Distribution - What Is It?

What Is Distribution? 

What part of the supply chain is distribution? 

The third part of the supply chain is the distribution.

What is distribution often referred to as? 

Distribution is often referred to as 'the invisible art'.

What does 'vertical integration' mean when discussing distribution? 

In the practice of Hollywood and other forms of industrial cinema, the phases of production, distribution and exhibition operate most effectively when 'vertically integrated', where the three stages are seen as part of the same larger process, under the control of one company.


Why isn't 'vertical integration' so common in the independent sector? 

Producers tend not to have long-term economic links with distributors, who likewise have no formal connections with exhibitors.


What three stages are involved in the independent sector? 

Licensing, marketing and logistics.


Licencing 

What is licencing? 

Licensing is the process by which a distributor acquires the legal right to exploit a film.

What are the two levels of licencing? 

International distribution (ensures that films find their way to the 90+ market 'territories' around the world) and 'local' distribution (involves the distributor acquiring the licence to release and exploit the film in a particular country).

What is the advantage of being a major US studio? 

The major US studios generally have their own distribution offices in all the major territories.

What three different types of rights can you acquire on a local level? 

Theatrical rights, for showing the film in cinemas; video rights, for video and DVD exploitation; and TV rights, if the distributor is able to sell the film to a broadcaster.


What are royalties? 

In addition to paying a fee to secure the film, the licence will stipulate that the distributor will also pay royalties to the producer, taken from the profits that the film generates. A local distributor will conventionally share profits equally with the producer for the theatrical leg, pay back higher royalties for broadcast rights, and lower for video/DVD.

What is the most effective way to increase interest in a film? 

A theatrical opening is seen as the most effective way to create interest in a new film. The big screen is still the optimum setting for a film for both audiences and the filmmakers.


How long does it take for a film to reach 'free to air' TV? 

Two years after opening in cinemas, on free-to-air television.


Marketing 

What are the two key questions surrounding the marketing of a film? 

'When?' and 'How?'


What day are films typically released on? 

Fridays.


What will a distributor look at before releasing a film on a Friday? 

A distributor will assess this schedule to identify a Friday release date where there are only a few films scheduled for release.


What is a 'light' week in terms of distribution? 

'Light' week will ensure that there will be both screen space and adequate review column inches in the press allocated to any potential release.


What does it mean to 'position' a film distinctively? 

Position the film distinctively and avoid a release date occupied by other films with similar traits (story, subject, country of origin).


Why has this become increasingly difficult in the UK? 

The release schedule has regularly featured over 10 new releases in a week (more films).


What are P&A? How much can P&A cost? 

P&A are the nuts and bolts of marketing and distributing films into cinemas, the tools used by the distributor to create a public for its film. P&A also represent the bulk of the distributor's investment, after paying the initial fee for rights, and can range from less than £1,000 to over £1 million for the release of a film in the UK.


Marketing - Prints And Adverts 

Typically how many prints will a 'specialised' film have? 

Specialised films will often be released with fewer than 10 prints into key independent cinemas, with these prints subsequently 'toured' over a 6-month period to all parts of the UK.


How many will mainstream films have? 

Commercial mainstream films will often open on over 200 prints, simultaneously screening in all major UK towns and cities.


What is a key factor in developing the profile of a film? 

Favourable press response is a key factor in developing the profile and desirability of a film. Distributors consider both the quality and breadth of coverage, and this is often inscribed into the nature and scale of a press campaign.


How else can awareness of a film be raised? 

Advertising in magazines, national and local newspapers works in tandem with press editorial coverage to raise awareness of a release.


Why is distribution in the UK seen as risky? 

The cost of print advertising in the UK is comparatively high, and is seen as making distribution in the UK a riskier business than in most other countries.


Why are companies looking towards viral marketing? 

In order to extend the reach of advertising and develop more effective communication with audiences at low cost, distributors are looking increasingly to 'viral marketing' - different forms of electronic word-of-mouth via the internet, email and mobile phones.


What are the benefits of a 'talent visit'? 

The use of talent - usually the director and/or lead actors - wins significant editorial coverage to support a release. The volume of coverage can far outweigh the cost of talent visits.


Logistics 

In the pre digital film age what was a distributor responsible for? 

It is the responsibility of the distributor to arrange the transportation of the film to the cinema, as part of its wider coordination of print use across the UK.


How much does a 35mm print typically cost? 

Each print can cost around £1,000 - or twice that if subtitled - so a degree of care is required of everyone involved in handling the print.


How many reels is a typical feature print? 

5 or 6 reels.


Why do 35mm prints get damaged? 

35mm theatrical prints invariably suffer cumulative damage as they pass through different projectors, and the hands of various projectionists.


Where are prints stored? 

There are also overheads incurred by the distributor for the storage of prints at the UK's central print warehouse in West London.


How long did a theatrical release used to last? 

Distributor will invest in sufficient prints to provide optimum coverage through the first period of theatrical release, usually lasting up to 6 months.


Digital Distribution 

When did digital distribution begin in the UK? 

Towards the end of 2005, the UK distribution and exhibition sectors were starting to move towards digital distribution and exhibition.


Name two advantages of digital distribution 

In distribution terms, the advantages of digital technology are even clearer, though perhaps longer term. Digital technology is seen to offer a more cost effective and logistics-light alternative to the tried and trusted, but unwieldy model of 35mm print distribution described above.


Which countries adopted digital distribution early and why? 

Digital distribution and exhibition on a large scale has started to appear in certain parts of the world, notably China and Brazil, where conventional logistics cannot, for one reason or another, efficiently bring together supply and demand.


How many screens were digital in 2005 and how many are now?

2005 the UK Film Council Digital Screen Network launched in the UK by Arts Alliance Media creating a chain of 250 2K digital cinema systems. The roll out was completed in 2006. As of 31 March 2015, 38,719 screens (out of a total of 39,789 screens) in the United States have been converted to digital (15,643 of which are 3D capable), 3,007 screens in Canada have been converted (1,382 of which are 3D), and 93,147 screens internationally have been converted (59,350 of which are 3D).


Why has digital distribution radically altered the operating model of distributors? 

There is little doubt that the advent of digital distribution has the potential radically to alter the modus operandi of distributors around the world. The comparatively low cost of film copies and additional logistical effectiveness of digital distribution provide the distributor with greater flexibility. It will be less expensive in the coming years to offer a wide theatrical opening with many copies, and also conversely, to screen a film for just one performance at any cinema.


What has happened to the typical release period for a film? 

All this suggests that in the future, more titles, both mainstream and specialised, will receive wide theatrical openings, and that this broadening of access at the point of release will dramatically reduce the overall theatrical period from 3-6 months to perhaps 1-3 months.


What is a loss leader and why are companies using the Cinema as a potential loss leader?

A loss leader is a product sold at a loss to attract customers. A strategy in which an institution offers a product or service at a price that is not profitable for the sake of offering another product/service at a greater profit or to attract new customers. This is a common practice when a film or institution first enters a market; a loss leader introduces new customers to a service or product in the hope of building a customer base and securing future recurring revenue.

Representation of Class and Status

Definitions:

Class and Status: A status hierarchy in which individuals and groups are classified on the basis of esteem and prestige acquired mainly through economic success and accumulation of wealth. Social class may also refer to any particular level in such a hierarchy.

Upper Class: The social group that has the highest status in society, especially the aristocracy.

Middle Class: The social group between the upper and working classes, including professional and business people and their families.

Working Class: The social group consisting of people who are employed for wages, especially in manual or industrial work. 

Stereotypes of the Class System:

Upper Class:

• Well dressed - Suits, Waist coats. - Appearance.
• Own businesses and live off of the investments. (Family run) - Lifestyle
• Boarding schools and expensive university for their children.- Lifestyle.
• Wealthy. - Possession 
• Own horses and a lot of dogs. - Possession
• Have expensive cars e.g. 4x4's. - Possession
• Well mannered. - Behavior.
• Hunt and shoot. - Lifestyle.
• Mostly go out on vacations. - Lifestyle
• Own Mansions in the countryside. - Living arrangements 
• Have their own clubs. (Closed society) - Lifestyle.
• Have their own flats and houses in the cities or abroad. - Living arrangements.
• Live with parents usually. - Living arrangements
• Snobby. - Attitude
• Quite arrogant. - Attitude.
• Good temperament. - Behavior.
• Well Heeled. - Behavior.

Middle Class:

• Financially stable family. - Lifestyle
• Able to go on vacation once a year. - Lifestyle
• Usually have some extra money on the side. - Lifestyle
• Works white collar jobs e.g. Doctors or Office workers. - Lifestyle
• Nuclear family. - Living arrangements
• Family car. - Possession
• Medium sized homes. - Living arrangements. 
• Church goers. - Lifestyle
• Successful small business e.g. Corner shops. - Lifestyle
• Chooses work that requires a degree. - Lifestyle
• Children may go private schools, more likely to go public schools. -Lifestyle
• Have been taught with one skill or more. - Lifestyle

Working Class:

• Selfish. - Attitude
• Women are physically out of control - fat, loud, overly sexual and dressed in a 'loud' and inappropriate clothing. - Appearance.
• Racist. - Behavior
• Complete physical and unpleasant jobs. - Lifestyle 
• Alcoholics. - Lifestyle
• Extreme fans of football. - Lifestyle
• Violent e.g. Fighting. - Behavior
• Abusive. - Attitude
• Live in high - crime areas. - Living Arrangements 
• Dependent on government's money. - Lifestyle
• School dropouts. - Lifestyle
• Females are usually in out-of-wedlock pregnancy or underage pregnancy - Lifestyle.
• Commit domestic violence - Behavior.
• Violent dogs - Possession

Information taken from:

https://prezi.com/gyiynxd9hmph/class-stereotypes/

Examples from UK and US TV Dramas:

Upper Class:

Mad Men

This programme would be considered upper class because the characters present are very well off in high earning jobs (performing in a successful advertising agencies), and dress to fit the part as well (the men always in suits and the women in elegant dresses).

Downton Abbey

 

This programme would be considered upper class, as the characters within the show are very distant from the working class, showing a large divide between the system, and are very well off within their possessions and lifestyles, for example: they play croquet and ride horses regularly.

Middle Class:

Waterloo Road

This programme would be considered middle class, as the characters (who in this case are teachers) are all shown working hard to earn their money, and have average stereotypical 'normal' TV lives. 

Scott and Bailey

This programme would be considered middle class, as the characters are all shown working hard to earn their money (working as police constables/women detectives), and live what we as an audience would consider the 'norm' of a stereotypical police life. Whilst they dress smartly and sensible for their jobs, they aren't as elegantly dressed as stereotypical upper class constables would be.  

Working Class:

Misfits

This programme would be considered working class, as the characters reflect typical teenage girls and boys who are entering the beginning of adulthood, projecting the common stereotype of teens getting up to no good and ending up in prison. The characters' appearances and actions come across 'common', linking them to the audience

The Mill

This programme would be considered working class, as the characters battle a continuous struggle with themselves and society to try and earn some money in order to survive, relying strongly on their family members. Their outfits are very dull and ragid, almost mimicking/reflecting their lifestyle.

British Film Industry (Part 2)

PART 1 HERE

Mad Max: Fury Road - 

TOTAL SCORE - 11/35 - NOT QUALIFIED AS A BRITISH FILM (British actors/crew, but location was in Namibia).

Star Wars: The Force Awakens - 

TOTAL SCORE - 13/35 - NOT QUALIFIED AS A BRITISH FILM (Actors are mainly American, and location was around Iceland and Abu Dhabi).

Other Ways To Be British

The "old" rules for being British required a film to meet three of the following six criteria:

• A British director
• A British producer
• A predominantly British cast
• A British production company
• A subject matter than informs on the British experience
• British identity defined by the BFI in "Sight and Sound" (www.bfi.org.uk/sightandsound/)

(Co-productions with British input count as British films.)

How do British films attract audiences (consider how these films might attract either a British or a global audience)?

British films could attract larger audiences by appealing to people worldwide who have watched and enjoyed other successful British films. This target audience could be reached on the internet by seeing what people have searched and by looking at their Facebook accounts and other social network sites. Also, they could advertise it on TV channels and websites which are popular with the target audience.

Also, producers of British films should try to use unique technology to try to attract their target audience.

Also, they could create a video game about the film to attract a younger audience. People who buy the PlayStation game of it would be tempted to watch the film as well and buy the DVD or watch it at the cinema.

How are they distinct (different) from Hollywood blockbusters?

The identity of the British industry, and its relationship with Hollywood, has been the subject of debate. The history of film production in Britain has often been affected by attempts to compete with the American industry. The career of the producer Alexander Korda was marked by this objective, the Rank Organisation attempted to do so in the 1940s, and Goldcrest in the 1980s. Numerous British-born directors, including Alfred Hitchcock and Ridley Scott, and performers, such as Charlie Chaplin and Cary Grant, have achieved success primarily through their work in the United States.

In comparison to Hollywood blockbusters, British films usually see:

• Less known actors
• Day to day life
• Gangs/violence
• Drugs/alcohol
• Poverty/financial hardship
• Urban areas of fantastical locations
• Different cultures

Audience Types:

Mainstream: Unlikely ever to view anything other than major "Hollywood" style blockbusters.

Mainstream Plus: Generally mainstream, but apt to see less mainstream films on a few occasions.

Aficionados: Tend to view a mix of films, including major foreign language titles, and can be encouraged to become even more adventurous in their viewing choices.

Film Buffs: Eschew mainstream films in favour of more extreme, esoteric, challenging and difficult subject matter (specialised) films.

What do you feel are the reasons for having a British film industry?

I feel the reasons are to allow the culture of British film to grow through the public eye, and to provide a new popularity and business aspect within the region, so that as much money can be made as possible, and to also boost the economy of Britain as a whole.

Representation of Ethnicity - Exam Question

Discuss the ways in which the extract constructs the representation of ethnicity using the following:

• Editing

http://www.bbc.co.uk/programmes/p00vd137 (Extract)

Editing is shown widely across the extract. The first example of editing in the interior office scene is the reaction shot, used when the protagonist discovers his mistress has committed a crime. This countertype challenges the stereotype of black people being 'cold hearted' within tv drama, and shows his emotional side towards the situation. This makes the audience feel pity for the protagonist due to his unsettling situation, and supports the overall stereotype of ethnicity being pitiable.

An extended cut is also used in this section of the clip as the camera pauses on DCI gates’ face; this is used to further highlight his emotion towards the situation for his realization. The slowing in pace emphasizes the aggression he feels and allows the audiences to predicate that he will later release his aggression on the woman. This foreshadowing is commonly used in TV Drama and also supports the stereotype of black people being dangerous. This danger is supported later on in another interior scene where the protagonist confronts the mistress and arrests her. Fast pace editing is used in this scene to intensify the action and further support the stereotype of danger. A series of shot reverse shots are also used in this discussion to keep the up the pace and show both of the characters emotions. The female is shown to challenge the stereotype of white females being sweet and kind as she is represented as the antagonist who is committing the crime, highlighting a danger within her. 

The final scene is the interior shot of the car in which the protagonist and his mistress engage in conversation after he has arrested her. The audience see a reaction shot which is used a couple of times during this extract. The reaction shot is used to show his emotion to what she has said about his wife and children finding out about their relationship. It shows him as sad about this revelation that she will tell his wife, this is a countertype that black people aren't usually shown as having emotions and being emotionally strong so this goes against it as it shows the protagonist as being emotional at this. This also follows the stereotype that they are pitied because the audience feel for him for the fact that his mistress is going to ruin his marriage.

Representation Of Ethnicity

Within racial representation, there are four key themes. These are:

• Exotic or "Other"
• Dangerous
• Humorous
• Pitied

Examples of how the following ethnic groups are represented in TV Drama (British or American):

Black

BLACK STEREOTYPES:

• Gangster
• Fun loving
• Athletic
• Criminal
• Involved in drugs
• Hospitable (friendly)

Bonnie Bennett - The Vampire Diaries

Bonnie Bennett would be seen as representing the stereotypical black character within the TV Drama "The Vampire Diaries", as she is seen as a very 'fun loving' character who is constantly around her friends enjoying her time as another teenage girl at high school. She is also very 'athletic' as she is a part of the cheerleading squad for her school. However, one way that she would be seen representing the atypical character, is the fact that she is one of the 'protagonists' within the show, proving that she isn't seen as a 'criminal'.

John Luther - Luther

Luther is represented atypically, rather than stereotypically, as he is represented through his TV Drama "Luther" as a very 'helpful' character. He is also seen as the main 'protagonist' of the show, rather than the stereotypical 'dangerous' black character, showing that he isn't considered a 'criminal' at all. 

Curtis Donovan - Misfits

Curtis Donovan would be seen as representing a stereotypical black character within his TV Drama "Misfits", as he is a character that is 'involved with drugs', who is arrested for being caught possessing cocaine. He was also a very 'athletic' character before being arrested with the drugs. 

White

WHITE STEREOTYPES:

• Educated
• Affluent
• Socially awkward
• Rational
• Arrogant

Clara Oswald - Doctor Who

Clara Oswald is seen to be represented as a very stereotypical white character within the TV Drama "Doctor Who". She is very well 'educated', as she assists the doctor on all of his missions, and has the privileged occupation of being a teacher. She is also seen as a very 'rational' character, as she comes across as a natural leader and likes to be in control. However, one way that she would be seen representing an atypical white character is the fact that she comes across as being the complete opposite to being a 'socially awkward' character, as she captures the minds and hearts of anyone who will allow her to do so. Also, based on audience interpretation, one could argue that Clara could be seen as both 'arrogant' and not 'arrogant', due to the fact that some will take her love of being control and her assuredness as an 'arrogant' trait, but some will not.

Blair Waldorf - Gossip Girl

Blair Waldorf would be seen as the stereotypical white character within her TV Drama "Gossip Girl", as she is seen as a very well 'educated' character, who is currently trying to get her way into Yale. She can also be seen as a very 'arrogant' character, as she is very self-centered and narcissistic, and because she thinks of herself in a very high manner, by always addressing people through their errors by stating that she is the one and only "Blair Waldorf". One way that she would be seen as an atypical white character however, is the idea that she is not considered to be a 'socially awkward' person, as she is seen as quite a socialite, unless she is around poorer people, then this trait could be questioned upon. 

Francis Underwood - House of Cards



Francis Underwood would be seen as representing the stereotypical white character within the TV Drama "House of Cards", as he is seen to be very well 'educated' through his occupation of being a member of the South Carolina State Senate. However, it could be argued that he is also representing the atypical white character, as he is seen as being the complete opposite of a 'socially awkward' character, as he is presented being a main 'antihero', with many 'manipulative', conniving' aspects to his personality.

East-Asian

EAST-ASIAN STEREOTYPES:

• Intelligent
• Martial arts
• Hard working
• Determined
• Love of technology
• Lacking emotion

Glenn Rhee - The Walking Dead

Glenn Rhee can be seen as a stereotypical East-Asian character within his TV Drama "The Walking Dead", as he is seen to be a character who is 'intelligent', extremely 'determined', and also very 'hard working', because he is one of the strongest characters within the entire show. One way that he could be seen as being represented atypically however, is that he is show to feel a lot of 'emotion' throughout the loss of a lot of his friends, and also his loving relationship that he maintains with his wife.

William Kim - Prison Break

William Kim is represented as the stereotypical East-Asian character, as he appears to 'lack a lot of emotion', due to the fact that he is seen as one of the 'antagonists' within the TV Drama "Prison Break". Kim is also seen to be 'intelligent' as well as a 'hard working' character, because he will do whatever he can to try and catch both Michael and Lincoln.

Nelly Yuki - Gossip Girl

Nelly Yuki is represented as a stereotypical East-Asian character within the TV Drama "Gossip Girl", as she is seen to be a very 'intelligent' character, due to the fact that she is the smartest out of everybody within her class. She's also very 'hard working' and 'determined' due to the fact that she wants to get into Yale university. Even though she is represented stereotypically in these aspects, she can also be seen to be atypical to the role of an East-Asian character in TV Drama, as she is a very 'emotional' character, which could be seen more of a teenage girl stereotype instead. 

South-Asian

SOUTH-ASIAN STEREOTYPES: 

• Glamorous
• Educated
• Very religious
• Criminal/Brutal
• Villains

Meera Malik - The Blacklist

Meera Malik is represented stereotypically through her TV Drama "The Blacklist", as she is well 'educated', due to the fact that she is one of the researches within the operations. One way that she could be represented as atypically however, is that she is a seen as a 'protagonist' within the show, proving that she isn't a 'criminal' at all. She also isn't very 'religious', and wouldn't really be considered as the stereotypical sort of 'glamorous' woman that you'd expect, as she is classed more of a tom boy, even though she is seen as a very attractive character. 

Aayan Ibrahim - Homeland

Aayan Ibrahim is represented as a stereotypical South-Asian character within his TV Drama "Homeland", as he is well 'educated' due to the fact that he is a medical student. However, one way that he could also be seen as being represented atypically, is that he isn't seen as a very 'glamorous' character, plus the fact that he tries to stay out of the spotlight through multiple occasions, showing that he isn't very 'criminal like'.

Sayid Jarrah - Lost

Sayid Jarrah is seen to be represented as a stereotypical South-Asian character within his TV Drama "Lost", as he is classed as a 'criminal type' character, due to the fact that he becomes a hit-man as the show progresses. One way that he could also be represented atypically however, is that he isn't seen as a very 'glamorous' character, because he's stranded on a desert island with the rest of the characters, and despite committing some criminal acts whilst he's there, he also shows a lot of love to another character: Nadia.

BFI - Cultural Test For Film - Criteria

A: Cultural Content

A1 Film set in the UK or EEA - /4

A2 Lead characters British or EEA citizens or residents - /4

A3 Film based on British or EEA subject matter or underlying material - /4

A4 Original dialogue recorded mainly in English or UK indigenous language or EEA language - /6

TOTAL SECTION A - /18

B: Cultural Contribution

The film demonstrates British creativity, British heritage and/or diversity - /4

TOTAL SECTION B - /4

C: Cultural Hubs

C1 (a) At least 50% of the principal photography or SFX takes place in the UK - /2

(b) At least 50% of the VFX takes place in the UK - /2

C2 Music Recording/Audio Post Production/Picture Post Production - /1

TOTAL SECTION B - /5

D: Cultural Practitioners (UK or EEA Citizens or Residents)

D1 Director - /1

D2 Scriptwriter - /1

D3 Producer - /1

D4 Composer - /1

D5 Lead Actors - /1

D6 Majority of Cast - /1

D7 Key Staff (lead cinematographer, lead production designer, lead costume designer, lead editor, lead sound designer, lead visual effects supervisor, lead hair and makeup supervisor) - /1

D8 Majority of Crew - /1

TOTAL SECTION D - /8

TOTAL /35

British Film Industry

Who Does What In The British Film Industry?

An independent, non-governmental body which classifies and censors film, video as well as computer and console-based games released in the UK.

Promotes understanding and appreciation of Britain's rich film and television heritage and culture.

Government backed lead agency for film in the UK ensuring that the economic, cultural and educational aspects of film are effectively represented at home and abroad.

Aims to support, develop and promote the art forms of the moving image.

The official UK agency for international cultural relations. Its Film Department promotes new British films (features and shorts), internationally principally through festivals and showcases. Portal site britfilms.com

Main British Production Companies

5 Recent Films From These Companies

Film4

1. The Lobster
2. Slow West
3. Macbeth
4. Mr. Turner
5. Ex Machina

Entertainment One

1. The Last Witch Hunter
2. Nativity 3
3. Stung
4. Mr Holmes
5. Miss You Already

Pathe!

1. Selma
2. Beauty and the Beast
3. The Great Beauty
4. Philomena
5. Slumdog Millionaire

Warp Films

1. The Stone Roses: Made of Stone
2. '71
3. Four Lions
4. Submarine
5. Tyrannosaur

Big Talk Productions

1. The World's End
2. Hot Fuzz
3. Scott Pilgrim vs. The World
4. In Fear
5. Cuban Fury

Working Title

1. Everest
2. Bridget Jones's Diary
3. Love Actually
4. We Are Your Friends
5. Les Miserables

BRITISH VS. AMERICAN

British films can claim 25% tax relief from the government. This means the first 25% of any profit you make cannot be taxed!
To qualify as "British", a film needs to score 18/35 on the Cultural Test for Film.

THIS IS THE SCOREBOARD FOR THE CULTURAL TEST FOR FILM.

My Score For:

Ex Machina (featuring the cultural test criteria for example) -

A: Cultural Content

A1 Film set in the UK or EEA - 4/4 (NORWAY)

A2 Lead characters British or EEA citizens or residents - ¾ (SCOTTISH, SWEDISH AND GUATEMALEN)

A3 Film based on British or EEA subject matter or underlying material - ¼ (SUBJECT MATTER AROUND ROBOTS AND TESTING)

A4 Original dialogue recorded mainly in English or UK indigenous language or EEA language - 6/6 (RECORDED IN ENGLISH)

TOTAL SECTION A - 14/18

B: Cultural Contribution

The film demonstrates British creativity, British heritage and/or diversity - 2/4 (DEMONSTRATES BRITISH DIVERSITY SLIGHTLY)

TOTAL SECTION B - 2/4 

C: Cultural Hubs

C1 (a) At least 50% of the principal photography or SFX takes place in the UK - 2/2 (TAKES PLACE IN LONDON)

(b) At least 50% of the VFX takes place in the UK - 2/2 (TAKES PLACE IN LONDON)

C2 Music Recording/Audio Post Production/Picture Post Production - 1/1 (TAKES PLACE IN THE UK)

TOTAL SECTION B - 5/5

D: Cultural Practitioners (UK or EEA Citizens or Residents)

D1 Director - 1/1 (ENGLISH

D2 Scriptwriter - 1/1 (ENGLISH)

D3 Producer - 1/1 (SCOTTISH)

D4 Composer - 1/1 (BRITISH)

D5 Lead Actors - 1/1 (SWEDISH/SCOTTISH)

D6 Majority of Cast - 1/1 (ONLY REALLY FOCUSES AROUND 3 CHARACTERS, 2 OF WHICH ARE UK/EEA CITIZENS/RESIDENTS)

D7 Key Staff (lead cinematographer, lead production designer, lead costume designer, lead editor, lead sound designer, lead visual effects supervisor, lead hair and makeup supervisor) - 1/1 (MAINLY BRITISH)

D8 Majority of Crew - 1/1 (MAINLY BRITISH)

TOTAL SECTION D - 8/8

TOTAL SCORE - 29/35 - QUALIFIED AS A BRITISH FILM

Avengers: Age of Ultron - 

TOTAL SCORE - 12/35 - NOT QUALIFIED AS A BRITISH FILM (UK filming, but American casting and producing)