Box Office Record
Skyfall = foreign total $804,200,736
My Brother The Devil = United Kingdom $87,150
Format(s) Available
Skyfall = DVD, Blu Ray, soon going to be available on iTunes, Amazon, Amazon Instant Video and Redbox (for online streaming).
My Brother The Devil = available on DVD and Blu Ray
Skyfall official game recently announced.
Skyfall marketing for the recent DVD and Blu Ray releases, on bus adverts and billboards again.
Awards
Skyfall:
Oscar for Adele's Skyfall song and Sound Editing award
ASC award for Outstanding Achievement in Cinematography in Feature Film
and more
Monday, 15 April 2013
Skyfall and My Brother The Devil update
Skyfall:
Production companies: MGM, EON.
Distributor: Sony
Director: Same Mendez
Budget: £150,000,000 - £200,000,000
Formats now available: DVD, Blueray, Online, Netflixx, Skymovies, Cinema
Merchandise available: Clothing, Jewellery, Perfume, Aftershave, USB, Nail polish, Cutlery,
Aftershave, Toy car collectibles.
Predominant advertising: TV, Magazines, Radio, Billboards, Online advertising, Website, Trailers/Teasers.
Synergy: Heineken, Coca Cola
Cross-media convergence: Adele's Song Skyfall
Technology use: Hightech camera, GPI, Arriaelexa Camera
Audience: Global
My Brother The Devil:
Production companies: Wild Horses
Director: Sally El Hosaini
Actors:
Production companies: MGM, EON.
Distributor: Sony
Director: Same Mendez
Budget: £150,000,000 - £200,000,000
Formats now available: DVD, Blueray, Online, Netflixx, Skymovies, Cinema
Merchandise available: Clothing, Jewellery, Perfume, Aftershave, USB, Nail polish, Cutlery,
Aftershave, Toy car collectibles.
Predominant advertising: TV, Magazines, Radio, Billboards, Online advertising, Website, Trailers/Teasers.
Synergy: Heineken, Coca Cola
Cross-media convergence: Adele's Song Skyfall
Technology use: Hightech camera, GPI, Arriaelexa Camera
Audience: Global
My Brother The Devil:
Production companies: Wild Horses
Director: Sally El Hosaini
Actors:
Tuesday, 27 November 2012
About My Brother the devil
The film tackles taboos of masculinity, identity and desire within street culture that have rarely been seen on screen before. Using mainly non-actors and shot entirely on the streets of London’s Hackney, it creates a vivid picture of young people growing up on the streets and the pressures that surround them. Hosaini weaves a gripping script and a documentary style realism with just enough sentimentality to get your heart pumping. Sally recently received the Best British Newcomer Award at the London Film Festival and we were super excited to catch up with her and visit the estate where the film was shot.
To begin with, everybody tells you how difficult it is to make a film, so I approached it with the mentality of, ‘if you only have one film to make before you die, what’s that one film going to be?’ If I’m going to go through all the blood sweat and tears, it better be something that I care about. I wanted it to be cinematic and one of the things that I came up against was a lot of the urban movies that had been made before. I’m not a particular fan of that genre and My Brother the Devil was in fact a reaction against that. I was often told when people read the script, “We’ve seen this before, this is for TV.” It was hard to explain to them if they just read the script and didn’t meet me, they’d have a certain preconception, so when approaching investors about the project, I had to try to explain my visual approach to the film. I had mood boards, photographs and essays on the visual language of the film. I made a small documentary with the real boys that inspired the film to show how you could have something authentic and realistic yet also something that is poetic and lyrical.
Monday, 19 November 2012
Fan Base 'My brother the devil'
Twitter is a large social networking site which My brother the devil movie have taking advantage to promote their movie.
Facebook is the most used social networking site with over a billion users this is another chance the movie 'My brother the devil' has in order to increase the amount of viewers it receives.
Online reviews of My brothers a devil
ONLINE REVIEWS
In her accomplished debut, writer-director Sally El Hosaini shuffles the deck of working-class, multi-ethnic east London coming-of-age movies. In this case the sons of a hardworking Egyptian-born bus driver on a Hackney estate make the usual mistakes of joining rival gangs, carrying knives, buying guns, dealing drugs.
It's better than several recent versions of this material but facile in the treatment of homosexuality, which is crudely injected into the plot. The performances are uneven, but as the brothers, Floyd and Elsayed are both rather good.
La Haine has been ram-raided by urban Brit flicks for so long it’s apt to finally see one of the French film’s stars, Saïd Taghmaoui, in the East London ’hood.
Yet it’s a mark of writer/director Sally El Hosaini’s ambition that Taghmaoui isn’t criminal or terrorist here but something more radical: a nice guy.
The only British film in competition at Sundance Festival 2012 - a winner, for its lyrical cinematography - El Hosaini’s debut follows two first generation Anglo-Egyptian siblings.
Rash (James Floyd) is the respected dealer whose ambivalence about his lifestyle leads him to Taghmaoui’s ex-gangster; Mo (Fady Elsayed) is the student who’d prefer to follow in his bro’s designer shoes.
What distinguishes My Brother The Devil is El Hosaini’s maturity in avoiding faux-doc grittiness, political grandstanding or flashy glorification in favour of an intimate, closely observed character piece.
The languid first half emphasises the brothers’ environment over plot beats; for all the inevitable knife fights and drug deals, it’s the quieter moments that register, and Floyd and Elsayed respond with affecting performances.
El Hosaini captures everything in a swooning, summery style that gives no hint she was shooting while riots ripped apart the capital last August.
And then El Hosaini detonates a bombshell that proves both the film’s masterstroke and very nearly its downfall.
It’s a twist that subverts genre bravado by focusing on issues seldom (read: never) touched on in the ’hood: when Mo warns of “terror shit” going down, it’s a deliberate attempt to hide more uncomfortable truths.
The trouble is that, while the story El Hosaini has chosen is new to these mean streets, it’s still as old as the hills. The subtle world-building is threatened by a dose of conventional melodrama.
All the same, the bold change of direction seals the film’s credentials as a laudable antidote to urban clichés.
Yet it’s a mark of writer/director Sally El Hosaini’s ambition that Taghmaoui isn’t criminal or terrorist here but something more radical: a nice guy.
The only British film in competition at Sundance Festival 2012 - a winner, for its lyrical cinematography - El Hosaini’s debut follows two first generation Anglo-Egyptian siblings.
Rash (James Floyd) is the respected dealer whose ambivalence about his lifestyle leads him to Taghmaoui’s ex-gangster; Mo (Fady Elsayed) is the student who’d prefer to follow in his bro’s designer shoes.
What distinguishes My Brother The Devil is El Hosaini’s maturity in avoiding faux-doc grittiness, political grandstanding or flashy glorification in favour of an intimate, closely observed character piece.
The languid first half emphasises the brothers’ environment over plot beats; for all the inevitable knife fights and drug deals, it’s the quieter moments that register, and Floyd and Elsayed respond with affecting performances.
El Hosaini captures everything in a swooning, summery style that gives no hint she was shooting while riots ripped apart the capital last August.
And then El Hosaini detonates a bombshell that proves both the film’s masterstroke and very nearly its downfall.
It’s a twist that subverts genre bravado by focusing on issues seldom (read: never) touched on in the ’hood: when Mo warns of “terror shit” going down, it’s a deliberate attempt to hide more uncomfortable truths.
The trouble is that, while the story El Hosaini has chosen is new to these mean streets, it’s still as old as the hills. The subtle world-building is threatened by a dose of conventional melodrama.
All the same, the bold change of direction seals the film’s credentials as a laudable antidote to urban clichés.
Verdict:
A highly promising debut; if our credulity gets roughed up in places, its warmth, compassion and maturity bring a ray of sunshine to Brit-film’s bleakest genre.
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