Tim Bevan

Tim Bevan, CBE (born 1958) is a film producer.^[1]
Bevan was born in Queenstown, New Zealand. He co-founded Working Title Films in London with Sarah Radclyffe in the 1980s.^[1] (Eric Fellner now partners Tim Bevan at Working Title Films). Among Bevan's more than 40 films as producer or executive producer are Moonlight and Valentino, Fargo, O Brother, Where Art Thou?, Captain Corelli's Mandolin, Love Actually, Notting Hill, Elizabeth, Bridget Jones's Diary, Atonement, and Frost/Nixon.
Working Title Films signed a deal with Universal Studios in 1999 for a reported $600 (USD) million, which gave Bevan and Fellner the power to commission projects with a budget of up to $35 (USD) million without having to consult their paymasters.
Bevan is divorced from English actress Joely Richardson; the two have a daughter, Daisy, born in 1992. He is married to Amy Gadney, they have a daughter Nell, born 2001 and a son Jago, born 2003.
Bevan is the co-producer of the West End musical Billy Elliot.

The Soloist Production Notes

·         Yet as inspirational as both Ayers and Lopez might be at times, Grant was also insistent on staying away from the urge towards fairy-tale sentimentality in the story. Rather, she wanted to reveal the truth of their challenges as people. “It was important to honor the fact that a significant friendship isn’t going to cure an illness like schizophrenia and that it is always going to be an ongoing struggle for Nathaniel,” she explains. “Most of all, I wanted to pay homage to the humanity of these characters.”

·         Wright worked with the homeless extras using an organic process and an almost documentary approach. To keep these diverse extras comfortable and relaxed in the strange world of moviemaking, Wright tried to maintain a very human atmosphere by keeping the crew’s footprint to a minimum so the set was spare with very little in the way of lighting or equipment.

·         For Foxx, the simple poetry of Wright’s approach was key to the film. “The way Joe uses the camera captures everything the movie is about,” says the actor. “He always contrasts the darkness with beauty and light.”

·         Wright wanted to capture the vibrant kinetic energy of this part of the city where sky and building and graffiti all flow into and through one another, creating a mix of human and natural rhythms.

Let the Right One In

Let the Right One In, also known as Let Me In, is a 2004 vampire fiction novel by Swedish writer John Ajvide Lindqvist. The story centers on the relationship between a 12-year-old boy, Oskar, and a centuries-old vampire child, Eli. It takes place in Blackeberg, a working class suburb of Stockholm, in the early 1980s.

The book was a bestseller in the author's home country of Sweden and was translated into Danish, German, Dutch, Russian, English and Chinese in 2007 and Finnish in 2008. It has also been translated into Italian, Spanish, Polish, Lithuanian, and Norwegian. In 2008, the Swedish film Let the Right One In was released, and it is based on the novel. The film was praised by both critics and fans alike, and was a huge success^.

In the film, ‘Let the Right One In’, music is used very effectively. Slow, scary and spine-chilling is one of the factors the music brings to the film and audience. Also the music creates a tense atmosphere – you don’t know what’s going to happen next.

Camera work, like sound, is used again, very well. The cameras main focus is on the two main characters of the movie Oskar and Eli. Both of these characters are children and therefore I think this is why the camera is sometimes slightly blurred and from a long shot. The director is trying to create idea that it is from a childs perspective. This perspective being that a child may not understand the happenings in the film so they have a blurred vision and the long shot makes them seem distant and makes it show that children do not really pay much attention to their surroundings and what is happening.

                                                            

The main characters in the film, Eli and Oskar have many similaries but many differences too. These differences include Eli being a female and a vampire. Her appearance is quite different to Oskars too because she has black hair and Oskar’s hair is very blonde, almost white. Similarities include both children being outsiders, Oskar gets bullied at school and we never see him with anybody that could be his friend. This relates to Eli, you never see her with anyone that could be her friend.

Facial Expressions

Looks:

Marjorie Ferguson

Chocolate Box: half or full-smile, lips together or slightly parted, teeth barely visible, full or three-quarter face to camera. Projected mood: blandly pleasing, warm bath warmth, where uniformity of features in their smooth perfection is devoid of uniqueness or of individuality.
Invitational: emphasis on the eyes, mouth shut or with only a hint of a smile, head to one side or looking back to camera. Projected mood: suggestive of mischief or mystery, the hint of contact potential rather than sexual promise, the cover equivalent of advertising’s soft sell.
Super-smiler: full face, wide open toothy smile, head thrust forward or chin thrown back, hair often wind-blown. Projected mood: aggressive, ‘look-at-me’ demanding, the hard sell, ‘big come-on’ approach.
Romantic or Sexual: a fourth and more general classification devised to include male and female ‘two-somes’; or the dreamy, heavy-lidded, unsmiling big-heads, or the overtly sensual or sexual. Projected moods: possible ‘available’ and definitely ‘available’.

Trevor Millum

Seductive: similar to the cool/level look in many respects - the eyes are less wide, perhaps shaded, the expression is less reserved but still self-sufficient and confident; milder versions may include a slight smile.
Carefree: nymphlike, active, healthy, gay, vibrant, outdoor girl; long unrestrained outward-flowing hair, more outward-going than the above, often smiling or grinning.
Practical: concentrating, engaged on the business in hand, mouth closed, eyes object-directed, sometimes a slight frown; hair often short or tied back.
Comic: deliberately ridiculous, exaggerated, acting the fool, pulling faces for the benefit of a real or imaginary audience, sometimes close to a sort of archness.
Catalogue: a neutral look as of a dummy, artificial, waxlike; features may be in any position, but most likely to be with eyes open wide and a smile, but the look remains vacant and empty; personality has been removed.

Calvin Klein Advertisements

• Confident Pose
• Looking Straight At Camera
• Tanned
• Muscular
• Pouting
• Shimmering Lips
• Scary Look
• Fenimine
• Has Tattoo
• Holding Down One Side Of Boxers - Seductive?
• Sweaty
• Tanned Abs
• Shiny Or Greasy Body
• Been To The Gym?
• Showered?
• Rough, Mascline Skinhead
• Necklace Is Gay?
• Necklace Makes Him Less Naked?
• High Defined Cheekbones
• Manly Stubble
• Attractive To Women
• Tanline
• Shaved - Feminine? Like A Boy?
• Fake Tan - Unmanly?
• Red Background - Lust, Hot, Heat, Blood, Dangerous
• Bar Prop To Show Off Muscles

• Parted Lips
• Sexy
• Messy, Wet Hair -Sex?
• Sweaty - Sex?
• Oily, Wet Body
• Really Long Legs
• Attractive
• Ready?
• Stance Is Incontrol, But Vunerable
• Sexual
• Closed Eyes
• Gritted Teeth
• Orgasm Face
• Does Not Care About People Viewing And Judgeing
• In Pain?
• Confident

Notes on Paul Blogs

• There would be the same humour used as in other films containing Simon Pegg
• Mainly Simon Pegg fans will watch these blogs
• Also fans of Working Title Productions
• The blogs would be used as extras on the DVD and bonus features - this is an incentive to buyers
• They document the production of the film
• The main actors will be featured in these blogs
• They incluede behind the scenes cast and crew - this makes them have a connection with the audience
• When making these blogs they will have to be concious of spoiling the plot but tell the viewers what the film is about
• There is audience partisipation because you can write reviews and questions that the cast answer
• The blog is a teaser to make you want to watch the film

Shameless - Representation (Sexuality and Regional Identity)

There are many different ways how sexuality and regional identity are represented in the opening of Shameless, series one, episode one. Areas include stereotypes, mise on scene, music and camera work.

Firstly, the stereotypes of a gay man would be: camp, feminine, wear make-up, 'cissies', high pitched voice, over the top, drama queens, dress well (for example Gok Wan), cry alot, clean and wear fake tan. However, in the first part of Shameless we learn that the character Ian is gay and Ian does not have any of stereotypical features of a gay man.

Stereotypes of people from 'up North' include: poor, 'common', rough,working class, hooligans, uneducated, strong accent, drunken and use drug. Unlike the gay stereotypes the stereotypes of people from 'up North' are more true to Shameless. For example, Frank Gallagar gets brought in by the police drunk and because of his drunkness he hass wet himself. Another example is that when Fiona and her friend are not allowed back into the club they both swear at the security guard, and this can be portrayed as common.