What a Beautiful Day (2011) - News Poster


Film and TV boosts tourism, research

New study reveals links between film and television productions and tourism through social media.

New insight into the links between film and television productions and tourism has been revealed at an international screen tourism conference today by Film London, the lead partner for major European project EuroScreen.

The study demonstrates how social media commentary generated by films and TV shows can help generate millions of pounds worth of free online advertising for the locations and destinations they feature on screen.

The research claimed that Richard Curtis romantic comedy Notting Hill generated the equivalent of £19.5m ($30.7m) in online ad spend for London, while the Harry Potter series netted £10.4m ($16.3m) and TV series Wallander yielded £17.9m ($28.2m) for Ystad in Sweden.

Screen tourism also resulted in other boosts. Game of Thrones, for example, generated £1m ($1.5m) for Malta despite the series being more closely affiliated with its ‘home’ in Northern Ireland, while productions
See full article at ScreenDaily »

Antonio Banderas eyed for Pope Francis biopic

Wildly successful Italian producer Pietro Valsecchi says he's eager for Antonio Banderas to star in biopic about the pontiff's younger years

Antonio Banderas is being tapped by one of Italy's most successful film producers to star as a young Pope Francis in a new biopic.

Pietro Valsecchi, the man behind popular comedies Sun in Buckets (Sole a catinelle) from this year and What a Beautiful Day (Che bella giornata) from 2011, broke the news in a television interview. The proposed film would most likely debut on the small screen in Italy.

Valsecchi's popular films, which star musician and standup comic Checco Zalone and are often directed by Gennaro Nunziante, are lowbrow comedies. But the producer certainly has the financial clout to get the biopic made, with his last two movies currently standing as the highest grossing films of all time in Italy, ahead of Roberto Benigni's 1997 Oscar winner Life is Beautiful.
See full article at The Guardian - Film News »

Cinema is terraforming, but Hollywood is still champ

2011's highest-grossing films were global hits, but Hollywood's franchise machine still moves faster and harder than anyone

2011's international box-office chart was predictably topped by the grand starburst when a boy wizard became a man. But a boy reporter, 14 places further down a list completely dominated by Hollywood, had the keenest eye for the nature of the forces now terraforming mainstream cinema, and in the years to come. Steven Spielberg's version of Tintin is only just getting a shot at Us hearts, but it's still striking how much of its business it has done overseas: more than 80%. As others have already noted, this seems to be one of the first blockbusters engineered to appeal to the rest of the world first and the Us second.

Even if they weren't as bold about it, most of the top 10 international films (ie all markets except the Us) knew which way the wind was blowing.
See full article at The Guardian - Film News »

Box Office: Crushed Cars, Ascendant Woody and Global Hits

We won't waste too much time on the American box office today as it's the usual stories: an animated film tops the charts (don't make me say the name), Bridesmaid barely dipped and Midnight in Paris is zooming up the "all time Woody Allen lists". On this last bit I wish we had "adjusted for inflation" charts at the ready. Those inevitable stories about it passing Hannah and Her Sisters at the box office are going to be annoying because $40 million in 1986 is a helluva lot more ticket-buying action than $41 million in 2011, you know? I'm guessing that Annie Hall, which really captured mainstream attention, would reign supreme if you adjusted for inflation. [updated: yep, Annie Hall is #1]

And yes I normally do a new drawing for the box office but I hate drawing cars and the only picture I'd like to conjure in that realm is Cars 2's "Mater" squished flat in a compactor.
See full article at FilmExperience »

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