Audiences and Institutions

Audiences and Institutions

The age band that is the most important for cinemas is the 7- 34 age group. This makes up around 40% of our population. This is 64% of the cinema audience.

http://sy10.ukfilmcouncil.ry.com/14.3.asp

According to the UKFC film council website, 15-24 year olds are the age band with the highest rate of monthly attendance, 40%. This is because at this age independence is given and the teens are likely to want to meet with friend with out parental supervision.

http://sy10.ukfilmcouncil.ry.com/14.10.asp

The group with the highest cinema attendance is also the age range of who download the most films (15-24). The second age range to download the most films is 25-34 year olds- these are the third groups to attend the cinema the most often. This suggests that the 15-24 age are the most interested in films. The 55+ age range has the lowest downloading rate. This could be because they may not have access to the equipment needed to download the films so therefore going to the cinema is their first choice.

http://sy10.ukfilmcouncil.ry.com/14.4.asp

The 15-24 audience, according to the UKFC website, are most interested in comically orientated films. The top 3 films produced in the UK that were watched predominantly by this age range were;
• The Boat That Rocked – 48% of this age range watched this film.
• Lesbian Vampire Killers - 47% of this age range watched this film.
• The Imaginarium of Dr Parnassus- 35% of this age range watched this film.
The fact that all the above films contain an aspect of comedy suggests that 15-24 year olds are the prime audience for comical films.

The film most watched by 15-24 year olds in 2009 was Bruno, with 60% of the 15-24 year old population having seen it.

For the age category of 55+ the pattern of films watched chanced dramatically. According top the UKFC website people aged 55+ choose to watch mainly UK films, where as 15-24’s prefer films produced abroad. This may be because the younger generation (15-24) are more fixated on unrealistic, expensive films that are primarily shot abroad.

In 2009 Monster v Aliens was viewed by 36% of 7-14 year olds. Although this film was not in the top ten listing for 15-24 year olds, it was viewed by 28% of all 35-44 year olds. This crossover could suggest that the film Monsters vs Aliens is popular for both demographs, however the more rational theory could be that 35-44 is the general age of parents to children between the age of 7-14. Therefore the parents (35-44’s) might be taking their children (7-14’s) to the cinema. Monsters vs. Aliens was not UKFC funded, as it was produced and edited abroad. Since being released in 2009 Monsters vs. Aliens has made a gross profit of $381,509,870 world wide. It was released in 4,136 cinemas in total. It had a production budget of $175,000,000. And was distributed by DreamWorks productions, and was backed by Showdown: March Animation Madness. The official webpage for Monster vs. Aliens is:

The Website advertises the film very simply. There are many interactive elements and some simple links. Key colours chosen from the film are repeatedly used. Just by looking at the first page you are able to tell that it is designed for children as its simplicity, yet ‘coolness’ oozes out. The brand image of the film and other media such as its webpage and posters are very much aligned. The blue, green and orange palette is continued. Also there is a maintained sci-fi theme; for instance the film is about extra terrestrials, with simple aliens and ships, this synergises with the sci-fi themed, yet basic layout and features of their webpage.http://www.monstersvsaliensintl.com/intl/uk/

DreamWorks’s mission statement is: “We make movies for adults and the adult that exists in every child,” This is very similar to Disney’s “make movies for children and the child that exists in every adult.” DreamWorks makes animated films.










Another film which crossed over 2 non proceeding age groups was The Boat that Rocked  this was viewed in the cinema by 48% of 15-24 year olds, and also by 16% of 35-44 year olds. Monster vs. Aliens crossed over 2 catagories aswell- but this was predomintly because most 7-14 year olds would have been accompied by an adult to the cinema. However, The Boat that Rocked was viewed by these 2 different age groups as it appealed to both demographs. This film was funded by the UKFC, and is about a pirate radio station broadcasting to the UK from a boat on the North Sea. It was directed by Richard Curtis; and produced by Eric Fellner, Hilary Bevan Jones and Tim Bevan. Working Title Films and Studio Canal are the 2 main companies behind the film. In the first 12 weeks of release, the British Box Office revenues were £6.1 million, however the production(originally budgeted for £30 million) exceeded £30 million. When it was released it had a low review, with 59% rating it poor. The distributers of this film were Universal Studios and Focus Features.

Universal Studios is well established, and is one of the major 6 distribution companies. It has backed such films as: E.T, Jurassic Park and Back to the Future.

 

Warp Films and Warp X

Warp films and Warp X

Warp X

Warp X is a pioneering new digital film studio based in Sheffield. It has offices in Nottingham and London. It is allied to Warp Films and Warp Records. Warp X captures the cutting edge technology and methods to produce low budget films, to produce high value films which can meet cinema screens across the world. Some films that Warp X have produced are 'A Complete History of my Sexual Failures' and 'Donkey Punch' - (both these films were created in 2008). 'Hush' was released last year (2009). Films produced by Warp X which are scheduled to be released this year (2010) are 'APT' , 'Bunny and the Bull' and 'La Chinoise'.

Warp X was set up with the UKFC's 'new cinema fund', 'EM Media', 'Screen Yorkshire' and also using 'Film4': the aim was to revitalise the low-budget sector of the British film industry. Driven by creativity and talent, Warp X claims to be a sustainable new venture for the British film industry.

Warp Films

Warp X is based on the reputation and targets of Warp Films. Warp Films aimes to combine creativity originality with commercial success. On each webpage there is a link to the other.

http://www.warpx.co.uk/about-us.asp- Warp X
http://warp.net/ -Warp Film

Warp Films not only supports new film makers but also records. Founded in 1989 by Steve Beckett and Rob Mitchell , Warp Films have had many major hits, such as 'This is England 86', 'Four Lions' and 'Hush'.

How does the case study of Shifty demonstrate the oppertunities for new film makers working at micro level in the UK?

How does the case study of Shifty demonstrate the oppertunities for new film makers working at micro level in the UK?

The Microwave scheme was launched in 2006 by BBC and Skillset. It set out to help first time film makers to shoot a full length film for maximum of £100,000. The scheme provides intensive workshops to a limited, hand selected, 11 short-listed film making teams. It is supported by 'Skillset' and the 'BBC'.

Before the microwave scheme was launched, it was extremely hard for 'normal' (by which I mean not made of money) people, groups or organisations to make and publish films. Creating and advertising films is an expensive field, even before you start to shoot. Pre production begins with: casting, crew, location, schedule, equipment and catering. All of these have to allot a certain amounts of money, organisation and time. Post production also takes consideration and a lot of money. Editing the film can take days, and every extra day is money out of the budget. Many micro (beginner) made films don't get distributed and are never seen by the public. This is because by the time the film is planned, made and edited on a low budget, there is not a lot of money left for publishing it.

An example of how the Microwave scheme demonstrated opportunities for new film makers is a film called Shifty. It was released in the UK on the 24th of April 2009 and was one of the first Microwave films ever made. Shifty was created by 2 men- Rory Aitken and Ben Pugh, who started off their working lives by creating music promotions, advertising and then they moved on to their first film.

Shifty has become an inspiration to many new- micro level film makers as it has allowed them to see what can be done. Opportunities for this level of film making have increased greatly. Once you are accepted into the Microwave scheme the benefits just keep on flowing. For example Shifty's script was nurtured by Tony Rushton and the BBC writer’s room. Moreover, they received a director mentor- Asik Kapaul, who challenged aspects of their script, to make them consider why things are there.

Filming

Because the Microwave scheme is aimed at the lower end of the film industry (Hollywood being the top) it can only give out grants of up to £100,000 however these budget limitations can inspire other first time film makers as they show that it is not impossible to make films on a low budget. Shifty is a good example of this. It was given a grant of £50,000, and the producers received another £50,00 from private investors. Due to the limited budget Shifty was forced to film in a less technologically advanced way. For instance there was meant to be a scene with lots of real cats in, but due to restrictions and expenses of trainers, Rory and Ben (the producers) decided to used stuffed old cats, which turned out to be funnier, and more effective than the original idea. Another aspect that has to be carefully considered on such a low budget is the time scale. Shifty was filmed in 18 days. Location changes are a frequent, and time consuming interruption. On the last day of filming the intended location had to be rearranged as one of the neighbors was unhappy, and was threatening to call the police. Fortunately one of the directors had a friend in the area who they asked at the last minute.

Distribution

As I explained above, many low budget films are never published. Metrodome is a major distribution that is linked with the microwave scheme. The distribution company suggests ideas for a trailer mainly at an art house, and they will also suggest commercial sensibilities. When a film is finished the producers will set up a screening- in which they will invite many different marketing companies. These companies will decide whether that particular film is for them and whether they think they will be able to advertise it well. In the case study of Shifty there were 4-5 companies bidding to distribute the film. Because Shifty was created through the microwave scheme- linked with Film London, they received extra help from the BBC. Not only did this aid the film in becoming a success, but it also made it a lot more appealing for companies to want to distribute. With the BBC's backing it gave Shifty access to more advertising means for example being shown on the BBC website.

For new or first time film makers any free or cheap means of advertising is a great bonus. Shifty used a pirate radio stations to advertise their film. Using a pirate radio station is very cheap advertising. There are 100's operating in the UK all the time.

Shifty is an inspiration to new film makers working at the micro level as it demonstrates the opportunities and paths of how it is possible to film, edit, advertise and distribute a film. Shifty exhibits the different sources of help that micro film makers can receive, and where they can get it from. Although Shifty was one of the first films to be produced under the microwave scheme it will surely be an inspiration for many films to come.

The Microwave Scheme

The Microwave scheme was launched in 2006. It is about helping first time film makers and challenging them to shoot a full length film for maximum of £100,000. The scheme provides intensive workshops to a limited, hand selected, 11 short-listed film making teams. It is supported by 'Skillset' and the 'BBC'. They emphasise on 'tightly focused scripts ans short production schedules'

Film London can offer up to £75,000 per project in exceptional circumstances, however they usually offer aproximately £50,000 to shoot a full length film. Shifty's production team was awarded £50,000 from the scheme and had to find the other £50,000 from private investors.

Advantages of the Microwave scheme:

• The script is nurtured- (eg Shifty was monitered by Tony Rushton and the BBC writers room)
• They mentor you along the way (Asik Kapaul challenged why things were in the script to make them argue their case.)

Budet limitation

• Theyare forced to film in a less technilogically way

Distrubution

• Many low budget films don't get distrubuted
• 'Metrodome' is a distrubution company.
• Shifty used a kill bill styled poster to grab attention.
• Shifty was released on 53 screen throughout the UK after being awarded £156,000 from the UKFC distrubution fund

All the films listed below were a part of the microwave scheme.

• Mum and Dad
• Shifty
• Freestyle
• The British Guide to Showing Off
• Foxglove
• Strawberry Fields
• Borrowed Time
• Ill Mannors

'Shifty' and 'Mum and Dad' were the 2 first microwave films. They did exceeptionally well as they were both picked up by major distributers. The producers of 'Shifty' were given the go-ahead after their participation in microschool. 'Shifty' was released in the UK on the 24th of April 2009. Sinse then Shifty has only got stronger.It was nominated for 5 BIFAs, including Best Actor and Best Achievement in Production, and the following year Creevy picked up the Best Screenplay award at the Stockholm Film Festival. As the 2010 BAFTA nominations were revealed, his star status was re-affirmedonce again. The Shifty team were delighted to learn that Eran Creevy is one of the five candidates up for the prestigious Carl Foreman Award – which celebrates an outstanding debut by a British writer, director or producer.

The 2 producers were Rory Aitken and Ben Pugh- from the production company 'between the eyes'. They filmed it in 18 days. One disadvantage of low-budget filming is the uncertainty of location. For instance on the last day of filming they had planned to use a mates house, however their neighbours threatened to call the police, so a change of location was made. They ended up using the directors dad's house.



The UKFC

The United Kingdom Film Council is a goverment-backed lead agency for UK films, ensuring that the economic, cultural and educational aspects of film are effectively represented both at home and abroad.

It was created in 2000, and it is funded by the National Lottery and also by the tax payer. So far they have backed over 900 films; and have generated over £700 million for the box office world wide.

The UKFC funds and works with the 'Regional and National Screens Agencies', 'The BFI', 'Skillset', 'First Light' and 'Film Club'. The money they provide goes towards supporting new film makers, funding exciting new British films and to make a wider variety of films for the UK. Also for training and promoting British films abroad.

They work to make films more accessible in 3 ways:
Improving access - 240 digital screens have been placed around the UK

Raising awareness - their 'prints and advertising' funds provide over £2 million per year to help the distributers promote niche films.

Increasing information - They have a website to watch, buy and download films.

Digital Screening cuts the cost of releasing films (a digital copy costs around 1/10th of a 35mm print). The Digital Screen Network (created by the UKFC and Arts Council England) have a £12 million investment to equip 240 screens with 210 cinemas in the UK, to give the audience a greater choice of films.