15 Filmmaking Predictions for 2015

Originally published by Raindance.

The film industry has often been at the forefront of technological advances and emerging trends, utilising new discoveries to create consistently awe-inspiring cinematic experiences. Our foresights for 2015 see an industry increasingly revolving around online platforms, with filmmaking becoming ever more entrepreneurial, digitalised and dictated by audiences.


1. Franchises

Benedict-Cumberbatch-Dr-StrangeThe monopoly of the franchise looks set to continue, with Star Wars Episode VIISpectre a.k.a Bond 24, DC’s Suicide SquadFrozen 2 and Marvel’s Dr. Strange (with Benedict Cumberbatch as the titular hero) all set for release in 2015.

Also on the theatrical agenda, Viacom’s (VIA) Paramount Pictures will release a sixth Paranormal Activity film and a fifth Mission: Impossible instalment. Besides its final Hunger Games movie, Lions Gate will open a second Divergent film. Comcast’s (CMCSA) Universal Pictures will release the seventh Fast & Furious, which will include footage of the series’ late star, Paul Walker. It’s also adding a fourth incarnation of the 1993 hit Jurassic Park. Studios aren’t exactly sparkling with originality at the moment, and seem to be stuck in a lather, rinse, repeat sort of rut.

Guardians of the Galaxy director James Gunn has stated that “Execs and producers and sometimes even directors are focused on the big picture, without perfecting the task directly in front of them – making a great movie. And studios are trying to grow franchises from non-existent films or middling successes. It’s like they aren’t taking audiences into account at all anymore”.

Whilst he’s not against franchises full stop, Gunn certainly cautions against the endless proliferation of sequels and reboots for the sake of profit over the desire to make quality entertainment. Here’s hoping that next year’s line up of superheroes and second outings puts a premium on storytelling, as well as special effects.

 2. Neighbourhood Watch

Community curation could be the next big thing in 2015, wherein ratings become a cross-section of your friend’s, relative’s, neighbour’s and even pet’s (ok maybe that’s a few years off) filmic recommendations. There are apps in the throws of being designed and crowd-funded that would utilise your social network to cross-index your friends’ film ratings then filter the results through a tagging system. You’ll be able to either search via tag (eg. movie star, subject matter, milieu, etc.) or via friend or network. The result would be the most meaningful recommendations possible. By comparing your taste in films with a friend’s, an app such as this can give you insight into any film they recommend or pan, using the tagging system and ratings you’ve both contributed to the database. Therefore rather than ratings being an arbitrary symbol of whichever critic reviewed the film, they reflect the opinion of a wider audience, with similar tastes as yours.

 3. Niche genres

Corresponding with the idea of a rating system set to become increasingly personalised, films themselves – and how they are packaged – are evolving to outgrow the obsolete concept of genre. Much in the same respect that we wouldn’t buy an outfit two sizes too big, audiences are increasingly demanding a niche experience wherein film descriptions are tailored to their tastes.

The idea in development is that a comprehensive database of tags will let a person search for (or filter out) any aspect they want. The two companies that are already cornering this market are Netflix, wherein they ask subscribers to complete genre-based surveys, giving them a basis upon which to recommend films on their roster, and The Black List. Although the latter is designed for screenplays, it’s a system that could easily transfer to the finished cinematic product. They market themselves on the basis you can ‘search by over 1000 tags to find exactly what you’re looking for’. There’s little reason the same ethos can’t be applied to the world’s growing library of films.

4. The iPhone 6

iPhone-6-renderCome 2015, there’ll probably be an iPhone 16. But Apple’s latest design – the iPhone 6 – is thought to be the sleekest, cleverest and most advanced yet. What’s more, they’ve installed a vastly improved camera that should cater to budding filmmakers. The camera boasts the ability to grab 1080p high-definition clips at 60 frames per second, take 240-fps slow-motion shots, provide cinematic video stabilisation, and offer up to 128 gigabytes of storage. The main element however, thought to wet the filmmaker’s appetite, is the addition of ‘Focus Pixels’, which Apple believes will give faster autofocus and improved clarity to your shots. There are already iPhone film festivals, which indicate a market for this sort of guerrilla filmmaking and as improvements only continue to be made, in 2015 making a film could be as simple as reaching for your back pocket.

 5. A New App For An Old Look

A vintage aesthetic could be at your fingertips with an app on the newly released iPhone 6. Last year, the wildly popular documentary Searching for Sugar Man became the first film shot partly on an iPhone to win an Academy Award. When film director Malik Bendjelloul’s budget ran dry during production for Searching for Sugar Man, he turned to the 8mm Vintage Camera app. Created by Nexvio, the app realistically mimics retro-looking 8 mm film, which he used to shoot scenes of his award-winning documentary to get an authentic effect of ’70s-style footage. So if you want your film to look charming, quaint and antiquated, look no further than this app. Like Instagram there are several filters, vignettes and contrasts to alter your image and it even offers a feature to make your film jitter to resemble real frame shakes produced by 8 mm projectors. As if celluloid film wasn’t already feeling completely irrelevant, this app replicates its signature look for a small percentage of the cost.

 6. The YouGov App

A nifty new app launched by the polling company YouGov could revolutionise how marketing teams target audiences when promoting their films. By quintessentially outlining the types of people who like certain types of things (e.g.informed stereotypes), the YouGov profiler should allow advertisers, distributors and indeed filmmakers to deliver content aimed specifically at audience behaviour. No more second-guessing or stabbing in the dark, the YouGov profiler enables you to search for any ‘person, brand or thing’ and gain a sense of where they shop, what they like and what products they use. From Kit Harington to KitKat, Topshop to Top Gun, the YouGov search engine then pulls statistics from its database of profiles on the demographics and lifestyle of the types of person who have stated an interested in said brand. The data is built on surveys conducted with about 190,000 members of the British public, giving us a fairly accurate insight into the traits, behaviours and most importantly for marketing purposes – the consumer habits of the average person. And if nothing else, the clean and efficient design of the website is a wonder to behold. I dare you not to get addicted.

 7. Branded Content

Farmed-and-Dangerous-ChipotleAdvertising Funded Programming (AFP) or ‘branded content’ could move up into the big leagues next year. Earlier this year, Viacom created an entire division devoted to it, and more brands are getting in on the action, creating sketches, short films and even TV series to entice customers. John Lewis offer a salient example in their annual Christmas ads, which lean towards emotive storytelling than promotion of specific products. 90-second commercials are expensive to make and it’s harder to see their effectiveness, with viewers able to skip ads, download episodes or otherwise eschew commercials. Branded content on the other hand offers something more in the way of entertainment for the viewer. Examples of successful campaigns utilising branded content are Dove’s ‘Real Beauty’ sketches and Chipotle’s ‘Farmed and Dangerous’, as well as Samsung’s partnership with ‘The X Factor’. However, branded storytelling could diversify and expand towards feature film. Extending beyond traditional product placement or sponsorship, brands could be the sole or primary production backer. Following on from the development that Netflix are planning to fund and debut original films directly on their platform, brands could jump on this bandwagon and become more engaged with the creative process. As with the YouGov app, this could be another means by which advertisers directly target their audience. Unlike the purchase of TV spots, this enables you to target a more specific audience by only promoting your content to the right people, and not wasting money advertising in the wrong areas. Certainly, branded content is an innovation that we’re likely to see more of in the future.

 8. The Rise Of VOD

VOD continues to go from strength to strength and looks set to become an important player at the deals tables. Fewer distributors are taking the traditional theatrical route in the release of their films and there are now more companies investing in video on demand, to the extent that it’s impacting the financing of films. Though the finite details on digital success is hazy, with Deadline reporting that “distributors are reluctant to release VOD and digital receipts… [perhaps because they are] hesitant to volunteer disappointing numbers, while others suspect distribs are hiding their VOD/digital successes lest competitors or filmmakers want a bigger slice of the pie”. It’s clear that VOD is becoming integral to the conversation about film distribution and a key component in a film company’s digital revenues. Certainly in TV, broadcasters are pushing to drive growth in the digital arena, and make significant profits solely through online avenues. Some broadcasters have predicted that the future of television could be entirely Internet based, and it’s not hard to see the film industry following suit. Especially with developments such as EE dropping their 2for1 cinema ticket scheme.

 9. The Disappearance Of The Mid-Budget Film

Part and parcel with changes in home video distribution, mid-budget films are declining at an accelerated rate. Jonathan Wolf, Managing Director of AFM (American Film Market) says “the change we’re seeing more of is what we call the bifurcation of the industry… [there are] more films with bigger budgets and more films with smaller budgets, and fewer films in the middle.”

It’s becoming increasingly hard to finance movies that aren’t at two opposing ends of the budget spectrum. Back in the 1980s and 1990s, it was fairly commonplace, for either studios or independent companies to finance mid-budget fare (anywhere from $5 million to $60 million). But gradually, this dynamic has shifted to the point that mid-budget films are being squeezed out of the equation. Studios are staking all their time and money on franchises and blockbusters, operating under the belief that substantial investment promises substantial return. Genres that don’t comply with this category (basically anything not featuring a superhero) are relegated to the artistically prosperous, but resource-starved realm of independent film. As Mad Men’s Matthew Weiner has stated: “Nobody can make a movie between $500,000 and $80 million.” Perhaps this is why we’re seeing directors like Steven Soderbergh, Cary Fukunaga and Jane Campion directing shows or mini-series such as The KnickTrue Detective and Top of the Lake, respectively. That’s not to say that the mid-budget film couldn’t be revived, as trends are frequently recycled. But for the time being it appears to be well and truly dormant.

 10. Is this the real life, or is this just fantasy?

minority-reportAugmented Reality (AR) has been used in movies before in the likes of Minority ReportAvatar and Iron Man, wherein the layering of digital information or CGI on top of reality was utilised to make everything look cool, high-tech and futuristic. Essentially, it’s an enhanced perception of the world; like digital contact lenses. However as AR technology develops, we’re looking at increasingly immersive cinema, as opposed to merely the mimicry or replication of the spectacle. For cinema to really benefit from AR, the narrative must embrace this interactivity and embed the technology in a way that it feels like more than a gimmick and actually sustains audience interest. It will be fascinating to see whether films beside Sci-Fi’s can utilise this technology in a way that feels natural and organic.

 11. Scouting For Toys

Filmmaker Robert Carrier launched an online prop sourcing and location-scouting platform called ‘The Scoutr’. Essentially a service provider, it allows users to source a range of different props, tools and locations from one place. No more running around like a headless chicken ensuring everything is good to go.

With The Scoutr, the public can list homes, private businesses, cars, motorcycles, trucks and boats for rent. Creatives, such as filmmakers and photographers, can then rent these items for use in their art and commercial projects. The transactions occur directly through the website, so cash never needs to change hands, and the renter and rentee are able to communicate beforehand to arrange logistics and determine an appropriate rental period. Perhaps best of all, there’s transparency to the entire process – the rentee sets the price and the renter pays it, picking the time that works for him or her. It’s pre-production, prop sourcing and location scouting made easy. Launched earlier in 2014, 2015 could be the year it becomes an on-set must have.

 12. World Domination for Dolby

Having conquered the sound market, Dolby are diverting their attention to the world of images. Contending with industry leader Imax, Dolby are looking to launch their own cinematic experience which will combine two pre-existing technologies; Dolby’s Atmos sound and Dolby’s Vision video. Whilst the former is up and running and already in use around 800 international cinemas, the latter will require the installation of a new projection system. As a result of this rather expensive addition, cinema tickets would retail at about 50% higher than normal.

But before we get too indignant about this sky-rocketing price, there are several high-end features in the Dolby Cinema which could justify this expense. The first is a film-specific entrance, akin to the theatricalised experience of ‘secret cinema’, as well as colossal screens and enhanced sound. But what’s really piquing the interest of filmmakers is the system’s ability to project “high dynamic range,” a process in which whites appear whiter and blacks blacker. Gravity’s Oscar-winning cinematographer Emmanuel Lubezki, for one, has said he’s eager to make use of HDR. In fact, many insiders from Hollywood’s technology community believe that consumers will see a noticeable difference with HDR, compared with the more widely touted “Ultra HD” 4K resolution and high frame rates.

Films will need to be processed specifically for Dolby Cinema, so the movie studios need to get on board too. Disney has been tipped as an early adopter, so it could well be that Star Wars: The Force Awakens will be one of the first major Dolby Cinema films. Come December 2015, Dolby could be well and truly transporting us to a galaxy far, far away.

 13. That’s Bond. @JamesBond007

SpectreAdvertising will become digitally concentrated, and increasingly take its business to online forums as opposed to traditional print avenues. Rather than saturating the market all at once with a barrage of promotional material, cinematic marketing strategies are looking to build anticipation and audience engagement. Instead of the usual posters, billboards and newspaper ads, we’re being drip-fed announcements, teasers, and clips across online platforms. Take for instance the latest Star Wars instalment, which is already drumming up serious buzz ahead of its December 2015 release. The cast were announced 2 months ago, and the hotly anticipated teaser trailer has just been dropped. Bond 24 is following a similar strategy, having just announced it’s title and main cast and soon after, the Twittersphere was alive with debate and speculation surrounding the film. The UK is predicted to become the first country in the world where more than half of all advertising spend goes to digital media. Next year more money will be spent on internet advertising than in traditional media such as newspapers, magazines, TV, cinema, radio, and billboards, posters and buses combined.

 14. Collaborative Software

 Filmmakers have oft applauded online sharing platforms like Dropbox for simplifying the organisational process behind planning and producing a film. So Webbmedia’s 2015 Trend Report should be music to their ears. The report placed emphasis on new productivity tools which combine the best of instant messaging, email, social media and cloud storage to create a more sleek and efficient communication experience. For production companies that trade countless emails back and forth between writers, directors and talent agents, this could increase productivity and decrease time-wasting as you sift through previous message to find certain details.

 15. An Exclusive Experience

Os1_-d0__400x400One for the fan girls and fan boys out there, filmmaker and digital wizard Sarah Tierney has launched a new video-on-demand platform that connects great filmmakers to passionate fans. The platform is focused on early audience engagement, sustainable marketing and the monetisation of additional behind-the-scenes content. Like the additional featurettes, interviews and blooper reels that sometimes feature on DVDS, ‘We Are Colony’ markets itself on showcasing not just the film, but a plethora of material to compliment it. Combining the concepts of bundling and short-form content, We Are Colony packages its film alongside extras, titbits and clips to round out your film experience. Extending the outfit metaphor that’s been a running theme in this post, it would be like purchasing shoes, bags and jewellery alongside the main feature that is the dress. This new platform gives filmmakers the chance to monetize every aspect of their film, creating ancillary revenues. So alongside selling the film online for, as an example, £2.99, you could create a short behind-the-scenes documentary and sell this for 99p or copies of the screenplay or even dinner with the lead actor, though presumably that would considerably more expensive. Kickstarter and the increasing popularity of crowd funding has initiated this scheme of perks and benefits to reward those that invest in the film. As well creating a way to increase revenue, We Are Colony is encouraging filmmakers to create an ecosystem of content around their film.

If you have anymore predictions, or thoughts on emerging trends tweet me @Nicole6293 or comment below!

Review: The Imitation Game

The Imitation Game, UK, 2014. DIR. Morten Tyldum. Starring: Benedict Cumberbatch, Keira Knightley, Charles Dance, Mark Strong,

You’d be forgiven for not having heard of Alan Turing. Until 2013, when the Queen granted this wartime cryptanalyst and mathematician a royal pardon, he had all but been omitted from the history books.

imitation-game-2014-001-group-around-benedict-cumberbatch-on-enigma-machineThis biopic seeks to correct that. Partitioned into three segments: his time at Sherbourne School in Dorset, during which he was builled; his ground-breaking and astounding contributions to deciphering the German Enigma code during WW2 and his tragic conviction of ‘ gross indecency’ that led to chemical castration and ultimately, suicide, in 1954. Morten Tyldum’s The Imitation Game is a belated and beloved recognition of the man that history forgot.

Demanding our attention from the get-go, Tyldum combines enthralling thriller with tasteful period drama in equal measure. Naval bombings collide with cucumber sandwiches, Nazi superiority with walks in the stunning British countryside and Soviet spies with pints in the pub. It makes for a biopic that is surprisingly amusing, and frequently heart-pounding.

imageIt’s testament to screenwriter Graham Moore and Tyldum’s slick, pacy direction that that a set-up where we ultimately know the outcome, can feel so tense and emotionally heightened. As Turing battles authorities and naysayers to build his painstakingly crafted enigma-deciphering machine Christopher, I could feel my fists clenching in the hope the cogs would eventually stop to signify a cracked code.

Alongside all the calculations, computers and cryptography, this is a film dealing very much with relationships and humanity. Alex Lawther plays young Alan Turing with incredible pathos, as a boy struggling to connect with his classmates. Whilst Turing’s later interactions with his Bletchley Park colleagues provide some much needed humour amid WW2 woes.

Despite all these ingredients spelling out masterpiece, I can’t help but feel we’re two letters short of the truth. The Imitation Game skates around the periphery of the sensitive subject matter and dives headfirst into safe, saccharine territory. There are clichés in abundance and each moment of dramatic intensity is orchestrated to the point of contrivance. The moment during which a relative of one of the code-breakers is on a naval ship about to be bombed, you find Tyldum and co. hammering home this conflict just a tad too indelicately.

Keira Knightley and Benedict Cumberbatch in The Imitation GameThe Imitation Game is as calculating and tightly-woven as the Turing machine itself – almost to the point of robotic predictability. Economical in it’s dispatch of narrative strands and executed with the extraordinary precision seen in Tyldum’s first film, the slick Norwegian thriller ‘Headhunters’, my only wish is that the film had coloured outside of the lines just once.

That’s not to say the film doesn’t deliver when it comes to emotional climaxes or generating sympathy for this hitherto historically neglected figure, but rather it never trusts the audience to glean its emotional complexity without first spelling it out. Almost like a teacher consistently reminding you to ‘show us how you got there’ when doing Maths problems.

Screenwriter Graham Moore, believes firmly in the rule of three and forgoes nuance for a rather cumbersome repetition of the film’s central tenet: “sometimes it is the people no one imagines anything of who do the things that no one can imagine.” Indeed, it goes through various stages of transformation and takes on different meanings, but the underlying feeling is that Moore prefers clarity as cut-glass as the British accents that feature than any possibility of ambiguity or interpretation.

Some films that err on the side of caution, as arguably this biopic does, are elevated by central performances of overwhelming conviction and magnetism. Daniel Day Lewis in Lincoln is one such example. Benedict Cumberbatch as Alan Turing is another.

To say Cumberbatch completely immerses himself in this role seems flippant. Turing’s clipped vowels, curt mannerisms and anti-social behaviours are mastered with beguiling ease. And as the stakes are raised, his intellectual capabilities, vulnerabilities and the tragic, climactic result of gross mistreatment are conveyed with the assured and poignant dexterity of a man at the height of his game. The point at which Turing tries to push poor Joan Clarke away reveals the many layers to Cumberbatch’s performance, one for which he fully deserves that much hyped Oscar nomination.

183367Keira Knightley too, elevates the film and seems at her most comfortable when playing distressed individuals in period dramas. And the character of Joan Clarke provides ample opportunity for her to demonstrate the compassion, subtlety and wit of which she is capable. Knightley’s Clarke exudes warmth, vivacity and the frustration of a woman frequently underestimated.

There is steadfast support from the likes of Matthew Goode, Charles Dance, Mark Strong and Allen Leech, as various cogs in the code-breaking machine. Though their characters are all relatively one-note caricatures, they are no-less charming for it.

The look and sound of the film are exquisitely composed. The soundtrack is delivered courtesy of the genius that is Alexandre Desplat, of ‘The Grand Budapest Hotel’ fame. He underscores the intensity and urgency of certain situations with great style, and the rhythmic, pulsating feel of the score seems to resemble the high-wired, methodical nature of Turing’s mind. It’s far more constant and elegant than his quirky work on Wes Anderson’s latest, but in that regard it suits the film perfectly.

Meanwhile, the cinematography effervescently captures crisp, autumnal British weather and the soft-focus lighting makes it ideal for Sunday afternoon viewing. Oscar Faura has given us something utterly sumptuous and pristine to look at, and Bletchley Park has perhaps never looked so alive.

imitation-game-2Grumblings about brushing Turing’s homosexuality under the carpet have been voiced. Indeed, whilst open to his colleagues and to Joan about his sexuality, we never see him act upon or necessarily confront these desires. Instead they are given credence – and innocence – during a flashback to Turing’s childhood when a close friendship develops into something potentially more. And then sidelined somewhat to focus on the blossoming intellectual companionship between Turing and Clarke. Once again, heterosexuality is championed as being the safer, and more lucrative option.


And yet for all this potential criticism, Tyldum has delivered a thoroughly entertaining, thoroughly British and thoroughly engrossing depiction of the events at Bletchley Park that altered history. I’d be lying if I said I didn’t leave the cinema wiping away stray tears. But for a man as unique, eccentric and brilliant as Alan Turing, it all feels rather, well, tame

Verdict: A paint-by-numbers biopic, comparable to ‘a beginners guide’ to Alan Turing. Nevertheless, this is a memorable and poignant cinematic experience, featuring a career best turn from Benedict.

Benedict Cumberbatch to Receive Variety Award at BIFAs


It’s a big year for Benedict Cumberbatch. To say that he currently appears to be the most in demand actor in the business seems both obvious, and an understatement. Not only is he garnering significant Oscar buzz for his role as Alan Turing in The Imitation Game, but the news was just awash with his recent engagement to British theatre director Sophie Hunter (in an admirably discreet and classy submission to The Times ‘forthcoming marriages’ section).

And now a press release details that he is to be honoured at the 2014 British Independent Film Awards on 7th December. Alongside his nomination for Best Actor, he will receive The Variety Award, which historically “recognises a director, actor, writer or producer who has helped to focus the international spotlight on the UK”.

THE IMITATION GAMEThe Imitation Game has also been nominated at the British Independent Film Awards for British independent film; screenplay for Graham Moore and actress for Keira Knightley.

Considering that Cumberbatch is the UK’s most illustrious and acclaimed (or any other superlative you might care to label him with) export of late and has 7 films in production, as well as a hotly-anticipated role as Hamlet in the Barbican’s 2015 production of Shakespeare’s renowned play, this award seems well-justified.

Cumberbatch commented: “I am delighted to receive this prestigious award and would like to thank Variety and The Moët British Independent Film Awards for this incredible honour. It is made even more special by the recognition of The Imitation Game in this year’s nominations, a film I am very proud to be a part of.”

At various press conferences for The Imitation Game, Cumberbatch has played down the anticipation that he might receive an Oscar nomination and claimed that as long as it shines a light on Turing’s work, or creates greater interest in The Imitation Game, then he is happy.

The Variety Award was bestowed upon Paul Greengrass last year and has previously been awarded to Jude Law, Kenneth Branagh, Liam Neeson, Sir Michael Caine, Daniel Craig, Dame Helen Mirren and Richard Curtis to name a few.

imagesCumberbatch’s ascent to mega-stardom seemed to begin with his portrayal of the hyper-intellectual Sherlock Holmes in the BBC series, and continued with roles in Tinker Tailor Soldier Spy, Star Trek: Into Darkness, Parade’s End and last year’s Academy Award Best Picture, 12 Years a Slave.

So far this year, Cumberbatch has been filming Black Mass, playing Bill Bulger alongside Johnny Depp, and Shere Khan in Andy Serkis’ Jungle Book. He is also part of the voice-cast in DreamWorks Animation’s Penguins of Madagascar, which is released later this year.

He is currently shooting The Hollow Crown for the BBC and Neal Street Productions, in which he plays Richard III alongside Judi Dench. Next he will shoot Lost City of Z, directed by James Gray and based on David Grann’s novel, where he will play British explorer Percy Fawcett, who set out to discover the City of Z in the Amazon in the 1920s.

If one thing seems certain, it’s that this spotlight won’t be fading soon.