by Ian Phillips, Kate Reeves, Ian Schultz
Pre-Awards Season
- Moneyball
- Drive
- The Ides of March
- The Descendants
- The Artist
- Tinker Tailor Soldier Spy
- War Horse
- The Iron Lady
- Extremely Loud and Incredibly Close
Django Unchained: A Quentin Tarantino production
Quentin Tarantino is at it again with his upcoming production, Django Unchained. This film, set to release Christmas of 2012, is a play off of the character Django from Sukiyaki Western Django, a Japanese-American western in which Quentin played a small role. This film, however, portrays the life of a slave (played by Jamie Foxx) who meets a German bounty hunter, played by the versatile Christopher Waltz (Best Supporting Actor Oscar in Tarantino’s Inglourious Basterds). Django is trained by this bounty hunter to become a vengeful warrior on a mission to reunite with his enslaved wife in Mississippi. Tarantino is of course going to add his touch of sadism and gore to the classic slave story as well as some futuristic idiosyncrasies to play on the past. Tarantino’s style of storytelling and film-making as well as the all-star cast, which also includes Leonardo DiCaprio as a ruthless plantation owner and Kurt Russell (rumored) as a southern outlaw, this film will be sure to entice its viewers.
Production is set to begin this November, with most of the shooting taking place on location in New Orleans. The real location of the shooting will provide opportunity for many rolling long-shots of the landscape and a truer feel for the setting of the film.
http://www.hollywoodreporter.com/news/christoph-waltz-pelvic-django-unchained-242745
Martin Scorsese’s Hugo
Martin Scorses’s threw a curveball to his fan base and all moviegoers alike when he announced he was directing Hugo, a 3-D children’s comedy. Scorsese’s has little to no experience in any of these three fields which made viewers and critics skeptical and excited all at once. Going up against The Muppets, the predicted goliath release of Thanksgiving, Hugo faced many hurdles, all of which Scorsese’s was ready to overcome in leaps and bounds. Featuring Sacha Baron Cohen and Jude Law, this movie proved a great success on a small scale release creating a name for itself as a kid’s movie…for adults. Hugo is essentially an ode to the beauty and magic of film as well as its beginnings. This is in fact why Scorsese, director of brutal classics such as Taxi Driver and Goodfellas, chose to put his name on the film. Using his skills that have been mastered over the years and the great potential embodied in this story based on Brian Selznick’s book “The Invention of Hugo Cabret”, Scorsese’s crafts a beautiful treat to movie buffs. The film takes the early works of film pioneer and “cinemagician” Georges Melies and gives them respectable recognition in the new world of cinema (3-D and CGI). Released in a modest 1,250, Hugo earned $15 million and came in 5th at the box office. Some say the film is too artsy for typical family’s but kid’s are sure to love the heart-warming journey of the orphan Hugo and the excitement of 3-D while film enthusiasts will recognize the intimacy and gratitude Scorsese expresses to film and its history. By its large scale release on December 9, Hugo hopes to gain a large word-of-mouth ad campaign and surge again in the box office.
Twilight Saga vs Harry Potter
Film productionis essentially all aspects of the filmmaking process up until distribution. Everything from a story idea to the final transition of a two and a half hour epic is film production. Film production can take place at motion picture studios or anywhere around the world. It is the essence of making a movie. This process requires high labor input, endless amounts of creativity, and the use of very expensive, technical equipment. There has been a lot happening in this field as of late. Let’s take a look…< span>
Literary Adaptations
A common trend in film production is (and has been) turning works of literature into films. There is so much risk in creating a movie that having a script/plot ready to be used and transformed allows a little bit of the pressure to come off. Some of the most successful and renowned movies in cinematic history (such as The Godfather, One Flew Over the Cuckoo’s Nest, Schindler’i s List and more) have been adapted from literature. Because of the amount of success and money that these types of movies have garnered, turning literary works into movies will continue to be a trend for a very long time.
Targeting Novels with Large Fan Bases
But despite the ability of having literary works that movie creators can adapt into films, it’s still not a guarantee that it’ll be a success. To ensure that the movie created makes a lot of money, a trend during the fall of 2011 was production companies beginning/creating adaptations of books and series that already have a very loyal and devoted fanbase. On November 15th, a trailer for The Hunger Games was released to the public. The Hunger Games, a series by Suzanne Collins, has sold over 3 million copies in print and over a million copies online or via ebooks. The first film installment of the series (based on the plot of the first book) is planned to be released in March of 2012 but had already gotten a lot of buzz numerous months beforehand. The production company, Lionsgate, understood the amount of popularity and following that The Hunger Games had. In addition to a huge plug during MTV’s Video Music Awards, the trailer had gone viral within days and had been talked about in numerous magazines, newspapers and television broadcasts. Even though it’s still early, many critics predict that The Hunger Games will become the next popular series based on the already established popularity and the hype that has surrounded the entire process. But to completely ensure that the series will definitely become extremely successful, Lionsgate is rumored to be teaming up with Summit, another large-scale production company. While this might not seem like a huge deal at first, it’s a smart move by Lionsgate; Summit has produced all of the extremely successful Twilight films. If The Hunger Games takes notes from the success of its new ally Twilight as well as the extraordinarily successful Harry Potter franchise, it’s likely that the final book, Mockingjay, will be split into two parts (a trend that has been seen in the movie industry lately).
But The Hunger Games isn’t the only established book series that is being adapted. In late 2012, The Hobbit will be hitting the big screen. Years after the final Lord of the Rings movie came out (to much success), the prequel has started production by the same director, Peter Jackson. The three part series (whose movies have grossed over $3 billion worldwide and books have sold over 150 million copies) is one of the most successful franchises and loyal fan bases in history. If that wasn’t enough to give The Hobbit the green light, the book by itself has sold over 100 million copies, making it and The Lord of the Rings series two of the most successful books ever sold. Despite the complications and drama surrounding the beginning of the production and the set, fans are still excited and enthralled to see how it’s going to turn out. The new movie includes many of the cast members that are seen in The Lord of the Rings trilogy even when their presence wasn’t really necessary or true to the book. The unnecessary return of some of the characters is just another ploy used to ensnare the fans into seeing the film (even though it’s not needed). In addition to all of the news and information being spread about the new release of the film, behind-the-scenes footage has been (and continues to be) released to the public. The sporadic sneak peeks keep the loyal fans interested and intrigued to know and see more. The two adaptations, The Hunger Games and The Hobbit, are predicted to be some of “the best movies of the year,” thanks to the reoccurring trend that adaptations with already established fanbases do very, very well.
Adaptations with a Twist
Another trend in film production is taking literary work and adapting it into something a little new and different. For example, two particular literary works are being adapted into 3D: Dr. Seuss’ The Lorax and Yann Martel’s Life of Pi. Both books have had a lot of success, but not near the amount that The Hobbit and The Hunger Games have. Therefore, the producers and directors decided not to rely solely on the fan base surrounding the books to bring in audiences, but rather by taking these well-known literary works and adding the extra effect of 3D. As the popularity of filming any movie in 3D increases, the trend of filming adaptations into 3D will increase, as well. Another technique that film producers and directors are utilizing in order to change up literary work adaptations is combining a bunch of stories by one author and meshing them into one movie, such as The Raven. Based around the final days before Edgar Allen Poe’s death, numerous poems and short stories by the famous author are incorporated into the film to create one singleplotline. This shows that not only can Poe’s literary works be adapted into a film, but that they can also be adapted into a way where a number of his pieces work together to create another, new story. As there become more and more film adaptations, there needs to be some sort of gimmick or technique that makes a certain adaptation stand out from the rest, and this is one of them.
3D
Technology
As we progress into the future, we are taking media for a wild ride along with us. Media as we know it is constantly changing on the fronts of social networks and breakthrough technologies. Among the most rapidly expanding technologies is 3D production. Since the first presentation of a 3D film in theater in 1915 (which was unsuccessful), 3D remained an untapped resource for Hollywood success and mystique until recently. 3D television viewing experiences are only just starting to enter households across America, however 3D films have exploded over the past year. The 39 3D films made in 2011 show a somewhat significant increase when compared to the 25 3D films released in 2010. This increase in 3D production is solely reliant on new 3D recording technologies and expertise.
Thanks to leading companies such as Sony (http://www.dmwmedia.com/news/2011/12/06/sony-honored-for-3d-education-and-advocacy), who is being honored by the International 3D Society for 3D education and advocacy at its dedicated, state-of-the-art technology center, content creators and filmmakers are learning how to make productions in 3D and make them right. Viewers had initially favored 3D viewing in theaters, however the ratio between 2D and 3D tickets sales has evened out. This is due to the production of movies in 3D that are in fact not worthy of 3D and serve no purpose in cinematic quality. Now that producers are being wiser in choosing what movies are made in 3D and which ones aren’t, 3D films are gaining more respect and ticket sales are increasing yet again.
Digital 3D recording is at the forefront of change in film production breakthroughs. Traditionally, films are shot at 24 frames per second, which leads to flickering and dimness (even before putting on glasses in a dark movie theater). Recent digital recording technology is enabling films to be captured at 48 frames per second, making 2D images crisper, 3D smoother and brighter, and audiences happier. Among the films being shot in digital, 48 frames per second 3D are Avatar 2 and The Hobbit. James Cameron, director of reigning 3D blockbuster Avatar, says in an interview with the Washington Post that 3D technologies will be perfected, making everything 3D within the next five years.
The RED camera has proven to be the most innovative and groundbreaking catalyst to 3D film production as of late. It’s impeccable and almost surreal capabilities are giving directors the opportunity to shoot films in 7K and higher, which is six times the clarity of 1080p. This camera technology is taking high definition to new heights, which is crucial in perfecting the crispness and clarity of 3D productions.
Some production companies such as Disney are joining the race to perfect 3D as well.
Re-Releases
After Avatar started a rush by producers to capitalize on the 3D magic by putting out as many movies as they could with the new, improved viewing experience, they recently took a step back to assess 3D and it’s possible applications. The consensus: convert old blockbusters to 3D and re-release them. Virtually every production company in Hollywood is utilizing this process due to the fact that it costs significantly less than original production yet has the ability to generate similar revenue.
Among the leaders in 3D re-releases is Disney. Always improving, renewing, and controlling the media market, Disney sought after 3D re-releases to provide another revenue stream. They proved successful with the worldwide 3D release of The Lion King, which was among the first successful re-releases.
After the success of The Lion King 3D, many production companies are in the process of converting old classics into 3D. Among the most anticipated re-releases are Top Gun, Star Wars, and The Titanic, the latter being another installment of the James Cameron 3D experience. According to Cameron, estimates for converting The Titanic are hovering around the $18 million mark. Although pricey for about everyone, this is a bargain for a film that has to potential to gross over $250,000,000.
Recent 3D Films
2011 has been filled with 3D ups and downs garnering praise and slander from fans and critics alike. Among the most notable failures and successes were Dolphin Tale and Hugo.
Dolphin Tale was originally shot in 2D then converted to 3D and eventually released in both forms. Dolphin Tale, the inspirational story of a group of strangers that came together to save a dolphin that lost its tail in a crab trap, used 3D technology in a most unneccesary way in which the viewers felt robbed and guilted into a viewing experience that they were not prepared for. Dolphin Tale was a prime example of producers converting movies to 3D simply for the sake of being able to say it’s in 3D, rather than implementing truly meaningful effects that enhance the experience and provide cinematic value.
Hugo was one of the biggest 3D successes of the fall. The heart-warming family story of an orphan was legendary director Martin Scorsese’s first production in 3D. The 3D effects in this film has satisfied virtually all of its viewers and showed how in fact 3D should be used and the intrusive power it can have on the audience when put in the right hands. Scorsese is known to pay close attention to detail, a trait that is crucial to utilizing the abilities of 3D. However, some critics say the meticulously crafted and overpowering 3D and CGI takes away from the story- a common complaint by critics.
Indie Film Production
What is an Independent Film?
An independent film (commonly referred to as an “indie”), is a feature film that is produced mostly or completely outside of the confines of the major studio system. Independent films can vary in scope and backing, and there is much debate over what truly defines an independent film. While an independent film is usually seen as one that is financed out of a filmmaker’s pocket and gains popularity through word-of-mouth and film festivals, movies released with the backing of a major studio (under a “fake” art-house label) can also be associated, no matter how strange (i.e. 1990’s Teenage Mutant Ninja Turtles was the highest grossing independent film at the time of its release). Broad definitions aside, the answer to the question what is an independent film? still remains unclear.
History
Independent productions go back as far as the birth of movies. In 1908, Thomas Edison created the Edison Trust and what was intended to be the first monopoly over the movie industry instead became its first oligopoly: the Trust held patents for most film cameras, projectors, and raw film stock. The first independent movement formed when filmmakers saw that the Trust was violating artistic integrity. Instead paying the expensive fees, filmmakers decided to make their own cameras and projectors on the small amounts of money they had. Edison kept trying to sue them. The film industry’s movement from the northeast to Southern California wasn’t just for the warm, sunny weather that was ideal for shooting, but also a means of escaping Edison’s lawyers.
Independents continued to flourish alongside the mainstream throughout the 1930s-60s with the avant-garde movement. The movement reached a peak of success with the birth of New Hollywood, beginning with the releases of Bonnie & Clyde (1967) and Easy Rider (1969). Due to a much more relaxed ratings system, filmmakers could finally explore more controversial topics and the strife of the times could now be seen in a theater near you. A new, young generation of artists now controlled Hollywood. The movement died as two once independent filmmakers, Steven Spielberg and George Lucas, launched blockbuster Hollywood.
Then, in 1985, Robert Redford and the Sundance Institute took over a small underground film festival in Salt Lake City, Utah, moved it to nearby Park City, and renamed it the Sundance Film Festival. The Festival soon became a mainstream affair, and studios now stake it out every year, looking for what could be the next big sleeper hit. During the 1990s, filmmakers such as Quentin Tarantino, Kevin Smith, Jim Jarmusch, and Robert Rodriguez brought their self-made movies to Sundance and not long after launched successful careers in Hollywood.
How to Make an Independent Film
An independent film usually starts not with a drive to make money, but rather to share a vision. Most filmmakers who try to make it on their own outside of Hollywood will embrace the DIY (Do It Yourself) Style. Funding will usually come from credit cards and savings accounts. With the right equipment, a good script, and a small but dedicated crew, one can make a movie for around $20,000.
However, if you already have some experience and some good connections, an independent film can be financed by a major studio. Studios tend to latch on to filmmakers that they know can take an idea that normally wouldn’t make a lot of money, and make it profitable. For example, Quentin Tarantino would not have been able to make the history-bending Inglourious Basterds had Pulp Fiction not been one of the most profitable and acclaimed independent films ever made. More recently, the name value of Alexander Payne with The Descendants likely made the studio more profit that this character-driven drama would play well. The fact that it is now shattering all expectations at the box office is because Payne made another movie as good as his previous feature, Sideways. The current environment is one that is both more hostile and more accepting of new filmmakers.
Technology
With the advent of The Digital Age, making and promoting a movie outside of Hollywood has become easier than ever. High Definition cameras are readily available to the public, and anyone with a computer can buy professional editing software. For example, Final Cut Pro, which can be used on any Mac, was used to edit 2010’s Academy Award nominated True Grit. Anyone with a great idea and money can now make a movie.
The Internet can be a huge help for upstarts. For those without a major production or a connection to their name, creating a hit on YouTube or other sites is a great way to gain name recognition. The Internet also aides in the marketing of independent films. Chronicle, a Cloverfield-type mockumentary of superheroes, made a splash on the web earlier this fall with its intriguing trailer, which now has over six million views on YouTube. Social media can tremendously cut down on marketing costs; it is the most effective form of word-of-mouth a filmmaker could ask for. Some independent filmmakers are even utilizing obscure advances in technology to produce their films. For instance, Tom Jenkins and Simon Sharp (two independent filmmakers in the process of starting their own production company named The Theory) created a short film entitled Address Is Approximate in which most of the footage comes from Google Maps street view. This stop-motion production follows a desk robot in New York that comes to life and takes a heart-warming journey to California. This is one of the most brilliant uses of technology and low-cost production of recent months and may pave the way for what is to come from Indie productions.
Unfortunately, mass marketed digital technology has its drawbacks. The most troubling being that the most prominent film festivals, mainly Cannes and Sundance, screen most of their biggest movies on screens with film prints (16 mm or 35 mm). In today’s climate, making an independent film is easier than ever, but getting one into theaters remains a challenge.
Video-On-Demand
Even when an independently made film makes it to theaters, that doesn’t necessarily mean it will be a hit. With all of the alternatives available nowadays for viewing movies, video-on-demand (VOD) has become “ a life preserver” for the struggling indie film industry. Releasing movies on demand and either simultaneously or before its release can bring in extra earnings. For example, Margin Call’s early VOD release is supposed to double its current $4 million theatrical gross. Melancholia is on pace to equal its theatrical gross with VOD rental earnings. Without VOD, such polarizing arthouse films such as Melancholia would have trouble finding the wide audience it needs for success.
“Fake” Indies
Modern independent cinema has reached an identity crisis of sorts. Then again, it has always been going through one. When Sundance became the place for Hollywood to scout out new hits and promising newcomers, major studios set up their own independent film branches. Some of the most prominent include 20th Century Fox’s Fox Searchlight Pictures, Sony’s Sony Picture Classics, and Paramount’s Paramount Vantage. This current rush to produce more low budgeted, “arthouse” fair, has to do with the fact that studios now have a quota to meet with this kind of movies, accounting for 15-17% of each company’s yearly gross. Some may claim that these are just studio films wearing an arthouse mask. However, this trend is the reason that movies like Slumdog Millionaire, No Country for Old Men, and The Social Network, amongst many others, resonated so deeply with such a wide audience.
Independents in Fall 2011
The independent releases of the fall that resonated most with audiences and critics can be defined under the “fake” category, with a few notable exceptions. The Descendents has slowly and quietly been making a splash at the box office as it expands across the country. It has received some of the year’s best reviews as well as strong support from audiences. Moneyball was first screened at Toronto and it was released in theaters in late September to solid box office numbers and awards buzz.
50/50, which was released by Summit Entertainment (a truly independent film studio), posted lower than expected results at the box office. However, it more than tripled its $8 million budget. It remains an underdog favorite for its honest and humorous portrayal of living with cancer. Drive has been hailed by many as one of the year’s very best. Danish Director Nicolas Winding Refn has been praised for bringing his European sensibilities and unabashed portrayal of violence to the American crime thriller. The Artist, a French movie being distributed by The Weinstein Company, was a crowd favorite at Cannes and now looks to achieve the impossible: making a silent film a mainstream hit in America. Like Crazy, a movie with no major names attached to it, made a splash at Sundance and has become a sleeper hit since being released late in November.
These successful movies largely benefited from the big names attached to them. When a solidified Hollywood star acts in an independent film, it helps the film gain more awareness in the media, and it gives the actor a chance to prove their range, which can be very beneficial to them. George Clooney (The Descendents), Brad Pitt (Moneyball), and Ryan Gosling (Drive) are considered contenders for Oscar nominations next year. Most of these directors are established with niche audiences, but the actors attract the most attention.
Overall
Independent movies will always be in a state of constant flux. However, their survival, whether that be as a sleeper hit in theaters or as a cult hit on DVD shows that their will always be a place for low budget fair alongside mega-budget blockbusters. Even if some think that the independent films we see aren’t truly independent, it is hard to complain about the fact that studio executives are now beginning to pay attention to the power of daring, atypical storytelling. The founding fathers of Hollywood were once independents themselves. Technology offers exciting new possibilities and setbacks for independent filmmakers, and learning to conquer these will someday alter the way most movies are made. The continued struggle and success of the independent movement shows the power of content. Even without a connection or a studio budget, a unique story can go a long way. And the fact that an independent film that grosses under $20 million can still break even shows something that studios tend to forget these days: pouring money into a good story and a solid cast and crew can be worth more than spending millions on special effects.
http://www.makeindependentfilms.com/financing.htm
http://blogs.indiewire.com/thompsononhollywood/toronto_film_festival_winners_and_losers
Interactive Production
With advances in 3D and other forms of interactivity across all mediums, film production is finding itself in an experimental arena as well. Recently, Ridley Scott (director of Top Gun and Gladiator) teamed up with Academy Award winning director Kevin MacDonald and YouTube to create a film created entirely from user content. The film, entitled Life In A Day, signifies new ways in which directors and producers are utilizing audiences and technologies to reform the movie-watching experience and maximize grass root development in a time of multi-million dollar Hollywood blockbusters.
A leading trend in film production is making the viewing experience more interactive for the viewer. 3D is one of the first things that come to mind, however engaging viewer participation in production and pre-production is on the rise. Following Ridley Scott’s film, big time directors such as Spike Lee are looking to make user-generated films more of a commonplace in the industry.
Ron Howard has recently teamed up with Nikon to create a short film inspired by a select number of 90,000 fan submitted photos including a white tree, a woman in the maternity wing of a hospital, and a girl in the cockpit of a plane. The film, entitled When You Find Me, is the first of a growing trend of audience interactivity. The industry is turning into a “we make it, you view it” model to a “we make it, we view it.”