When's the 201 AS (UK) exam? Exams start on the 16th - the G322 exam: Thursday 19th May, 9am. Yr12 Study Leave begins after ? May (Yr13 from the ?)

Saturday, May 20, 2017

DIGITISATION 4K restorations for re-releases

The music industry is dominated by the old, with back catalogue sales underpinning revenues, though with a similar tentpole strategy in place for a handful of global stars, as Elberse details in her book Blockbusters, analysing the distribution muscle thrown behind Lady Gaga, Jay-Z and other titan acts.

David Bowie has dominated vinyl sales this year, and accounts for a good proportion of other revenues too - the music industry is fuelled by monetising nostalgia.

The Secret Cinema organisation in Britain, putting on screenings of past hits in locations with a thematic link to that film, have squeezed millions in extra box office from many back catalogue flicks, while a black and white Mad Max Fury Road release, or Lord of the Rings re-read with a few extra minutes of tedium added, or just re-release to pop a multi-billion barrier (Avatar) ... the re-release has a place in the film industry's playbook.

There's always the film club and arthouse circuit, with CinemaTheque in Luxembourg an example, Woody Allen re-runs rarely being off the agenda in a typical month, or the summer outdoor screenings of everything from The Force Awakens to Rebel Without a Cause (picks for the 2016 Luxembourg season, the free event paid for through Orange sponsorship).

Retrofitting 3D is a long established practice, a software process of making a film not shot in 3D into this format at a cost of around $10m. Restoration has been a considerable element of arthouse and film festival fare - I've enjoyed watching a newly restored cut of a 50s Poe adaptation at the Bradford National Media Museum (1 strand of the BFI's work), and a new extended cut of Metropolis, weaving in newly discovered and repaired footage, at the Ilkley Film Festival.

The 4K restorations that Maurice, a Merchant and Ivory drama about a gay male love affair starring a young Hugh Grant, is an early example of could become a significant element of the multiplex mix, not just the arthouse circuit, a useful strand of counter-programming or even a means of building hype for a new franchise release by a limited release of an older, pre-reboot, franchise entry (picking up lots of cheap publicity along the way).

Both the 3D retrofits and 4K restorations are notable examples of the impact of digitisation.

Maurice at 30: the gay period drama the world wasn't ready for https://www.theguardian.com/film/2017/may/19/maurice-film-period-drama-merchant-ivory?CMP=Share_AndroidApp_Blogger

Thursday, May 18, 2017

Ghost Stories

Claire Jones (Sightseers [+]), and Robin Gutch ('71 [+]) are producing for the UK’s Warp Films with the backing of the UK’s Catalyst Global Media and Screen YorkshireAltitude Film Sales is handling international sales and is currently representing the film at the American Film MarketDyson and Nyman said of the project, “Over half a million people have seen the play and now we are beyond excited to be bringing the film version of Ghost Stories to life." [CinEuropa.org article Nov 2016]
THIS POST IN BRIEF:
  • Warp announced a new film in Feb 2016, already picked up by 'big 7' Lionsgate for UK distribution, with Altitude handling international sales
  • Pre-selling rights at the pre-production stage is common for Indies (legendary social realist auteurs Ken Loach + Mike Leigh have done this throughout their careers). German rights were also pre-sold to Tele M√ľnchen/Concorde after a pitch at the Berlin European Film Market in feb 2016
  • This is an adaptation of an internationally successful play, bringing some comparisons with Woman in Black (but note the IP is limited compared to Les Mis)
  • Warp's reputation for allowing creatives to retain control, not the accountants, saw Nyman reject interest from Hollywood studios (who immediately suggested star-based changes!)
  • Martin Freeman's casting led most reports; star of the $3bn Hobbit franchise this suggests a more ambitious/commercial approach from Warp ...
  • ...BUT he's no A-lister (the IP and CGI sold the Hobbit, not a UK TV star!), and its no coincidence that as of May 2017 the UK remains the only territory with a distributor
  • Warp's online efforts at building interest and an audience through the pre-/production/post- stages has been typically lax ...
  • ... BUT co-director/writer Andy Nyman has exemplified the ability of cast and crew to use social media to promote a production (eg the 5 crew badges Twitter draw)
  • ... AND Altitude have been very active
  • Lionsgate UK, however, have yet to properly launch; their website contains only a coming soon message!

PRODUCTION ANNOUNCED AT A FAN FEST...
Okay, so its not the 80,000 packed into the Dallas Cowboys football stadium just to see a teaser trailer (1 strand of the epic Avatar campaign, arranged through ComicCon, the world's leading fan forum for such announcements), but Ghost Stories is following a smart path of pre-/production promotion, launching a 'concept teaser trailer' at FrightFest:
Horror blog FlickeringMyth reports the announcement, complete with 'concept teaser trailer'




ScreenDaily (US) announce the production, Feb 2016
So much for the auteur theory! Empire (UK) also led on Freeman's involvement

Casting Martin Freeman seems a real coup for Warp - after all, he was the lead in the tentpole Hobbit franchise (combined budgets $675m, box office $2.9bn). However, IP was the key marketing factor there, and he cannot be considered an A-List star any more than Lord of the Rings star Andy Serkis can 'open a film' by himself. Freeman's presence does help with marketing though, and gaining distribution, but the lack of progress there is significant. Hollywood conglomerate Lionsgate picking the film up for distribution is a coup, as one of what many now argue should be called the big seven to reflect their considerable global success in recent years (expanding the traditional big six of Disney, Warner Bros, Fox, Universal, Sony, Paramount).

Wednesday, May 17, 2017

Is film piracy sunk?

Message to Pirates of the Caribbean hackers – piracy no longer pays https://www.theguardian.com/uk-news/shortcuts/2017/may/17/message-to-pirates-of-the-caribbean-hackers-piracy-no-longer-pays?CMP=Share_AndroidApp_Blogger

Why films fail: Arthur legendary flop

Epic fail: why has King Arthur flopped so badly? https://www.theguardian.com/film/2017/may/16/epic-fail-why-has-king-arthur-flopped-so-badly?CMP=Share_AndroidApp_Blogger

Sunday, May 14, 2017

Cannes adds TV but bans Netflix over release window

As Cannes turns 70, must cinema adapt to survive in new digital era? https://www.theguardian.com/film/2017/may/13/cannes-film-festival-takes-on-tv-digital-upstarts-netflix?CMP=Share_AndroidApp_Blogger

Saturday, May 13, 2017

CONVERGENCE Terminator remade inside GTAV

http://www.unilad.co.uk/gaming/fan-remakes-all-of-terminator-2-in-gta-v/

https://youtu.be/LrX67Gltb-A