THE FILM INDUSTRY

PRODUCTION
GETTING THE FILM MADE

DISTRIBUTION
PROMOTING THE FILM

EXHIBITION
SHOWING THE FILM
 THE BIG 6
Major Studios are vertically, horizontally and
laterally integrated and are now part of
massive media conglomerates which has
created an oligopoly in the film industry, the
so called Big Six.

Big budget Blockbusters often follow the

high concept model in order to appeal to a
mass audience.
RESEARCH THE KEY WRODS
IN RED
Find . which conglomerate 20
out th

Century Fox
belongs to and what else the
conglomerate owns.
Create a diagram which shows how
20th Century Fox
 MEDIA CONGLOMERATES
a
A media conglomerate, media group or media institution is
company that owns large numbers of companies in
various mass media. Media conglomerates strive for policies that
facilitate their control of the markets around the world and this leads to a few
companies owning much of the services provided oligopoly .
 Parent company

Not only does America

dominate with big
blockbusters (made by
20th Century Fox), they
have realised there are
profits to be made in
more niche / independent
style films so they make
FOX SEARCHLIGHT is the indie arm of 20th
them too!
= DOMINATION Century Fox.
It specialises in British films, Horror films &
Dramas

= more niche audiences AND more

 HOW DOES A STUDIO SYSTEM WORK?
THE HOLLYWOOD STUDIO SYSTEM (UP UNTIL 1948)
VERTICAL INTEGRATION..

Profits from each stage return to

the one company to go back into
film making like a PRODUCTION
LINE

= $$$
$$
INVEST $$ EXHIBITIO
PRODUC DISTRIBUTE N
$$$ E / MARKET
If cinemas
wanted a feature
film from the
studio, they had
to accept all
films from that
studio.
This led to block
Stars were booking no
contracted to room for
studios for long independent
periods. films.
Studios had control
 Horizontal:
A type of
integration used
to strengthen a
companys
position in the
industry.
Twentieth
Century Fox
makes high
concept
whereas Fox
Searchlight
makes more
indie films to
target a
different
audience
Vertical: so
both are film
a firm usually
companies but
expands into
seeking
another
different
production
audiences.
stage rather
than merging or
acquiring the
company in the
same production
stage. This
means it can
claim the profits
back from all
stages of
production
Lateral: rather than
The merging of firms involved in production of similar goods (all media companies) paying other
but not in competition with each other (not all film companies). companies and
 20th Century Fox created Fox
Searchlight to target a different
market this allows them to
HORIZONTAL create film in more genres
(narratives etc)
INTEGRATION

INTEGRATION
VERTICAL

Conglomerates like News Corp.

are able to access other forms of
LATERAL media to give the film positive
INTEGRATION coverage and reviews
Funding from a number of
companies: horizontal integration

9
Released by parent company with a larger
distribution network (once the film has proven itself and
already proving to be a hit, through test and preview screenings)

10
Advantages of Integration for
Hollywood Black Swan had a limited release
Marketing and Distribution Fox Searchlight Pictures sometimes only in select cities in North America
distributes films. They would agree to distribute the film before on December 3, 2010, in 18
production in many cases and the money they pay for the rights to theatres and was a surprise box
distribute the film counts towards the production budget. office success. The film took in a
total of $415,822 on its opening
This can make some producers unstuck when they deliver a film without day, averaging $23,101 per
music copyright permissions or a film that is in anyway different to what theatre.
was pitched by FSP. Remember how much clout financial backers have on
the finished product! (DISADVANTAGE) By the end of its opening
weekend it grossed $1,443,809
However, when FSP markets and distributes a film they have the $80,212 per theater. The per
financial backing of a major conglomerate and can adapt their location average was the second
budgets in accordance with how well the film does in the first few highest for the opening weekend
weeks at the box office. Hence why The Black Swan was able to of 2010 behind The King's
be marketed to a mass audience (By its parent company: 20 th Speech.
century Fox) after they had planned a limited release at first to a
niche audience. The film is Fox Searchlight
(ADVANTAGE) Pictures' highest per-theater
average gross ever, and it ranks
In contrast, if a film fails at the box office and isnt received well (e.g. The 21st on the all-time list. On its
Good Thief made for $25,000,000 only to make $5, 756,945 after it only second weekend the film
made $131,580 on its opening w/end in the U.S on 9 screens, despite expanded to 90 theaters, and
having good reviews and a satr Nick Nolte) the loss that FSP takes can grossed $3.3 million, ranking it
be absorbed by News Corp or the next hit that came in as a low-budget as the sixth film at the box-office.
film (such as The Black Swan (13 mil 329 mil) and makes a mint!
In its third weekend, it expanded
again to 959 theaters and
grossed $8,383,479. The film
What are the advantages of
integration for Hollywood?
 Advantages of Integration for
Hollywood
Production Being part of a conglomerate means that the money
for productions is available for Searchlight. Bigger budgets can
also attract larger Stars, utilise the newest and best technology
for special effects and shooting.
Films are generally developed by a smaller production company
(often set up just for the film itself) who then seek more finance
and or distribution with Searchlight as they have a film with British
content or indie content or a non-English
language/horror/dramedy film that has done well outside of
America.

In many cases FSP can pick-up a film that has already been
developed (script, budgeting, stars attached) and has a lot of
potential or they can help distribute a film that has done well in
other regions already and is a sure-fire hit (it may have won film
festival awards previously or opened a festival with its
premiere).

Ultimately, it means working with other companies through

Horizontal integration
synergistic horizontal integration asoutside its
oppose to the old (Fox)
style of
vertical integration where every aspect of film making was done
own
by one company.
major company.
It is able to attract other backers because
 Money = look
Audience come to expect
the high concept, hi-tech
Level of influence and look and wont accept
power: media is anything less.
entertainment, but is it More amateurish different
also persuasion? views / values / ideologies
Hegemony maintained squeezed out.
sympathetic toward certain
values.
Can limit points of view. Issues with
concentration Pressures on more
independent like BBC to
of media copy the formula in order
ownership to reach the audience
A media mogul became
rich in a certain cultural (few end up transmitting same
conglomerates values and ideologies.
climate they wont
promote social change to owning most of
change the climate.
media)

Money and profit become

Issues - These Media conglomerates now have all important factor rather
to work with the new Media giants Google and than what is good
Facebook. Due to the consolidation of all these
companies the Media is Americanised, which
leads to less diverse content. Leaving some
audiences with a lack of identity in their own
News Corp Controversy
New Corp are know for being a biased
Media organisation. They have given
donations to the right wing American
political parties - the Republicans who are
Americas Conservatists.

They have also had controversy

surrounding them with their news outlets.
News of the World was closed in 2011
after phone hacking was used by their
journalists.

So, unlike the BBC, News Corp, it could be

argued, have subsidiaries which promote
the leaders ethos and have an agenda
much like other propaganda.
PRODUCTION: Getting the film made & accountable for the end
result / profitsPre production:
Gives - Bringing together the key
funding members of the creative
to get team like the Director and
the film cast.
made - Selection of other key
personnel, such as the
Editor and Composer.
- Participation in location
scouting, and approval of
the final shooting script and
budget.
Notice that they have a
say in EVERYTHING
and why not? Its their
money and they are
accountable for the
success of the film!
What potential conflicts
could arise because of
this?
Production
- Constant communication and
consultation with the Director,
and with other key creative
personnel, on and off set.
- Approval of all script changes
and cost reports, and continue
to serve as the primary point of
contact for all production
partners, investors and
Distributors
Post Production:
- liaison with post-production
personnel, including the Editor,
Composer, and Visual Effects staff.
- Consultation with all creative and
financial personnel on the
production of the answer (or final)
print.
- They are usually involved with the
financial and distribution entities in
planning the marketing and
distribution of the finished film.
 RESEARCH:
The partnership
The split
Why they split
What this tells you
about the goals of

AND British movie

producers vs. the
goals of US
producers.
trying their hardest to turn out a film every
four years, and a Hollywood business
model which has always thrived on speedy
turnaround.
= Uk struggles to stick to Hollwood
business model turning films around
in a quick
If only time were better at crossing
clay animals
the profit line. The Second World War
caper Chicken Run (2000), financed before
their five-picture deal, was the only one of
Aardman's three features to date which
actually made money, thanks to a
relatively restricted budget.
= Dont make a profit
Aardman had always been thought of as a
cuddly British institution until this point,
but the decision was made to go fully
global
= British institutions need a US
company to reach an international
In America,
audience though, the very overt Britishness of
the film, something Aardman doesnt
compromise, arguably had an impact. The film
grossed a disappointing $56m, when it was
comfortably better than the other animated films
released that year (DreamWorks own
Madagascar, though, would bring in $523m
worldwide).
Wallace & Gromit: The Curse of the
Were-Rabbit (2005) got great reviews
and won an Oscar but still barely broke
even, thanks to its disappointing US
takings.
= Critical acclaim VS. Profits. U.S
more interested in profits.
And Flushed Away (2006) was a
sadder story, in which Aardman
made their first major
compromise in converting to CGI
- a much quicker process, but
not necessarily a cheaper one -
and still failed to reap the
commercial rewards.
= UK having to compromise
style in order to appeal to
widerForaudience
the first time, even US
/ please the
reviews weren't
production company. super-positive.
= By compromising, critical
acclaim goes out the
window.
 DISTRIBUTION
Is the process of launching a film into the market place and sustaining public
interest in the film.
Positioning:
Involves how and when the film should be released. Elements to be considered are the time of year, other film
releases and the target audience.
Circulation:
how many copies of the film should be circulated to cinemas.
Each print costs around 1000.
The distributor should decide whether the film requires a saturation release (700-1000 prints) or an art-house
release (around 20 prints)
Release:
Timing is crucial. School holidays are a prime time within the year for the release of blockbusters.
If the film is a potential award winner, then it will be released during the traditional season of awards competition:
January to March.
Competition must also be considered.
Marketing:
Can often cost as much as making the film!!!
Main aim is to create a must see feeling about the film.
Word-of-mouth is a powerful marketing aid for a film.
- Posters:
Contain standard elements that are used to sell the idea of a film to the potential viewer.
The main image will often echo a key moment in the film.
Any stars or possible key personnel, will have their names featured.
Posters usually have a Unique Selling Point. This is the element that offers something special or different about the
film.
Some blockbusters use a teaser poster campaign. The teaser posters offer a few key elements of a film to
generate interest.
- Trailers:
Need to present a number of key elements to the audience.
The genre through key scenes, iconography, dialogue, or other sound elements.
Narrative elements have to be introduced, being careful not to ruin the film though.
Is there is a star, then they will likely be featured.
Again a USP will be created this could be:
- Media Advertising:
Using other media texts to promote the film.
Posters in magazines and newspapers, and on billboards and bus stops.
Trailers on TV and radio (depending on the budget)
Stars and director appear as guests to be interviewed about the film.

- The Internet:
A buzz about a film can be generated in an internet chat room, for example. If positive word of mouth spreads this
is good promotion, however, there is the other side of the coin too.
Individual films have their own website, which feature clips, images, interviews and so on. This helps create public
awareness.
E.G. The Blair Witch Project. The films website provoked great debate about whether the film was based on a real
incident or not. This created a large amount of publicity for a low budget film.

- Promotions:
Big films often have tie-in promotion campaigns. E.G. toys given away in fast food outlets, displays in shop windows.

- Merchandising:
large potential for profit lies in this area.
The distributor will oversee the sale of licenses to approved companies to allow them to use film images and logos.
Star Wars was perhaps the first film to profit through merchandising.

- Premieres:
Are a carefully organised promotion tool. They generate articles in newspapers, magazine articles about those who
attended, and T.V. interviews with stars.

- Press Junkets:
The endless short interviews given to the members of the press.
It is an official element of the publicity campaign.

- Preview Screenings:
Free tickets might be given away or won in competitions. Distributors are careful to attract to the preview the
intended target audience for the film, in order to try and generate a positive word of mouth.

- Festivals:
Film festivals have a dual function. They are competitions in which if a film wins an award or receives critical
acclaim, it will provide positive publicity for the film. Secondly they are a promotional tool where reviews are created
and interviews conducted.
DISTRIBUTION: Launching the film and getting people to see it
Films are loaned out to cinemas for a limited period of time and release
deals are done that secure access to a certain number of screens at a
time. They deal with exhibitors who are no longer (as used to be the
case) owned by the same Hollywood companies, but who do, for reasons
of profit, prioritise Hollywood films over others.

Circulation: How
many copies.
Either a saturation
/ blanket release Deal
or art house with
(niche)
Premie
Exhibit
Press ors
res
Junkets
Festiva Premier
ls es

Merchandi Release
sing date
Poste
rs Marketi
ng Promoti
ons

Trailers Preview
s
Interne
Advertis t
ing
EXAMPLE:

= US production companies have distribution

arms to distribute their own films. British films
find it hard to compete.
Viral Marketing
A marketing technique aiming at reproducing "word of mouth" usually on the
internet and through existing social networks. YouTube Video pastiches,
trailers, interviews with cast members, the director, writer, etc.

The Dark Knight Rises viral marketing campaign has seen some impressive
results so far, but it really all began with the 2008 movie The Dark Knight.
Warner Bros. owes Joker brilliantly played by the late Heath Ledger a huge
debt, since his makeup-covered mug plastered the web, leading legions of fans
to various clues about the superhero movie.

The video above explains how the scavenger hunt around the world immersed
fans in the movie well before it hit the big screen, helping to make the second
installment in Christopher Nolans Batman trilogy an unforgettable event.
Website WhySoSerious.com is still active if you want to stroll down memory
lane.
Guerilla Marketing:
The use of unconventional and low cost marketing strategies to raise awareness of a
product. The aim is usually to create buzz and word of mouth around a film.
Unusual stunts to gain publicity (P.R.) on the films opening weekend, etc.

Examples:
Sasha Baron Cohen created buzz before the release of his film Borat by holding
fake press conferences. The studio also accessed the popularity of YouTube by
releasing the first 4 minutes of the movie on YouTube, a week before its release,
which can then be sent virally across the nation. At a special viewing of Bruno
Cohen landed on Eminem butt first from the roof MTV Awards venue, dressed in as
an angel outfit with rents in the rear end.
 v i e
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 fi lm a n d th en half way
e r s a t d o w n to watch a it before?
Have you e v u h a ve s ee n
u g h g et t h e feeling yo
thro

The chances are you probably havent seen this film but many
many like it.

It has been noted that every film we see has a formula and
there are basically around seven or eight stories that have
been told in thousands of different ways with only character
names, locations, and small details changed.
With their one-line pitch, instant iconography, easy
marketability and consumer appeal, and star-name, they
introduced cinemagoers to bite-size movies. Welcome to the
high-concept movie. They are easily recognisable and easily
digested.
 o v i e is:
o n c e pt m
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s s e n tially s en te nc
E p in a
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Wh b o u t t
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And d e s eve d f r anc h
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Every high-concept movie includes very similar things in its
formula:
Theres a predominant theme of good versus evil which
always sells, with the main character having to face a major
problem. They also feature the extraordinary in either the
character or the situation, but one is so dominant it fights
against the other to create obvious and seemingly
unstoppable conflict.

They deal with broad themes that are recognisable to any

type of filmgoer, who can, whether they are male or female,
black or white, English-speaking or not, identify with such
themes. Lost love, war, fear, life and death, family, and
honour, are all dominant within the films themselves.
Examples would include Jaws (fear, death), Top Gun
(honour), Pearl Harbor and Saving Private Ryan (war,
honour).
 The
Star

ri ty t o the
m o re popula
ed to d r aw
e is u s
r-n a m
y ca ses a sta
In man
film.
 The
Director

The most dominant Hollywood directors of the past twenty years,

Spielberg, Tony Scott, David Fincher, James Cameron, Stephen
Sommers, Simon West and Michael Bay have all based their careers
around high-concept films.
 High concept films are usually given what is called a saturation or
blanket release, this is where a film is released across a huge number of
cinemas simultaneously in order to meet expected demand. This is
because high concept films are expected to attract a mass audience.

Profitable for the exhibitor

Independent or smaller films have to compete for screens with

World War Z
Before the film was released, there was lots of speculation and rumors that the film was troubled
due to reshoots and that it would bomb at the box office. It's cost was enormous, with a reported
production budget of $190 million. But this is just production.

We haven't yet factored in marketing costs, which, on a film of this size, for both domestic and
international audiences, will probably cost another $200 million ($100 each for domestic and
international audiences). This puts the total price tag at $390 million for a not very good zombie
film that was not quite two hours long, with more of the budget spent on commercials and bus stop
posters than actually making the film, itself. (Remember, a film this size requires non-stop
saturation in the form oftelevision commercialsplaying all over the world. In Trenton, New Jersey,
but also in Hamburg, Germany, and in Bangkok, Thailand - anywhere the film is going to play.)

So we have a budget of $400 million, rounding up to make, market, and distribute.

How did it do at the box office?

It made $202 million domestically and $337 million overseas for a total of $540 million. Not bad!
Except, that theaters all around the world typically, over the course of a film's run, will get about
40% of the gross. So that $540 immediately becomes $324 million, against a $390 price tag, with
theaters taking off with $216 million.

Aha! But theaters are only 50% of a film's revenue. Which means that a film likeWorld War
Zcould bring in another half a billion from the ancillary revenue sources mentioned above, but like
box office receipts, a lot of that goes to other players. When you pay Wal-Mart $20 for a DVD, that
doesn't all go to the studio, only a small portion of it does. When you do an online rental off iTunes,
half the money goes to Apple. So that $500 million in extra incomebecomes $250 million.

But collectively that means, after several years have expired,World War Zwill likely earnfor
Hollywood- if the traditional formulas hold true - approximately $574 million across the globe,
which accounts for Hollywood'sportion of every film ticket, online rental, viewing on HBO, DVD
sale, and television viewing. The film costs $390 million, leaving a profit of $184 million. To which,
HIGH VS SOCIAL
CONCEPT REALISM
DISTRIBUTION: ISSUES ARISEN SO FAR
 EXHIBITION
Film exhibition is about getting the film seen.
Exhibition is divided into two sections:
-Cinema the distributor is paid by the cinema for a copy of the film
-Home the distributor is paid by the company who is selling the film for a copy

A films success is often decided on the amount of money it makes during its cinema release. This
is known as the Box Office Takings.
Home Exhibition is becoming an increasing valuable and varied source for distributors to increase
profits.

The Premiere:
Fame helps sells films and stars have loyal fan bases.
The biggest stars are those who can open a film guarantee that it will do well in its opening weekend.
Star power can extend to big name directors like Tarantino.
Working Title retain great popularity with the fans from the type of films they are associated in making eg Rom coms.
The major revenue that exhibitors gain comes from popcorn sales, drinks sales etc.

Cinemas:
They are dependent on the popularity of the film they show and the work of the distributors marketing team, to sell
more popcorn and therefore increase their profits.
Therefore they are very selective about the films they show.
British films can struggle when competing against big Hollywood films but niche exhibitors can afford to show British
and International films.

Prints & Logistics:

Making so many prints of films requires substantial investment from distributors. They will try to reduce costs by
making a smaller number of prints and releasing the film in waves.
This is the chief reason why many films are released in the UK and Europe some months after their US release: to
save the distributors money on reproduction costs.
EXHIBITION: Getting the film seen
After viewing the film
from the distributors for
release, the exhibitor
will discuss the release
pattern and the financial
deal to rent a film from
the UK distributor. This
is based on projected
ticket sales for a film,
that is, box-office
returns.
Film
Bookin
gs
Concessions:Money taken at the box office alone
is not enough to give the exhibitor/cinema a
profit after paying the rental fee, especially if
the film is a failure. The popcorn, ice-cream,
sweets and hotdogs you can buy at the cinema
are known as concessions. The concession
stands in both multiplexes and independent
cinemas provide an additional source of income
to the exhibitor.
The
The exhibitor/cinema is the
cinema
'shop front' where the film
industry 'sells' films to the
audience.
Distributors vie for space in the
foyer to display posters,
standees and other film Traile
publicity material and rs
merchandising. It is the cinema
manager's job to make sure
that the publicity is current and
relevant to films showing at
their cinema.
 PRODUCTION

Gives funding to get the film made.

Participation in location scouting, and approval of the final shooting script

and budget.

Selection of other key personnel, such as the Editor and Composer.

liaison with post-production personnel, including the Editor, Composer, and

Visual Effects staff.

DISTRIBUTION

America spends as much on this budget as actually making the film.

Responsible for marketing, including: trailer, merchandising, viral marketing,

posters etc
Decide how many copies to make. Whether its a saturation / blanket release
or niche.

Negotiate release deals to secure access to a certain number of cinema

screens.

Organise the films release date.

EXHIBITION

Decides what the box office returns for a film will be and therefore how
profitable what films to show on screens to maximise profits.

Rely on concessions to make profit.

Shows trailer to promote up and coming films.

The shop front where up and coming films are promoted.

Pays the distributor for a copy of the film.

http://
www.slideshare.net/fullscreen/mickgoogan/02-g322-section-b-film-industry-in
troduction-2013/3
 UK film council DSN
Look at the UK film councils website and research
DSN -Digital Screen Network) and digital exhibition of
film.
UK film council funding the digital screen network
which helps independent cinemas link
http://www.ukfilmcouncil.org.uk/distributionandexhibi
tion

Some questions for you: Why is this important for

British film, why are we investing in it, how will this
benefit the smaller film makers?
THE DIGITAL REVOLUTION
Digital Revolution has been transforming film distribution in
two key ways:

1. Piracy has lead distributors to day and date releases, in which

the film is released in all territories simultaneously.

This requires a great deal of investment and is usually reserved for big
blockbusters.

2. The development of digital data storage and transmission via the

internet has made digital film distribution a serious possibility for the
future.

50% of US and UK cinemas will be capable of digital projection by 2010 so

distributors of low budget films can distribute films digitally at a reduced
cost.

In the future distributors will be able to distribute their films via electronic
prints.
MULTIPLEXES
1. Finish these sentences:
Film production is__________________________ (1)
Film distribution is_________________________ (1)
Film exhibition is __________________________ (1)

2. Give 2 reasons why Aardman and Dreamworks split (2)

3. What do these suggest about the issues or conflicts surrounding a US and and UK
company co-producing? (2)

4. Five American distribution companies dominate the UK. List 2 issues with these,
especially for British films. (2)

5. What is a saturation or blanket release? (1)

6. What is the name of films which tend to get this release? (1)
7. List an issue for British films (1)

8. Define viral marketing. (1)

9. Define guerrilla marketing. (1)

10. Define the term multiplex. (1)

11. How have multiplexes changed cinema attendance? (1)

12. Why do exhibitors show Hollywood films over British films? (1)
/18
1. Finish these sentences:
Film production is__________________________ (1)
Film distribution is_________________________ (1)
Film exhibition is __________________________ (1)

2. Give 2 reasons why Aardman and Dreamworks split (2)

3. What do these suggest about the issues or conflicts surrounding a US and and UK
company co-producing? (2)

4. Five American distribution companies dominate the UK. List 2 issues with these,
especially for British films. (2)

5. What is a saturation or blanket release? (1)

6. What is the name of films which tend to get this release? (1)
7. List 2 issues for British films (2)

8. Define viral marketing. (1)

9. Define guerrilla marketing. (1)

10. Define the term multiplex. (1)

11. How have multiplexes changed cinema attendance? (1)

12. What does the industry term fuck and run describe. (1)
/18
1. Finish these sentences:
Film production is getting the film made (1)
Film distribution is promoting the film (1)
Film exhibition is getting the film seen (1)

2. Give 2 reasons why Aardman and Dreamworks split (2)

SEE NEXT SLIDE
3. What do these suggest about the issues or conflicts surrounding a US and and UK
company co-producing? (2)
SEE NEXT SLIDE

4. Five American distribution companies dominate the UK. List 2 issues

with thIS, especially for British
films. (2)
-. They are linked to American production companies so all profits go back to the
one company.
-. They have huge budgets = fierce marketing that UK films cant compete with
-. They get the best deals from exhibitors because exhibitors know big budget films
will make more profit
-. If UK uses an American distribution company, a lot of the films profit will be paid
out to that distribution company = movie making money going back to America
rather than staying in England.

5. What is a saturation or blanket release? (1)

6. What is the name of films which tend to get this release? (1) High
Concept
7. List an issue for British films (1)
8. Define viral marketing. (1)
9. Define guerrilla marketing. (1)
10. Define the term multiplex. (1)

11.How have multiplexes changed cinema attendance? (1)

12. What does the industry term fuck and run describe? (1)
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trying their hardest to turn out a film every
four years, and a Hollywood business
model which has always thrived on speedy
turnaround.
= Uk struggles to stick to Hollwood
business model turning films around
in a quick
If only time were better at crossing
clay animals
the profit line. The Second World War
caper Chicken Run (2000), financed before
their five-picture deal, was the only one of
Aardman's three features to date which
actually made money, thanks to a
relatively restricted budget.
= Dont make a profit
Aardman had always been thought of as a
cuddly British institution until this point,
but the decision was made to go fully
global
= British institutions need a US
company to reach an international
In America,
audience though, the very overt Britishness of
the film, something Aardman doesnt
compromise, arguably had an impact. The film
grossed a disappointing $56m, when it was
comfortably better than the other animated films
released that year (DreamWorks own
Madagascar, though, would bring in $523m
worldwide).
Wallace & Gromit: The Curse of the
Were-Rabbit (2005) got great reviews
and won an Oscar but still barely broke
even, thanks to its disappointing US
takings.
= Critical acclaim VS. Profits. U.S
more interested in profits.
And Flushed Away (2006) was a
sadder story, in which Aardman
made their first major
compromise in converting to CGI
- a much quicker process, but
not necessarily a cheaper one -
and still failed to reap the
commercial rewards.
= UK having to compromise
style in order to appeal to
widerForaudience
the first time, even US
/ please the
reviews weren't
production company. super-positive.
= By compromising, critical
acclaim goes out the
window.
EXHIBITION: ISSUES ARISEN SO FAR