Production, marketing and revenue for UK and U.S. Based films

Mad max- US block buster 

Release date for the U.S.: 15 May 2015

Release date for the UK : 14 May 2015 

Produced by Kennedy Miller Mitchell and ratpac dune entertainment 

Pre production began in 1997' early attempts to shoot the film in 2001 and 2003 but were stopped because of the September 11 attacks and the Iraq war 

Original director 

In its opening week it earned $45 million 

Production budget was 150 million 

Max-Tom hardy 

Charlie theron- imperator furiosa 

Nux- Nicholas hoult

Immortan Joe- Hugh keaysbryne (was in original) 

Mad Max's advertising consisted of the generic, movie posters, interviews and trailers, also using the slogan "what a lovely day" to help advertise. However a compilation of graphic novels entitled "mad max:fury road" were released a year before the film was released, describing the prologue 

Tom hardy is traditionally know for action roles, locke, kray twins 

A video game was made to accompany the film, the game came out a few months after the films launch which created a boost in sales of the film 

Interviews and trailers were released leading up to the launch, including a joint interview with the director and Tom hardy, four posters were created, three of which was a shot of max, furiosa and immortal Joe, with the final being a shot of the war rigs in the sand 

Production cost, 50,000

Opening week. 0.3 million 

Troll hunter U.S. release date 10 June 2011

UK release 15 June 2011 

Director:  André Øvredal 

Produce :John_M._Jacobsen

Filming took place in the forests and mountains of Western Norway, and actress Johanna Mørck called it an exhausting experience.^[5] According to director André Øvredal, the team tried to maintain maximum secrecy around the project. They kept both the title and cast secret until shortly before the première, dropping cryptic teasers to create a viral effect. Producers John M. Jacobsen and Sveinung Golimo, whose production company were also responsible for the highly successful 2008 film Max Manus, reported great international attention around the film. Already before the première, several American companies had expressed interest in doing a remake. For the film's final scene, a clip of former Norwegian Prime minister Jens Stoltenbergspeaking about an oil field outside Norway called the Troll Field was edited to create the appearance of him admitting the existence of trolls. 

• Otto Jespersen as Hans the trollhunter
• Hans Morten Hansen as Finn
• Tomas Alf Larsen as Kalle
• Johanna Mørck as Johanna.      

Trollhunter is an interesting analysis for advisesment 

The grand Budapest hotel 

The Grand Budapest Hotel grossed $59,100,318 in North America and $115,500,000 in other territories for a worldwide total of $174,600,318 against a budget of $26.7 million.^[96]

How does the lighting and mise en scene in the elevator scene of drive create tension?

Drive is a film by director Nicholas winding refn, who is most know for his work direction drive and only god forgives. Drive is about a career criminal who attempts to start a normal life, but is eventually dragged back into a life of crime. The elevator scene can be seen as the culmination of the drivers anger and pain about his situation finally being released.

The scene opens with Irene and the driving standing on either side of the elevator, the hall they are standing in is stained and dirty, the wallpaper is pealing of the walls and the light fixtures are dim and flickering, this can be seen as foreshadowing for the events that are about to take place, a dirty room for the setting of a brutal and dirty crime. If we look at the actors positions we can see that Irene is standing on the right side and the driver on the left, this can be literally interpretated as Irene being on the right side, the pure and in corrupted side, and the driver being on the left, symbolising that he's not pure enough to be on the right side.the drivers jacket is also very important to the scene, his jacket is plain white with a scorpion embroided on the back, the scorpion, apart from looking intimidating and blunt has a story about it which was one of the inspirations for the story. The insparation for the jacket comes from a old Japanese folk tail about the frog and a scorpion, the tale is about a scorpion who wants passage across a river stream, he asks a frog if he may ride in his back to the opposite bank. At first he is turned down as the frog says "no because you'll sting me" the scorpion replies "if I sting you then we'd both drown" half way across the stream the scorpion stings the frog and they drown. Right before the two sink to the bottom of the lake, the scorpion says "I stung you, as it is my nature to sting, and you can't stop nature" this can be seen as a representation of the driver trying to escape a life of crime, only be to dragged back in to it, as it is his nature to do so. 

The elevator doors open and standing directly centre shot, we see the hitman. Take notice of the lighting in this shot, we have to dim, cracked lights on the outside of the elevator illuminating Irene and the driver in an almost supernatural glow, but inside the elevator the light is intense and bright, with the hitman appearing warped by the light, again Almost supernatural. We can say that the light is this bright to lure the driver to his fate, like an animal being lured into a trap. The two enter the elevator and again stand against the wall starring at the floor. The elevator doors close slowly, almost stopping at one point before closing fully to heighten the atmosphere of decay and damage which inevitably leads to the building of tension. 

If we look at the hitmans clothing we can tell that his suit is lavish and expensive, it's colourful and clean made out of expensive materials, this contrasted against his scarred, broken and scratched face shows us that he hasn't bought this suit with clean, earnt money. This contrast creates tension as we are aware of the danger this man is radiating, and we feel tense as we are scared for the driver, but more so for Irene who isn't used to this life of crime the driver is so integrated in. The lighting in this scene is bright and sharp, scrolling down the sides of the elevator vertically, which means that everything in the elevator is illuminated, showing us every detail in all of the actors, this lighting could be a metaphor that in this moment, nothing is hidden, all of the characters actions and emotions and fears will be shown to us, the viewer. 

The hitman and the driver look at eachother, the light from either side of the elevator illuminates only half of there face, possibly resembling the two's mysteriouness. The driver reaches behind him and pushes Irene to the side, as he does this the lights dim to an eerie glow, the hitman is now barley visible. The light reflects of Irene's blonde hair and glares in the drivers eyes, which shows us that the driver is literally blinded by his love for Irene, and now realises the danger he has put her in. A light directly above them shines brightly, as the light is directly above them it hides there faces in shadows, creating a silhouette of the two, Irene and the driver embrace eachother, the scenes fram rate drops resulting in the kiss looking as though it is in slow motion, which only adds to the tension of the scene, as we all know that the hitman set to kill the driver is literally centermetres away. As the two break the kiss the scene returns to its original frame rate, the light in returns to normal, if not a little darker then before. Which could be showing us that right now in this second, the driver has lost all chance of ever having a normal life, with the intense light not seconds earlier representing the closest he has or ever will get to a normal life. 

What follows is the films most violent and brutal act committed by the driver, that man pulls out a gun and aims at the driver, the driver heads butts him, pushes him to the floor, and begins to stamp on his head until he stops moving, the driver throughout the film is always seen as being presentable, his clothes and hair are always clean and tidy, he is well mannered and polite, if a little silent. However during this shot, his hair falls limp across his face, his face becomes sweaty and red, and the collar on his jacket goes crooked. All of this gives us the impression that he has finally lost control, the lighting during this beat down becomes lighter and lighter, eventually reflecting of the blood on the drivers jacket and face. The driver looks up and at Irene, she is horrified and is visibly shaking, her shirt, similar to the drivers jacket has now become crooked, this could be to show that this event has left her traumatised and broken, a binary opposition to the drivers almost cool, calm atmosphere. The elevator doors slide open, again stopping around halfway before fully opening to reveal the car park. The car park is empty, with only two huge neon white lights on the walls of the car park. The result makes the area look eerie and unsettling, almost dangerous. Irene backs away into the car park, terrified and scared, she looks at the driver with terror, and the driver looks at Irene with almost acceptance and content. The doors slide shut, and we get a cut to the drivers face, sweaty and covered with blood, he sinks to the floor as a defeated and broken man. 

If we look at the colour scheme for this scene, we can notice a common trend in the way colour is used. Irene and the driver (the two "heroes") are dressed in whites and lighter colours, very monotone and basic, which could be a representing of how they are both trying to blend into the crowd, with neither one of them wanting any part in the colour full, violent world of crime. And if we were to look at the hitman, his suit is consisted of neon and violent colours such as pinks and tinted whites. Again showing the stark contrast against Irene and the driver. The city of LA (which drive is set in) is also drenched in colour, especially neon blues and reds, which is very similar to the neon drenched city of Shanghai in Nicholas winding refn's film only God forgives. 

In conclusion the scene uses a combination of bright, out of place lighting and a dark, basic colour palette contrasted against a brighter more violent colour palette to create tension.

 M

Drive and only God forgives

M

Only God Forgives is a Crime/thriller. The film is about a Thai boxing manager named Julian, who is essentially a drug dealer that seeks out the killer of his brother, who was killed by a retired police Lieutenant by the name of Chang. 

The film combines genre's in interesting ways, as this film is essentially a crime thriller with eastern religious overtones. It features conventions associated with western films (silent characters, justice, redemption) and has a slow, eerie pace that creates an atmosphere of surrealism. 

The cast features Ryan gosling, who was played the lead role in the directors earlier film drive. However he is very underplayed and the film is essentially about his spiritual journey to regain his redemption at the hands of The police lieutenant, Chang is played by Vithaya Pansringarm, who brings both an over whelming sense of power to the role. The films features a heavy cast of unknown Easten actors, since the film is set in Bangkok. This choice of setting combined with the gives a sense of mystery, as we are experiencing a culture we are both unfamiliar with, and interested by, which helps identify with the few Westen characters who feel the same way. We can also make a connection to this film and western films, with the convention of a lone stranger entering town, and of East versus west.
The setting feels very authentic and realistic, as the film was shot on location in Bangkok. The setting feels worn down almost decreped, intimidating,, atmospheric and dangerous. The film focuses more on the seedy side of Bangkok most notably the red light district and the the drugs and violence that accompanies it, which paints its setting as a very grim, dystopian reality. The signs and colours all drenched in neon is almost surreal, the colours engulf  the screen in a Reds and blues, an artistic choice that makes the Bangkok nightlife setting look like crude, corrupt and dangerous. This light contrasts the more subtle and elegant points in the film.

The reason why the colours are so blunt and powerful is because of there hidden symbolic meaning, or possibly it's underling meanings of the film. Chang is God, before filming the director told the actor playing Chang "you are God" and he is unleashing his justice on the streets of Bangkok. Whether or not he is God, or is a man who thinks he is god, is left unexplained. Although Nicholas Winding Refn as said in interview that the film is about a man who fights God. This doesn't rule out the fact that he at least symbolically represents God and is portrayed in a quiet,controlled, powerful and highly respected manner. His fellow police officers can be seen as his angels, who are with him almost all the time and follow him regardless of his actions, whether that be slicing a man in two, or amputating a grieving furthers arm. Whenever we see Chang at his accomadation, the lighting and visuals become more peaceful and natural, sometimes contrasting the glow of the city behind him with the natural garden setting he is located in. His house is surrounded by rice fields and flowers, which gives off the illusion of a paradise, and that Chang (God) for all his violent characteristics is still a man of peace and unity. 

The editing in this film is very similar to that of kubricks shining, with it occasionally leaving reality . Julian has visions through out the film, where the scene will seamlessly go into what he is imagining or experiencing, with visual cues to let us know it is a vision (for example his shirt changes to a different colour in his vision, and then back to its original colour to let us know we are back in reality). The visions are directed with a quality reminiscent of Stanley Kubrick, with lots of long shots peering down hallways and creating a sense of surreal dread.
In a effort to evoke the feel of a western, many scenes have long drawn out sequences (similar to the final confrontation in the good the bad the ugly) before an important revelation or moment as a way of building tension. For example the brawl with Chang is done in the same was as a traditional stand off or dual from a western, with long shots and an emphasis on eyes and hands,showing the pairs opposite each other. The films also uses its imagery as a way of foreshadowing later scenes. Early in the movie Julian is positioned in front of statue, and the statue appears to be staring over him in the background. 

Drive is by the same director as only god forgives, and both share similar themes as each other, both revolve around crime and what normality, both feature an anti-hero who are seeking redemption, family and love. And both end with the protagonists having nothing. 

Drive opens with the driver (played by Ryan gosling) staring out onto the sprawling neon drenched city of Los Angeles, talking into the phone to his client. We understand that the driver is meticulous, his route and car already planned out, colour co ordinated maps on the tables, and him speaking in mono-tone. What follows from here is one of the most suspenseful car chases in recent years, we can notice that through this entire sequence the camera never leaves the car, which only adds to the viciousness and tension of the chase. From her we zoom out to see the light drenched city of l.A, it's imtimadating and violent, very similar to only God forgives red light district. 

The editing in drive is immaculate, it's quick and subtle, with the cuts hardly ever appearing apparant. In both chase scenes, the scene appears to be a single shot. This was done to create fluidity in the chase, with the action appearing to be one continuous take. If we look away from the more violent gritty scenes, and to the more personal, dialogue driven scenes we can see a totally different style of editing being used. During scenes where the only action is that of conversations, the camera tends to linger on a persons face before cutting to the next persons. This is apparant in nino's pizza shop, where the camera focuses on the gangsters faces longer than there lines actually last, this was done to give emphasis to the emotions and relationships between characters. 

If we look at the mise en scene for drive, we can tell that great detail has been placed in the costume. For example, the driver scorpion jacket has symbolic detail. The insparation for the jacket comes from a old Japanese folk tail about the frog and a scorpion, the tale is about a scorpion who wants passage across a river stream, he asks a frog if he may ride in his back to the opposite bank. At first he is turned down as the frog says "no because you'll sting me" the scorpion replies "if I sting you then we'd both drown" half way across the stream the scorpion stings the frog and they drown. Right before the two sink to the bottom of the lake, the scorpion says "I stung you, as it is my nature to sting, and you can't stop nature". This story can be seen as a representation of the driver, no matter how hard he can trie to fit into a normal world, he'll always be the one who ruins it for himself.