RESEARCH: DISTRIBUTION COLLEGE

 RESEARCH: DISTRIBUTION COLLEGE 

I watched a presentation on the FDA website by Kezia Williams, head of theatrical distribution at Pathetic. She talked about how distributors work to create a successful new marketing campaign for each film, on the film distributors’ association site. It was also explained by Chris Besseling, director of Marketing at Pathe, that distributors market a films USP (unique selling point) such as its close cast, its provenance, it awards and five star reviews to bring positive attention to the specific film (in the genre).

 

I choose the film To  ‘All the Boys I’ve loved Before’ to research. To All the Boys I’ve Love Before is a 2018 American teen romantic comedy film directed by Susan Johnson and written by Susan Johnson. The film is based on Jenny Han’s 2014 novel of the same name, and was released by Netflix on August 17^th, 2018. This film won awards for: MTV Movie Award for best kiss (Noah Centineo and Lana Condor) and Kids Choice Award for favourite movie actor (Noah Centineo). The film stars/main characters include Lana Condor, Noah Centineo, Janel Parrish, Anna Cathcart, Madeleine Arthur, Emilija Baranac, Israel Broussard and John Corbett.

I investigated the different aspects of To All the Boys I’ve loved Before of a marketing campaign and and film distribution for this film. This consisted of: film posters, teaser trailers, trailers, social media accounts such as; Instagram, Twitter etc.., interviews/press, award ceremonies, premieres and more. 

Film Posters 

The main poster for To All The Boys I’ve Loved Before, ahead of its arrival on Netflix in August 2018, the streaming service has released a poster and trailer for the teen romantic dram. To All The Boys I’ve Loved Before. Based on Jenny Han’s New York Times best-selling YA novel, the film is directed by Susan Johnson and features a cast tat includes Lana Condor, Noah Centineo and Janel Parrish; see the main/confirmed poster below (first image). There a few different variations of the poster, however the main on is by Netflix (where is is streamed): some including form the original book, which are also very popular. These posters are greatly effective as they introduce is to the main characters in the movie whilst also using famous movie talent to boost the marketing campaign. To All The Boys also decoded to sign some posters for the fans/fanbase sold on Amazon – the two main actors signed them.

Trailers/Teaser Trailers

See Below Teaser Trailer for To All The Boys I’ve Loved Before

https://youtu.be/mTLc_RzqaJc

 

See Below Trailer for To All The Boys I’ve Loved Before

https://youtu.be/555oiY9RWM4

 

To All the Boys is very well known for its teaser trailers and main trailer. The teaser trailer is used to make the audience be excited as to when the full trailer, then film will be out. The teaser trailer is always an effective marketing strategies to make the fans or the original book (or new fans) excited for the release. The full trailer is also one of the main ways to make the fans know when it is coming out, and who are all of the characters in the film, they also get to see more of the film, and analyse what is going to happen in this film (or how much of the film is related to the original book, in this case). 

 

Social Media Platforms

To All The Boys I’ve Loved before has one main social media platform with the most following on Instagram – with a following of currently 1.9 million. This is very rare to have this large of a following on this platform, this shows that the fanbase is very loyal and enjoy interacting/going back to this specific platform. Twitter is the other popular social media platform, which currently has a following of 32.5k followers. This again, is another popular app to interact with fans and promote the film. 

Press/Interviews 

There are many different interviews with the cast to promote the film. For example: different games to do with the film, interview questions, behind the scenes etc.. 

See below for examples: 

https://youtu.be/cPiwS2Nfz4o - cast plays “To All The Boys I’ve Loved Before” Cast Finds Out Which Character They Really Are

 

https://youtu.be/PB1huhiHNPQ - Interview with Lana Condor, Janel Parrish & Noah Centineo

 

https://youtu.be/Qxvue8mvvqM - Two main actors (Lana & Noah) take a lie detector test. 

 

Interviews are always a good way for fans to get to know the actors, as well as promoting the film. These interviews are normally streamed on YouTube, and tend to get millions of views. For example; the interview with Vanity Fair for To Ally the Boys has 5.1 million views. 

 

Overall

The marketing campaign for To All The Boys was very successful, so successful Netflix signed the film to have a sequel (the second movie is out on Netflix and the third is coming in 2021). This popular film has a rating of 4.7 rating out of 5. The overall budget was $18 million. There are no other financial information about the film.

RESEARCH: ART OF THE TITLE - GUARDIANS OF THE GALAXY VOL. 2

ART OF THE TITLE

GUARDIANS OF THE GALAXY VOL. 2 (2017)

Guardians of the Galaxy is a 2017 sequel American superhero films base on the Marvel Comics (franchise) produced by Marvel Studios. In this movie, Peter Will and hi fellow Guardians are hired by by a powerful alien to protect their batteries from the invaders. When it is discovered that Rocket has stolen from them, they dispatch their armada to search for vengeance. As the guardians try to escape, the mystery of Peter’s percentage is revealed. 

 

Typography

The custom typography developed by Sarofsky for the first Guardians of the Galaxy film returns here, this time in rusty gold and glowing blue neon, providing familiarity and brand consistency. The title card freeze-frame puts Baby Groot in a Matrix-like pose, impervious to — and ignorant of — the mayhem around him. As the camera buzzes between laser blasts and flailing tentacles the film’s credits appear wherever there’s room. Meanwhile Groot continues his dance, adorable and oblivious to the events around him, losing himself to the music.

 

Music/Soundtrack 

Like Rob Gordon says in 2000’s High Fidelity, “The making of a great compilation tape, like breaking up, is hard to do and takes ages longer than it might seem. You’ve got to kick it off with a killer to grab attention.” The killer song here is Electric Light Orchestra’s infectious “Mr. Blue Sky,” a soaring Beatlesque composition penned by songwriter Jeff Lynne in 1977. It’s been used in a handful of films including Eternal Sunshine of the Spotless Mind and The Invention of Lying, but perhaps the most interesting place it’s been played is in space. In 2011, the song was played as a wake-up call for astronauts on the final mission of Space Shuttle Atlantis. The opening of Guardians of the Galaxy Vol. 2 recalls that usage, giving the Marvel film a jump-start, juxtaposing the bright and irresistible “Mr. Blue Sky” with something truly out of this world.

Background Information

Baby Groot, mischievous and distracted and utterly in his own world, dances to music from Star-Lord’s second mixtape while the Guardians throw down in the background, out of focus. The focus on Groot instead of the main action is the first comedic thrust of the film, a hilarious stroke of wit that dumps audiences in medias res but with the major action just beyond reach.

Although Baby Groot is voiced by actor Vin Diesel in the film, the tiny tree character’s dancing is actually based on director James Gunn’s own movements. Gunn’s love of music was directly translated to the screen by visual effects company Framestore, who used a video recorded by associate producer Simon Hatt on an iPhone in Gunn’s home office just after he’d written the opening scene. In the video, Gunn dances freeform, with moves “made up on the spot” but clearly in character as Groot. “I’m trying to move my body that [sic] works for a little tree more than what I’d be dancing like in a nightclub in L.A.,” said the director. 

https://www.instagram.com/p/BVIGrHYjR_n/?utm_source=ig_web_copy_link

RESEARCH: ART OF THE TITLE - HOME ALONE

RESEARCH ART OF THE TITLE: HOME ALONE

Home Alone Film Opening

TO SUM UP: 

I would say that the opening of Home Alone is to set the scene of the film/movie and to briefly show the personalities of the main character and the main characters who are involved in the film. I would say the the opening engages by the audience feel at home and comforted by the normal, relatable family seen at the beginning of the film. The feel-good, comedic film is meant to make the audience feel nostalgic at this time of the year (as this film is always shown in the festive period). 

Eight-year-old Kevin is accidentally left behind when his family leaves for France. At first, he is happy to be in charge, but when thieves try to break into his home, he tries to put up a fight. 

I choose Home Alone because the movie its left sets the time period very accurately, in terms of what season it is in the year and the year/century it was made. It is also a classic movie, that has gained many award for its outstanding received many awards.

Camerawork

The opening scene sets the story of what is going to happen in the rest of the film. The first scene is set with an establishing shoot of the families home where we imagine the story will be set at. The lights, around the trees/ house and the crisp, white snow on the ground creates a festive atmosphere.

There are a variety of shots used to introduce the character and the overall setting. Some of which include: a tracking shot to show them walking around the rom and in the house, this suggests this house is always busy (shows the hustle and bustle as the camera goes through the scenes). Close up are used to establish the character (particularly the main characters that are shown most in the rest of the film). Mid shots are used while the particular character is talking, so the audience is able to see the full facial expressions of the the character whilst speaking.

Mise en-scène

At the beginning of the film the main location is set in Chicago (America), where the audience see’s the red brick house. The red brick house is located at 671 Lincoln Ave., in Winnetka, Illinois.

In terms of costumes, there is an overall theme of natural clothing to show family and home life. The mother was wearing a long coat which makes her look older and more of a northerly figure/tone.

Finally in terms of lighting in. The opening scene, it is high key lighting and natural to show it as everyday lighting. The natural warm lighting could also suggest that the family is of a high class status and wealthy. However outside is low key (cool toned) as the opening scene is shot at night, with the artificial Christmas lights around the house to show us the season/the time of year.     

In terms of the actors:

·      They   were all well spoken (could suggest their class).

·      The only three actors we know who they are straight away is the mother, the factor and their son who they call Kevin. This straight away makes the audience think that they are the three main character in this film. Kevin also being the only child of many being introduced gives us the impression I that he is the protagonist.

   Make-up:

    The makeup was all natural and not noticeable. Only on the slightly older women in the house had more makeup on.

   Sound

At the very beginning of the film the audience non-diegetic opening music to the film. This is the first song/instrumental to the rest of the beautiful soundtrack that takes place in this film. In his score for Home Alone, John Williams utilises numerous percussion instruments for sounds of happiness and festivities (instruments include: cello, harp, flute, french horn and many more to create the iconic intro and outdo music  piece to Home Alone). Overall the music/soundtrack has a very festive atmosphere/feeling and possibly at slight sense of mystery as well, which suggests that something will go wrong later on in the film. However the music was still lively and set the mood for the film. 

 

The diegetic sound of the main character (Kevin) on the first floor of the house, jumping up and down – the audience can hear the thuds of the house as it echoes when Kevin jumps/stops around in frustration. Other diegetic sound in the opening scene are: doors slamming, shouting/yelling and mumbling and bickering between family members. 

Typography

 

White writing and blue symbol on black background. Contrasting colours which Then changes into white writing on the background of action. The use of the lower case”e” creates an interesting visual when looking at it form first sight.

DIGITAL STORYTELLING

 DIGITAL STORYTELLING 

I watched a informative video where Frank Ash, the creative consultant from the BBC talked about digital storytelling - how to connect with an audience emotionally through storytelling. This can be completed by creating a storyline that they can relate to as well as maximising the sense of anticipation and suspense throughout the film. The four main points from this informative course are: Story, It, Question and Audience.

RESEARCH: SCOOP IT!

 RESEARCH: SCOOP IT! 

 

I researched different genres of trailers and choose six film trailers to put into the software app called scoop it, so all of my research/information is in one place and I can come back to it when I need to.

 

https://www.scoop.it/u/preesha-x/curated-scoops - see full scoop it here

 

 

 

RESEARCH: TITLE SEQUENCES

ART OF THE TTILE – WITH CREDIT: EMMA

Titles and Typography: Thunderwing

Music by: David Schweitzer, Isobel Waller-Bridge

“Queen Bee” by Johnny Flynn

Producer                      Credit

Amelia Granger              Executive Producer

Ben Knight                      Executive Producer

Eric Felllner                     Producer 

Graham’s Broadbent       Producer 

Jo Wallett                        Co-Producer

Peter Czernin                 Producer 

Tim Bevan                      Producer

Director                   Credit 

Autumn de Wilde              Director

Writer                      Credit

Eleanor Catton        Screenplay By 

Jane Austen            Novel      

   

RESEARCH: TITLE SEQUENCES

ART OF THE TITLE -WITH CREDIT: LITTLE FIRES EVERYWHERE

Title Design and Production Studio: Imaginary Forces

Director: Karin Fong

Producer: Renee Robson

Director of Photography: JR Kraus

Designers: Katherine Liang, Isabell Hacker

Editor: Lexi Gunvaldson

Flame Artist: Rod Basham

Line Producer: Evan Jones

Coordinators: Jackson Kerr, Nicole Gutzman, Max Linnett 

Head of Production: Melody Alexander

Executive Producer: Wandie Kabule

Composers: Mark Isham, Sharyn Gersh 

Music Editor: Mauricio Balvanera