WARNER BROS. PICTURES

Warner Bros. Entertainment Inc. (formerly Warner Bros. Pictures, Inc.), commonly referred to as Warner Bros. and abbreviated WB, is an American entertainment company headquartered in Burbank, California and a division of AT&T’s Warner Media. A Warner Media company, Warner Bros stands at the forefront of every aspect of the entertainment industry from feature film, television and home entertainment production and worldwide distribution to DVD and Blu-ray, digital distribution, animation, comic books, product and brand licensing and broadcasting. Warner Bros is known as one of the big six studios in Hollywood.

Warner Bros is another one of the main film studios based in California and New York. It was founded in 1923 and has created some of the best movies which have innovated the industry, such as The Jazz Singer introducing synchronized sound. The studio is owned by Time Warner.

Warner Bros. also owns other divisions and subsidiaries such as:

• New Line Cinema
• Castle Rock Entertainment
• Turner Entertainment
• Warner Bros. Animation
• DC Films

LOGO

The popular company Warner Bros. was actually formed in 1903 by four Jewish brothers who had recently emigrated from Poland. From this humble beginning, WB has come to stand for the highest quality of movies. One factor that has always worked in the favor of WB is the distinctive look of their logo. This logo can be seen on the packaging of many popular movies and with each successful movie, WB entices more and more customers to become loyal fans.

First Logo-The Studio Shield

The famous shield of WB has its start in the very first logo

of WB. This logo displayed a picture of the WB studio lot within the frame of the famous shield. The words “A Warner Bros. Production” surrounded the shield to identify the company.

2nd Logo-The Vita phone

The very next logo of Warner Bros., introduced in 1929, showed a drastic change. As is mentioned above, the WB initials have grown to cover the entire shield. Also the picture of the studio lot has disappeared, replaced with a cityscape. An important change to note is the introduction of the “Vitaphone” name in the WB logo. The Vitaphone was actually one of the first precursors of “talkie” films as opposed to silent films and WB, in order to try and stay current, teamed up with Vitaphone Company to create “talkies” of their own.

Current Logo

In 1998 WB introduced its current logo. This logo is quite stylized showing a floating shield among the clouds with the WB name in large, gold font. The logo also makes note of the fact that Warner Bros. is now a member of the Time Warner Company.

Studios

Warner Bros. Studio Tour Hollywood is a public attraction situated inside Warner Bros. Studios, Burbank close to Hollywood and part of the greater Los Angeles area. It offers visitors the chance to glimpse behind the scenes of one the oldest and most popular film studios in the world over a two to three hour period.

The studio tour in some form has been open for several decades, but it was recently renamed to give the Warner Bros. Studio Tours a more uniform identity after the success of Warner Bros. Studio Tour London in Leaves den. Previously it was known as the Warner Bros. Studios VIP Tour.

Animation

Warner Bros. Animation is one of the leading producers of animation in the entertainment industry, with an innovative and talent-rich roster boasting some of the most accomplished writers, producers and artists working today. WBA is home to the iconic animated characters from the DC, Hanna-Barbera, MGM and Looney Tunes libraries. The studio is on the cutting edge of animation technology, and has both CG and traditionally animated projects in current production and development. WBA also creates the highly successful series of DC Universe original animated movies for DVD.

Home Entertainment

Warner Bros. Home Entertainment brings together Warner Bros. Entertainment’s home video (Warner Home Video) and video games (Warner Bros. Interactive Entertainment) businesses in order to maximize current and next-generation distribution scenarios. WBHE is responsible for the global distribution of content through Blu-ray Disc and DVD, electronic sell-through and transactional VOD and delivery of theatrical content to wireless and online channels. It is also a significant worldwide publisher for both internal and third party video game titles.

Based on the constantly changing ways by which consumers access entertainment product, WBHE focuses on maximizing current and next-generation distribution scenarios to make the Studio’s content available to audiences through as many channels, platforms and devices as possible. By grouping like business units and streamlining the process of delivering the Studio’s content to consumers in the format of their choice as conveniently as possible, WBHE helps the Studio to maintain an industry-leading and defining role in the rapidly evolving home entertainment marketplace while moving consumers’ home entertainment experiences into a new era.

Working across all platforms and outlets, the Studio continues to be a category leader and trendsetter in the digital realm with VOD (transactional and ad-supported), original content, apps, anti-piracy technology and the launch of Warner Bros. Digital Networks, founded in June 2016 to expand Warner Bros.’ OTT footprint by launching new offerings, growing current company-owned services and making strategic alliances. WBDN also works closely with Time Warner divisions Turner and HBO as part of Time Warner’s overall strategy to reach audiences directly through currently owned OTT services as well as those to be launched in the future.

Consumer Products

Warner Bros. Consumer Products extends the Studio’s powerful portfolio of entertainment brands and franchises into the lives of fans around the world. WBCP partners with best-in-class licensees globally on award-winning ranges of toys, fashion, home décor and publishing inspired by franchises and properties such as DC, J.K. Rowling’s Wizarding World, Looney Tunes and Hanna-Barbera. The division’s successful global themed entertainment business includes groundbreaking experiences such as The Wizarding World of Harry Potter in Orlando, FL, Osaka, Japan and Hollywood, CA; and the upcoming Warner Bros. World Abu Dhabi (opening 2018). With innovative global licensing and merchandising programs, retail initiatives, promotional partnerships and themed experiences, WBCP is one of the leading licensing and retail merchandising organizations in the world.

BEST MOVIES

Why have I chosen Warner Bros?

I have choose Warner Bros. as my institution research because Warner Bros. is among big six studios which is becoming very famous for its “Horror Genre” which caught my interest as i’ll be using it in my Advanced Portfolio. Warner Bros have produced biggest box office hits with its horror films in recent years. Such as Annabelle Creation and IT. My film would be based on horror genre with some elements of suspense and Gothic genre and Warner bros is the best example for producing Horror movies, one of them is the Annabelle Creation which inspired me the most. Horror Movies made by Warner bros is now the purveyor of terror in Hollywood, and can leave you with nightmares for weeks which have encouraged me to choose it as my film institution. Warner brothers being the 2 largest media conglomerate produces a lot of highest grossing horror films. Hence, i choose Warner Brothers.

      PSYCHOLOGICAL HORROR/THRILLER

IMMORTALS

With Immortals, the title lives in the space of the Temple of the Oracles. Originally, they got introduced to the oracles in a long, slow pan as they’re walking on a red circular pad. The type was meant to be a massive, somewhat menacing three-dimensional object in this room. They chose a heavy, compressed typeface that they modified to be even heavier and more compressed. Tarsem’s brilliant production designer Tom Foden suggested that they give it the gold brick texture of the jail of the Titans that appears early in the movie.

They were at the point of approval when Tarsem decided to reshoot the opening with a completely different set! The temple had been an Eastern design of black and white tiles, and then it became a much more medieval space — a dark cathedral with golden accents. To match this, Tarsem wanted much lighter type. 

They built the final logotype on garda titling 2 by Mário Feliciano. I kept the I, L, and S unchanged, and lengthened the tail of the R. I rebuilt the M, O, and A entirely. The curve of the M parallels the curve of the temple alcove, which is also where the O and the top of the A get their shape. They added a bit of a granite texture, some gold leaf, and a tasteful light swipe. For the end credits they just used Garda Titling II straight out of the can — with judicious letterspacing and a gold effect. As a bonus, they got to create a condensed version of the logotype for the French Canadian release, so that we could fit an extra three letters into the cathedral space without losing any height.

 EVIL DEAD

The original concept was really simple, to pay tribute to the gory aspects of the Evil Dead films. We knew it should be simple and overwhelming, and we were sure it had to be very analog as opposed to digital.

After thinking about many approaches with my creative partners, Javi (Javier Cruzado) and Chico (Chico Jofilsan), we chose a really simple idea of background and figure, where the blood would be the graphic element that discovers the shapes and forms. We wanted something raw, simple, and obviously, as gory as possible.

A bloodshot title card and the hammering notes of a dread chorale close out a weekend getaway quite literally from Hell.

Before the audience is allowed to escape this cabin in the woods though, Aparato’s gruesome title sequence for Evil Dead — an “homage to gore,” as Director Fede Alvarez calls it — forces them to relive every murderous detail of the proceedings in a ghastly instant replay of sorts. Globules of blood hover in the murk, like the embers of a dying fire; a rivulet of red slinks down a decaying staircase, dripping into a waiting pool of carnage. Soon, the vital fluid begins splattering the walls and floors, the ferocity of Roque Baños’ score increasing to match the foul play. Limbs are hacked, nails pierce muscle and splinter wood, and a smoking chainsaw chews through flesh and bone in an ever more violent summary of Deadite deaths and self-inflicted savagery. Demonic scripture flashes, blood rains, and the screen is consumed by flame.

BLACKSTONE

• Blackstone is an unmuted exploration of First Nations’ power and politics. This raw, intense, and authentic drama tells the story of the fictional Blackstone First Nation, suffering disintegration by its own hand — the result of the corruption of its chief and council. From within the community, a new generation of leaders rise up and fight to create lasting and substantial change.

Ron E. Scott, the creator of Blackstone came to us looking for an opener that matched the raw grit of the show. We wanted to create something that would have enough detail in it so that something new would reveal itself each time you watched it.

 SMOKIN’ ACES

High-contrast colors and a soulful beat instantly transport the viewer back to films of the ’60s and ’70s to revisit the story they just experienced in this main-on-end title sequence. Hep assassins brandish guns and shoot pool, a cop takes a rending shot to the gut, and a femme fatale calmly looks down the sights of her iron: still images captured as if with a rostrum camera.

Taking inspiration from Butch Cassidy and the Sundance Kid and a handful of spaghetti Westerns, VooDooDog pulls the viewer into the debaucherous penthouse suites and grimy basement bars that make up the world of Smokin’ Aces

The texture and effect in the font really impresses me hence I would like to edit my movie titles in this way

M NIGHT SHYMALAN

M. Night Shymalan is not a mystery. He might be shy about doling out advice in interviews, but his social media presence is very instructive for those who admire and follow him. He’s had a lot of ups and downs in his career, having broken out with 1999’s The Sixth Sense, which is still considered by many to be his best work and the best example of what he’s become famous for: the twist ending. His movies don’t always come together as well as that one, but he’s still a respectable filmmaker with a lot of good ideas and surprises up his sleeve now and again. 

M. Night Shyamalan films often feature supernatural and otherworldly phenomena, they generally are not considered horror movies — in part because they’re relatively family-friendly affairs, focusing on plot and interpersonal relationships rather than explicit content. This clean, “classy” style of fright filmmaking has drawn comparisons to legendary director Alfred Hitchcock — a parallel aided by Shyamalan’s propensity for twisty storylines and cameo appearances in his own movies.

FILM STYLE

CAMEO

In Signs (M. Night Shyamalan, 2002), he himself stare as the killer of the Graham’s wife, and we could literally see him from the screen. In The Village (M. Night Shyamalan, 2004), he plays as the role of the chief officer, whom, only appeared in a reflection manner. In The Happening (M. Night Shyamalan, 2008), his style of putting himself in the movie has not changed, he did participate in the movie, but while audiences were curious about where is Shyamalan this time round. As what we found from the credits, he portrayed as Joey, the guy that texted Alma and talked on the phone with her. He did not show himself like previously, instead, the whole line and his appearance is only when Alma picked up his call and the voice over of ‘hello’ from the phone. 

REFLECTION

Unlike any other directors, the use of reflection is believed to be one of the visual style of M. Night Shyamalan especially the reflection from the item in our daily basis. For instance, in Signs (M. Night Shyamalan, 2002), Graham uses knife to reflect the alien under the door  of the pantry.

CONTROLLED MIS-EN-SCENE

One of the very significant M. Night Shyamalan’s style is the controlled mise-en shot. He used 3 main camera techniques in most of his films. Other than close ups and tracking shots, he also constantly backs the camera away when something shocking is shown. In Signs (M. Night Shyamalan, 2002), the lighting and camera frame was controlled by following the movements of Graham and Merrill in the basement when they were finding where the air came from. The light and camera frame then stopped when they realised Morgan were standing right at the wall where the air entered the basement. The next shocking thing that happened was the alien’s hand grabbing Morgan’s neck from the hole where the air entered. In The Village (M. Night Shyamalan, 2004), controlled miss-en-shot was again, used on the scene when Ivy was crossing the woods alone to get to the town to get the medicine to save Lucius. When the creature appears behind Ivy, the camera frame followed her head movements, turning to face the creature who were actually Noah wearing the suits. The camera moves as if it is the Ivy’s head.

TWISTED PLOT WITH ENDING

One of Shyamalan’s style is to review the twist at the end of the story. In Signs (M. Night Shyamalan, 2002), the plot was twisted by the flashback cuts in Graham’s dream of her wife’s death. The flashback reviewed is character-motivated. The similar style was used in The Village (M. Night Shyamalan, 2004), however it works none like montage  sequences. The flashback of the characters was taken out from diegesis. When Edward open the black box with the pictures of the elders and their family, none of the characters are thinking about the flashback. The reason of why the village was started is reviewed at the end of the story.

SHOTS

In order to establish a stronger and more emotional bond between the characters, M. Night Shyamalan uses long-take shots. For example, in “The Sixth Sense” shot duration helps him build up emotional bonds not only between Malcolm and Cole, but also between Cole and his mother, Lynn. There is also a scene in “Unbreakable” which is a direct analogue of the one that takes place at the “Anniversary Dinner” restaurant in “The Sixth Sense” with the only exception being that David Dunn is alive as he talks to his wife, Audrey. M. Night Shyamalan makes use of long-take shots in “Signs” as well in order to highlight the strong bond between the two brothers. The most notable scene between Graham and Merrill is when they sit before the television set and have a long conversation, in which they share their feelings on the menacing alien invasion and what they believe in. In such dialogue scenes, long-take shots are the most appropriate visual tool that can cast further emphasis on the strong emotional relationships between the main characters.

COLOR SYMBOLISM

The most consistent visual cue that you are watching a Shyamalan film is the way that bright colors are used in each film as some sort of symbol. Shyamalan uses a unique color or set of colors in each of his films to show importance and manipulate the visual tone. In The Sixth Sense, the color red is used to show that an important event is about to happen. White is contrasted with red to make it stand out. In Unbreakable, the colors green and purple are used as homage to the comic book-like story, and also to clearly define the protagonist and antagonist. Another example is in The Village, where yellow and red are contrasted. Yellow is used to show calm and normalcy while red is a warning, a danger. 

CAM> The film opens with Alice jumping into frame and apologizing for being late because she had to pee. It is evident from her verbal response to the television screen in front of her that this is a trademark statement from her, which immediately establishes the kind of rapport and an historical relationship Alice has with the clients in her group. There is also an element of theatrical performativity on display: despite the fact that the audience is unaware of exactly who this woman is, Alice is clearly playing into their wants and desires.

This set-up immediately introduces the concept of a double – an identical-looking recreation of our protagonist who “exists” exclusively in the virtual realm under a different name. The distinction between the cam world and the real world is visually represented when Alice interacts with the “real” world of her mother’s hair salon, or shops for supplies at the dollar store: she wears less make-up, the lighting is dull and her clothes are comfortable, even drabby (not theatrical). On screen Lola is vibrant, dynamic and flirtatious; in real life, Alice is still driven, but her confidence is threatened by the cam girls who occupy higher ranks on the leaderboard. This insecurity even has its own visual tic: in real life, Alice frequently bites her nails.

 The soundtrack is filled with pings and other electronic exclamations that reinforce the level of engagement in the virtual room. These sound effects create a dynamic energy, a Pavlovian response that mirrors the way society is increasingly addicted to social media and glued to our screens. 

Alice eventually turns to the sex work at hand, excavating three dildo options from a tickle trunk for the room to “vote” on. This is where Massei expertly introduces in the film’s psychology thriller component: Alice is harassed and threatened by an anonymous client – Visitor 003128 – who encourages, then demands that she cut herself with a knife. In addition to reinforcing the potential for online harassment, particularly for women, this swift change in tone foreshadows a narrative development later in the film when a celebratory milestone is cut short by an unfortunate turn of events. CAM suggests that these publicly accessible online forums offer potential for gainful employment and empowering independence, but they are also subject to hacks, identity theft and dangerous trolling. Consider the speed at which the comments in the chat turn from talk of dildos to egging “Lola” to harm herself in front of hundreds of viewers.

SPLIT>

The film opens with a birthday party for Claire (Haley Lu Richardson). Her classmate Casey (Anya Taylor-Joy) was invited out of pity, as Claire tells her father (Neal Huff) that Casey frequently gets into trouble with teachers and gets sent to detention. Casey calls for a ride home but is told the car broke down. She’s about to take the bus, but Claire’s dad insists that she go home with them.
The girls leave along with another friend, Marcia (Jessica Sula). Claire’s dad is approached by an unseen person. Moments later, the person, a man named Kevin (James McAvoy), gets into the car. Claire thinks he just got in the wrong car by mistake, but Kevin puts on a face mask and sprays the girls with some kind of toxin that knocks them out. Casey slowly attempts to open the door to get out, but Kevin gets her too.

SAW> The movie begins following a police pursuit of criminal Edgar Munson. Edgar, in an obvious panic as he frantically waves a triggering mechanism in his hand, begins to yell at the cops pursuing him about the beginning of another ‘game’, and how he must choose people to die, or otherwise he would be killed. Despite the police demanding he set the triggering mechanism in his hand down, Edgar pulls the trigger anyways, resulting in the police beginning to shoot at the triggering mechanism. Having been ordered by Halloran to not shoot at Edgar, but at the mechanism in his hand, the detectives are angry to find Edgar had been shot in the chest.

A lead character of the SPLIT, a man with Dissociative Identity Disorder was very intriguing and concrete, and I decided to replicate that character and story, with a creative twist of my own.

However in my film, a girl with same disorder will be shown who changes personality within a conversation. The audience will get curious to find out how a person changes personalities so fast and will not be able to identify which personality is speaking at that point of film.

This movie will keep you watching waiting for the next character coming out  which will create thrill and curiosity in the audience.