Opening EG1 - Legend

WHAT I ENDED UP APPLYING

• I had a track covered by an independent musician that was assigned to a record label owned by main company, so just like with Duffy I had horizontal integration, but very limited, more like the Arctic Monkeys in Warp's Le Donk + Scor-Zay-Zee and Submarine. but arguably even less so.
• My film ended up being a 12 and PG-13, so I'm not taking the same risk as an 18-rated film.

POSSIBLE POINTS OF INFLUENCE:

• As I've seen in Warp Films, the danger of my film being rated 18 can even increase my limited commercial success along with the major setback of an indie and no A-List stars,  however even without an A-Lister and an actor who has some recognition in the US (I would eventually choose Rachel Weisz), if one has a genre that can appeal to a certain audience it can be successful, as the Krays are culturally recognisable in the UK, and the gangster genre will be more appealing in the USA in, the violence and possible blood having similar appeal to that of horror. This can increase digital streaming interest for teens. 

TITLE

Director, 2009

PRODUCTION COMPANIES: Working Title, 
                                                 UK Film Council,
                                                 Aramid Entertainment

DISTRIBUTOR: IFC Films (US)
                          Optimum Releasing (UK)

GENRE: Political satire 
               (subgenre of comedy)

LEAD ACTORS: Peter Capaldi

                            Tom Hollander

                            Chris Addison

                            Gina McKee

                            James Gandolfini

BBFC:  15                 MPAA: Not Rated

BUDGET: £612k       
BOX OFFICE: $3.5m (UK) $2.4m (US) $7.8m (worldwide)

LEAD ACTORS: Tom Hardy (playing both lead roles), Emily Browning

GENRE: Historical gangster (subgenre of crime genre)

PRODUCTION COMPANIES: Working Title 

DISTRIBUTORS: Universal Pictures

BBFC: 18   MPAA: R

BUDGET: $m      BOX OFFICE: $m (UK), $m (US), $m (worldwide)

CRITICAL KUDOS:

Notice how a lot of the praise is on the double performance of Tom Hardy.

TRAILERS:

...

The opening sequence after idents and titles and before we cut to the main title has been made available on YouTube by STUDIOCANAL Australia.

INST

the-numbers.com graph highlights the downside of working-class characters in a UK set film

One of the production companies is Amazon Instant Video. An example of convergence with the film cycle step exhibition being challenged. The distributors providers/exhibitors are now also becoming producers. This is can be seen as vertical integration

PROMOTION:

• Playlist created by WT on YouTube

• MTV International interviewing Tom Hardy and Brian Helgeland 

The opening sequence after idents and titles and before we cut to the main title has been made available on YouTube by STUDIOCANAL Australia.

SYNPNOSIS

A clear exposition of the setting, 1960s London, and the narrative, the Krays brothers. The two twins are introduced as a rising force in the criminal underworld, however their differences aren't anchored in the opening sequence, but by the time of the opening sequence it is shown who we are meant to follow as the protagonist.

IDENTS

20 seconds you get the Studiocanal. Universal is the distributor but we don't get their ident. A look at the Universal UK YouTube channel shows that the conglomerate owned by Comcast didn't show that much interest in this film, which its box office shows. However, Working Title had much more belief in it than for example The Program, a film which flopped both internationally and in the UK with only a UK box office of 500km, which was not on their YouTube channel along with Grimsby from their most recent films.

Working Title started with promoting their films on YouTube with behind the scenes footage in 2013 with the adaptation of the hit musical Les Miserables. The Program and Grimsby aren't shown here, signifies not their lower importance. 

TITLES:

There are very few titles, the rest were shown at the end credits. These only include the distributing and production companies as separate white on black captions

STUDIOCANAL PRESENTS

IN ASSOCIATION WITH ANTON CAPITAL ENTERTAINMENT

& AMAZON PRIME INSTANT VIDEO

A WORKING TITLE PRODUCTION

LEGEND

MISE-EN-SCENE:
There is use of CGI for the city. The car is glamorised, it shines, it's not clear whether it has been editing. . There are multiple people in the background.

REPRESENTATIONS:
When a text today represents (it can never truly show what the past was like, just like any media representation) an historical time period, it can be difficult to judge whether there has been 

But nevertheless,  the constant repetition of 'able-bodied', caucasian, heterosexual etc. characters in the media creates a normative effect on society.

SEXUALITY: Through the line "My Reggie", the left Kray is signified as heterosexual, and so is the narrator, immediately showing that there are more heterosexual characters. Ronnie's homosexuality is not signified.

AGE: The classic image of the gangster is The Godfather, age is status there.

SOCIAL CLASS: These are working class lads who rose up in the crime world. Is this a somewhat different representation of class than is typical for Working Title?

REGIONAL IDENTITY: This is closely linked with class and status, and the expectation of 

GENDER: Bechdel Test? Decision to focus not just on symbols of male power but have it narrated by a female character

NARRATIVE, GENRE, EXPOSITION:
From this line we expect

The Krays aren't clearly morally anchored heroes as the film will show, however we will see that Ronnie has a more sensitive side. So here he is called: "Bloodthirsty" and the smoke like a fire breathing dragon seems to anchor he is the more malicious twin, and then Reggie is called different. So this sets up an apparent 

THE CENTRAL PROTAGONIST?: As we transition to the main film, we follow Reggie as he  asserts his authority, meets his love interest.

In this opening sequence this is signified by the narrative

This two-shot that could signify closeness is made to look cold by them not looking at each other.

SOUND:
We get an audio bridge of the non-diegetic incidental music  from the Working Title ident to the opening shot. We then get diegetic 

The track of the closing credits is foreshadowed by this line:

Believe me when I say, It took a lot of love for me to hate him the way I do.

This track also intertextuality references a Led Zeppelin song of the time period, also called Whole Lotta Love.

*Screenshot of Spotify*

This track is an example of horizontal integration, Duffy is contracted with