GENRE EGX Grimsby (Working Title, 2016)

This is NOT a social realist film! We are, however, using this comedy (spy/action satire) to help us clarify the characteristics of social realist films: we'll contrast the media language of this with what we've observed is conventional for the social realist genre...

PRODUCTION: Working Title, Big Talk, Village Roadshow [US partner] +2 
DISTRIBUTION: Sony (US), Colombia (UK); [no China] 36 territories
BUDGET: $35m
BOX OFFICE: UK $7.5m, US $7m; World $25m
BBFC 15, MPAA R


SOME CONTEXT: An example of the impact of the changed, reduced status of WT within its parent big six conglomerate, NBC-Universal. WT had been receiving $600m funding every 7 years, with clearance to greenlight any project up to a $25m budget - but that has been reduced to a 'first look' deal, meaning Universal can decide whether they want to 'pick up' a WT project or not. In this case they didn't, Sony (and its subsidiary Colombia) did ... and maybe Universal were wise, as it failed to even recoup its budget, never mind the 2-3 times budget generally accepted as needed to move into profit.

The Gant rule obviously doesn't apply: its a very British film - so much so that the title had to be changed for US and international markets as the place name Grimsby has no recognition and is essentially meaningless and confusing outside the UK (unlike London). 

Idents: Sony - sooooo unlikely to see a big 6 name on a social realist flick!!
Village Roadshow - US production partner, again essentially unheard of for a UK social realist film (unlike comedy)!!
No ident for WT!
Non-diegetic, well known commercial track (R Kelly) as an audio bridge over 2 idents + opening shots. The OST features Ed Sheeran!!!! Its unusual to have any lyrical music in SR films, incidental music is more typical (eg Tyrannosaur, but TisEng does feature some). 
Black screen before shot (after ident 4); no fade in. Unusual choice of (M)CU, no ES. Cuts to another (M)CU showing co-protagonist's huge England football back tatoo, sweat, and England football top + beer can visible. 

The tightly framed shots for the opening sex scene are made comic by use of a master shot revealing the location, a bed showroom. Poverty signified through the large signs highlighting the sale, lowest prices in Grimsby, and actual (real life rock bottom) prices: just $$89.99 for a double bed.

The stereotyping starts immediately: the overgrown hair, huge sideburns, ridiculous tattoo, football top, beer can ... and then the reveal of moronic, antisocial behaviour (the realism of SR can lead to showing antisocial behaviour: the violent lead in TYR, even Shaun in the newsagents). 

Its a very short opening scene - contrasts with TisEng, TYR etc. Just 30 secs then into titles sequence - soundtracked by a huge hit from Blur! 

Shot 1 of titles sequence IS typical for SR tho! A grim looking terraced street, heavily graffitied, many boarded up; shot even worse, litter, broken chainlink barrier, metal sheets boarding up every house. A pernicious stereotype - think of how TisEng features SOME grim mise-en-scene (the subway; the terraced street the film title is over) but counterpoints this with smart detail like Shaun's bike left unchained + safe in his garden with its low wall (no litter or overgrown messes there either). There is graffiti, though this is used for verisimilitude and political points from Meadows: Maggie is a Twat; Screwdriver [referring to an 'oi' skinhead, neo-Nazi band, Skrewdriver]

BFI REPRESENTATION Villains scarred for strife

BFI to refuse funding for films with facially-scarred villains https://www.theguardian.com/film/2018/nov/29/bfi-to-refuse-funding-for-films-with-facially-scarred-villains?CMP=Share_AndroidApp_Blogger

NETFLIX Working Title dumped by Coens

Great quote on the biz not supporting mid-budget, non-franchise productions like theirs. Most of their prior movies have been produced by Working Title - mid-budget is very much their niche, though arthouse (as Coens flicks would be termed despite their level of mainstream success) is less associated with WT!

https://www.darkhorizons.com/coens-on-why-scruggs-is-at-netflix/

DISTRIBUTION INDIE FINANCING Apple signs up Indie producer

The deal they've inked is for film productions from A24, a company with separate deals with Amazon and DirecTV.

This is part of Apple's long expected gearing up for an Amazon rivalling subscription service, rumoured to include film, music, TV, magazines, possibly more.

It shows the increased possibilities for Indies beyond theatrical distribution, with Amazon Prime likewise an important outlet for many low budget productions.

https://www.macrumors.com/2018/11/15/apple-hires-indie-studio-a24-to-produce-films/

CINEMA Netflix force 4 walling exclusive for theatrical release

https://www.slashfilm.com/almo-drafthouse-not-playing-roma/

AUDIENCE Twilight of the forgotten gender

“The part that shocked Hollywood was that the film’s stunning success was fuelled by ‘girl power,’” says Melissa Silverstein of Women and Hollywood. “The general consensus in Hollywood is that films and books made for men and boys are seen as ‘universal’, and things that are made for women and girls are somehow seen as ‘other.’ Women are seen as a ‘niche’ audience. This ‘nichification’ of women has been one of the most enduring problems facing the much-maligned chick flick.”

The sensation of Twilight in 2008 caused Hollywood studios to perk up and pay attention to a new ticket-buying demographic – young women (and, let’s be honest, their vampire-struck mums). For years, the superhero and adventure franchises had faithfully served the 12- to 25-year-old male audience, without taking the economic power of the handbag into account.

Ten years of Twilight: the extraordinary feminist legacy of the panned vampire saga https://www.theguardian.com/film/2018/nov/02/ten-years-of-twilight-the-extraordinary-feminist-legacy-of-the-panned-vampire-saga?CMP=Share_AndroidApp_Blogger