Unknown Villain – The way I want to portray the villain is for him to remain unknown throughout the film; no one will know his name or who/what he is. He will be played by a tall person as I want to show his dominance and with low angle shots can emphasise his size more. In the trailer I don’t want to be showing him much but just enough to show who the villain is. His costume will consist of mainly dark colours, preferably black. His age will remain unknown, as will the majority of things about him throughout the film. He will have a trademark weapon or a certain method of attacking his pray, although I am yet to decide on this.
Greg – Greg is going to be the lead amongst the main characters, there will be a group of teenagers consisting of around 5. Greg will have the most important role to play as he will be involved the most. As there are 3 main male actors I want them all to be different, Greg will be the ‘lead’ amongst them and make the majority of the decisions within the group. He will be the oldest and most responsible.
Lee – Lee will be the laid back one of the group, never rushes or gets worried about anything. He will be the funny one also who makes the jokes even at the wrong time. He will be the same age as Greg around 17/18.
Danny – I’m going to portray Danny to be the worried one, the one who’s always on edge and never sure about anything. As the group is being hunted down by the villain Danny is the one who is always worrying, always asking questions etc.
Hannah – Within the group there will be 3 males and 2 females, Hannah is one of the two and I am going to portray her as the mature one who doesn’t believe anything the group are saying about the villain and think they are being immature and stupid. She will be the same age as the rest of group.
Laura – Laura is a conventional girl, she is very worried and always panicking about what’s happening around her and wants reassurance all the time. She is also the better looking of the two females but also the least mature.
My characters are being played by close friends, 3/6 of them are going to be played by actual drama students. The reason I have decided to have them in because I know they will take it seriously and it could benefit them as well as myself.
Tuesday, 21 December 2010
Sunday, 12 December 2010
Narrative - Scene planning
Narrative
Over a year on since 5 teenagers hit down a passer by on a long country road, although rather than stop to see if the man was ok they presumed he was dead and as a group decided to leave the scene of the crime and agree to forget about the incident and never speak of it again.
How wrong they was, as they all thought the man was dead, later they realise he’s very much alive and in the hunt for revenge.
Scene 1
After a party at a friends house the gang all leave together in one of the gangs car. As the driver shuts the door the audience see a glimpse of the villain for the first time in the wing mirror. As they drive off the camera goes back to the spot where the villain appeared to be stood and nothing is there.
I think the idea of this opening scene is a good one because it shows the audience who the main characters are, and as its only a trailer I don’t want the audience to know too much about what’s going on so I think if I show them the characters without telling them too much then this will keep the suspense up.
Scene 2
I have decided to have scene 2 as a flash back showing something that happened involving all the main people. It will be a scene showing them in a car running over a man and then leaving him thinking he’s dead. This is the pivotal scene as it explains to the audience what has happened in the past and it explains the reasoning for the things that happen in the film.
I thought I needed to have a scene that explained what happened and why there is a villain in the film. Without this the audience would be clueless into why the villain is after the group of teenagers and the story would be pointless.
Scene 3
In the third scene the group are driving down a long country road and the driver of the car see’s flashes of the man they ran over on in the wood at the side of the road.
I think this scene adds to the suspense of the trailer, it should build up well and give the audience a better idea of what the killer is and who.
Scene 4
In the fourth scene, I am going to have the group sat in a room all talking about the past events, and they all come to realise they have all been seeing the same images for a while now. As the group are talking, the lights and electrics go off in a flash. As one of the groups reaches for a torch, they turn it on and light skims across the figure of the man they ran over, although none of the group realises.
This scene in the trailer I think is pivotal, it shows the entire group in detail and shows the fear they have.
Scene 5
In this scene, this is where I speed things up with quick cuts and fast takes. I will be showing around 7-10 different shots of different things to make the action speed up and show little clips of some of the action in the film.
I think this scene appears in almost every horror film, it will either show the monster/villain more, whether it be chasing the original group or going after other people.
Scene 6
This is my final scene; its going to be set in a gravy-yard which I think is perfect for setting the mood. It will show a girl and boy from the group at a grave, placing a rose on the ground and as they walk away the audience see the villain in the background stalking the 2.
Saturday, 27 November 2010
Action Plan
Narrative
This is arguably the most essential part of any film, it is the whole story of the film and once I have this that’s when everything else falls into plan. I will have to make sure I go over every detail before I have my final idea. I have decided to do a whole film narrative rather than try and just do a trailer, I believe once I have the idea for the film that’s when I will be able to make a trailer.
Story boards
When I come to do my story boards I will need to make sure I make them as detailed as possible, I will need to make sure I include things such as:
• Camera angle/shot
• Frame number
• Scene number
• Dialogue (if any)
• Voice over (if any)
• Transitions
• Length
Location
This is where my film trailer will take place, whether it be one place or several. I need to be very specific with what locations I use, it needs to be specific to my genre and also set the mood well. I will have to take images before hand and also take into consideration the weather and time I will be filming.
Script
Along with narrative this is an essential part of any film, this is where I decide what actor says what and when.
For all of this I want to make sure I have them near completion around the mid January.
Narrative
This is arguably the most essential part of any film, it is the whole story of the film and once I have this that’s when everything else falls into plan. I will have to make sure I go over every detail before I have my final idea. I have decided to do a whole film narrative rather than try and just do a trailer, I believe once I have the idea for the film that’s when I will be able to make a trailer.
Story boards
When I come to do my story boards I will need to make sure I make them as detailed as possible, I will need to make sure I include things such as:
• Camera angle/shot
• Frame number
• Scene number
• Dialogue (if any)
• Voice over (if any)
• Transitions
• Length
Location
This is where my film trailer will take place, whether it be one place or several. I need to be very specific with what locations I use, it needs to be specific to my genre and also set the mood well. I will have to take images before hand and also take into consideration the weather and time I will be filming.
Script
Along with narrative this is an essential part of any film, this is where I decide what actor says what and when.
For all of this I want to make sure I have them near completion around the mid January.
Wednesday, 17 November 2010
BBFC
‘U’
Universal – Suitable for all
It is impossible to predict what might upset any particular child. But a ‘U’ film shoul
d be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.
If a work is particularly suitable for a pre-school child to view alone, this will be indicated in the Consumer Advice.
Discrimination
No discriminatory language or behaviour unless clearly disapproved of.
Drugs
No references to illegal drugs or drug misuse unless they are infrequent and innocuous, or there is a clear educational purpose or anti-drug message suitable for young children.
Horror
Scary sequences should be mild, brief and unlikely to cause undue anxiety to young children. The outcome should be reassuring.
Imitable behaviour
No potentially dangerous behaviour which young children are likely to copy. No emphasis on realistic or easily accessible weapons.
Language
Infrequent use only of very mild bad language.
Nudity
Occasional natural nudity, with no sexual context.
Sex
Mild sexual behaviour (for example, kissing) and references only (for example, to ‘making love’)
Theme
While problematic themes may be present, their treatment must be sensitive and appropriate for young children.
Violence
Mild violence only. Occasional mild threat or menace only
PG’
Parental Guidance
General viewing, but some scenes may be unsuitable for young children
Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.
Discrimination
Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of or in an educational or historical context. Discrimination by a character with which children can readily identify is unlikely to be acceptable.
Drugs
References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message.
Horror
Frightening sequences should not be prolonged or intense. Fantasy settings may be a mitigating factor.
Imitable behaviour
No detail of potentially dangerous behaviour which young children are likely to copy. No glamorisation of realistic or easily accessible weapons.
Language
Mild bad language only.
Nudity
Natural nudity, with no sexual context.
Sex
Sexual activity may be implied, but should be discreet and infrequent. Mild sex references and innuendo only.
Theme
Where more serious issues are featured (for example, domestic violence) nothing in their treatment should condone unacceptable behaviour.
Violence
Moderate violence, without detail, may be allowed, if justified by its context (for example, history, comedy or fantasy).
’12A’/’12′
Suitable for 12 years and over
Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.
The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.
The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.
Discrimination
Discriminatory language or behaviour must not be endorsed by the work as a whole. Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned.
Drugs
Any misuse of drugs must be infrequent and should not be glamorised or give instructional detail.
Horror
Moderate physical and psychological threat may be permitted, provided disturbing sequences are not frequent or sustained.
Imitable behaviour
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied, or appear pain or harm free. Easily accessible weapons should not be glamorised.
Language
Moderate language is allowed. The use of strong language (for example, ‘fuck’) must be infrequent.
Nudity
Nudity is allowed, but in a sexual context must be brief and discreet.
Sex
Sexual activity may be briefly and discreetly portrayed. Sex references should not go beyond what is suitable for young teenagers. Frequent crude references are unlikely to be acceptable.
Theme
Mature themes are acceptable, but their treatment must be suitable for young teenagers.
Violence
Moderate violence is allowed but should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if justified by the context. Sexual violence may only be implied or briefly and discreetly indicated, and must have a strong contextual justification.
’15′
Suitable only for 15 years and over
No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.
Discrimination
The work as a whole must not endorse discriminatory language or behaviour.
Drugs
Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable.
Horror
Strong threat and menace are permitted unless sadistic or sexualised.
Imitable behaviour
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised.
Language
There may be frequent use of strong language (for example, ‘fuck’). The strongest terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable.
Nudity
Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.
Sex
Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.
Theme
No theme is prohibited, provided the treatment is appropriate for 15 year olds.
Violence
Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification.
’18′
Suitable only for adults
No-one younger than 18 may see an ‘18’ film in a cinema.
No-one younger than 18 may rent or buy an ‘18’ rated video.
In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:
■where the material is in breach of the criminal law, or has been created through the commission of a criminal offence
■where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault
■where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in ‘R18’ works, and in ‘sex works’ (see below) would normally be confined to that category.
In the case of video works (including video games), which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.
Sex education at ‘18’
Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.
Sex works at ‘18’
Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.
Universal – Suitable for all
It is impossible to predict what might upset any particular child. But a ‘U’ film shoul
d be suitable for audiences aged four years and over. ‘U’ films should be set within a positive moral framework and should offer reassuring counterbalances to any violence, threat or horror.If a work is particularly suitable for a pre-school child to view alone, this will be indicated in the Consumer Advice.
Discrimination
No discriminatory language or behaviour unless clearly disapproved of.
Drugs
No references to illegal drugs or drug misuse unless they are infrequent and innocuous, or there is a clear educational purpose or anti-drug message suitable for young children.
Horror
Scary sequences should be mild, brief and unlikely to cause undue anxiety to young children. The outcome should be reassuring.
Imitable behaviour
No potentially dangerous behaviour which young children are likely to copy. No emphasis on realistic or easily accessible weapons.
Language
Infrequent use only of very mild bad language.
Nudity
Occasional natural nudity, with no sexual context.
Sex
Mild sexual behaviour (for example, kissing) and references only (for example, to ‘making love’)
Theme
While problematic themes may be present, their treatment must be sensitive and appropriate for young children.
Violence
Mild violence only. Occasional mild threat or menace only
PG’
Parental Guidance
General viewing, but some scenes may be unsuitable for young children
Unaccompanied children of any age may watch. A ‘PG’ film should not disturb a child aged around eight or older. However, parents are advised to consider whether the content may upset younger or more sensitive children.
Discrimination
Discriminatory language or behaviour is unlikely to be acceptable unless clearly disapproved of or in an educational or historical context. Discrimination by a character with which children can readily identify is unlikely to be acceptable.
Drugs
References to illegal drugs or drug misuse must be innocuous or carry a suitable anti-drug message.
Horror
Frightening sequences should not be prolonged or intense. Fantasy settings may be a mitigating factor.
Imitable behaviour
No detail of potentially dangerous behaviour which young children are likely to copy. No glamorisation of realistic or easily accessible weapons.
Language
Mild bad language only.
Nudity
Natural nudity, with no sexual context.
Sex
Sexual activity may be implied, but should be discreet and infrequent. Mild sex references and innuendo only.
Theme
Where more serious issues are featured (for example, domestic violence) nothing in their treatment should condone unacceptable behaviour.
Violence
Moderate violence, without detail, may be allowed, if justified by its context (for example, history, comedy or fantasy).
’12A’/’12′
Suitable for 12 years and over
Exactly the same criteria are used to classify works at ‘12A’ and ‘12’. These categories are awarded where the material is suitable, in general, only for those aged 12 and over. Works classified at these categories may upset children under 12 or contain material which many parents will find unsuitable for them.
The ‘12A’ category exists only for cinema films. No one younger than 12 may see a ‘12A’ film in a cinema unless accompanied by an adult, and films classified ‘12A’ are not recommended for a child below 12. An adult may take a younger child if, in their judgement, the film is suitable for that particular child. In such circumstances, responsibility for allowing a child under 12 to view lies with the accompanying adult.
The ‘12’ category exists only for video works. No one younger than 12 may rent or buy a ‘12’ rated video work.
Discrimination
Discriminatory language or behaviour must not be endorsed by the work as a whole. Aggressive discriminatory language or behaviour is unlikely to be acceptable unless clearly condemned.
Drugs
Any misuse of drugs must be infrequent and should not be glamorised or give instructional detail.
Horror
Moderate physical and psychological threat may be permitted, provided disturbing sequences are not frequent or sustained.
Imitable behaviour
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied, or appear pain or harm free. Easily accessible weapons should not be glamorised.
Language
Moderate language is allowed. The use of strong language (for example, ‘fuck’) must be infrequent.
Nudity
Nudity is allowed, but in a sexual context must be brief and discreet.
Sex
Sexual activity may be briefly and discreetly portrayed. Sex references should not go beyond what is suitable for young teenagers. Frequent crude references are unlikely to be acceptable.
Theme
Mature themes are acceptable, but their treatment must be suitable for young teenagers.
Violence
Moderate violence is allowed but should not dwell on detail. There should be no emphasis on injuries or blood, but occasional gory moments may be permitted if justified by the context. Sexual violence may only be implied or briefly and discreetly indicated, and must have a strong contextual justification.
’15′
Suitable only for 15 years and over
No one younger than 15 may see a ‘15’ film in a cinema. No one younger than 15 may rent or buy a ‘15’ rated video work.
Discrimination
The work as a whole must not endorse discriminatory language or behaviour.
Drugs
Drug taking may be shown but the film as a whole must not promote or encourage drug misuse. The misuse of easily accessible and highly dangerous substances (for example, aerosols or solvents) is unlikely to be acceptable.
Horror
Strong threat and menace are permitted unless sadistic or sexualised.
Imitable behaviour
Dangerous behaviour (for example, hanging, suicide and self-harming) should not dwell on detail which could be copied. Easily accessible weapons should not be glamorised.
Language
There may be frequent use of strong language (for example, ‘fuck’). The strongest terms (for example, ‘cunt’) may be acceptable if justified by the context. Aggressive or repeated use of the strongest language is unlikely to be acceptable.
Nudity
Nudity may be allowed in a sexual context but without strong detail. There are no constraints on nudity in a non-sexual or educational context.
Sex
Sexual activity may be portrayed without strong detail. There may be strong verbal references to sexual behaviour, but the strongest references are unlikely to be acceptable unless justified by context. Works whose primary purpose is sexual arousal or stimulation are unlikely to be acceptable.
Theme
No theme is prohibited, provided the treatment is appropriate for 15 year olds.
Violence
Violence may be strong but should not dwell on the infliction of pain or injury. The strongest gory images are unlikely to be acceptable. Strong sadistic or sexualised violence is also unlikely to be acceptable. There may be detailed verbal references to sexual violence but any portrayal of sexual violence must be discreet and have a strong contextual justification.
’18′
Suitable only for adults
No-one younger than 18 may see an ‘18’ film in a cinema.
No-one younger than 18 may rent or buy an ‘18’ rated video.
In line with the consistent findings of the BBFC’s public consultations and The Human Rights Act 1998, at ‘18’ the BBFC’s guideline concerns will not normally override the principle that adults should be free to choose their own entertainment. Exceptions are most likely in the following areas:
■where the material is in breach of the criminal law, or has been created through the commission of a criminal offence
■where material or treatment appears to the BBFC to risk harm to individuals or, through their behaviour, to society – for example, any detailed portrayal of violent or dangerous acts, or of illegal drug use, which may cause harm to public health or morals. This may include portrayals of sexual or sexualised violence which might, for example, eroticise or endorse sexual assault
■where there are more explicit images of sexual activity which cannot be justified by context. Such images may be appropriate in ‘R18’ works, and in ‘sex works’ (see below) would normally be confined to that category.
In the case of video works (including video games), which may be more accessible to younger viewers, intervention may be more frequent than for cinema films.
Sex education at ‘18’
Where sex material genuinely seeks to inform and educate in matters such as human sexuality, safer sex and health, explicit images of sexual activity may be permitted.
Sex works at ‘18’
Sex works are works whose primary purpose is sexual arousal or stimulation. Sex works containing only material which may be simulated are generally passed ‘18’. Sex works containing clear images of real sex, strong fetish material, sexually explicit animated images, or other very strong sexual images will be confined to the ‘R18’ category. Material which is unacceptable in a sex work at ‘R18’ is also unacceptable in a sex work at ‘18’.
As my film is a horror and will need sufficient violence, i wont be having my film as a 'U' or PG' as i cant be having any violence or strong language. Although i dont think my film would be a '12' neither because in a movie like this there cant be any distinct injuries or emphasis on this, and my film is a gory horror movie which will no doubt feature someone explicit violence, too much for a 12. As for horror, in a 12 you cant feature disturbing sequences that are not frequent which rules this out completely as this will be an integral part of my film. Although i wont be showing any real violence during the trailer, if people see that the film is a 12 or a 15 then they wont be thinking the film is all that scary. So after the 12, i would be looking to have my film as a 15 but then i wont be able to have any sadistic beings or acts which is the way i want to be going with my main 'villain' also i wont be able to dwell on the fact that pain or injury is a main feature in the film, which in mine it will be as its a horror film and the most conventional feature in a gory horror film is the fact that people get hurt or killed by some sadistic being. Overall i think that the film will be an 18, this could limit my target audience but if i know that they are going to be adults then i know what i am aiming towards. I have to be looking at showing my trailer quite late on as the film is an 18, i think this could limit me but maybe if have the trailer shown in the day this could scare children watching. Although if i limit the trailer to showing bits which dont feature violence or bad langauge then maybe it will attract more attention.
A Nightmare on Elm Street
This is the trailer for the 2010 film 'A Nightmare on Elm Street', the film is a re-make of the 1984 horror movie. The genre is very much horror and i have decided to go this way with my film trailer. I think a horror film is a very good one to portray as the lighting and sound is key, if i am to make it realistic i am going to have to get these spot on otherwise it will look poor and wont have any realism to it.
I have decided to have a lead 'villian' in my film and for me to do this i am going to have to make sure he not only looks the part but whoever i choose for it has to make it seem real, if not the trailer wont have any effect to it and the film as a whole will be ruined.
I like this trailer because it sets the mood from the beginning, straight away the suspense starts and you feel like something is going to happen. I want to be able to portray that with my film and create the same kind of suspense and atmosphere from the off.
Thursday, 11 November 2010
two step flow
The Hypodermic model quickly proved too clumsy for media researchers seeking to more precisely explain the relationship between audience and text. As the mass media became an essential part of life in societies around the world and did NOT reduce populations to a mass of unthinking drones, a more sophisticated explanation was sought.
Paul Lazarsfeld, Bernard Berelson, and Hazel Gaudet analysed the voters' decision-making processes during a 1940 presidential election campaign and published their results in a paper called The People's Choice. Their findings suggested that the information does not flow directly from the text into the minds of its audience unmediated but is filtered through "opinion leaders" who then communicate it to their less active associates, over whom they have influence. The audience then mediate the information received directly from the media with the ideas and thoughts expressed by the opinion leaders, thus being influenced not by a direct process, but by a two step flow. This diminished the power of the media in the eyes of researchers, and caused them to conclude that social factors were also important in the way in which audiences interpreted texts. This is sometimes referred to as thelimited effects paradigm.
Thursday, 4 November 2010
Hypodermic Needle Model
Hypodermic Needle Model
The theory suggests that the mass media could influence a very large group of people directly and uniformly by ‘shooting’ or ‘injecting’ them with appropriate messages designed to trigger a desired response.
Both images used to express this theory (a bullet and a needle) suggest a powerful and direct flow of information from the sender to the receiver. The bullet theory graphicallysuggests that the message is a bullet, fired from the "media gun" into the viewer's "head".
A classic example of this is when Orson Welles and the newly formed Mercury Theater group broadcasted their radio edition of H.G. Wells' "War of the Worlds." During the programming, a so called 'News bulletin' interrupted the broadcast explaining that an alien invasion was happening somewhere in New Jersey. This sent around a million people into total chaos and since this theorists believe this was one of the primary ways media authors shaped audience perception.
Distribution/Production Research
A film distributor is a company or individual responsible for releasing films to the public either theatrically or for home viewing (DVD, Video-On-Demand, Download, Television etc). A distributor may do this directly (if the distributor owns the theaters or distribution networks) or through theatrical exhibitors and other sub-distributors.
A film Producer is someone who selects a screenplay, initiating the process of film making. The title Executive producer is normally reserved for a producer with a financial interest in the production. The producer oversees the whole process including coordinating, supervising and controlling matters such as fund-raising, hiring key personnel such as the film director, other producers involved on production, line producer and arranging for distribution. They also advise and control creating the scenes and conditions for making movies
One of the worlds leading distributors are Universal Studios, with worldwide films such as 'Love Actually' and 'Jurassic Park'.
Universal Studios is one of the worlds oldest Distributors still in production, since it began back in 1912.
It is also a subsidiary of NBC Universal, a media and entertainment company engaged in the production and marketing of entertainment.
Another of the worlds leading distributors / producers are 20th Century fox, who in fact are arguably the worlds most famous in terms of films made. They have distributed and produced blockbusters such as the highest grossing film of all time, Avatar, as well as smash hits such as Star wars, The Simpsons, X-Men and Home alone.
They have had successful partnerships with Lucasfilm, most notably for the Sequel Star Wars, and Spyglass Entertainment.
The reason i have done research into Film Distributors and Producers is because i want the best background information i can find on films, whether that be producing, distributing, filming etc. i chose Universal and 20th Century Fox because i believe they are the most well known and if i was to use these in my film trailer then already i would have a re-known logo to work from.
The departed
The film Departed is one of two directions i want to be going with my film trailer, i believe the story of it and the overall trailer is very very good. It is a type of film that really interests me and i think it would be a good genre of film to do as a trailer although it would be difficult. The 'gangster' film genre is one that i think is very effective but quite difficult to portray, i would need the right actors with a very wide age range to really portray it well.
Saturday, 2 October 2010
History of film trailers
The first trailer shown in a U.S. movie theater was in November 1913, when Nils Granlund, the advertising manager for the Marcus Leow theater chain, produced a short promotional film for the musical The Pleasure Seekers, opening at the Winter Garden Theatre on Broadway.
Up until the late 1950s, trailers were mostly created by National Screen Service and consisted of various important scenes from the film being advertised, often augmented with large, descriptive text describing the story, and an underscore generally pulled from studio music libraries. Most trailers had some form of narration and those that did featured specific voices.
In the early 1960s, the face of motion picture trailers changed. Textless, montage trailers and quick-editing became popular, largely due to the arrival of the "new Hollywood" and techniques that were becoming increasingly popular in television. Among the trend setters were Stanley Kubrick with his montage trailers for Lolita, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, and 2001: A Space Odyssey. In 1964, Andrew James Keuhn distributed his independently-produced trailer for Night of the Iguana, using stark, high-contrast photography, fast-paced editing and a provocative narration by a young James Earl Jones. His format was so successful, he began producing this new form of trailer with partner Dan Davis.
Kuehn opened the west coast office of Kaleidoscope Films in 1968 and Kuehn and his company became a major player in the trailer industry for the next three decades. As Hollywood began to produce bigger blockbuster films and invest more money in marketing them, directors like Steven Spielberg, Oliver Stone and Barbra Streisand began to depend on Kuehn and Kaleidoscope for their ability to create the best trailers theater-goers could see.
Tuesday, 7 September 2010
Chosen brief
A promotion package for a new film, to include a teaser trailer, together with two of the following three options:
a website homepage for the film;
a film magazine front cover, featuring the film;
a poster for the film;
Sunday, 5 September 2010
Basic information on trailer
A teaser trailer, or just teaser, is a short trailer used to advertise an upcoming film, television program, video game, or product.
Teasers, unlike typical theatrical trailers, are usually very short in length (between 30–60 seconds) and usually contain little, if any, actual footage from the film. Sometimes, it is merely a truncated version of a theatrical trailer. They are usually released long in advance of the film they advertise. One of the reasons for the name "teaser" is because they are shown usually a long time (one or one and a half years) before the movie comes out, so as to "tease" the audience.
Unlike normal trailers, teaser trailers show very little to what the film is actually about, it doesn’t tend to have any dialogue from the characters themselves, nor does it feature any of them unless there is a sequel then it may show a distinct character. They are usually made before any screening has been done, 12-18 months before the due release.
Trailers tend to give a lot more away about the film, maybe the outline for the story and a big clue as to who the main characters will be, they also tend to give away more about the overall look of the film and feature more dialogue from characters. These are usually 4-12 months before the due release date to give the audience a better feel for the film.
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