'How much impact has Film Four had on the UK film industry in the last 20 years? What do you think their role will be in the future and will it ever be possible for such an institution to compete against the vertical integration that is possible with institutions such as Disney?'
Film 4 recieve £15m a year, and aim to finance between 8 to 12 feature films a year, as well as 4 or 5 short films. But they dont fully finance production so they work with producers to find the right finance at the right time which is a very important part of their work. Their own money represents both licence fee for free UK TV, and also an equity investment which is a way for us to be invested across the long life of a film. They spend a very large proportion (around £2.5m a year) on developing scripts and ideas and they see this as a hugely important part of their work – this is where the risk lies, this is where we find and nurture new writers and directors, and this commitment to development means they can work with producers to build projects in a creatively challenging environment to the point where they are robust enough to go out to the market.
The Film4 ambition holds new talent at its heart – theyview it as a long term strategy and it is indeed one which has paid off many times over over many years. A mixture of long term returning directors and new directors form the spine of our feature film production slate. Directors like Danny Boyle, Shane Meadows, Kevin MacDonald, Steve McQueen, Martin McDonagh and Roger Michell all continue to make films with British money, albeit sometimes shooting in the US (Martin McDonagh’s new film Seven Psychopaths has just shot in LA with an all US cast – but it has British talent and British money behind it, from a British production company).
They see our ability to support film-makers from the outset of their career to be the essential ingredient in building a stable of distinctive, important British voices. And they have learnt to take a risk on an apparently less “commercial” project, but one which a film-maker and we both believe holds something special, different, challenging, resonant, can often be the best – and scariest – decision we can make.
We have a new digital initiative, Film4.0 which is developing innovative new projects across different platforms, with talent often new to film, but also with established film-makers new to the digital sphere.
We are looking at new financing models for super low budget films which allow the film-maker teams to share in gross from first pound in and access audiences through new distribution models. We have a diversity initiative on which we are working with new producers to reach out to communities we feel are under-represented.

What does the future hold for the UK film industry?

Consider

UK expertise: working title, Aardman, case study

1.     intro

       2. Production Digital technology Web 2.0GauntletCosts Environment

2.     Distribution conglomerate, indie benefits, vertical integration, synergy, market branding, cost economy, efficiency, battle against piracy

3.     Consumption convergence, exchange, exhibition, cinematic experience, audience, loyalty, new technology

4.     Conclusion

The UK film industry has gone through many spells of success since the 1930’s. It fell to an all time low in the 1970’s when Hollywood dominated the film industry and they did not want to fund the UK. But this changed when Titanic emerged as America’s largest production companies wanted to incorporate vertical integration back into the industry. So this shows the uncertainty the ever-changing industry.

            The production of film making is becoming more and more expensive as there is now more advanced special effects and 3D is available so therefore films are trying to out do one another with their vast use of technology. One of the main factors of new production is digital technology it makes it cheaper and quicker to be produced and sent off to where it is needed. But the down side of this is that not all cinemas have a digital film screening so therefore they are unable to play the film, so most films are produced in both. In the future if all cinemas had a digital film screening all films would be produced in their way but it may lead to more piracy as it is easier to copy the film, so this will probably not happen unless they find a way to resolve the piracy issue, which they are trying to do with companies such as ‘FACT’.

Audiences are now seen as active and no longer as passive. Web 2.0 Supports this as examples are social networking sites, blogs, video sharing, so therefore audiences are able to interact and collaborate with one another rather than get pushed the new media the audiences now pull, finding their own choice of media, (Gauntlett). Films now rely on much more than just the film, they rely on market branding. But they cannot fund this by themselves so they usually work within a conglomerate such as working title which is a british company get funding from Universal, which get their funding from Vivendi.

As due to piracy the revenue received does not exceed the budget therefore they have to find other ways to produce profit. Disney is a large example of this as they have may toys all over the world and they work in synergy with McDonalds to produce a large profit. But this can only be done by large companies, therefore companies with a smaller budget will have to work within a convergence to produce a higher profit, such as a game for hardware such as the play station, or an app for a phone. 

1. What are the 7 elements of P&A?

The quantity and production of release prints and trailers

Press materials, clips reels, images, press previews, screener tapes

The design and printing of posters and other promotional artwork

Advertising campaign - locations, ad size and frequency

Press campaign / contracting a PR agency

Arranging visit by talent from the film

Other preview screenings

2. About how many prints might a specialised film have and how long will the tour be?

fewer than 10 prints over a 6 month period. 

3. How many prints might a commercial mainstream have?

200 prints+ 

4. How many did your case study film have?

2000+

5. Why is a favourable press response a key factor?

developing the profile and desirability of a film. 

6. What is the standard format for a cinema poster?

30"x40" quad format 

7. WHy is a poster important?

packaging the key attributes of a film for potential audiences

8. Please insert a copy of your case study film poster and analyse how it features to key attributes.

previously on blog

9. WHat is the word to express coverage working at the same time.

10. What is the key aspect for mainstream film?

scale and high visibility is key 

11. Why is distribution in the UK seen as riskier than in other countries?

high cost of print so is riskier than other countries

12. How are distributors trying to get around this problem?

distributors are looking increasingly to 'viral marketing' - different forms of electronic word-of-mouth via the internet, email and mobile phones.

13. Who was the press agency for your case study?

14. What is another name for the actors or director?

wins significant editorial coverage to support a release.

15. What sort of coverage did the key players in your case study have? Did they appear on Jonathon Ross, this 

16. What is the ultimate aim of marketing?
A distributor will consider the use of advance public screenings to create word-of-mouth and advance 'buzz' around a film.

1. What are the two questions around the marketing of a film release?
when? how?2. What day of the week are new films released in the UK?
Fridays3. Who schedules and coordinates forthcoming releases?
by the Film Distributors Association4. What is a ‘light’ week?
where not many films are being shown more screen space and more press5. What three aspects have to be taken into account for a film to have the greatest potential to reach audiences?
seasonality
dont release along with another film of similar traites
6. Why is this becoming increasingly difficult?
as regularly 10 new release a week 7. What are P&A 
prints and advertising they meet the costs of theatrical distribution8. What are the costs of P&A?
range from less than £1000 to £100000000
9. Who marketed your film?

universal

Licensing
1. Define the licensing process.
when a distributor acquires the legal right to exploit a film2. How many levels are there?
2 levels.3. How many ‘market territories are there around the world?
90+4. Why are smaller independent film companies unable to handle the licensing for their own films?
often lack necessary knowledge or contacts of each of the territories. 5. So what do they do?
they hire a specialist sales agen, whose function is to understand the value of a film in many different markets. 6. What is ‘local’ distribution?
involves the distributor acquiring the license to release and exploit the film in a particular country. 7. They purchase the theatrical rights, what does this consist of?.
showings in cinema, video rights, video and DVD exploitation, TV rights if distributor is able to sell the fim to a broadcaster. 8. Who do they have to share royalties with?
producer
9. What is the most effective way to create interest in a new film in the UK?
release the film in a cinema. the big screen is the optimum setting for a film for both audiences and the filmmaker. 
10. What options are available after the theatrical (cinema) release?
DVD VHS pay television 2 years after free to air television. 
11. What must a successful distributor do?
have in-debt knowledge of the marketplace. which cinemas, video outlets and broadcasters can best draw an audience for it films. 12. Who was the distributor for your case study? 
Universal13. What techniques did they employ?
Opening weekend opened the film in 2560 cinemas. 

Distribution
1.How would you define the exhibition of film?
Is a common place, shared cultural activity highly visible in every city and town in Britian, constantly feeding the popular memory.
2. What number part of the film supply chain is distribution?
The third part.3. How is it sometimes referred to?
The invisible art4. Why is it argued that it is the most important part of the film industry?
as the completed film is brought to life and connected with the audience as if there was no audience there would be no profit for the film.
5. What are the three stages of film process?
the phases of production, distribution and exhibition.6. In what way are they most effective?
vertically intergrated.7. Why is this more difficult for the independent film sector?
as producers do not usually have long term lnks with distributers who likewise have no formal connections wih exhibitors.8. What are the three stage of distribution?
licensing, marketing and logistics.