{"id":3808,"date":"2008-11-20T02:55:41","date_gmt":"2008-11-20T01:55:41","guid":{"rendered":"http:\/\/www.filmdetail.com\/?p=3808"},"modified":"2009-09-26T05:27:58","modified_gmt":"2009-09-26T04:27:58","slug":"behind-the-release-body-of-lies","status":"publish","type":"post","link":"https:\/\/www.filmdetail.com\/2008\/11\/20\/behind-the-release-body-of-lies\/","title":{"rendered":"Behind the Release: Body of Lies"},"content":{"rendered":"

\"\"<\/a><\/p>\n

A couple of weeks ago I though it would be an interesting idea to write a bit more in depth about how films are made and released at UK cinemas.<\/p>\n

Hopefully, this series of posts will give you more insight into\u00a0the development, production and release\u00a0of films in this country, ranging from big budget Hollywood productions to more arthouse fare.<\/p>\n

First up for consideration is Body of Lies<\/a><\/strong> which is the big release this week from a major Hollywood studio, in this case\u00a0Warner Bros<\/a>.<\/p>\n

Based on the\u00a0novel of the same name<\/a> by\u00a0David Ignatius<\/a>, the story is about a CIA operative (Leonardo DiCaprio<\/a>) who goes to Jordan to track an elusive terrorist leader behind a wave of attacks in mainland Europe.<\/p>\n

Directed by\u00a0Ridley Scott<\/a>,\u00a0written by\u00a0William Monahan<\/a> and also stars\u00a0Russell Crowe<\/a> and Mark Strong<\/a> in key supporting roles.<\/p>\n

It is quite an interesting mainstream\u00a0film in that it is a major release filled with A-list talent (all things big studios love) but at the same time deals explicitly with a dark, contemporary subject (something they are less keen on, especially as films about the war on terror have tanked at the box office).<\/p>\n

So, how did this come about?<\/p>\n

DEVELOPMENT<\/strong><\/p>\n

Over two years ago in March 2006,\u00a0Warner Bros.<\/a> hired screenwriter\u00a0William Monahan<\/a> to adapt a novel called ‘Penetration’ by\u00a0David Ignatius<\/a>, which would be directed by\u00a0Ridley Scott<\/a>.<\/p>\n

Possibly due to the fact that the original title of the book sounded a bit like a porn movie, it was retitled in 2007 to ‘Body of Lies’, as was the film.<\/p>\n

Variety reported in May 2006 that an item called ‘Warner sets spy team<\/a>‘:<\/p>\n

Warner Bros. has set\u00a0William Monahan<\/a> to adapt David Ignatius’ Middle East espionage novel “Penetration,” with Ridley Scott to direct. De Line Pictures is producing with Scott Free.While Monahan most recently drafted the Hong Kong hit\u00a0“Infernal Affairs”<\/a> into\u00a0Martin Scorsese<\/a>-directed drama “The Departed,” he got his start as a screenwriter by scripting the Middle East-set pics “Tripoli” and\u00a0“Kingdom of Heaven”<\/a>‘ for Scott.<\/p>\n

With\u00a0“Penetration,”<\/a> they reteam on a thriller that sends a CIA operative to Jordan to track a high-ranking terrorist. The spy is aided by the head of Jordan’s covert operations in an uneasy alliance that leads to cultural and moral clashes between the men. WB exec veep\u00a0Lynn Harris<\/a> will shepherd the drama along with Scott Free’s\u00a0Michael Costigan<\/a>.<\/p><\/blockquote>\n

What’s interesting about this story is that it shows that the desire amongst creatives to do Iraq themed movies.<\/p>\n

In the years following 9\/11 the big studios stayed clear of the war on terror for fear of alienating the US public or being deemed ‘unpatriotic’ (which they are anyway, but never mind).<\/p>\n

However by 2006, clearly the stars, agents and directors were willing to tackle what is one of the defining news stories of this decade.<\/p>\n

But who would star in it? If you are Warner Bros and already have an A-list director on board, you also need a big star in order to help recoup the budget at the box office.<\/p>\n

Step forward\u00a0Leonardo DiCaprio<\/a>. In April 2007 Variety again reported<\/a>:<\/p>\n

DiCaprio’s deal has to be negotiated, but he already has worked the picture into his busy schedule.<\/p>\n

He’ll make it this fall after first reteaming with“Titanic”<\/a> co-star\u00a0Kate Winslet<\/a> on\u00a0“Revolutionary Road,”<\/a> the\u00a0Sam Mendes<\/a>-directed\u00a0DreamWorks<\/a> drama that shoots in April.<\/p>\n

Scott already is scouting venues in Morocco for a film that will shoot in Washington, D.C., Europe and the Middle East.<\/p><\/blockquote>\n

After DiCaprio was on board,\u00a0Russell Crowe<\/a> also joined for a supporting role.<\/p>\n

Interestingly, Crowe anticipated back then that the film might not be popular, saying to MTV<\/a>:<\/p>\n

I think the perspective of \u2018Body of Lies\u2019 is ongoing,\u201d he said of the script.<\/p>\n

It\u2019s machinations and creations of the American government, in terms of its foreign policy.<\/p>\n

I don\u2019t think it\u2019s so responsive to what\u2019s happening now \u2014 because what\u2019s happening now is actually the fruit of seeds planted two or three decades ago, if not more.<\/p>\n

But I think it\u2019s timely to do a movie like that \u2026 it\u2019s important, and Ridley is up for [portraying] the true negatives of this web of intrigue that\u2019s been created.\u201d<\/p>\n

I don\u2019t think it will be very popular,\u201d Crowe insisted. \u201cBut that\u2019s never been part of my project choice process.\u201d<\/p><\/blockquote>\n

At this stage it might seem odd that a major studio (especially as one as keen on popcorn movies as Warner Bros) would be green-lighting this type of material.<\/p>\n

But I’n guessing that a combination of star power (studios always want to please A-listers) and the hope that Scott could do what he did with Black Hawk Down (i.e. turn military themed material into an accessible hit) made Alan Horn<\/a> and the suits at Burbank feel this could be a smart and accessible thriller that touched on modern issues.<\/p>\n

So, with the cast set and locations scouted, production was all set to begin.<\/p>\n

PRODUCTION<\/strong><\/p>\n

Now, how much does a film like Body of Lies cost to produce?<\/p>\n

Actual budgets for films are very hard to come by as studios (for various different reasons) want to keep that information secret, but various pundits and organisations come up with estimates.<\/p>\n

The IMDb reckons\u00a0$70 million<\/a>, as do Box Office Mojo<\/a>. That though is just the production budget, which doesn’t include the marketing of the film once it is completed.<\/p>\n

The film was shot on location in Washington D.C., Europe and various locations in the Middle East.<\/p>\n

However,\u00a0Dubai<\/a> in the\u00a0United Arab Emirates<\/a> was dropped after the National Media Council there took exception to content of the script.<\/p>\n

Ali Jafaar of Variety reported in August 2007 that<\/a>:<\/p>\n

Pic was set to shoot in Dubai toward the end of the year.<\/p>\n

“After receiving approval, it was later rejected as Dubai does not want to do any scripts that are of a political nature,” says\u00a0Tim Smythe<\/a>, CEO ofFilmworks<\/a>, the Dubai-based shingle that was repping the production for Warners in the region.<\/p>\n

Mideast-set portions of the film will likely all be shot in Morocco now.<\/p>\n

The decision has already meant that two other Dubai-set shoots, a big-budget studio pic as well as a smaller budget East European feature, have subsequently pulled out of filming there.<\/p>\n

Variety understands that the decision to nix the Scott project was based on U.A.E authorities’ reluctance to have Dubai associated with film subjects related to terrorism, Al Qaeda and Islamic fundamentalism.<\/p><\/blockquote>\n

This meant Scott had to relocate the Jordan sequences to his\u00a0old stomping ground of Morocco<\/a>, where he shot Black Hawk Down and Kingdom of Heaven.<\/p>\n

Because of his history in shooting in the country, Scott has become friends with King Mohamed VI of Morocco, which helped the production gain access to government buildings and locations such as the\u00a0Ministry of Finance and Casablanca airport (which doubled as Jordanian locations in the film).<\/p>\n

However, principal photography began on September\u00a05th 2007 in the US at the\u00a0Eastern Market, Washington, D.C.<\/a> where part of the\u00a0Capitol Hill<\/a> neighbourhood was converted to resemble a wintry\u00a0Amsterdam<\/a> in order to film a\u00a0car bombing<\/a>.<\/p>\n

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Shooting also took place in\u00a0Gaithersburg, Maryland<\/a> to stand in for\u00a0Northern Virginia<\/a>, whilst the opening sequence (which is actually set in\u00a0Manchester<\/a>) was filmed in\u00a0Baltimore<\/a>.<\/p>\n

After filming in the US was complete the production moved to Morocco where they shot for a\u00a0nine-week period at CLA Studios<\/a> in\u00a0Ouarzazate<\/a>.<\/p>\n

This is a video from the set in Morocco of a chase sequence early in the film:<\/p>\n

<\/embed><\/object><\/p>\n

The film<\/span><\/em> saw\u00a0Scott reunite with previous collaborators, including production designer Arthur Max and cinematographer Alexander Witt<\/a>, who made his got his first credit as director of photography on the film after a long career as second unit director and camera operator.<\/p>\n

Witt and Scott have worked on five other films:\u00a0Thelma & Louise,<\/span><\/em> Black Hawk Down<\/span><\/em>,\u00a0Gladiator<\/span><\/em>,\u00a0Hannibal <\/span><\/em>and\u00a0American Gangster<\/span><\/em>.<\/p>\n

The film was shot in Super 35mm<\/a> 2.40:1.\u00a0As Witt told American Cinematographer<\/a>:<\/p>\n

\u201cRidley likes \u2019Scope and the way it frames things, and using spherical lenses gives you more flexibility on interiors and nights [than anamorphic lenses],\u201d notes Witt. \u201cIt also makes it easier for the focus puller because there\u2019s a little more depth of field.\u201d<\/p><\/blockquote>\n

In the same interview Witt and gaffer Richard Cronn describe how Scott likes to shoot with three cameras:<\/p>\n

As is typical on a Scott film, at least three cameras were always rolling; the operating team comprised Mark Schmidt, Daniele Massaccesi, Marco Sacerdoti and Witt.<\/p>\n

\u201cActors like multiple cameras because they\u2019re always on-camera, so they\u2019re always in character and not wasting time off-camera,\u201d says Witt.<\/p>\n

Gaffer Richard Cronn adds, \u201cSometimes multiple cameras can slow you down, but Ridley has been doing it so long he\u2019s really mastered it. There were times we actually wrapped early because of that!\u201d<\/p><\/blockquote>\n

Filming eventually wrapped in December 2007.<\/p>\n

POST PRODUCTION<\/strong><\/p>\n

Once a shoot is complete the director gathers all the footage he has shot and then embarks on the task of putting it together, which will include editing, special effects and music.<\/p>\n

Although a contemporary and realistic thriller, the film has\u00a0over 200 visual effects shots.<\/p>\n

According to\u00a0VFX World<\/a>, three effects houses were involved: Sony Imageworks worked on about 50 effects shots, Invisible Effects accounted for another 150 and Imageworks India also was involved.<\/p>\n

Apart from explosions one of the key visual aspects to the film is the predator drones the CIA use to keep track of action on the ground.<\/p>\n

This promotional video shows how they incorporated this into the shoot:<\/p>\n

<\/embed><\/object><\/p>\n

Another of Scott’s previous collaborators on this film was editor Pietro Scalia<\/a><\/strong>, who talks in this video about his approach to editing:<\/p>\n

<\/embed><\/object><\/p>\n

The score for the film was composed by\u00a0Marc Streitenfeld<\/a> at\u00a0the Eastwood Scoring Stage at Warner Bros in Burbank. (For images of this session check out these photos at Scoring Session<\/a>.)<\/p>\n

So whilst Scott and his post-production team raced to get the film ready for an October release, the gears of the Warner Bros marketing department started slotting into place.<\/p>\n

MARKETING<\/strong><\/p>\n

Marketing of a film can begin much earlier than you might expect – once the basic script is nailed down and the stars are in place, the team assigned to the campaign can get a rough idea of the direction they might go in.<\/p>\n

On the face of it, Body of Lies had a lot of key selling points – big stars, famous director and action sequences.<\/p>\n

But a large elephant in the room for everyone at Warner Bros was the failure of many movies\u00a0related to the War on Terror that came out in 2007.<\/p>\n

Lions For Lambs<\/a><\/span><\/em> grossed a paltry $15 million in the US and that was with a cast including Tom Cruise, Robert Redford and Meryl Streep.<\/p>\n

Rendition<\/a><\/span><\/em> also had a very solid cast (Jake Gyllenhaal<\/a>,\u00a0Reese Witherspoon<\/a> and\u00a0Meryl Streep<\/a>) but managed to do even worse with an abysmal\u00a0US gross\u00a0$9.7 million.<\/p>\n

Even fine films like\u00a0In the Valley of Elah<\/a><\/span><\/em> ($6.7 million US gross) and\u00a0The Kingdom<\/a><\/span><\/em> ($47.4 million gross) all seemed to be unable to break the War-on-Terror voodoo. (The latter film did do better than the others but still had a relatively big budget to recoup.)<\/p>\n

What was the reason for all this public aversion to films about Iraq and the war on terror? Maybe, these movies were too depressing for those who hated the Bush administration and too offensively unpatriotic for those that supported his attempts to invade countries and install new regimes.<\/p>\n

Whatever the reason, the marketing department at Warner Bros must have been having sleepless nights\u00a0becuase Body of Lies is explicitly about the war on terror – the plot involves the CIA trying to catch a terrorist leader and is set in countries like Iraq and Jordan, with sequences featuring bombs going off in England and Holland.<\/p>\n

Their solution to this problem appears to have been two-fold:<\/p>\n

    \n
  1. Emphasise the stars<\/li>\n
  2. Concentrate on the action<\/li>\n<\/ol>\n

    The first US one-sheet poster is usually an important plank of the marketing strategy as it sets the tone for what will follow.<\/p>\n

    \"\"<\/a><\/p>\n

    Not only does Crowe have top billing with DiCaprio (emphasising the star power) but the central image suggests this is a film about a relationship between two characters and indeed two approaches to the war on terror.<\/p>\n

    The colour scheme is also slick and distinctive, with the red of the title contrasting against the blacks,\u00a0blues and greys.<\/p>\n

    DiCaprio’s pose with the gun also hints that his character is going to kick some ass.<\/p>\n

    However, for a film that is largely set in the Middle East, it is noticeable that this isn’t referenced in any way on the poster – it’s almost as if its saying ‘here are two big stars in an action film by Ridley Scott’.<\/p>\n

    Notice that they credit Scott as the director of American Gangster and Black Hawk Down, presumably to emphasise both his last hit and the last film he did about modern warfare.<\/p>\n

    Increasingly online advertising is important as more eyeballs migrate to the web. What’s interesting about a lot of the banners for Body of Lies is how they keep with the imagery of the one-sheet poster.<\/p>\n

    Check out a variety of flash banners and online ads for the film here<\/a>.<\/p>\n

    It is almost as if they wanted to keep hammering home that this was an action film with DiCaprio and Crowe and not some depressing drama about the contemporary Middle East.<\/p>\n

    A lot of the flash banners also seem to push the\u00a0Unmanned Aerial Vehicle<\/a> (or Predator) technology used by the CIA to keep track on their agents and terrorist suspects.<\/p>\n

    It is almost as if they are referencing Enemy of the State<\/a> – funnily enough, a film directed by Ridley’s bother Tony Scott<\/a> – that dealt with the issue of surveillance by the CIA, albeit in a different context.<\/p>\n

    The trailers for mainstream films have now become increasingly important given how they are viewed all over the web, rather than just in cinemas.<\/p>\n

    There are usually teaser trailers, followed by more substantial ones lasting over two minutes and they can vary across territory.<\/p>\n

    Here is the final US trailer:<\/p>\n

    <\/embed><\/object><\/p>\n

    Again, the team cutting this appeared to be keen to ramp up the action elements (count the number of explosions) but also gave it a more accessible vibe with the rocky music bed.<\/p>\n

    The overall vibe seems to be saying, ‘this is a smart thrill ride you can enjoy on a Saturday night’ and not some kind of dark meditation on Middle East politics.<\/p>\n

    Added to all this, a lot of money would be spent on print ads, outdoor posters, TV spots in order to just raise awareness of the film.<\/p>\n

    Like political campaigns a large chunk of the ad budget is spent on TV spots in the final two weeks before the opening date.<\/p>\n

    But how did all this work when it opened at the US box office last month?<\/p>\n

    US RELEASE<\/strong><\/p>\n

    The release in the US is always crucial as it sets the tone for how it will do around the world. A major studio desperately wants a hit, not just because they want a big domestic gross but so they can build on it by marketing the film as a ‘US success’ the rest of the world simply has<\/em> to see.<\/p>\n

    After all, the ‘Number 1 US film’ sounds a lot more enticing than the ‘Number 6 film’ doesn’t it?<\/p>\n

    When the final print of a film is ready the studio then makes thousands of prints which are then shipped to cinemas all across the nation.<\/p>\n

    On Friday 10th\u00a0October\u00a0Body of Lies opened on\u00a02,710\u00a0screens across the US.\u00a0But it isn’t just a case of sending them out and hoping for the best.<\/p>\n

    The big studios all use a\u00a0research firm called NRG<\/a>, which conducts extensive research into how a film is going to do.<\/p>\n

    It doesn’t just give the studios valauble data – it also helps studios co-ordinate their openings so that similar films don’t go head-to-head and cannibalise one another’s potential box office.<\/p>\n

    For example, an animated family film like Kung Fu Panda is never going to open on the same weekend as Wall-E because they are essentially appealing to the same type of audience.<\/p>\n

    How do NRG get this data? Like political polling before an election they\u00a0conduct phone polls amongst a sample of likely moviegoers and ask them specific questions based on these lines:<\/p>\n