- A look at what we mean by franchising, with examples from Working Title
- The concept of hybridity, and why producers and distributors combine genres
- The example of the Corentto Trilogy (for both hybridity and franchising): the budgets, box office, trailers + links for each
- Analysis of how these might reflect WT's production strategies:
- strong long-term creative relationships
- emphasis on popular genres; hybridity
- intertextual references (postmodernism)
- star strategy
- narrow representation of Britain?
- enviable international distribution ... lost?
- closing WT2: whither the WT low-budget films?
HEGEMONY OF THE FRANCHISE
Franchising, alongside the tentpole strategy (itself rendering four quadrant audience targeting virtually mandatory for would-be blockbusters), has become a predominant model for film producers, one encouraged by distributors looking for easy-to-market titles with built-in recognition and existing audiences, and exhibitors looking to reduce the element of gambling involved in selecting titles for their busy multiplexes.
|This post will consider the Cornetto Trilogy...|
|Indie report on the 2013 UK top ten|
Iger [Disney CEO] also revealed to Fortune that a stage version of the film, which features voice overs from Broadway stars Idina Menzel, Jonathan Groff and Josh Gad, is currently under discussion at the House of Mouse ....
In addition, movie audiences may soon be treated to a sequel of the Nordic-themed saga, following strong sales of licensed toys based on the film.[BroadwayWorld.com]
The Croods received generally positive reviews, and proved to be a box office success, earning more than $587 million on a budget of $135 million, and launching a new franchise, with a sequel and TV series already put in development. [Wiki]