You need to trace the route of a new release of a film in the UK. It would be best if this was a British film.(Mainly British, cast/ (working title+vertigo) production company)
websites to look at:- launchingfilms.com +timeout.com
MY FILM - Johnny English Reborn (PG)
Universal Pictures
Opening Venues: UK wide
Director: Oliver Parker
Starring: Rowan Atkinson, Dominic West, Gillian Anderson, Rosamund Pike
Running Time: 101 Mins
Rowan Atkinson returns to the role o
source: http://www.imdb.com/title/tt1634122/combined
Production Companies
Distributors
Universal Pictures first announced that they were producing a sequel to Johnny English on 8 April 2010, seven years following the first film.[10]
Filming began on 11 September 2010 in Central London at Cannon Street, with further production scheduled for the week beginning 13 September 2010 at Brocket Hall, Hertfordshire and later in Hawley Woods in Hampshire, Macau and Hong Kong.[11][12] Filming took place on The Mall in Central London on 25 September 2010.
The Johnny English Theme from the original film is quoted four times in the score.f the isource: http://www.imdb.com/title/tt1634122/combined
Writing credits(in alphabetical order) | ||
| William Davies | ||
| Hamish McColl | screenplay | |
| Neal Purvis | characters | |
| Robert Wade | characters | |
Original Music by | |||
| Ilan Eshkeri | |||
Cinematography by | |||
| Danny Cohen | |||
Film Editing by | |||
| Guy Bensley | |||
Casting by | |||
| Lucy Bevan | |||
Production Design by | |||
| Jim Clay | |||
Art Direction by | |||
| Paul Laugier | |||
| Mike Stallion | |||
Set Decoration by | |||
| Caroline Smith | |||
Costume Design by | |||
| Beatrix Aruna Pasztor | |||
Makeup Department | |||
| Blake-Horváth Csilla | .... | makeup artist (as Csilla Horváth) | |
| Sallie Jaye | .... | hair stylist: Mr. Atkinson | |
| Sallie Jaye | .... | makeup artist: Mr. Atkinson | |
| Graham Johnston | .... | hair and makeup designer | |
| Gerda Lauciute | .... | crowd makeup: dailies | |
| Nicola Springall | .... | hair trainee | |
| Nicola Springall | .... | makeup trainee | |
| Pippa Woods | .... | makeup artist: dailies | |
Production Management | |||
| Nicky Earnshaw | .... | production manager | |
| Sasha Harris | .... | unit production manager: additional photography | |
| Tim Wellspring | .... | unit production manager: additional material | |
Art Department | |||
| John Allen | .... | carpenter | |
| Will Ayres | .... | dressing prop | |
| Alan Bailey | .... | property master | |
| Dan Clay | .... | art department trainee | |
| Emma Clough | .... | art department assistant | |
| Dean Coldham | .... | chargehand plasterer | |
| Mike Cuddy | .... | prop storeman | |
| Paul Duff | .... | set construction supervisor | |
| Dave Fisher | .... | chargehand standby props | |
| Dean Fisher | .... | standby props | |
| Andy Grogan | .... | set production buyer | |
| Douglas Ingram | .... | storyboard artist | |
| Peter James | .... | stand-by art director | |
| Joey Kan | .... | props production assistant | |
| Eva Kuntz | .... | concept artist | |
| Kamlan Man | .... | buyer | |
| Simon Marsay | .... | art department work experience | |
| Dominic Masters | .... | supervising art director | |
| Richard Mccarthy | .... | hod plasterer | |
| Pedro Moura | .... | junior draughtsman | |
| Sophie Neil | .... | art department assistant | |
| Nick Pelham | .... | storyboard artist | |
| Jaime Riancho | .... | art department intern | |
| Quinn Robinson | .... | junior draftsman | |
| Quinn Robinson | .... | junior draughtsman | |
| Quinn Robinson | .... | stand-by art director: second unit | |
| Nic Stubbings | .... | dressing propman | |
| Stephen Swain | .... | assistant art director | |
| Anthony Szuch | .... | drapes master | |
| Dan Walker | .... | concept artist | |
| Wai Yan Wong | .... | set decorator: Hong Kong | |
Sound Department | |||
| Hugo Adams | .... | foley editor | |
| Niv Adiri | .... | sound effects editor | |
| Jeremy Brown | .... | boom operator | |
| Simon Brown | .... | sound maintenance: second unit | |
| Sandy Buchanan | .... | adr recordist | |
| Simon Diggins | .... | pro tools monkey | |
| Gillian Dodders | .... | supervising adr & dialogue editor | |
| Glenn Freemantle | .... | sound designer | |
| Glenn Freemantle | .... | supervising sound editor | |
| Mark Holding | .... | sound mixer | |
| Adam Mendez | .... | foley recordist | |
| Emilie O'Connor | .... | assistant dialogue editor | |
| Richard Pryke | .... | sound re-recording mixer | |
| Adam Scrivener | .... | assistant re-recording mixer | |
| Ian Tapp | .... | sound re-recording mixer | |
| Keith Tinman | .... | sound effects editor | |
| Vikram Biswas | .... | post-production audio (uncredited) | |
| Robert Karlsson | .... | dolby sound consultant (uncredited) | |
| Brendan Nicholson | .... | preview re-recording mixer (uncredited) | |
Special Effects by | |||
| James Davis III | .... | special effects floor supervisor | |
| Dean Ford | .... | special effects technician | |
| Hugh Goodbody | .... | special effects technician | |
| Karen Holt | .... | special effects assistant | |
| Mark Holt | .... | special effects supervisor | |
| David Johns | .... | snow effects technician | |
| Paul McGuinness | .... | senior effects technician | |
| Martin 'Marty' McLaughlin | .... | snow effects supervisor | |
| Richard Newman | .... | trainee snow effects technician | |
| Del Reid | .... | snow effects technician | |
| Mark Weatherbe | .... | senior special effects technician | |
Visual Effects by | |||
| Lorenzo Angeli | .... | pipeline | |
| Thomas Ayre | .... | digital restoration | |
| Claudio Bassi | .... | digital compositor: Baseblack | |
| Jens Baylis | .... | editor: visual effects | |
| Luca Bellano | .... | digital compositor | |
| Francois Bleibel | .... | pipeline | |
| Zachary Bloom | .... | scanning and recording: Framestore | |
| Scott Bourne | .... | lead digital paint & roto artist | |
| Ronan Carr Fanning | .... | digital modeller | |
| Manjoe Chan | .... | matchmove artist: Framestore | |
| Paul Chapman | .... | digital compositor: Baseblack | |
| Chris Cooper | .... | lead matchmove artist: Framestore | |
| Amy Davis | .... | digital compositor: Framestore | |
| Robert Duncan | .... | visual effects supervisor | |
| Carl Edlund | .... | digital matte painter: Framestore | |
| Stephen Elson | .... | visual effects executive producer | |
| Péter Farkas | .... | digital compositor: Baseblack | |
| Oliver Fergusson-Taylor | .... | paint & roto artist | |
| Peter Forson | .... | visual effects editor | |
| Matt Fox | .... | vfx executive producer: Framestore | |
| Sarah Gatefield | .... | junior matchmove artist: Framestore | |
| Charlie Habanananda | .... | digital grading artist | |
| Varun Hadkar | .... | digital compositor: Framestore | |
| Will Hardwick | .... | visual effects artist | |
| Chloe Harrison | .... | visual effects line producer: Framestore | |
| Karsten Hecker | .... | film mastering engineer | |
| Frederic Heymans | .... | digital compositor | |
| Leo Hills | .... | pipeline technical director: Framestore | |
| Victoria Hodson | .... | matchmove artist | |
| Jason Horley | .... | digital matte painter: Framestore | |
| Emma Hulme | .... | digital restoration | |
| Kevin Jenkins | .... | concept artist | |
| Mikael Jaeger Jensen | .... | reference photographer | |
| Sarah Juniper | .... | digital compositor | |
| Stephanie C. Kelly | .... | compositor | |
| Jorel Latraille | .... | modeller | |
| Robbie Lee | .... | visual effects editor: Baseblack | |
| John Peter Li | .... | cg supervisor | |
| Giacomo Matteucci | .... | digital compositor | |
| Katie McCulloch | .... | digital restoration | |
| Mark Millena | .... | digital paint & roto artist: Framestore | |
| Akhila Namboodiri | .... | visual effects coordinator | |
| Bruce Nelson | .... | lead compositor | |
| Paul Nendick | .... | head of technology: Baseblack | |
| Richard Ollosson | .... | visual effects producer | |
| Guo Kun Pan | .... | render support: framestore | |
| James Parsons | .... | data operator - framestore | |
| Radhika Patel | .... | matchmove artist: framestore | |
| Manuel Perez | .... | digital compositor | |
| Kate Phillips | .... | visual effects producer: baseblack | |
| Lee Chan Popo | .... | visual effects artist | |
| Howard Protheroe | .... | digital compositor: Framestore | |
| Sagar Rathod | .... | lighting technical director | |
| Adam Redford | .... | texture artist: Framestore | |
| Marc Rice | .... | paint & rotoscoping supervisor | |
| Dominic Ridley | .... | lead data wrangler | |
| Bjarni Robert Bragason | .... | digital compositor: Framestore | |
| Philip J. Robinson | .... | matchmove artist | |
| Niels Roscher | .... | rigger | |
| Aatesh Shah | .... | systems engineer: Framestore | |
| Asa Shoul | .... | digital colourist | |
| Laurence Smith | .... | digital compositor | |
| Stephanie Jean Staunton | .... | digital compositor | |
| Martin Stegmayer | .... | digital compositor: Framestore | |
| Mirek Suchomel | .... | visual effects compositor | |
| Alexander Swann | .... | digital paint & roto artist | |
| Elena Topouzoglou | .... | digital compositor | |
| Glenn Wells | .... | matchmove artist: framestore | |
| Nick Whiteley | .... | compositor: Framestore | |
| Sammy Wu | .... | lead paint & roto artist | |
Stunts | |||
| Gary Arthurs | .... | stunt driver | |
| Andy Bennett | .... | stunts | |
| Stephanie Carey | .... | stunt driver | |
| Tony Christian | .... | stunt driver | |
| Ben Collins | .... | stunt driver | |
| Ray De-Haan | .... | stunt performer: driving sequence | |
| Ben Dimmock | .... | stunt rider | |
| Bradley Farmer | .... | stunt performer | |
| Pete Ford | .... | stunt performer | |
| Dean Forster | .... | stunt performer | |
| Glenn Foster | .... | stunts | |
| James Grogan | .... | stunt double: Rowan Atkinson | |
| Lyndon S. Hellewell | .... | stunts | |
| Paul Herbert | .... | stunt coordinator | |
| Ian Kay | .... | stunt driver | |
| Paul Kennington | .... | stunt performer | |
| Paul Kulik | .... | stunt double: Mark Ivanir | |
| Marc Mailley | .... | stunt performer | |
| Peter Miles | .... | stunts | |
| Andy Pilgrim | .... | stunt performer | |
| Shane Steyn | .... | stunt performer | |
| Ryan Stuart | .... | stunt performer | |
| Mens-Sana Tamakloe | .... | stunt double: Daniel Kaluuya | |
| Marlow Warrington-Mattei | .... | stunt double: Dominic West | |
| William Willoughby | .... | stunt performer | |
Casting Department | |||
| Olivia Scott-Webb | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Daryl Bristow | .... | wardrobe supervisor | |
| Péter Palotás | .... | dresser | |
| Peter Paul | .... | assistant costume designer | |
| John Rowe | .... | set costumer | |
Editorial Department | |||
| Freddie Hall | .... | second assistant editor | |
| Meredith Leece | .... | second assistant editor | |
| Jaime Leonard | .... | on-line editor | |
| Begoña Lopez | .... | digital intermediate producer | |
| Steve Mercer | .... | first assistant editor | |
| Ben Mills | .... | dailies assistant | |
| Supriya Naidu-James | .... | second assistant editor | |
| Matthew Tucker | .... | first assistant editor | |
| Jodie Davidson | .... | colorist: dailies (uncredited) | |
Music Department | |||
| Nick Angel | .... | music supervisor | |
| Andy Brown | .... | conductor | |
| Andy Brown | .... | contractor | |
| Jessica Dannheisser | .... | orchestrator | |
| Tilo M. Heinrich | .... | additional orchestration | |
| Stephen McLaughlin | .... | music producer | |
| Steven Price | .... | music editor | |
| Paul Saunderson | .... | music programmer | |
| Jeff Toyne | .... | music arranger | |
| Jake Walker | .... | musician | |
| Vicki Williams | .... | music co-ordinator | |
| Steve Wright | .... | music production assistant | |
Transportation Department | |||
| Rob Hempenstall | .... | transportation captain | |
| Hefin Jones | .... | facilities driver | |
| Kevin Jones | .... | facilities driver | |
| Rod Patterson | .... | facilities captain | |
Thanks | |||
| Jamie Minoprio | .... | special thanks | |
| Jonathan M. Stern | .... | special thanks | |
Production Companies
Distributors
- Universal Studios (2011) (worldwide) (all media)
- Forum Cinemas (2011) (Lithuania) (theatrical)
- Solar Entertainment (2011) (Philippines) (theatrical)
- Studio Canal (2011) (France) (theatrical)
- Toho-Towa (2012) (Japan) (theatrical)
- United International Pictures (UIP) (2011) (Argentina) (theatrical)
- United International Pictures (UIP) (2011) (Greece) (theatrical)
- United International Pictures (UIP) (2011) (Philippines) (theatrical)
- United International Pictures (UIP) (2011) (Singapore) (theatrical)
- Universal Pictures Canada (2011) (Canada) (theatrical)
- Universal Pictures International (UPI) (2011) (Netherlands) (theatrical)
- Universal Pictures (2012) (USA) (theatrical)
- Zon Lusomundo Audiovisuais (2011) (Portugal) (all media)
- Baseblack
- Framestore
- Lifecast (special effects props)
- ARRI Lighting Rental lighting equipment
- ARRI Media camera equipment provided by
- Anvil Post Production Foley Recording
- Casting Collective extras casting
- Compuhire computer & video playback
- Digital Media Services (DMS) digital marketing asset management
- Foxtrot Productions costume supplies
- Fugitive Studios main title animation
- Goldcrest Post Production London sound post-production
- Helicopter Film Services aerial filming and helicopters
- HireWorks Avid Nitris DX rental
- Intelligent Media international monitoring agency
- Kodak motion picture film supplier
- Movie Lot, The security
- Pinewood Shepperton sound stages
- Pursuit Europe pursuit arm & camera car
- Sapex Scripts post-production script services
- Scallywag Travel travel agent
- Technicolor post-production
- Varèse Sarabande soundtrack
______________
RELEASE DATES:mp
robable secret agent who doesn’t know fear or danger in the comedy spy-thriller Johnny English Reborn. In his latest adventure, the most unlikely intelligence officer in Her Majesty’s Secret Service must stop a group of international assassi
UK Release date: Friday 7th October 2011
The plot: 'Rowan Atkinson returns to the role of the improbable secret agent who doesn’t know fear or danger in the comedy spy-thriller Johnny English Reborn. In his latest adventure, the most unlikely intelligence officer in Her Majesty’s Secret Service must stop a group of international assassins before they eliminate a world leader and cause global chaos.
In the years since MI7’s top spy vanished off the grid, he has been honing his unique skills in a remote region of Asia. But when his agency superiors learn of an attempt against the Chinese premier’s life, they must hunt down the highly unorthodox agent. Now that the world needs him once again, Johnny English is back in action.
With one shot at redemption, he must employ the latest in hi-tech gadgets to unravel a web of conspiracy that runs throughout the KGB, CIA and even MI-7. With mere days until a heads of state conference, one man must use every trick in his playbook to protect us all. For Johnny English, disaster may be an option, but failure never is.'
| Music by | Ilan Eshkeri |
|---|---|
| Cinematography | Danny Cohen |
| Editing by | Guy Bensley |
| Studio | StudioCanal Relativity Media Working Title Films |
| Distributed by | Universal Pictures |
| Release date(s) | October 7, 2011(International) October 21, 2011(United States) |
| Running time | 101 minutes[1] |
| Country | United Kingdom United States Israel France Japan[2] |
| Language | English |
| Budget | $45 million[3] |
| Box office | $159,270,879 [4 |
CREW:st
| Gillian Anderson | |
| Dominic West | |
| Rosamund Pike | |
| Daniel Kaluuya | |
| Rowan Atkinson | Johnny English |
| Director | Oliver Parker |
| Producer | Tim Bevan |
| Producer | Eric Fellner |
| Producer | Chris Clark |
QUESTIONS:
1. Discuss the ways in which media products are produced and distributed to audiences within a media area, which you have studied.
2. How important is technological convergence for institutions and audiences within a media area you have studied?
3. Media production is dominated by global institutions which sell their products and services to national audiences. To what extent do you agree with this statement?
4. What significance does the continuing development of digital media technology have for media institutions and audiences?
5. Discuss the issues raised by media ownership in the production and exchange of media texts in your chosen area.
Researching your case study
You need to find out the following information about your chosen film:
Production: where did the finance come from? What production companies have been involved? What else have they produced?
Cast and crew: what else have they been involved in? Have they been UK based?Distribution & Marketing:
Who is the distrbution company, who are they owned by, what else have they promoted? How much money have they spent?
Marketing: who is promoting the film, what techniques have they used? To what extent have they used digital technology in this ? facebook, TV promotions, radio, magazines, what else???
What audiences have they targeted, how can you tell?
Exchange:
Where is this film being screened? What sort of exhibition? Blanket? targeted? What sort of cinemas is it screened at? What does this tell us about the audience? Is it exhibited in digital or film format? Why might this be? Can you find a budget for this?
What makes this a UK film?
What attracted it to you?
When you have watched it how does it represent UK?
Did you enjoy it.
Put links to articles, reviews, companies etc on your blog.
€741,298 (Netherlands) (9 October 2011) (109 Screens)
PHP 35,968,440 (Philippines) (18 September 2011) (122 Screens)
$8,129,455 (USA) (13 November 2011)
$7,725,155 (USA) (6 November 2011)
$6,465,685 (USA) (30 October 2011)
$3,833,300 (USA) (23 October 2011)
€3,404,223 (Netherlands) (30 November 2011)
€3,368,677 (Netherlands) (23 November 2011)
€3,296,789 (Netherlands) (16 November 2011)
€3,178,672 (Netherlands) (9 November 2011)
€2,998,308 (Netherlands) (2 November 2011)
€2,648,927 (Netherlands) (26 October 2011)
€1,881,527 (Netherlands) (19 October 2011)
€981,354 (Netherlands) (12 October 2011)
PHP 95,965,228 (Philippines) (30 October 2011)
PHP 95,046,621 (Philippines) (23 October 2011)
PHP 93,893,626 (Philippines) (16 October 2011)
PHP 83,222,970 (Philippines) (2 October 2011)
PHP 68,393,012 (Philippines) (25 September 2011)
PHP 35,968,440 (Philippines) (18 September 2011)
$204,665 (USA) (13 November 2011) (210 Screens)
$676,245 (USA) (6 November 2011) (644 Screens)
$1,693,915 (USA) (30 October 2011) (1,554 Screens)
$3,833,300 (USA) (23 October 2011) (1,552 Screens)
€30,793 (Netherlands) (27 November 2011) (44 Screens)
€64,873 (Netherlands) (20 November 2011) (76 Screens)
€104,302 (Netherlands) (13 November 2011) (102 Screens)
€157,006 (Netherlands) (6 November 2011) (105 Screens)
€307,694 (Netherlands) (30 October 2011) (105 Screens)
€591,273 (Netherlands) (23 October 2011) (110 Screens)
€499,817 (Netherlands) (16 October 2011) (111 Screens)
PHP 19,956 (Philippines) (30 October 2011) (4 Screens)
PHP 658,031 (Philippines) (23 October 2011) (16 Screens)
PHP 11,994,252 (Philippines) (2 October 2011) (90 Screens)
PHP 25,010,904 (Philippines) (25 September 2011) (111 Screens)
PHP 35,968,440 (Philippines) (18 September 2011) (122 Screens)
PHP 2,251,323 (Philippines) (16 September 2011) (34 Screens)
OWN WEBSITE:
PHONE APPS:
SOURCE: VUE CINEMAS. REVIEWS ABOUT THE FILM
2. How important is technological convergence for institutions and audiences within a media area you have studied?
3. Media production is dominated by global institutions which sell their products and services to national audiences. To what extent do you agree with this statement?
4. What significance does the continuing development of digital media technology have for media institutions and audiences?
5. Discuss the issues raised by media ownership in the production and exchange of media texts in your chosen area.
Researching your case study
Production: where did the finance come from? What production companies have been involved? What else have they produced?
Cast and crew: what else have they been involved in? Have they been UK based?Distribution & Marketing:
Who is the distrbution company, who are they owned by, what else have they promoted? How much money have they spent?
Marketing: who is promoting the film, what techniques have they used? To what extent have they used digital technology in this ? facebook, TV promotions, radio, magazines, what else???
What audiences have they targeted, how can you tell?
Exchange:
Where is this film being screened? What sort of exhibition? Blanket? targeted? What sort of cinemas is it screened at? What does this tell us about the audience? Is it exhibited in digital or film format? Why might this be? Can you find a budget for this?
What makes this a UK film?
What attracted it to you?
When you have watched it how does it represent UK?
Did you enjoy it.
Put links to articles, reviews, companies etc on your blog.
SOURCE:http://www.workingtitlefilms.com/news/view/post/206/johnny-english-reborn-world-premiere
BLOCKBUSTER.BUSINESS:
Opening Weekend
$3,833,300 (USA) (23 October 2011) (1,552 Screens)€741,298 (Netherlands) (9 October 2011) (109 Screens)
PHP 35,968,440 (Philippines) (18 September 2011) (122 Screens)
Gross
$8,269,105 (USA) (20 November 2011)$8,129,455 (USA) (13 November 2011)
$7,725,155 (USA) (6 November 2011)
$6,465,685 (USA) (30 October 2011)
$3,833,300 (USA) (23 October 2011)
€3,404,223 (Netherlands) (30 November 2011)
€3,368,677 (Netherlands) (23 November 2011)
€3,296,789 (Netherlands) (16 November 2011)
€3,178,672 (Netherlands) (9 November 2011)
€2,998,308 (Netherlands) (2 November 2011)
€2,648,927 (Netherlands) (26 October 2011)
€1,881,527 (Netherlands) (19 October 2011)
€981,354 (Netherlands) (12 October 2011)
PHP 95,965,228 (Philippines) (30 October 2011)
PHP 95,046,621 (Philippines) (23 October 2011)
PHP 93,893,626 (Philippines) (16 October 2011)
PHP 83,222,970 (Philippines) (2 October 2011)
PHP 68,393,012 (Philippines) (25 September 2011)
PHP 35,968,440 (Philippines) (18 September 2011)
Weekend Gross
$86,945 (USA) (20 November 2011) (108 Screens)$204,665 (USA) (13 November 2011) (210 Screens)
$676,245 (USA) (6 November 2011) (644 Screens)
$1,693,915 (USA) (30 October 2011) (1,554 Screens)
$3,833,300 (USA) (23 October 2011) (1,552 Screens)
€30,793 (Netherlands) (27 November 2011) (44 Screens)
€64,873 (Netherlands) (20 November 2011) (76 Screens)
€104,302 (Netherlands) (13 November 2011) (102 Screens)
€157,006 (Netherlands) (6 November 2011) (105 Screens)
€307,694 (Netherlands) (30 October 2011) (105 Screens)
€591,273 (Netherlands) (23 October 2011) (110 Screens)
€499,817 (Netherlands) (16 October 2011) (111 Screens)
PHP 19,956 (Philippines) (30 October 2011) (4 Screens)
PHP 658,031 (Philippines) (23 October 2011) (16 Screens)
PHP 11,994,252 (Philippines) (2 October 2011) (90 Screens)
PHP 25,010,904 (Philippines) (25 September 2011) (111 Screens)
PHP 35,968,440 (Philippines) (18 September 2011) (122 Screens)
PHP 2,251,323 (Philippines) (16 September 2011) (34 Screens)
OWN WEBSITE:
NOW AVAILABLE ON AMAZON:
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