PLANNING: BBFC Certificate

 

The British Board of Film Classification (BBFC) is a non-governmental organisation founded by the film industry in 1912, which is responsible for the classification and censorship of films in the UK.

Classification is the ‘process of giving age ratings and content advice to films and other audio-visual content to help children and families choose what’s right for them and avoid what’s not’.

The BBFC produce and publish guidelines which influence all classification decisions. They are regularly updated, and the product of public consultation, research and experience, reflecting current views on regulation. The guidelines list features of films that determine the age category, for example a 12A rating.

I have researched these guidelines on the BBFC website and concluded, with my production team, that our film ‘Dodging a Bullet’ will fit into the 15-rating due to it including strong language and suggestions of violence. Our BBFC film certificate was produced using PowerPoint to edit our film name onto a template.

 

 

PLANNING: Risk Assessment

 I understand that when filming, it is important to produce a risk assessment entailing:

•          Hazard to health and safety
•           Risk posed and to whom
•           Risk level (high/medium/low)
•           Control measure used to reduce risk

 

Hazard to Health and Safety	Risk posed and to whom	Risk Level (H/M/L)	Control Measure to Reduce Risk
Transport	Moving traffic in the car park, risk when driving/travelling to filming locations.  Risk posed to cast members and filming crew.	Low – as we predominantly filmed at school there was little traffic and we didn’t need to leave the premises.	Be alert and careful of oncoming traffic, wear seatbelt when on the way to filming locations.
Weather	Rain causing the ground to become slippery.  Danger of getting clothing wet and becoming too cold. Possibility of damaging camera equipment. Risk posed to cast members and filming crew.	Medium	Walk tentatively over slippery surfaces. Wear appropriate, sensible clothing for all weathers. Do not use tripod and camera in the rain to avoid damaging the technology.
First Aid issues	Risk of tripping/falling in darkened rooms or when running and performing mild stunts (e.g. falling down stairs, jumping out of windows).	Medium	Carry a first aid kit, aim to have a first-aider on stand-by for stunt scenes. Be careful, cast members don’t do anything they are not trained in. Assess risk before performing tricks/running.
General Public	Risk of theft of assault when filming.	Low – filming on safe school premises.	Students to avoid causing incidences with members of public or the school community. Be considerate of surroundings and people who might be affected by noisy filming. Do not approach/provoke members of public. Do not film late at night in unsupervised conditions.
Major Public Incident	A terrorist attack. Risk posed to cast members and film crew.	Low/Not Applicable – minor chance of an attack in school.	In the unlikely case of one: Ensure a well-known assembly point and carry emergency contact cards. Be aware of national advice to run if possible and hide is not. Follow police/authority instruction.

 

PLANNING: Casting

 

Casting - Dodging a Bullet by Ellie Smart

PLANNING: My target audience

When planning how to reach our specific target audience, we needed to understand who they are and what their specific interests are. To attain knowledge on relevant factors such as age, gender, ethnicity and social class, I created an audience questionnaire. It was also important I found out what their media needs are so that I could produce a film trailer and promote the film in ways that will meet and satisfy their needs.

In order to market our film in the best way to reach our target audience, allowing us to plan efficiently, I conducted research on my target audience and created an audience profile. I started by investigating how other brands define audiences, in preparation for creating my own audience profile, for example I saw how Bauer media, NME and Empire define their audiences. 

My Audience Profile:

1. Who is my primary target audience?

Our primary target audience is young people who are over 16 (our age rating is 15). Although we have not specifically skewed our film towards women, there is an appeal for women with the all female cast and female representation as criminals.

2. What kind of films and television are they likely to prefer?

Our primary target audience are likely to prefer comedies and films within the crime/thriller genre. They will enjoy comic relief interlinked with moments of tension, as well as a complicated plot line found in crime films.  

3. What platforms do they choose to watch films and where are they likely to see information about films?

Our target audience are likely to choose online streaming platforms such as Netflix to watch films, due to the large variety and ease. They are likely to see information about films on social media, such as Instagram and twitter. 

4. What brands do they prefer?

As our target audience is a young demographic, I think they would prefer sports brands such as Nike and clothing stores such as Urban Outfitters. 

5. What makes my film stand out from the competition?

A unique selling point of our film that makes it stand out from the competition is the all-female cast, and the unusual female representation within the crime genre.

6 . Why should my audience watch my film? 

My audience should watch my film as it is engaging, with a strong narrative, but has comedic elements to create a positive, light hearted experience for audiences.

PLANNING: Storyboard and mindmap

 

PLANNING: Treatment

The title of our film is 'The Framing'. It is a comedy film with thriller characteristics. It is a story based around female criminals and the disasters they encounter while on a heist to steal a renowned painting. It is not as easy as they expected as they stumble across a murder... Our film has 4 main characters who are women which is part of our unique selling point. It is aimed at young adults which may appeal more to women due to the female empowering element of our film. The big question is 'How will they escape the charges?' The criminals are all different in style and personality which gives the film some diversity. 

PLANNING: Target Audience and Similar Films

PLANNING: Location Recce

 

My production team and I carried out a location recce today, so explore potential filming locations. We went round various rooms within the mansion, looking for rooms which could be in the art collectors home. The home is seen within the first part of our trailer, where we establish who, what, where and why we are robbing.

The location we explored has acres of land, helping to infer our character's extreme wealth. We are hoping to include a drone shot, capturing the mansion from an angle that showcases how impressive and huge it is. A drone shot would also give our trailer a high-quality, professional look. 

PLANNING: Tasks

 

1. The name of our film: The Framing
2. The name of our Production Company and our co-production companies: Silver screen productions, MCJE
3. The name of the director that will appear in our trailers: Ellie Smart
4. The name of the 2-3 main actors that will appear in our trailers: Millie, Charlotte, Jess, Ellie
5. (Optional)  "From the director of..." Camera-Shy, new work, emerging artist
6. The names of the film festivals where our film will be screened (more festival names here): London comedy, BFI Film festival 
7. Pull quotes from reviews etc; wording:
8. Our location recce - take photos and collate in an attractive way + written explanation: Mansion Claremont
9. Our target audience: Female representation, 18-25
10. Social groups and issues in our film... Criminals, women
11. Our props list - photos + stereotypes + clothing: Painting, balaclavas, computer, projector, funny costumes (sunglasses and moustache)
12. Our social media - write down decisions about who is taking responsibility for which platforms: Jess insta, Ellie twitter, Millie Facebook
13. Our music - we researched (this type of music) as the background track... and narrowed down our choice to include...: Voice over with mixing of music as background track
14. Our call sheets are being written by ... All of us
15. Make your storyboard - include....

• how you plan to frame shots - identify establishing shot, wide shots, two- shots, three-shots, CUs, ECUs,
• words of any other inter titles: Actor names, character profiles
• release date - decide on wording: Coming September 2022 to cinemas near you

RESEARCH: Where are trailers shown

According to the FDA teaching trailers recourse, most trailers are produced at the same time as the film is being edited. They highlighted the importance of the timing of a trailer campaign as it must be shown far enough in advance to generate excitement about the release, but also not so early that the film is forgotten about. 

I watched three trailers - Toy Story 4, Yesterday and The Brink, to understand how they are designed to create a buzz around the film. As a class, we discussed the main talking points from the trailers. We acknowledged the fact that most trailers in the UK are released over the spring and summer months.

Toy Story 4:

The main talking point of audiences of Toy Story 4 will be the nostalgia evoked by the sequel. Throughout the trailer, through the use of intertitles, the key message of 'old friends' is emphasised, making children excited to see their childhood favourite characters again. 

Another strong talking point for young girls is the evolution of Little Bo Peep as she appears an empowered, confident leader in the trailer, inspiring young girls. This reintroduction adds a new, appealing aspect of the film which sets it apart from the other films.

The soundtrack 'God only knows' by the Beach Boys would evoke happy feelings of parents watching the trailer, also provoking nostalgia as the songs are from their teenage and younger years. Throughout the trailer, Disney is trying to sell the idealised happiness of childhood and infer the togetherness that the film would give parents and children from happy memories created by the experience of seeing the film. Most parents count on summer holidays to create 'happy memories', so the film would resonate with both parents and children. 

I think producers would choose spring/summer for the release of the film as it features a summer holiday and also utilises the children's summer holidays in the UK, meaning there will be a greater amount of screenings in cinemas. The feel-good summer song also contributes to the positive, summer quality - making parents feel positively towards the film.

Yesterday

I think the main talking point of the film trailer would be around the internationally famous band - the Beatles. The film leverages these most famous singer-songwriters, adding a new angle on them which is the unique selling point of the film Audiences that love the music of the Beatles in particular, as well as the whole vibe of older bands and music, would be instantly targeted and made to feel nostalgia over the old music. Hopefully, the music would create positive associations for such audiences, making them want to see the film to feel those happy feelings again. 

Another key talking point would be the distinct element of magic and the concept of becoming as famous of the Beatles. The narrative is quite comedic in this sense, as it is not a realistic concept at all. This might intrigue audiences to find out how it happened.

Guest appearances of stars like Ed Sheeran and James Corden appeal to established audiences of the stars, as well as increasing the production values of the film if famous people wanted to be a part of it. The star talent of Lily James is also a key selling point, as the A-List actress will definitely attract pre-sold audiences who love her acting.

I think that the film would be released in the summer months due to the summer vibe of the film. This is created by the uplifting soundtrack and element of live music which is so often associated with summer. For example, there are shots of festivals which as a major part of summer for lots of people. Happy summer memories for people would be successful in causing them to feel positively about the trailer, as they are likely to be longing to be a part of that summer feeling with live music, influencing them to want to see the film.

The Brink

I think the main talking point of the trailer is the 'cinema vertite' approach. It follows real life events and real politicians so therefore has a documentary feel. This evidence provided on the political events might make audiences feel they had an incite into America politics, and feel they are closer to the truth. They might want to watch the film to form their own personal opinions on the events which would appeal to mature audiences that want to understand their political history. 

The release of the political film would have had to be within relatively close proximity to the events happening, to ensure audiences remain interested in gaining the deeper insight. This relevance is one of the key selling points of the film and therefore is something that needs to be present.

I turned to Peter Bradshaw of the guardian to read his film review, as I wanted to learn a little bit more due to not gaining a detailed perspective from the first screening of the trailer. It was interesting to understand Bradshaw's scorn for Bannen but how he still gave the film 4*. 

The Brink positions Bannen in a very contrasting way to the film Frost/Nixon which is of the same political genre. Frost/Nixon immediately positions the politicians in an extremely negatively way with an expose style. Whereas, Bannen has more of a documentary feel, seeming to show the events as they happened which allows audiences to form their own opinions.

RESEARCH: Where are trailers shown

According to the FDA Teaching Trailers website, trailers are shown at the cinema, on TV and online with poster campaigns and radio campaigns providing the new release with wide coverage. Dedicated trailer sites and official film websites often screen trailers that have been made for a general audience and are suitable for viewers of any age. Whereas, trailers shown in the cinema usually correspond to the classification of the film being screened. 

After discussion on trailers in different media, I understand that:

• There are disadvantages of playing trailers in ad breaks during live television as many people take the ad breaks as an opportunity to get food, chat or simply not pay attention. However, some viewers may enjoy ad breaks as it gives them a chance to engage in discussion about their views on the film. 
• Although people do watch TV a lot more than going to the cinema, cinema can be a more immersive feel for audiences watching trailers due to the atmosphere and surround sound. However, even in cinemas some viewers will arrive at the cinema late to avoid the adverts.
• As trailers made with an 18 age rating are sometimes cut for a more general viewing audiences, older audiences can be dissatisfied and irritated by this.  
• DVDs tend to be watched over and over again, especially if someone's collection of DVDs is limited. However, after a discussion in class we agreed that DVDs are now viewed as largely outdated, as there is no need now with the instant availability of wide varieties of films on other streaming services. Any trailers shown on DVDs can be fast forwarded, so that audiences can skip to the beginning of the film.
• I think that posting links to trailers will significantly boost trailer viewing figures as it engaged people, and leaves it up to their control.

I have watched a video by Dan Skinner, explaining how the style of a trailer is affected by a number of factors including where it will be seen, who by and for how long.

1. The Teaser Trailer:

A shorter, and more concise version of the main trailer that is the first piece of marketing content to go out, with the purpose of exciting audiences with a sense of what the film is about. It is less story-focussed and its main purpose is to inform of a brief storyline with only small elements of the narrative shown. It aims to give a positive first impression without revealing specific details. 

2. The Main Trailer:

Main trailers often have a 3-act structure; a beginning, middle and end, lasting from 2-3 minutes. They are far more detailed and reveal more narrative information than the teaser trailer, giving more to fuel audience excitement through a deeper sense to what the film is about. Problems, locations, tone of film, antagonists and protagonists are revealed, giving audiences a glimpse of star talent and a chance to form opinions.

Many have montages towards the end with increasingly fast paced editing of lots of different shots from the film. This helps to build excitement as well as enigma as audiences have little time to work out what is happening in the shots. Often in the third act there is a cast run, showing stars and following shots of them, as well as name dropping the director, utilising director power. Main trailers are exhibited online, in theatres, cinemas and social media platforms, extending the films reach to wide audiences.

3. TV Spots

TV spots are much shorter, condensed versions of the trailer, working with people having a somewhat knowledge of the film and main trailer. Their main focus is to leave a positive impression of the film, so are less story focussed. They are usually 30seconds, 20 seconds or 10seconds, so aim to show as much of the film as possible, containing the most exciting and impactful lines and shots. TV spots often include pull-quotes from reviews, showing peoples approval of the movie. 

Although more people watch TV than go to the cinema, people tend to loose concentration during ad breaks, meaning that the TV spot has to be as eye catching as possible.

4. Using Graphics:

There are 2 types: Copy and Pedigree. 

Graphics that copy help tell the story of the movie. They guide you through the story, helping to point viewers to certain aspects distributors want to know are important. Pedigree graphics can be from the studio (e.g. production company logos), meaning people that enjoy that company will be interested. They can also be about the director, cast and writers etc.

5. Trailers in the Digital Age:

From a practical perspective, trailers in the digital age tend to be more diligent about the cohesion of visual shots on screen and the sound quality. Producers are often aware that pictures and sound operate differently on different devices. For example, if a screening is in a cinema, the surround sound will be immersive (e.g. if a spaceship goes over your head in the trailer, the sound will follow it). 

Increasingly, production companies are cutting trailers to visually and audibly be fit for smaller, hand held devices due to audiences screening films on phones and laptops. 

The digital age also means that production companies have to be much more careful not to reveal too much, as every aspect of the trailer online is examined and pulled apart by fan theories. Whereas, in a trailer this wouldn't be possible. There is also further appetite for small bits of content ('snackable content') being put out online to keep audiences engaged and interested.

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RESEARCH: How trailers help fill cinemas

The FDA resource 'Teaching Trailers' taught me that marketing campaigns may use a film's genre to attract audience's interest, playing on elements that are familiar to audiences who love that genre. However, it also shows the importance of genre difference, and the trailer offering audiences new, original experiences that are unlike others of the same genre - making it stand out in a congested market place. This is known as the unique selling point (USP).

Examples of USPs include - innovative use of special effects, unusual mix of genres, star talent...

Watching three trailers on the website, I identified what the USP was in each one:

1. The Lion King

The lion king's USP is the quality of the animations. Although it is classed as a 'live action' film, the shots are made up from 100% computer generated imagery (CGI). It is a reinterpretation of the Disney's 1994 animated classic, its unique selling point being that it is a new and improved version of the much loved classic. The quality of CGI in making the lions and animals talk in a realistic way is something that is not regularly seen, especially with the absence of any live action human actors, making the film stand out. The top quality of animation is much like the animations by Studio Ghibli.

2. Late Night

The unique selling point of Late Night is the element of female empowerment and feminism within the workspace. This is appealing to all demographics, in particular women as it acts as a positive example as it represents women as capable of being successful. The star talent are all strong women, with A-List actress Emma Thompson and Mindy Kaling, selling the film to established fanbases of the actresses. 

3. Spies in disguise 

One of the main USPs of Spies in Disguise is the star talent doing the voice overs for the characters - Tom Holland and Will Smith. Tom Holland is an actor well-known by younger generations and Will Smith would appeal to adults as he is an iconic actor. The film has comedic elements, which set it apart from other animated films, with high quality editing and special effects. The central character is also a black man, meaning it is unique in the sense of that ethnic representation.

RESEARCH: Why is a film trailer made?

I researched why trailers are made on the Teaching Trailers resource supplied by the FDA online to further my understanding on the purpose of trailers and how they signal the film's genre. 

I watched 3 trailers: The Mustang, Hobbs and Shaw (fast and furious) and Artemis Fowl

The Mustang:

The Mustang gave me the impression that it was a drama. This genre was evidently signalled through mature themes, such as redemption and adversity. It was clear in demonstrating the narrative that revolves around the life of a hardened prisoner, who is given the opportunity to join a rehabilitation programme involving training a wild mustang. The trailer communicates a strong sense of hope as it follows him move from a low point to forming a deep connection with the horse, and then his daughter. From this, audiences can infer the film is a feel-good film with a heart-warming story line, but alongside high tensions and stakes for the central character Roman - creating intrigue. 

Fast and Furious:

Fast and Furious films are very distinctly of the action/adventure genre, signalled through extremely fast paced editing and dynamic action shots and stunts shown throughout, the violence included in which would often be more suited to adult audiences. High intensity non-diegetic music also help communicate the intense nature of the action genre, creating the immersive feel that target audiences crave. The Hobbs and Shaw film is a part of the larger fast and furious franchise, so has to engage established audiences that have previously enjoyed fast and furious films. Therefore the trailer engages in high budget action conventions including explosions, technology guns and fast cars, as well as elements of comedy that are conventional of the franchise. The comedic elements come from the dynamic between the duo - American Agent Hobbs and British Mercenary Shaw who are forced to get over their rivalry and competitive relationship to combat a supervillain, this good vs evil theme is conventional of the genre, and the immature behaviour of the duo is light-hearted and therefore appealing also to younger audiences. 

Artemis Fowl:

Artemis Fowl comes across as a children's fantasy film. This is evidently shown through the protagonist being a young boy, who takes on an adventure to discover dark truths. The quest narrative is conventional of the fantasy genre, along with themes of magic and adventure and beautiful, engaging sets and costumes which are eye-catching. The high production values create awe and spectacle, which is attractive to audiences of all ages - in particular children. The trailer spot lights the boys magical power through special affects, which is appealing to children as they might feel they can identify more with a child.

The mystical nature of the trailer is amplified by the lack of information given on the central character, making his character seem more interesting to audiences. As the genre is fantasy, audiences can infer that anything is possible, meaning that there is a higher level of investment into what is going to happen. As the film is Disney, it is highly trusted by families as being family-friendly and of wholesome value suitable for children. As a Hollywood big six, the production company ensures high quality CGI, immersing audiences in this magical fantasy to make them feel they are also on an adventure. 

RESEARCH: Who are trailers aimed at?

I understand that trailers are generally aimed at the same audience as the films they publicise. Different groups of people will be attracted to different genres of films, an whilst every individual does have unique taste, it is important in trailers for there to be features that have a wide appeal to extend the reach of films. 
I watched an analysed the trailers for three films on the teaching trailers website:

1. Vita and Virginia

2. Frozen 2

3. Apollo 11

I attempted to match the potential target audience of the films to the categories below:

My Conclusions:

Vita and Virginia is suited to: Ages 25+, perhaps more skewed towards women. I can imagine literary, educated audiences enjoying it, as it is a book about literary circles such as the Bloomsbury group (a group of intellectuals that Vita and Virginia belonged to) and a literary adaptation of a stage play. It might also be of interest to independent, socially aware, modern women, who are interested in the history of women's liberation. It is set in the 1920s, so would also appeal to those interested in period drama who would engage in the high production values (period consumes, set) and its historical value. It would interest those who enjoy social history, literature and art, due to Virginia Woolf's association with the Bloomsbury Group. A specific arthouse audience is targeted, enabling them to make strong choices about the film that don't necessarily apply to a broad audience. The beautiful gardens would attract natural trust lovers.

Frozen 2 is aimed at: I think that Frozen 2 would be aimed at families and children under 13, the traditional audience of Disney. The film is animated, with high production values meaning it will appeal to adults as well as children as the animation is so realistic. There are expectations that a Disney film will deliver wholesome values and a feel-good movie, meaning therefore it is trusted by families. The main character - is a strong young women Elsa due to an increasing desire for young female audiences to be able to identify with a strong empowered women. Her determination is exaggerated in the narrative shown in the trailer, representing her strength of character and presenting her as a positive role model for young audiences. It has a strong action and adventure feel, with dramatic music and visuals with hints of magic, Olaf the snowman brings a comedic element and animals appeal to children. 

Apollo 11 would interest: A wide target audience of adults (25+). I feel it would however also be suited to teenage boys and girls, although perhaps with a greater skew towards male audiences who crave action and adventure. Lots of dramatic effect is created, enticing those who enjoy the action/thriller genre, or perhaps who have an interest in space. It has a documentary feel and is informative so would also appeal to those who are fascinated by modern history and space travel. The production values make audiences are successful in creating a sense of authenticity, through the use of solely archival footage. This adds to the excitement built throughout the trailer, as it was such a monumental moment for mankind. I was interested in the focus on national pride through the intertitle 'we were one', drawing patriotic audiences in as they feel a sense of pride over the West' opinions and it is symbolic to them. Recently, I have also watched the trailer for Gravity, which would appeal to another type of audience who enjoy tense, unsettling drama and action. Whereas, Apollo it feels is promoting a film with triumph at the end.