The film distributor is responsible for releasing a film for public viewing either theatrically or for home viewing (TV/DVD/download etc) A distributor might do this by directly distributing the film to their own theatres or they can send it to sub-distributors. If the distributors is working with a theatrical exhibitor the distributor will write a contract to say how much the exhibitor will pay them from the gross ticket sales. After the distributor gets their shares in the gross ticket sales they transmit the remainder of the profit to the production company.
Vertical Integration Distribution: The stages of production and distribution are done by the same company e.g. large Hollywood production companies can afford and have the resources to do this
Horizontal Distribution: One company produces the film then has another distribute the film. This allows the companies to share the risk of failure and if the film is a failure then it is less of a loss for the companies. This is done by the distributor acquiring the legal rights to show the film from the producers. British productions use this method. Independent producers have to sell their films to different distributors in each territory.
Local distributors only work in their country and will share the profits made in that country with the film maker. There are 90+ territories worldwide.
How are films usually launched? Scheduling - Often come out on a Friday as it is the end of the week so children and adults will have the time to visit the cinema. Film Distribution Association - work out how and when the film should be launched Seasonality, light weekends and other releases are considered before they agree on a time for the film to be launched to ensure optimum success.
There is usually about 10 releases in a week.
Prints - (old way of distributing film) Independent/ specialised films made about 10 prints or less of a film and toured it over 6 month period to all areas around the UK. Mainstream films had about 200+ prints made which would be simultaneously shown in all major UK cities. Transportation around the world was expensive and difficult. The prints had to be hired by the exhibitor, they were easily damaged and expensive to store as they had to kept at a certain temperature and condition.
The success or failure of a cinema release determines when and how the DVD/ TV releases will happen.
5 major distributors will account for 90% of box office.
Wide Release - used for US major distributors/ films need £2 million+ to make a wide release. This type of release requires heavy investment in prints and national advertising. The producers and distributors can recuperate their investment quicker. Also the revenues from the DVD sales can be gained faster from a quickly-executed theatrical release. The shorter the time period between the theatrical release and the DVD release, the greater the potential for DVD income. Modified Wide Release - The film will open in a few major markets and expand week by week to build up awareness and allow positive word-of-mouth reputation to develop. This type of release would initially be supported spot advertising in a certain area e.g. one city. It may then move to national advertising once it expands to other markets.
Exclusive and Limited Runs - Exclusive and limited runs begin with engagements at a limited number of screens, traditionally in large urban areas e.g. Toronto. Based on favourable reviews and positive word-of-mouth depends on whether or not the film will move to additional theatres. This release is usually used for upscale "art-house" or foreign films and may be part of a platforming strategy where critical acclaim in an important market will assist in providing momentum for a wide release.
Territorial Saturation - Territorial saturation involves saturating a territory with bookings, heavy advertising and promotion before moving on to another territory. This method would be used for films tailored to specific markets. In Canada this would be seen with French-language films, which primarily would be well-received only in Quebec. It is also used by independent distributors for exploitation or family movies.
Universal Release - The film is released in several countries on the same day. For instance a major blockbuster is sometimes released in the USA and the UK on the same date.
Digital Distribution - quicker/cheaper/gets straight to the audience who want to see it. Independent productions use this method. The main attraction to this type of distribution is the way it can get directly to the audience with minimum business overheads involved which makes it cheaper for the consumer. It has been blamed for media stores having to close down. DSN (Digital Screen Network) sites supports new facilities in 211 screens across the country (out of 33,000). This is a small but important step of change towards full digital cinema.
49% of all DVD rentals are now generated online.
Only Showcase remains in American hands but all the other chains are deeply committed to distributing American films.
How film makes its money back: Promotional screens -> Cinema -> Hospitality (planes/hotels) -> DVD rental -> Pay TV/VOD -> DVD retail -> Free TV -> Library
Digital distribution is changing this order because it allows it to go straight from cinema to DVD retail, Pay TV and download at the same time. A film recuperates most of its budget through DVD sales. From 40% of DVD sales 75% is fromRetailand 25% is from Rental. 28% is made from TV, 25% from Cinema profits and 7% from other sources. The more times and places a film is exhibited the move money it generates. There are around 45 international areas in which the rights to exhibit films are regularly traded. 20 major international marketplaces: Sundance - Utah, Cannes - France, Toronto Festival - Canada
Sales agents for film rights tend to use the same set of generic internal percentage to make estimates as to how a film will sell internationally. Europe - 39% North America - 33% Far East - 16% Latin America - 4% Other - 9%
A film exhibition sale is generally a 75-25 split between a vendor (cinema/retailer/TV channel) and a distributor - who deducts 35% commission and costs "off the top".
Royalty Model - Distributor pay the producer a 35% royalty of the profits made
"Off the top" Model - Distributor takes 35% commissions + 25% of costs.
Cinema hasn't been seriously affected by the recession. As people still want to see films and go out for the cinema experience. The high months are May, July, August and Jan/Feb
40% of independent British films never gross more than 100k at the box office as opening in over 100 screens significantly increases the cost.
DVD Sales Audio-video specialists - 35% Supermarkets - 23% Generalists - 18% Mail order - 15% Wholesalers - 9% Supermarkets have come to dominate DVD sales pushing the average retail price of DVD to £7.42. Pay-per-View & VOD tend to be more profitable as the costs of sale are born by the TV platform. Subscription & free TV fired-fee licensing deals depend on the performance history of the film. Producer - 60% Distributor - 40%
Recoupment is organised into a corridor and made from a central collection account.
Red One is a type of film camera. Some directors think it is amazing. Steven Soderbergh used when filming Che "this is the camera I've been waiting for my whole career jaw-dropping imagery recorded on board a camera light enough to hold with one hand" However director Werner Herzog who used it to film My Son, My Son, What Have Ye Done? was disappointed with the amount of time it took the camera to reboot.
After "Avatar" people assumed that 3D would take over as 80% of the people who when to see it saw it in 3D. The intake for 3D has gone down since Avatar which suggests that moviegoers are unwillling to pay more for uneven quality. For example, only 45% of the opening box-office revenue for "Despicable Me" came from 3D distribution.
Studio executives are sure that the public are not losing interest in 3D despite data showing a dropping percentage of thev amount of the box-office sales on 3D tickets. They think the reason for this is that childrens' 3D films are less popular because it's had to get the kids to keep the glasses on, so parents don't take them to see 3D films however films that pull in more adults like Alice in Wonderland and Avatar do better.
Disney's $175 million flop could be the end of the current flurry of 3D film making and the spending in CGI and other expensive digital technology. The impace of this and the recession could be serious for 3D film especially when films like The King's Speech can be produced for a lot less and win more Oscars and Baftas.
What is Film4's remit? To produce British films and encourage up and coming directors and established directors to get better recognision.
What types of films are greeen-lighted by Film4? (Examples of film/genre) Film4 has produced a number of dramas, comedies and romantic films. E.g.
Slumdog Millionaire -> drama/romance
This is England -> drama
Last King of Scotland -> drama
Four Lion -> comedy/drama
Happy - Go - Lucky -> comedy/drama
Trainspotting -> drama
Four Weddings and a Funeral -> romantic comedy
Touching the Void -> drama/adventure
Elizabeth -> drama
Room with a View -> drama/romance
Why is Tessa Ross regarded as "the mother of British film-making" and therefore instrumental for Film4's success? She is regarded as "the mother of British film-making" because she has turned the Film4 production company around since becoming executive 6 years ago and created a future for Film4 and British film production. She has also gone to great lenghts during producing films. For example when the idea for producing Slumdog Millionaire came up she knew that Film$ would have to get permission from the game show "Who wants to be a Millionaire?" so she travelled to Celador to gain the rights and partner with them so that they were allowed to portray the game show in the film.
How much is Film4's yearly budget and how much of it did "Slumdog Millionaire take up? The budget for Slumdog Millionaire was originally £8 million but was increaed to £10 million. The overall cost of the film was about £10 million.
Why does Film4 form partnerships with other companies/individuals? Film4 forms partnerships with other companies to gain the rights to use the companies or individual ideas/ resources in their films. They must gain the rights so that they are not going against Copyright Laws. E.g. Tessa Ross gain the rights to use Who wants to be a Millionaire? game show in Slumdog Millionaire.
What is the future for Film4 - budget and film-wise? Film4 wants to raise its budget to £50 million. They hope to raise the budget over the next 5 years by adding £15 million a year. They plan to start this with the newest film they have finacnced - Never Let Me Go starring Keira Knightley and Carey Mulligan.
What problems did Film4 face in the noughties? Film4 faced a major problem in 2001 with the huge loss of about £5.7 million after the flop of the production Charlotte Gray which was one of the most expensive films they had made. In 2006 Film4 faced other problems because the amount of TV subscribers were low however it has improved since it has launched on freeview and better advertising.
The representation of Regional Identity usually involves representations of other stereotypes e.g. class and status and ethnicity. A character's regional identity is usually represented through their accent, job, clothing, where they live and their opinions/ ideals.
Male northerners are usually stereotyped as being hard and tough working class. The character's accent usually helps represent this however the Geordie accent is softer and more friendly than say the Manchester or Liverpudlian accent therefore the typical stereotype is that Geordie's are friendlier.
There is more contrast in the South which usually depends on a character's class or status. For example representing a stereotypical Londoner depends on which area they live in. The East End is usually represented as a lower class area with crime and violence whereas areas such as Kensington and Chelsea are usually represent as higher class full of business men and large houses.
People living in the countryside are stereotyped as farmers, backward thinking, a bit odd but more relaxed. Whereas "Townies" are represented as more modern, have office jobs and have busier more stressful lives.
Diegetic sound - Any sound that is included in the action that the characters can hear Non-diegetic sound - Any sound that has no source in the scene e.g. the soundtrack Mood music - Music used to enhance the atmosphere or setting of a moving-image text Selective sound - The getting rid of some sounds and keeping others to make significant sounds easier for the audience to hear/ for dramatic effect e.g. exaggerated footsteps Sound perspective/aural perspective - The impression of distance in sound e.g. muffled talking Sound bridge - Adding to continuity through sound by running sound from one shot to another to make action seem uniterrupted Asynchronous sound - Where the sound is seperate from action and added later Synchronous sound - Where the sound matches the action Silence - is used to let audience reflect on action/story, draw attention to visual action, make the audience apprehensive
The soundtrack of TV drama is very important. The opening sequence and the music is thought to be more important than the content because the music is recognisable and identified with the TV drama this will draw the audiences' attention.
Recognisable soundtracks for TV programmes:
Dr Who
Eastenders (all soaps)
Friends
The Simpsons
Mock The Week
X Factor
Top Gear
Jack Foley 1927 - Foley Art is where the sound effects for an acion is added after shooting.
