The King's Speech Research

The King's Speech

 What makes a film British?

Audiences assume the culture of a film is what makes them British, however by researching into Parliament UK it is accompanied by many factors. The culture of Britain focuses around the current location (which is usually London), how day to day life is gone about, with historical roots such as The Royal Family. The cast should be predominantly British with minor exceptions, however all storylines would cover past, present or future events tying in with the British Lifestyle. Also, there would be reference from / by a British Author of a book or script which relate to the film, including the same nationality (in this case British) of producer, scriptwriter, director and sometimes the investor.
For a film to be legally classed with in our culture, a number of tests must be met to certify its class as categorised British. These four tests include:

• The Maker Test: the film must be made by a company that is registered and centrally
  managed and controlled in the UK, in another state of the European Union/European
  Economic Area or in a country with which the European Community has signed an
  Association Agreement
• The Production Cost Test: 70% of the production cost of the film must be spent on film-making activity in the UK
• The Labour Cost Test:
  i. 70% of the total cost (minus — if desired — the cost of one person whose nationality
  must be non-Commonwealth/EU/EEA/Association Agreement country) must have
  been paid to citizens or ordinary residents of the Commonwealth, EU/EEA or a
  country with which the European Community has signed an Agreement; and
  ii.  75% of the total labour cost — after deducting the cost of two persons whose
  nationality must be non-Commonwealth/EU/EEA/Association Agreement country,
  and one of whom must be an actor
  — must have been paid to citizens or ordinary
  residents of the Commonwealth, EU/EEA or a country with which the European
  Community has signed an Agreement
• Previously Filmed Material: no more than 10% of the playing time of the film should
  comprise a sequence of visual images from a previously certified film or from a film by a
  different maker.

Exhibition Issues - Box Office in the UK

The Kings Speech certified 15 was the 'plucky-underdog success story' with a £3.52m opening weekend with in the UK. It was set up with modest previews (in other words - set up to fail) as audiences didn't think that they would be astounded by the production. The film lost cinema viewings to the New York Met Opera screening, however in London's Chelsea cinema brought in over £40,000 which broke records.

Exhibition Issues - Reviews and Reception

"Lead man Colin Firth probably isn't complaining, after picking up the Golden Globe for Best Actor at the weekend. In fact his performance was so impressive that a newly created Facebook group is campaigning to have him ascend to the throne." - The Guardian

As well as Colin Firth picking up the Golden Globe for Best Actor from a total of 7 nominations for the whole production, the film was also nominated for 12 Oscars and 14 BAFTAS.

"The King’s Speech isn’t just an enlightening period drama, but a very entertaining, heartfelt and surprisingly funny crowd-pleaser with a glint of Oscar gold in its eye." - Time Out
Time Out also comment on how perfectly precise the film was, by focusing the attention on the characters relationships and insecurities, they said it makes the whole experience intimate and convincing.

Film Junk state that "In all honesty, the average moviegoer doesn’t have a whole lot to be excited about in Tom Hooper’s new film". They say this because they believe the storyline about George VI and his speech therapist is hardly an interesting topic, unless you like that kind of thing, in which case they say you may find it an "often lively and effective drama"

"Unlike many of the films that helped lend the genre its dry reputation, authentic atmosphere doesn’t substitute for drama here. The King’s Speech works not because we watch a historical personage overcome a debilitating verbal ailment, but because we watch a human being do so." - Film Junk

Critics Reviews

"There's no doubt this film has Oscar bait written all over it" - Mark Kermode

Kermode believes the Americans especially love a British film when a monarch has a relationship with a commoner. He also states when a friendship transcends into a relationship is what grips a global audience to a British film.

By making the interior and psychological space with in scenes gripping through the camera angles (mainly close ups and zooms) this film becomes visually interesting.

Compared to 'The Queen' and 'Mrs Brown' this film (The King's Speech) is set apart as it felt more real, even though all of them are mainly people talking in rooms. Its funny, and its interesting due to the fact the happy ending is gone about by revealing 'we will be at war for the next 6 years'.

Mark Kermode seemed to take a liking to this film more so than the two others stated above, due to the warmth he developed to Colin Firth, as he states he should win the awards he is nominated for hands down. He also believes that people should look back at his history and take note of his remarkable performances with in his previous films, one being 'Trauma'.

The Films Production Issues

The Origins

"The King's Speech, the story of how King George VI overcame his stammer, was just a letterbox delivery away from never getting made"

The films production team posted the script to the film through Geoffrey Rush's letter box in order to hopefully gain his role as Lionel Logue. After unsuccessfully gaining his involvement after sending numerous emails they thought this was the way about it. The films producer Gareth Unwin stated that the film needed some key casted roles to be a success and that is why they went to so much trouble to attract Rush's attention towards this film.

"This flies against every fibre of me knowing how the business works. I ended up with a four-page email from his manager tearing me a new one. But it finished off with Geoffrey saying he liked it and that we should talk. We wouldn't have got to talk to Geoffrey at that stage otherwise. Joan was audacious in her thinking and it did pay off."

Director: Tom Hooper
Producers: Iain Canning, Emile Sherman, Gareth Unwin
Production Companies: See-Saw Films, Bedlam Productions, UK Film Council
US Distributor: The Weinstein Company
International sales: FilmNation Entertainment
US Release Date: December 10, 2010
UK Distributor: Momentum Pictures

Gareth Unwin from Bedlam Productions spent 5 years prior to the start of production developing this story with David Seidler. “ I knew we had an upper level that we had to aim for,” says Unwin of his need to find co-producers for the ambitious project.

The team were keen to make a period drama that didn't feel mainstream. “It’s uplifting without being cheesy,” says Canning. “The Weinsteins gave us one really great note early on, which is, it’s all about the friendship. We honed it to focus on that.”

Tom Minter (US Writer) sent Joan Lane the play script. As a fellow friend who was also a writer of the play’s author Seidler, Tom recommended Joan as a well-connected London-based producer of theatre. Having previously sent the play to another London based colleague, who had not been able to attract interest in it, Seidler wasn't sure what to do following this - so he followed Tom’s advice.

Lane gave a copy of the script to Simon Egan from Bedlam Productions to try and gain his interest in production. Thankfully he saw potential and took an option of screenplay adaption. Following that, Lane organised a rehearsed reading in which would have director Tom Hooper's parents in the audience. This wasa tactical move of Lane as she introduced The Hooper's to David Seidler the Plays author, so he could exchange contacts with Tom's father to gain contact with Tom himself.

The Finance

The Weinstein company over in America has been praised for the backing of this spectacular production., however the British production company Prescience are really who should be praised,

"We worked with ex-chair of Bafta Richard Price, and started turning this story about two grumpy men sitting in a room into something bigger."or identifying the films potential first. - Gareth Unwin (after getting Iain Canning from See-Saw Productions involved)

 See-Saw Productions worked alongside Bedlam Productions in synergy to create The King's Speech as well as receiving One Million Pounds from The UK Film Council to help with the films production. The film was at production stage for 39 days, with an input from Bonham Carter, who also, at the time was working with Warner Brothers on the Harry Potter and the Deathly Hallows set.

Distribution and Marketing

The distributor of The King's Speech (Momentum Pictures) a British institution were in charge of the films marketing plan, the way in which the UK audiences will have it advertised to them.

The film had its global premiere on 6th September 2010 at the Telluride Film Festival in the United States. It was screened at the 2010 Toronto International Film Festival on Colin Firth's 50th birthday, receiving a standing ovation and the Peoples Choice Award.

The original poster was altered to show an extreme close up of Colin Firths jaw to the right of a microphone in which symbolised the plot of the film. Due to the film being entirely related to The King's Speech and dialect by representing the film with a microphone it shows that a voice is a way in which a King maintains his power. For advertising a film the poster is key as it is primarily the most viewed was of advertising other than the official trailer.