing, or the gang leader? is the man's reaction to Simon being in his house the right way to act?
Mystery: as we're not sure why they picked that house, who the man is (as we never see his face) and what is going to happen.
We also looked at styles of our thrillers, and in our group we decided on gangster, and modern. We wanted a modern style to the clothing, speech and setting. We debated having the film in black and white, however due to the modernised style and the gangster theme, we decided against it.
The sub-genre is gangster, as the gang has a gangster-appearance and are dressed and act in that of a modern teenage gangster.
We also discussed what films would have influenced our thriller, in the terms of styles and how it is shot. We chose the following:
- Kidulthood & Adulthood: These two films are sequel to one another, and are a great influence as the main cast of the film are young corrupt teenagers, in adolescence. The characters act as if the world is a gangster life, but we find out that not all of these hard nut gangsters live in the same environment. This makes it relevant to Simon's life, as he was an innocent teenager gone corrupt, choosing a different lifestyle, but still living in his old one.
- Football Factory: This film is a slight influence as to the story line, as a character is caught inside anothers house.
- Layer Cake: This is a good influence for our shot types that we planned, and the location we decided to use is like that of "XXXX"'s house, urban and on a busy-ish road.
- Millers Crossing: This film also has the themes of deceit and loyalty.
- Sin City: The final influence is this, as the sounds and setting are urban, and we will have similar sound affects. Another thing is the number of phone calls in the shots, and how you can hear the voice from the other line, which we are hoping to achieve.
Corruption: as the young boy, Simon, will be robbing a house, and given a gun, which is not that he is used to.
Moral Ambiguity: who is right and who is wrong, is Simon to blame for the stealing, or the gang leader? is the man's reaction to Simon being in his house the right way to act?
Mystery: as we're not sure why they picked that house, who the man is (as we never see his face) and what is going to happen.
We also looked at styles of our thrillers, and in our group we decided on gangster, and modern. We wanted a modern style to the clothing, speech and setting. We debated having the film in black and white, however due to the modernised style and the gangster theme, we decided against it.
The sub-genre is gangster, as the gang has a gangster-appearance and are dressed and act in that of a modern teenage gangster.
We also discussed what films would have influenced our thriller, in the terms of styles and how it is shot. We chose the following:
- Kidulthood & Adulthood: These two films are sequel to one another, and are a great influence as the main cast of the film are young corrupt teenagers, in adolescence. The characters act as if the world is a gangster life, but we find out that not all of these hard nut gangsters live in the same environment. This makes it relevant to Simon's life, as he was an innocent teenager gone corrupt, choosing a different lifestyle, but still living in his old one.
- Football Factory: This film is a slight influence as to the story line, as a character is caught inside anothers house.
- Layer Cake: This is a good influence for our shot types that we planned, and the location we decided to use is like that of "XXXX"'s house, urban and on a busy-ish road.
- Millers Crossing: This film also has the themes of deceit and loyalty.
- Sin City: The final influence is this, as the sounds and setting are urban, and we will have similar sound affects. Another thing is the number of phone calls in the shots, and how you can hear the voice from the other line, which we are hoping to achieve.
Wednesday, 4 February 2009
Method 7 - Working Title Films
Working Title Films is a British film production company. It is based in London, and was founded by Tim Bevan and Sarah Radclyffe in 1984. In 1992 Bevan went looking for a corporate backer. Polygram was the one, and then Fellner came on board, Radclyffe having left.
Working Title Films produces feature films and sometimes television productions. Eric Fellner and Bevan are presently the co-owners. Working Title gained mainstream traction after the aparently unexpected flobal box-office success of Four Weddings and a Funeral, starring Hugh Grant. This film made the term British Blockbuster seem less of an oxymoron.
Among the company's many successful films are Ricard Curtis-scripted romantic comedies (usually starring Grant) and Coen Brothers' films. However, recently the company has moved into many other types of films, such as United 93.
In 2004 Working Title made a profit of £17.8 million, and as of 2007 all its films were being distrubuted by Universal Studios (which owns 67% stakein the company), and many of Working Title's recent films are co-productions with StudioCanal. The remaining shares are owned by the company's founders, BBC Films, and some private investors.
In 1991 Working Title was involved in a bid for the London Weekend ITV licence. Mentorn, Palace, Polygram and Working Title wanted to take over from London Weekend Television and broadcast to London under the name London Independent Broadcasting. In the event LWT retained its licence and London Independent Broadcasting's proposals were deemed to fail the quality threshold by the Independent Television Commission, who were overseeing the big process.
Working Title Films has always wanted to make films for an audience – films to play in a multiplex. They believe in this because they “know” it’s the only hope of sustaining the UK film industry. (Lucy Guard & Natasha Wharton)
Despite the famous name, Working Title has a pretty lean structure. There are only 42 full time staff, which are split between the main Working Title production arm, and the low-budget WT2 (run by Natasha Wharton, existed since 1999).
The company’s smaller, low-budget film brand, Working Title 2 (WT2) has produced films such as Billy Elliot (2000) and Shaun of the Dead (2004) and Ali G In Da House. Recently the company produced Burn After Reading, a comedy starring Brad Pitt and George Clooney.
WT2 was founded when they set up a New Writers Scheme to develop new talent, for which they relaxed and open the doors to unsolicited material (scripts that aren’t from an agent or producer).
The major problem with Working Title, was that smaller films would get less attention than bigger budget projects, so they decided to set up WT2 to give proper attention to those smaller films. Quite a few of the writers from the New Writers Scheme now work with WT2, while others have set up their projects with other companies.
Films they have produced...
That i have seen:
Burn After Reading (2008) ... Production Company
Wild Child (2008) ... Production Company
Atonement (2007) ... Production Company
Hot Fuzz (2007) ... Production Company
Nanny McPhee (2005) ... Production Company
Pride & Prejudice (2005) ... Production Company (as Working Title)
The Interpreter (2005) ... Production Company
Bridget Jones: The Edge of Reason (2004) ... Production Company
Wimbledon (2004) ... Production Company
The Calcium Kid (2004) ... Production Company (presents)
Shaun of the Dead (2004) ... Production Company
Love Actually (2003) ... Production Company (producer) (as Working Title)
Johnny English (2003) ... Production Company
The Guru (2002) ... Production Company
About a Boy (2002) ... Production Company
Bridget Jones's Diary (2001) ... Production Company
Billy Elliot (2000) ... Production Company (presents)
Notting Hill (1999) ... Production Company
The Borrowers (1997) ... Production Company
Dead Man Walking (1995) ... Production Company
Four Weddings and a Funeral (1994) ... Production Company
That i haven't seen:
Bran Mak Morn (2010) ... Production Company
Paul (2010) ... Production Company
The World's End (2010) ... Production Company
Green Zone (2009) ... Production Company
A Serious Man (2009) ... Production Company
The Soloist (2009) ... Production Company
State of Play (2009) ... Production Company
The Boat That Rocked (2009) ... Production Company
Birdsong (2009) ... Production Company
The Dangerous Husband (2009) ... Production Company
Hippie Hippie Shake (2009) ... Production Company
Lost for Words (2009) ... Production Company
The Troubleshooter (2009) ... Production Company
Frost/Nixon (2008) ... Production Company
Definitely, Maybe (2008) ... Production Company
Elizabeth: The Golden Age (2007) ... Production Company
Mr. Bean's Holiday (2007) ... Production Company
Gone (2007/III) ... Production Company
Smokin' Aces (2006) ... Production Company (producer)
Sixty Six (2006) ... Production Company
Catch a Fire (2006) ... Production Company
United 93: The Families and the Film (2006) (V) ... Production Company
United 93 (2006) ... Production Company
The Answer (2004) ... Production Company
Inside I'm Dancing (2004) ... Production Company
Mickybo and Me (2004) ... Production Company
Thunderbirds (2004) ... Production Company (presents)
Double Bill (2003) (TV) ... Production Company
Ned Kelly (2003) ... Production Company
The Shape of Things (2003) ... Production Company
Thirteen (2003) ... Production Company
My Little Eye (2002) ... Production Company
Ali G Indahouse (2002) ... Production Company
40 Days and 40 Nights (2002) ... Production Company
Long Time Dead (2002) ... Production Company
The Man Who Wasn't There (2001) ... Production Company
Captain Corelli's Mandolin (2001) ... Production Company
The Man Who Cried (2000) ... Production Company
O Brother, Where Art Thou? (2000) ... Production Company (as Working Title)
High Fidelity (2000) ... Production Company
Plunkett & Macleane (1999) ... Production Company
The Hi-Lo Country (1998) ... Production Company
Elizabeth (1998) ... Production Company
What Rats Won't Do (1998) ... Production Company
"More Tales of the City" (1998) ... Production Company
The Big Lebowski (1998) ... Production Company
Eight (1998) ... Production Company
The MatchMaker (1997) ... Production Company
Bean (1997) ... Production Company
Huitième jour, Le (1996) ... Production Company
"Zig and Zag's Dirty Deeds" (1996) ... Production Company
Fargo (1996) ... Production Company (in association with)
Loch Ness (1996) ... Production Company
Moonlight and Valentino (1995) ... Production Company
French Kiss (1995) ... Production Company
Panther (1995) ... Production Company
Land and Freedom (1995) ... Production Company (developed with the support of) (as Working Title)
That Eye, the Sky (1994) ... Production Company
The Hudsucker Proxy (1994) ... Production Company
"The Return of the Borrowers" (1993) ... Production Company
The Young Americans (1993) ... Production Company
Romeo Is Bleeding (1993) ... Production Company
Posse (1993) ... Production Company
"Tales of the City" (1993) ... Production Company
Map of the Human Heart (1993) ... Production Company
Bob Roberts (1992) ... Production Company
Dakota Road (1992) ... Production Company
"The Comic Strip Presents...: Red Nose of Courage (#6.1)" (1992) ... Production Company
London Kills Me (1991) ... Production Company
Edward II (1991) ... Production Company
Barton Fink (1991) ... Production Company
Smack and Thistle (1991) (TV) ... Production Company
Robin Hood (1991/I) (TV) ... Production Company (as A Working Title Production)
Drop Dead Fred (1991) ... Production Company
Rubin and Ed (1991) ... Production Company
Chicago Joe and the Showgirl (1990) ... Production Company
Fools of Fortune (1990) ... Production Company
Arcadia (1990) ... Production Company
Diamond Skulls (1989) ... Production Company
The Tall Guy (1989) ... Production Company
Paperhouse (1988) ... Production Company
A World Apart (1988) ... Production Company
Echoes (1988) (TV) ... Production Company
For Queen & Country (1988) ... Production Company
Sammy and Rosie Get Laid (1987) ... Production Company
Wish You Were Here (1987) ... Production Company
My Beautiful Laundrette (1985) ... Production Company
The Man Who Shot Christmas (1984) ... Production Company (as Big Science Ltd.)
Working Title Films produces feature films and sometimes television productions. Eric Fellner and Bevan are presently the co-owners. Working Title gained mainstream traction after the aparently unexpected flobal box-office success of Four Weddings and a Funeral, starring Hugh Grant. This film made the term British Blockbuster seem less of an oxymoron.
Among the company's many successful films are Ricard Curtis-scripted romantic comedies (usually starring Grant) and Coen Brothers' films. However, recently the company has moved into many other types of films, such as United 93.
In 2004 Working Title made a profit of £17.8 million, and as of 2007 all its films were being distrubuted by Universal Studios (which owns 67% stakein the company), and many of Working Title's recent films are co-productions with StudioCanal. The remaining shares are owned by the company's founders, BBC Films, and some private investors.
In 1991 Working Title was involved in a bid for the London Weekend ITV licence. Mentorn, Palace, Polygram and Working Title wanted to take over from London Weekend Television and broadcast to London under the name London Independent Broadcasting. In the event LWT retained its licence and London Independent Broadcasting's proposals were deemed to fail the quality threshold by the Independent Television Commission, who were overseeing the big process.
Working Title Films has always wanted to make films for an audience – films to play in a multiplex. They believe in this because they “know” it’s the only hope of sustaining the UK film industry. (Lucy Guard & Natasha Wharton)
Despite the famous name, Working Title has a pretty lean structure. There are only 42 full time staff, which are split between the main Working Title production arm, and the low-budget WT2 (run by Natasha Wharton, existed since 1999).
The company’s smaller, low-budget film brand, Working Title 2 (WT2) has produced films such as Billy Elliot (2000) and Shaun of the Dead (2004) and Ali G In Da House. Recently the company produced Burn After Reading, a comedy starring Brad Pitt and George Clooney.
WT2 was founded when they set up a New Writers Scheme to develop new talent, for which they relaxed and open the doors to unsolicited material (scripts that aren’t from an agent or producer).
The major problem with Working Title, was that smaller films would get less attention than bigger budget projects, so they decided to set up WT2 to give proper attention to those smaller films. Quite a few of the writers from the New Writers Scheme now work with WT2, while others have set up their projects with other companies.
Films they have produced...
That i have seen:
Burn After Reading (2008) ... Production Company
Wild Child (2008) ... Production Company
Atonement (2007) ... Production Company
Hot Fuzz (2007) ... Production Company
Nanny McPhee (2005) ... Production Company
Pride & Prejudice (2005) ... Production Company (as Working Title)
The Interpreter (2005) ... Production Company
Bridget Jones: The Edge of Reason (2004) ... Production Company
Wimbledon (2004) ... Production Company
The Calcium Kid (2004) ... Production Company (presents)
Shaun of the Dead (2004) ... Production Company
Love Actually (2003) ... Production Company (producer) (as Working Title)
Johnny English (2003) ... Production Company
The Guru (2002) ... Production Company
About a Boy (2002) ... Production Company
Bridget Jones's Diary (2001) ... Production Company
Billy Elliot (2000) ... Production Company (presents)
Notting Hill (1999) ... Production Company
The Borrowers (1997) ... Production Company
Dead Man Walking (1995) ... Production Company
Four Weddings and a Funeral (1994) ... Production Company
That i haven't seen:
Bran Mak Morn (2010) ... Production Company
Paul (2010) ... Production Company
The World's End (2010) ... Production Company
Green Zone (2009) ... Production Company
A Serious Man (2009) ... Production Company
The Soloist (2009) ... Production Company
State of Play (2009) ... Production Company
The Boat That Rocked (2009) ... Production Company
Birdsong (2009) ... Production Company
The Dangerous Husband (2009) ... Production Company
Hippie Hippie Shake (2009) ... Production Company
Lost for Words (2009) ... Production Company
The Troubleshooter (2009) ... Production Company
Frost/Nixon (2008) ... Production Company
Definitely, Maybe (2008) ... Production Company
Elizabeth: The Golden Age (2007) ... Production Company
Mr. Bean's Holiday (2007) ... Production Company
Gone (2007/III) ... Production Company
Smokin' Aces (2006) ... Production Company (producer)
Sixty Six (2006) ... Production Company
Catch a Fire (2006) ... Production Company
United 93: The Families and the Film (2006) (V) ... Production Company
United 93 (2006) ... Production Company
The Answer (2004) ... Production Company
Inside I'm Dancing (2004) ... Production Company
Mickybo and Me (2004) ... Production Company
Thunderbirds (2004) ... Production Company (presents)
Double Bill (2003) (TV) ... Production Company
Ned Kelly (2003) ... Production Company
The Shape of Things (2003) ... Production Company
Thirteen (2003) ... Production Company
My Little Eye (2002) ... Production Company
Ali G Indahouse (2002) ... Production Company
40 Days and 40 Nights (2002) ... Production Company
Long Time Dead (2002) ... Production Company
The Man Who Wasn't There (2001) ... Production Company
Captain Corelli's Mandolin (2001) ... Production Company
The Man Who Cried (2000) ... Production Company
O Brother, Where Art Thou? (2000) ... Production Company (as Working Title)
High Fidelity (2000) ... Production Company
Plunkett & Macleane (1999) ... Production Company
The Hi-Lo Country (1998) ... Production Company
Elizabeth (1998) ... Production Company
What Rats Won't Do (1998) ... Production Company
"More Tales of the City" (1998) ... Production Company
The Big Lebowski (1998) ... Production Company
Eight (1998) ... Production Company
The MatchMaker (1997) ... Production Company
Bean (1997) ... Production Company
Huitième jour, Le (1996) ... Production Company
"Zig and Zag's Dirty Deeds" (1996) ... Production Company
Fargo (1996) ... Production Company (in association with)
Loch Ness (1996) ... Production Company
Moonlight and Valentino (1995) ... Production Company
French Kiss (1995) ... Production Company
Panther (1995) ... Production Company
Land and Freedom (1995) ... Production Company (developed with the support of) (as Working Title)
That Eye, the Sky (1994) ... Production Company
The Hudsucker Proxy (1994) ... Production Company
"The Return of the Borrowers" (1993) ... Production Company
The Young Americans (1993) ... Production Company
Romeo Is Bleeding (1993) ... Production Company
Posse (1993) ... Production Company
"Tales of the City" (1993) ... Production Company
Map of the Human Heart (1993) ... Production Company
Bob Roberts (1992) ... Production Company
Dakota Road (1992) ... Production Company
"The Comic Strip Presents...: Red Nose of Courage (#6.1)" (1992) ... Production Company
London Kills Me (1991) ... Production Company
Edward II (1991) ... Production Company
Barton Fink (1991) ... Production Company
Smack and Thistle (1991) (TV) ... Production Company
Robin Hood (1991/I) (TV) ... Production Company (as A Working Title Production)
Drop Dead Fred (1991) ... Production Company
Rubin and Ed (1991) ... Production Company
Chicago Joe and the Showgirl (1990) ... Production Company
Fools of Fortune (1990) ... Production Company
Arcadia (1990) ... Production Company
Diamond Skulls (1989) ... Production Company
The Tall Guy (1989) ... Production Company
Paperhouse (1988) ... Production Company
A World Apart (1988) ... Production Company
Echoes (1988) (TV) ... Production Company
For Queen & Country (1988) ... Production Company
Sammy and Rosie Get Laid (1987) ... Production Company
Wish You Were Here (1987) ... Production Company
My Beautiful Laundrette (1985) ... Production Company
The Man Who Shot Christmas (1984) ... Production Company (as Big Science Ltd.)
The Bill : The Forgotten Child (Part 1) - Analysis
The Bill is a "soap" series, that doesn't have a certain set number of episodes, as its continuously in production. It follows the lives of the police officers who work in Sun Hill Station, and follows stories, trials, and arrests of the people who live in the surrounding area. Each episode is an hour long, and usually the crime is solved in one episode, however sometimes they have a 2 or 3 part episode, each an hour long but on different days.
This episode was a part-episode, following the story of a young girl gone missing then found dead. It is from the 24th series, which shows again how it is not a limited movie-like special.
The extract we were given to watch, started with a high angled shot of a car pulling down an alley way off a main road, beside a pub. We hear digetic siren sounds in the background, and are told it is 5am by the main police investigators, who are shown predominantly in the shot, walking toward an obvious crime scene. There are police officers, and police tape around the area, and we then receive a close long shot of a young girl slumped against a fence, dead. Close-ups of her arm reveal self-harming and a heroin injection overdose. The background for this extract is a closed alley behind a pub, wet and damp in the early morning. The setting is quite dreary, matching the matter which the police are solving.
We are shown a point of view shot from DC Jo Masters, looking at the dead girl, as she claims she recognises her from somewhere.
We are then taken with DC Masters toward 2 other police officers, who are interviewing the owner of the pub on the corner. Not too much is said, but it is obvious the pub owner doesn't have that much interest in what's going on.
The camera then cuts to the offices in Sun Hill Station, with DC Masters and DC Micky Webb searching through files looking for the young girl's identity, however, once found, the information "Kelly Kong, Brother King and lives in the Jungle" proves unhelpful. The office desk has a few papers scattered on it, and DC Masters doesn't take care when searching through the folders, leaving the desk quite messy.
We are then shown another short section inside the Station, where 3 DC's are discussing the matter. DC Masters, the only female in the shot, seems to be in charge of actions and information, and seems to be quite blunt and to the point.
Behind the 3 DC's in the corridor, are many offices and rooms partly concealed by slatted blinds which are a typical thriller signifier, and the Station has many of these. Although the Bill isn't really a full-on thriller, as its more crime-scene/thriller, it still holds a few subtle hints. Another thriller signifier, mystery and deception, also come into this episode, as the cause of the young girls death is unknown and unsure of, and how we are shown some people obviously lying.
We are then shown another damp grey street with 2 police officers walking down the road. They stop to talk to a woman who is sitting near a phone box, and we hear sirens in the distance. We are shown a picture of the woman's daughter, and are told her name is Kelly, and the audience immediately knows that the woman's daughter is the dead girl from the alley, however she does not know this. This can create tension in the audience, as we wonder how she will find out and how she will react, and the audience has the upper hand on one of the characters, as we know more than they do.
We are then taken back to the station, where we are taken into a room with DC Masters, where the mother of Kelly is. The mise-en-scene of this shot has a sense of power, as DC Masters is close to the camera, and Kelly's mother is sat on one of the comfy sofas, small and worried. The room has pleasant colours and is almost child-like, so is obviously not used for interrogations but is more like a waiting room or care room. As the news of her daughters death is brought to her, Mrs Porterfield breaks down in tears, this is shown with a mid shot, no close-ups as you'd expect to build on her emotion. The room is quite silent throughout this scene, although there is a distant phone or two ringing in a businesslike tone, however ignored by whoever is meant to answer them. The atmosphere of the waiting-room-scene is calm but tense, as we are waiting for an outburst of emotion from Mrs Porterfield, or more sympathy from the DC's, however neither become present.
Throughout the extract, the police force are not portrayed as stereotypical as you'd think, baring in mind the theme of the soap. They make a fair few jokes throughout the extract, for example when they interview the pub owner, who claims his pub gets busy and popular, we hear one of the officers sarcastically comment "can't think why", which we would not usually expect a police officer to say when interrogating someone during a crime scene. We are also shown more humour when DC Masters & DC Webb are looking through files for the identity of the dead girl, as they know her name starts with a k, DC Webb pulls out a file and says "Keith" with a picture of what seems to be a girl, but is a transvestite, at which they both laugh. Another joke, sex-related, is between the 2 police officers who find Mrs Porterfield. As they are leaving the Sun Hill Station we hear the male officer ask the female for help on a case, at which she replies "I'm all yours" to say she will help him, however he comes back with a "you wish" implying she was talking about something else. The female officer then says "yeah right" as if to imply he's not her type, and to emotionally hurt him.
These jokes are not how we usually view the police, and although are not that shocking, are still surprising to see in a "serious" police crime drama.
Another factor concerning the portrayal of the force, is how most of the woman dress. They seem to wear lots of make-up, practically the same amount as a model, and how their uniforms are quite tight and seem to enhance their bodily features. Again, if we look at our every-day police force in our own city, we don't usually see female or male police officers looking so "good" or seeming to take pride in their appearance as much as someone who had a career in make-up would!
This episode was a part-episode, following the story of a young girl gone missing then found dead. It is from the 24th series, which shows again how it is not a limited movie-like special.
The extract we were given to watch, started with a high angled shot of a car pulling down an alley way off a main road, beside a pub. We hear digetic siren sounds in the background, and are told it is 5am by the main police investigators, who are shown predominantly in the shot, walking toward an obvious crime scene. There are police officers, and police tape around the area, and we then receive a close long shot of a young girl slumped against a fence, dead. Close-ups of her arm reveal self-harming and a heroin injection overdose. The background for this extract is a closed alley behind a pub, wet and damp in the early morning. The setting is quite dreary, matching the matter which the police are solving.
We are shown a point of view shot from DC Jo Masters, looking at the dead girl, as she claims she recognises her from somewhere.
We are then taken with DC Masters toward 2 other police officers, who are interviewing the owner of the pub on the corner. Not too much is said, but it is obvious the pub owner doesn't have that much interest in what's going on.
The camera then cuts to the offices in Sun Hill Station, with DC Masters and DC Micky Webb searching through files looking for the young girl's identity, however, once found, the information "Kelly Kong, Brother King and lives in the Jungle" proves unhelpful. The office desk has a few papers scattered on it, and DC Masters doesn't take care when searching through the folders, leaving the desk quite messy.
We are then shown another short section inside the Station, where 3 DC's are discussing the matter. DC Masters, the only female in the shot, seems to be in charge of actions and information, and seems to be quite blunt and to the point.
Behind the 3 DC's in the corridor, are many offices and rooms partly concealed by slatted blinds which are a typical thriller signifier, and the Station has many of these. Although the Bill isn't really a full-on thriller, as its more crime-scene/thriller, it still holds a few subtle hints. Another thriller signifier, mystery and deception, also come into this episode, as the cause of the young girls death is unknown and unsure of, and how we are shown some people obviously lying.
We are then shown another damp grey street with 2 police officers walking down the road. They stop to talk to a woman who is sitting near a phone box, and we hear sirens in the distance. We are shown a picture of the woman's daughter, and are told her name is Kelly, and the audience immediately knows that the woman's daughter is the dead girl from the alley, however she does not know this. This can create tension in the audience, as we wonder how she will find out and how she will react, and the audience has the upper hand on one of the characters, as we know more than they do.
We are then taken back to the station, where we are taken into a room with DC Masters, where the mother of Kelly is. The mise-en-scene of this shot has a sense of power, as DC Masters is close to the camera, and Kelly's mother is sat on one of the comfy sofas, small and worried. The room has pleasant colours and is almost child-like, so is obviously not used for interrogations but is more like a waiting room or care room. As the news of her daughters death is brought to her, Mrs Porterfield breaks down in tears, this is shown with a mid shot, no close-ups as you'd expect to build on her emotion. The room is quite silent throughout this scene, although there is a distant phone or two ringing in a businesslike tone, however ignored by whoever is meant to answer them. The atmosphere of the waiting-room-scene is calm but tense, as we are waiting for an outburst of emotion from Mrs Porterfield, or more sympathy from the DC's, however neither become present.
Throughout the extract, the police force are not portrayed as stereotypical as you'd think, baring in mind the theme of the soap. They make a fair few jokes throughout the extract, for example when they interview the pub owner, who claims his pub gets busy and popular, we hear one of the officers sarcastically comment "can't think why", which we would not usually expect a police officer to say when interrogating someone during a crime scene. We are also shown more humour when DC Masters & DC Webb are looking through files for the identity of the dead girl, as they know her name starts with a k, DC Webb pulls out a file and says "Keith" with a picture of what seems to be a girl, but is a transvestite, at which they both laugh. Another joke, sex-related, is between the 2 police officers who find Mrs Porterfield. As they are leaving the Sun Hill Station we hear the male officer ask the female for help on a case, at which she replies "I'm all yours" to say she will help him, however he comes back with a "you wish" implying she was talking about something else. The female officer then says "yeah right" as if to imply he's not her type, and to emotionally hurt him.
These jokes are not how we usually view the police, and although are not that shocking, are still surprising to see in a "serious" police crime drama.
Another factor concerning the portrayal of the force, is how most of the woman dress. They seem to wear lots of make-up, practically the same amount as a model, and how their uniforms are quite tight and seem to enhance their bodily features. Again, if we look at our every-day police force in our own city, we don't usually see female or male police officers looking so "good" or seeming to take pride in their appearance as much as someone who had a career in make-up would!
Life On Mars ; Season 2, Episode 3 : Bombs - Analysis
Life On Mars is a British TV police drama series. It was released in 2006 and played on BBC1 at 9pm. It is about a present-day (2006) police detective, Sam Tyler, who finds himself in 1973 after being in a car accident.
The extract we are looking at comes from an episode about bomb threats and bomb attacks, which the police believe are coming from the IRA, however we find out they're not, and the Irish who have been arrested and beaten have been for no reason.
At the beginning of our extract, the camera shows shirts hanging on a washing line, in the middle of the street. The camera moves through the shirts to show a street, which is obviously not one of the richest in the area. The shirts being hung in the street gives us an idea on what the street is like, as it must be a close-knit community for them to trust each other with their belongings. In the modern day we wouldn't hang our clothes out in public in fear of them getting stolen. The houses on the street seem small, and the coloring looks washed and sepia-toned.
There is some non-digetic music playing from a previous frame, up-beat rock music playing loudly but then quietens and stops as the police exit their vehicle.
As the detectives Tyler and Hunt pull up in the car (Hunt driving) they run over a bin on the pavement, not taking care with parking, and exit the car. This shows the audience how detectives in the 70s were more rude and arrogant than present, and they were not as formal and respectable as they now are.
As Tyler hints to Hunt to apologize to the arrested-but-being-freed Irish man (Paddy), Hunt seems distracted by the sky or anything around him as he mutters sorry and "no hard feelings". Paddy starts to explain his situation to Hunt, and complains about how he is treated, however Hunt only looks at him about 3 times during the Paddy's speech. Hunt also keeps his arms folded and has a dis-interested look on his face, a look of impatience.
The camera switches points of view during this speech, and shows various shots of Hunt, Hunt and Tyler, the Paddy, and all three at once. Even when they are not talking, Hunt and Tyler are shown, which captures their different reactions to what the Paddy is saying. This also gives the audience a platform to accuse Hunt of his un-emotional approach to policing. Before the speech, we notice how the Paddy has been severely beaten, with bruises and cuts all over his face. However this provokes no sympathy from either of the detectives, even Tyler who is listening to what he has to say, and seems genuinely sorry. During the Paddy's speech there is a close-up shot that shows the contrast between Hunt and Tyler's expression. It shows Hunt's un-interested and un-emotional face, and how Tyler seems to be hanging on every word but trying not to seem weak to Hunt, and at the same time trying to sympathize with Paddy.
This racism towards Paddy from Hunt is exchanged to another type of foreigner as Paddy disappears. An Indian man, who we see at the start of the extract carrying a table across the road to his new house, is now carrying a TV. Hunt stops him and suspiciously asks him about the TV, to which the man replies "my new house". Hunt had obviously thought he was stealing it, however it was clear he was just loading things to his house. Hunt also displays more racism when he refers to the man's wife as a "paki" because of what she is wearing. Tyler seems quite surprised by this public display of racism, but also knows that that is what its like, as he just rolls his eyes angrily and gets back in the car. This is a huge contrast to nowadays as the police force or any detectives wouldn’t be seen in public being racist and not trying to hide it.
As the scene changes to the pub, the detectives are all sitting around a table as Tyler walks in, with a light background making him almost super-hero-like. This image is enhances as the pub starts clapping him.
The care-free arrogant attitude of the police is displays in this scene as well, as they are all smoking and drinking in the pub, obviously getting hammered. Also Hunt brings out his racism again when he claims he has "never known an Irishman who has refused a drink".
Some humor is added into the extract with the past and future of Tyler coming into focus, as Annie Cartwright claims it might do the country good to have a woman running it, at which Tyler claims he bets that she'll "regret saying that one day" in reference to Margaret Thatcher. Another example of this humor is included in Hunt's racism about the Irish and their drinking, as he claims they'd never bomb a pub because they love their drink too much, which is ironic as the IRA did bomb pubs and other places.
The scene changes, though this setting is the same, it is obviously just a later part of the day. The atmosphere of the pub has changed and it is more warm and inviting, with laughter and friendly faces and general chit-chat. The juke-box is visible in the frame and the inside smoking hints towards the average 1970 pub. The digetic music of the juke box adds to this friendly and close atmosphere, with short snippets of the conversation caught in the audience's ear. Then a distinctive ringing is heard, from a red telephone that stands out visually and as sound. The ringing seems quite loud however Tyler seems to be the only one who can hear it. The red colour of the phone also stands out in the mise-en-scene as the other colours of the pub are dull or dubbed browns and grays. This shot moved over to the phone on the bar uses a good proportion of the rule of thirds. There is a long shot of Tyler's reaction to the phone, and the smoke seems to add to the tension in Tyler’s eyes as he walks over to the phone, and picks it up.
Our extract ends as Tyler picks up the phone, which is a cliff hanger point because it seems to be a link to him and maybe his present 2006 self.
The extract we are looking at comes from an episode about bomb threats and bomb attacks, which the police believe are coming from the IRA, however we find out they're not, and the Irish who have been arrested and beaten have been for no reason.
At the beginning of our extract, the camera shows shirts hanging on a washing line, in the middle of the street. The camera moves through the shirts to show a street, which is obviously not one of the richest in the area. The shirts being hung in the street gives us an idea on what the street is like, as it must be a close-knit community for them to trust each other with their belongings. In the modern day we wouldn't hang our clothes out in public in fear of them getting stolen. The houses on the street seem small, and the coloring looks washed and sepia-toned.
There is some non-digetic music playing from a previous frame, up-beat rock music playing loudly but then quietens and stops as the police exit their vehicle.
As the detectives Tyler and Hunt pull up in the car (Hunt driving) they run over a bin on the pavement, not taking care with parking, and exit the car. This shows the audience how detectives in the 70s were more rude and arrogant than present, and they were not as formal and respectable as they now are.
As Tyler hints to Hunt to apologize to the arrested-but-being-freed Irish man (Paddy), Hunt seems distracted by the sky or anything around him as he mutters sorry and "no hard feelings". Paddy starts to explain his situation to Hunt, and complains about how he is treated, however Hunt only looks at him about 3 times during the Paddy's speech. Hunt also keeps his arms folded and has a dis-interested look on his face, a look of impatience.
The camera switches points of view during this speech, and shows various shots of Hunt, Hunt and Tyler, the Paddy, and all three at once. Even when they are not talking, Hunt and Tyler are shown, which captures their different reactions to what the Paddy is saying. This also gives the audience a platform to accuse Hunt of his un-emotional approach to policing. Before the speech, we notice how the Paddy has been severely beaten, with bruises and cuts all over his face. However this provokes no sympathy from either of the detectives, even Tyler who is listening to what he has to say, and seems genuinely sorry. During the Paddy's speech there is a close-up shot that shows the contrast between Hunt and Tyler's expression. It shows Hunt's un-interested and un-emotional face, and how Tyler seems to be hanging on every word but trying not to seem weak to Hunt, and at the same time trying to sympathize with Paddy.
This racism towards Paddy from Hunt is exchanged to another type of foreigner as Paddy disappears. An Indian man, who we see at the start of the extract carrying a table across the road to his new house, is now carrying a TV. Hunt stops him and suspiciously asks him about the TV, to which the man replies "my new house". Hunt had obviously thought he was stealing it, however it was clear he was just loading things to his house. Hunt also displays more racism when he refers to the man's wife as a "paki" because of what she is wearing. Tyler seems quite surprised by this public display of racism, but also knows that that is what its like, as he just rolls his eyes angrily and gets back in the car. This is a huge contrast to nowadays as the police force or any detectives wouldn’t be seen in public being racist and not trying to hide it.
As the scene changes to the pub, the detectives are all sitting around a table as Tyler walks in, with a light background making him almost super-hero-like. This image is enhances as the pub starts clapping him.
The care-free arrogant attitude of the police is displays in this scene as well, as they are all smoking and drinking in the pub, obviously getting hammered. Also Hunt brings out his racism again when he claims he has "never known an Irishman who has refused a drink".
Some humor is added into the extract with the past and future of Tyler coming into focus, as Annie Cartwright claims it might do the country good to have a woman running it, at which Tyler claims he bets that she'll "regret saying that one day" in reference to Margaret Thatcher. Another example of this humor is included in Hunt's racism about the Irish and their drinking, as he claims they'd never bomb a pub because they love their drink too much, which is ironic as the IRA did bomb pubs and other places.
The scene changes, though this setting is the same, it is obviously just a later part of the day. The atmosphere of the pub has changed and it is more warm and inviting, with laughter and friendly faces and general chit-chat. The juke-box is visible in the frame and the inside smoking hints towards the average 1970 pub. The digetic music of the juke box adds to this friendly and close atmosphere, with short snippets of the conversation caught in the audience's ear. Then a distinctive ringing is heard, from a red telephone that stands out visually and as sound. The ringing seems quite loud however Tyler seems to be the only one who can hear it. The red colour of the phone also stands out in the mise-en-scene as the other colours of the pub are dull or dubbed browns and grays. This shot moved over to the phone on the bar uses a good proportion of the rule of thirds. There is a long shot of Tyler's reaction to the phone, and the smoke seems to add to the tension in Tyler’s eyes as he walks over to the phone, and picks it up.
Our extract ends as Tyler picks up the phone, which is a cliff hanger point because it seems to be a link to him and maybe his present 2006 self.
Target Audience - Thriller Film
This is providing research into the thriller genre and its target audience's for different films. It is now possible to make a target audience profile for our thriller film in production.
The age group of the target audience is around 16-25 years, as 75% of the thriller-viewers sample were students. For our film, this can be related to by the audience, as our main characters are teenagers/young adults, providing a pathway for connection from the audience.
The gender of the target audience isn't as specific as age ranges or demographic classification, but is important nonetheless. For our film, the gender of the target audience would mainly be males, though females could be attracted to the film also. This is because, research done into the films we were "inspired" by, showed that males enjoyed the type of film more than females. Kidulthood for example, had user ratings from males as 6.0, however females were only 4.3. It also showed that 18 to 29 year olds (both male and female) enjoyed the film more than under 18's, as both 18-29 year groups voted at 6.4, however under 18 males only voted 6.0, and females only voted a low 3.2. Also, for Layer Cake, males overall rated the movie higher than females, though it was pretty close. However, for our other inspirational film Adulthood, although males overall voted 7.0, and females voted at 6.0, females under 18 voted 0.4 more than males, and were equal in ratings in the 18-29 group. This shows how the female audience is already attracted to our type of film, as there is a certain aspect of a male lead (etc) that is appealing to them, even though there are few females in each movie, and most of them that do appear are not portrayed in a respected manner. Our film isn't going to have any female actresses.
The majority of our target audience will be made up of students due to the age range. Also because of how around 75% of my thriller consumption research proved to be thriller fans.
The interests of our target audience are demonstrated mostly by other thriller films they like, so film reviews of films that we have associated with our film (such as kidulthood, its sequal, and layer cake) are important, as shown above with the gender and age results i obtained from http://www.imdb.com/ and their user ratings.
I think the demographic choice for us will be more C1 and C2. Most films are made for B, C1 & C2 due to the fact that they can afford luxuries like the cinema, and have the means and time to go see films or buy DVD's, however i think B may be aiming a bit high for our film, as it is mainly about C1 and C2 people, students in fact, who have not yet reached the B standard.
The age group of the target audience is around 16-25 years, as 75% of the thriller-viewers sample were students. For our film, this can be related to by the audience, as our main characters are teenagers/young adults, providing a pathway for connection from the audience.
The gender of the target audience isn't as specific as age ranges or demographic classification, but is important nonetheless. For our film, the gender of the target audience would mainly be males, though females could be attracted to the film also. This is because, research done into the films we were "inspired" by, showed that males enjoyed the type of film more than females. Kidulthood for example, had user ratings from males as 6.0, however females were only 4.3. It also showed that 18 to 29 year olds (both male and female) enjoyed the film more than under 18's, as both 18-29 year groups voted at 6.4, however under 18 males only voted 6.0, and females only voted a low 3.2. Also, for Layer Cake, males overall rated the movie higher than females, though it was pretty close. However, for our other inspirational film Adulthood, although males overall voted 7.0, and females voted at 6.0, females under 18 voted 0.4 more than males, and were equal in ratings in the 18-29 group. This shows how the female audience is already attracted to our type of film, as there is a certain aspect of a male lead (etc) that is appealing to them, even though there are few females in each movie, and most of them that do appear are not portrayed in a respected manner. Our film isn't going to have any female actresses.
The majority of our target audience will be made up of students due to the age range. Also because of how around 75% of my thriller consumption research proved to be thriller fans.
The interests of our target audience are demonstrated mostly by other thriller films they like, so film reviews of films that we have associated with our film (such as kidulthood, its sequal, and layer cake) are important, as shown above with the gender and age results i obtained from http://www.imdb.com/ and their user ratings.
I think the demographic choice for us will be more C1 and C2. Most films are made for B, C1 & C2 due to the fact that they can afford luxuries like the cinema, and have the means and time to go see films or buy DVD's, however i think B may be aiming a bit high for our film, as it is mainly about C1 and C2 people, students in fact, who have not yet reached the B standard.
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