Technological Convergence

Technological Convergence-The growing use of digital technology in the media (Film industry) online in software and hardware. The use of digital technology in the film industry which enables people to do things that could not have done and seen just a few years earlier.

Using technology convergence:

• New software
• Adding special effects i editing
• The use of blue screen
• New digital cameras
• Internet to download films
• You can watch films on youtube
• Converting films format
• Pirate copies
• Blue ray
• Use digital software to create high concept posters
• Cinema can download films to their projection screens and do not have to depend on a van dropping off the film

There are tons of ways in which technological convergence affects the production,distribution,exhibition and exchange.

How working title used technolgical convergence in the boat that ro cked used technological convergence by using new cameras to film,they had special cameras made so they could film in tight spaces to makes the film look more chaotic.They have their own websites to promote the film.

http://www.workingtitlefilms.com/newsArticle.php?newsID=222

http://filminfocus.com/focusfeatures/film/pirate_radio/

http://www.workingtitlefilms.com/film.php?filmID=120


It is posible to watch trailers for the film online on sites like youtube





You can now buy the film on Blu Ray

Music

Richard Curtis talking to Film in focus

How much of the music you were listening to as you write actually made it into the movie? Or was it more the mood that prevailed?

It’s a mixture sometimes, it’s very weird. Notting Hill was written almost entirely listening to Ron Sexsmith’s first album, and none of that made it in. Songs can sort of represent the mood you want to get without being the songs that you actually put in it. In Love Actually, there’s a song by XTC called “The Loving,” which I would play at the beginning of every single day that I did that, but in this case it was more literal because there was a chance [I‘d be using this music]. I always wanted this to be wall-to-wall music, and about 15 of the songs are in the script. I called the character Elenore so I could play “Elenore” by the Turtles and I called her Marianne so I could do “So Long, Marianne” [by Leonard Cohen]. I knew it would be “Whiter Shade of Pale” when the boat started to go down. And then the other 35 were not randomly picked – because there’s that magic between music and celluloid. Sometimes you think something going to be absolutely the right song, and then you put it on and it doesn’t fit. But there weren’t many compromises for money.

I read that one Doors song that you wanted was going to cost you over a million.

Yeah, that’s right. I think they’re going to use the money to bring Jim Morrison back to life. They’re going to charge so much they’re going to invent reincarnation.

How many heartbreak situations did you have as you put together the soundtrack?

Not many, not many. We were very keen to get “For What It’s Worth”, but I don’t think Buffalo Springfield is giving the rights to that song away at all. So I used “Crimson and Clover” instead, and it wasn’t a very important cue. Some of the heartbreaks were that I couldn’t find a place for songs that I always assumed would make it into the movie. “Waterloo Sunset” is not in the movie – I love that, but when you put it against a film, it’s too plot-ty. You’re distracted by it, it’s too specific. “Out of Time” by Chris Farlowe, the Rolling Stones song, I thought was going to be in there. It starts with a violin thing, but actually when you put it on it sounded classical. So there were more disappointments that way, things that I couldn’t get in, rather than songs that I wanted that we couldn’t get.

In one of the interviews that Bill Nighy gave, he said that the Rolling Stones were the greatest rock ‘n’ roll band in history, and it seems from the Pirate Radio soundtrack that you would favor them in a Beatles vs. Stones scenario.

I don’t know about that. We did try for one Beatles song, but in the end the place we wanted it is not in the film. No, I actually liked the Stones’ slow stuff – “As Tears Go By” and “You Better Move On” – but I’m very passionate about the Beatles as well.

The interesting thing about all these songs is that they’re so familiar that many of them are really invested with emotional memories, meaning that watching the film is a richer experience than it otherwise would be.

That’s interesting. I think that what’s a joy in this film is taking songs that you haven’t heard for a while and realizing how specific their mood is. You can listen to some songs too much and forget what they’re really like, and then if you put them right next to something [you can hear it anew]. Like “Jumpin’ Jack Flash,” which comes on when Rhys Ifans comes into the movie, was an interesting cue because that was always in my mind. Every time I ever reached that bit in the script, I’d play “I’m Going to Make You Love Me” by the Supremes and the Temptations. That was the song. But then when I saw it in the movie as a whole, it needed to change texture and change gear and I suddenly realized how those big Stones guitar songs from 1967 were game changing. And then later on in the movie we use the two cues by the Who, and you realize that was another sort of step up – they’re rougher, they’re tougher, they’re more muscular. So that’s quite fun that you actually find out stuff about the music while you’re making the film.

That Stones song is such a perfect for Rhys Ifans’ personality. Did you have other songs or bands that encapsulated other characters also?

Nearly. We did do the playlists, so Dave, Nick Frost’s character, was definitely the Small Faces, the Spencer Davis Group, the Troggs, the Kinks. The Count was Sam the Sham and the Pharaohs, more Blues Brothers type music. Then the Rhys Darby character was everything unpopular – “No Milk Today” by Herman’s Hermits would probably be his favorite song of all time, or “I'm Henery the Eighth, I Am.” But it was interesting how they did blend into each other, how the late night DJ was meant to be playing lots of slightly grim stuff and the record he saves is by the Incredible String Band, but then when we had his most important cue we played the Jimi Hendrix song [“The Wind Cries Mary”]. I was rather pleased by that because on the whole that guy is supposed to play rather ghastly music and that was a good song.

There’s a pivotal scene at the end which uses Cat Stevens’ “Father and Son,” which is…

Out of period. I tried to be accurate, but “Father and Son” [is in there], partly because it fitted perfectly and partly because we didn’t think we’d get it, because Cat Stevens doesn’t release the rights to his songs, particularly if there’s sex or drugs in the movie. But his brother saw it and said, “It’s fine, it means well.” I tried “Man of the World” by Fleetwood Mac and a few other things over that, but I thought because I thought it was definitely not a realistic scene it was OK it coming from a different period. And also you realize that the singer-songwriter thing was the next phase, the James Taylor, Elton John, Cat Stevens thing, and I quite liked that. Again, a bit like the Stones thing, I wanted something that sounded different from everything else in the film, rather than the same.

And as the scene is about the passing of the torch too, in a way, it’s doubly appropriate that you’re looking ahead to the future in that way.

Exactly, it’s sort of about the future.

I think our time’s up, but thanks for talking to me.

Well, doing the music was never anything but a joy, apart from the odd time, as I say, when you think you have the perfect song and just as you get to the bit you like, and the scene’s over! You think, “Well, we have to go for “Yesterday Man” [by Chris Andrews] because that starts ‘I’m her yesterday man,’ and so you only need to use 6 seconds of the cue.” We had one bit that isn’t in the movie anymore where we had a cue that could only last two seconds. We had to find a song that was recognizable in that first beat.

Was that “Fire” by Arthur Brown?

Well, that would have been good, but it was “Brown Eyed Girl” [by Van Morrison]. “Doo doo doo…” and that was it. And we would have had to pay £35,000 for it, but we cut the scene and it didn’t matter.

The boat that rocked Soundtrack

The soundtrack is a double album featuring songs from popular artists from the 1960s and 1970s including The Beach Boys,Cat Stevens,The Kinks,The Who,Dusty Springfield,Jimi Hendrix,The Hollies and David Bowie

Location and Casting of The Boat that rocked

Location

The setting of the boat that rocked was in international waters on the coast of England. The main setting is Britain. 

The Boat That Rocked is a fictitious comedy set in Britain during 1966 in an era when the BBC, the only UK mainland licensed radio broadcaster  (Manx Radio had already been licensed to serve the Isle of white), played little more than two hours of any kind of recorded music each week. In the story a pirate station called Radio Rock began broadcasting rock music twenty-four hours a day from a boat anchored off the coast of England in international waters. Hosted by a colourful band of disc-jockeys, it soon gains an audience of millions and angers the government in the process. While the story does have some relationship to real events it does not represent any specific station that was broadcasting to Britain in 1966

Filming Location

Gambardella's Cafe, Blackheath Standard, London, England, UK

London, England, UK

National Gallery, Trafalgar Square, St James's, London, England, UK

Osprey Quay, Isle of Portland, Portland, Dorset, England, UK

Pinewood Studios, Iver Heath, Buckinghamshire, England, UK

(studio)

Portland Bill, Dorset, England, UK

Portland, Dorset, England, UK

Roupell Street, Waterloo, London, England, UK

Shepperton Studios, Shepperton, Surrey, England, UK

(studio)

Squerryes Court, Kent, England, UK

(Sir Alistair Dormandy's home)

The Beach, Brighton, East Sussex, England, UK

(Seafront)

 Filming took place on the former Dutch hospital ship Timor Challenger, previously De Hoop, moored in Portland Harbour, Dorset; the "North Sea" scenes were shot off Portland Bill, while boat interior shots were filmed inside a warehouse in Osprey Quay on the Isle of portland and at Shepperton Studios. Some of the authentic 1960s-vintage studio equipment seen in the film was  ex Radio Caroline having been used on the MV Ross Revenge in the 1980s and loaned to the film's production company by the ship's current owners, along with numerous fixtures and fittings that were used for set decoration. (The ship used for exterior filming was also fitted with a dummy twin-mast aerial resembling the Ross Revenge's post-1988 antenna system, although all of the real pirate radio ships of the 1960s used single-mast antennas.)^[

On 28 April 2008 scenes were shot on Roupell Street in Waterloo, London, with the Kings Arms re-named the Red Lion for filming purposes

Casting

Philip Seymour Hoffman as The Count, "a big, brash, American god of the airwaves

"Bill Nighy as Quentin, the radio station's boss

Rhys Ifans as Gavin, Star 

DJ Nick Frost as Dr. Dave, 

DJ Katherine Parkinson as Felicity, the lesbian cook

Tom Sturridge as Young Carl, 

Quentin's godson Tom Brooke as 'Thick' Kevin, 

Carl's cabin-mate Chris O'Dowd as Breakfast DJ Simon Swafford 

Rhys Darby as Angus Knutsford, 

DJ Will Adamsdale as newsreader 

John Tom Wisdom as 'Midnight' Mark,

 DJ,Ralph Brown as Bob 'the Dawn Treader', 

DJ, Carl's father Ike Hamilton as Harold, radio assistant

Kenneth Branagh as Minister Dormandy (a loose parody of then-Postmaster General Tony Benn), who aims to shut the station down

Jack Davenport as Twatt, a civil servant

Emma Thompson as Charlotte, Carl's mother

Talulah Riley as Marianne, Quentin's niece

January Jones as Elenore

Gemma Arterton as Desiree

Sinead Matthews as Miss C

Stephen Moore as the Prime Minister. (Harold Wilson was Prime Minister in 1966.)

Olegar Fedoro as the Rock Boat Captain

The director of the boat that rocked

The director for the film was Richard Curtis, he has directed other successful working title films

such as "Notting Hill","Bridget Jones's diary".He is mostly known for directing Romantic Comedy's. Because he has made other well known Working Title films the institution brought him in to direct as well as write The boat that rocked because they trusted him.

Background and the idea for the boat that rocked

The idea for the film originated because In 1966, the government-backed British Broadcasting Company (BBC) broadcast barely two hours of rock and pop music every week over the U.K. radio airwaves; by comparison, 571 American radio stations were showcasing such music 24 hours a day. So in the home country of The Beatles and The Rolling Stones and The Who, at the height of British pop music’s greatest era, the only way 25 million people – over half the British population – could hear their music (and other favorites) at any time was to tune in to…a boat.

Bringing the music home were rogue rock-and-roll deej

ays broadcasting from ships and marine structures anchored just outside U.K. territorial waters. But the pirate radio stations were targeted by the government, which did its very best (or, worst) to suppress the (technically illegal) transmissions coming from the waters into the hearts and souls of millions of Brits.

From that jumping-off point, in Pirate Radio writer/director Richard Curtis continues his cinematic explorations of the most telling and/or hilarious moments of love and friendship. The new movie is the first of his screenplays to be set in the past.

“For the last ten years, I’ve been thinking about it as a subject to explore,”-Film maker After completing work on his directorial debut, Love Actually, Curtis again found himself reflecting on childhood memories of nights spent staying up late and listening to The Kinks, Jimi Hendrix, Dusty Springfield, Janis Joplin, and Aretha Franklin – to name but a few – and the larger-than-life personalities providing patter and platters.

“Every person in my generation has the same memory,” recalls Curtis. “You would go to bed at night, put your transistor radio underneath your pillow, switch it on with its little glowing light -- and stay up late to hear this fantastic music and voices you could not hear elsewhere. Your parents would shout from downstairs, ‘Go to sleep! Turn off the light!’ It was one of the things that made me love pop music most, that slight sense of it being illicit and illegal.”

The soundtrack of his youth had earlier infused the soundtrack of Love Actually, where he carefully chose songs by Joni Mitchell, Darlene Love, Paul Anka and Lennon & McCartney, among others. To even more fully embrace his love of music from the 1960s, he would set his new movie in 1966 on a pirate radio ship and ensure that even more of his favorite songs made up the soundtrack.

Music supervisor Nick Angel was reunited with Curtis on the new film, as they sought to bring some of the best sounds from the 1960s back for a big-screen voyage. Angel comments, “Richard wore his heart on his sleeve for this film, and the music is an integral part of it. My job was to make sure that we got the songs he wanted in the film.”