Cinema has continually undergone transformation; be it technological, cultural, economic, social or industrial, cinema over its one hundred year life span has been molded and shaped by these factors becoming an ever changing medium. The work of D.N Rodowick (2007) examines the technological transformations undertaken by contemporary Hollywood cinema, in particular the shift from traditional film making practice to modern digitized practices. In his book The Virtual Life of Film Rodowick examines, and questions, the embrace by modern Hollywood of digital cinematography over celluloid film, and the subsequent development of other digital practices such as digital nonlinear editing, Dolby surround sound and digital projection.
Rodowick questions the future of cinema, wondering if celluloid is doomed to fade away, Rodowick continually questions the authenticity of digital film explaining celluloid as a physical recording of an event through a photochemical reaction whereas digital video produces an artifact that is nothing more than a computational notation of 0’s and 1’s. Rodowick describes this evolution as a ‘decentering of the theatrical film experience’ where traditional media practices are supplanted by digital innovation and a film can be reduced to a token of numbers.
To demonstrate this progression from analogue to digital Rodowick details a timeline in which he lists the major technological and industrial innovations within the film industry. The timeline ending in the year 2000 is now incomplete; cinema has continued to evolve with innumerable changes. This essay will attempt to add onto Rodowick’s timeline, from the years 2000 to 2014, outlining the major changes to cinema within the areas of film production, distribution and consumption.
Changes to the production of films can be divided into two areas, that of economic and industrial changes and that of technological advances. The first topic I wish to address is Hollywood’s increased focus on franchises in the early 2000s, specifically book series adaptions such as Harry Potter: 2001 to 2011 consisting of eight films, Twilight: 2008 to 2012 consisting of five films, Hunger Games: 2012 to 2015 consisting of 4 films and The Lord of the Rings: 2001 to 2003 consisting of three films. The increased production of book to film franchises reflects Hollywood’s attempts to capitalize on previously established media, one with a recognized fan base who will flock to see any content related to their fandom (Thompson 2007). In terms of major production focuses within Hollywood during the 2000s/2010s, the emergence and domination of franchising deserves to be put on Rodowick’s timeline.
It is through this fan devotion that Hollywood’s next tactic arose, splitting a book into multiple films. Beginning in 2010 with Harry Potter and the Deathly Hallows – Part 1, Hollywood began adopting the practice of maximizing box office profits per book with the knowledge that fans would continue to support the franchise, even though they were technically being exploited. This trend continued with films such as Twilight: Breaking Dawn Part 1 and 2 (2011 and 2012 respectively), The Hunger Games: Mockingjay Part 1 and 2 (2014 and 2015 respectively) and The Hobbit Trilogy (2012 – 2014), which squeezed three films from one novel.
Franchises of the 2000s were not solely adaptions of young adult novels; with new franchises emerging within the horror/thriller genre, often focusing on torture, leading critic David Edelstein (2006) to coin a new genre “torture porn” to cover franchises such as Hostel (3 films, 2005 – 2011), Saw (7 films, 2004 – 2010) and Human Centipede (2 films, 2009 – 2011). The 2000s also saw a resurgence of the comic book film. Beginning with Bryan Singer’s X-men (2000) and Sam Raimi’s Spiderman (2002) and evolving into urban realism with Christopher Nolan’s Batman Begins (2005), the latter half of the 2000s and early 2010s saw an explosion of comic book films particularly within the Marvel Cinematic Universe with films such as Iron Man (2008), The Incredible Hulk (2008), Captain America (2011), Thor (2011) forming a campaign previously unseen in Hollywood, one where a series of standalone films would culminate in a major blockbuster, The Avengers (2012).
This campaign by Marvel and Disney marks an evolution in the Hollywood production cycle, where films are not only standalone entertainment pieces but also act as a franchise promotion, by having character and plot crossovers. The result of which is an audience invested in how things connect and the overall story, meaning they will go and see multiple films in a franchise, even ones they are not heavily interested in, just to stay in the loop.
The next point regarding film production that I would add to Rodowick’s timeline is the development of online crowdsourcing platforms, such as Kickstarter (launched 2009) and Indiegogo (launched 2008). Crowd sourcing has provided a revival for the independent film industry and an avenue for growth in the amateur film industry. With the Hollywood studio system maintaining such a tight hold on film production, independent filmmakers are starting to skip the studio system and gain funding directly from their audience. Kickstarter has recently proved its effectiveness with crowd funded productions such as Zach Braff’s 2013 film Wish I was Here and the film adaption of the cancelled TV show Veronica Mars (2014). Crowd funding is important to address as it gives power to the creator and the consumer in an era where Hollywood’s fixation on accessibility, remakes and sequels are arguably stifling innovation and creative control (Nelson 2011).
In addition to the industrial and economic evolutions of film production mentioned above, the 2000s and 2010s have also presented numerous technological changes, of which the most important and influential should be added to the timeline. The first major technological advancement came in the early 2000s, with real time motion capture. Motion capture was first successfully implemented within Peter Jackson’s 2002 film The Lord of the Rings: The Two Towers, where the character of Gollum was brought to life, and revolutionized 3d computer generated characters.(1) The next major technological evolution also occurred in 2002 with George Lucas’s Attack of the Clones, this film was the first to be completely shot and projected digitally,2 a practice that would become standard in the future of Hollywood.
While digital cinematography was becoming standardized across Hollywood for its practicality and inexpensive nature, some directors sharing opinions similar to Rodowick above, continued to embrace analogue film supporting and utilizing developments of celluloid; this brings us to the emergence of IMAX. In contrast to traditional 35mm film, IMAX negatives are 70mm providing a substantially higher resolution. IMAX which was traditionally used for documentary and short entertainment films, reminiscent of Cinerama short films of the 1950s, was first employed in a theatrical film for Disney’s animated feature Fantasia 2000 (2000), the first live action feature film to utilize IMAX was Christopher Nolan’s 2008 film The Dark Knight, which contained 30 minutes of IMAX footage. To this date no film has been completely shot in IMAX 70mm the closest is The Dark Knight Rises (2012) with over an hour of IMAX footage, the technology remains difficult to employ with issues regarding the weight, size and noise of the camera, and the price of the film stock (Neale & Smith 2013). IMAX is important to note and add to the timeline as it stands as defiance to the increasing digitization of film production, and as a testament to the grandiose nature of cinema.
As IMAX refers to film technology of the 1950s, such as Cinerama, so does the next technological development: digital 3D. 3D, once seen as a gimmick in 1950s cinema to draw people away from television, is still seen as a gimmick to draw people away from television (Mitchell 2004). James Cameron’s 2009 film Avatar generated a craze becoming the highest grossing film of all time and reigniting Hollywood’s interest in 3D, perhaps not as a way for filmmakers to express their creative vision but certainly as a way to charge more per ticket. The stereoscopic technology behind digital 3D, however gimmicky the final product, is enough to warrant a place on Rodowick’s timeline.
The 2000s not only featured changes to film production but also to film distribution and consumption. The rise of the internet dramatically altered the way people consumed film, gone was the “inconvenience” of going to a cinema or waiting for something on DVD or VHS, given a couple of days a camcorder recording would be placed online to download and given a couple of months a DVD rip will be available. The main location of illegal downloads, The Pirate Bay, launched in 2003 alongside other similar torrent sites. The rise of torrenting and file sharing sites coincides with a decrease in physical media sales; the film industry was subsequently forced to legislate and innovate (Danaher et al 2010). One way the film industry adapted was to decrease the amount of time between theatrical release and DVD release, but the main way Hollywood responded was through the increase in digital distribution.
With increases in bandwidth and data caps, video content became easily transferable across the internet, video-on-demand sites began appearing, as did the use of video streaming sites to distribute trailers, perhaps most famously The Phantom Menace trailer in 1999. In the late 2000s and 2010s cinema attendance began to decrease, this has been attributed to the downturn in the economy, inflation of ticket prices, the increase in mobile phones (which are an annoyance in the cinema, but also allow the immediate sharing of opinions on social media which could drive people away from bad films), and of course the ease of access of films online (Corrigan 2012).
In response online distribution increased rapidly, sites such as Netflix and iTunes appeared as people abandoned physical media, instead building ‘cloud’ libraries. Sites like YouTube and Vimeo were developed so that amateur and independent filmmakers could easily distribute their work. Previously dead areas of cinema, such as exploitation, found a new audience with films such as Sharknado (2013) becoming a massive success with aide from social media.
The decade and a half since Rodowick’s timeline ends has seen some of the most important changes in the history of Hollywood, a digitization of the traditional world. I’m drawn back to Rodowick’s statement about the ‘decentering of the theatrical film experience’, it would appear that since writing those words cinema has undergone even further decentering. Changes within production, distribution and particularly the methods of consumption have made the cinema of today, a different but familiar experience, one that will continue to evolve into the distant future.
1. Motion capture refers to the digital capture of an actor’s movements, which then provide the framework for a character to be animated around. Motion capture has been present in Hollywood since the 30’s with Disney filming actress’s movements to be animated over to create Snow White’s movement, Motion capture as it is used in this essay specifically refers to digital capture.
2. Although Attack of the Clones is widely considered the first entirely digitally shot feature there are in fact multiple digital films filmed before it. Such as Once upon a Time in Mexico (released 2003), Vidocq (2001), Jackpot (2001) and Russian Ark (2002).
Bibliography
Corrigan, T 2012, American Cinema of the 2000s, Rutgers University Press.
Danaher, B, Dhanasobhon, S, Smith, M & Telang, R 2010, ‘Converting Pirates Without Cannibalizing Purchasers: The Impact of Digital Distribution on Physical Sales and Internet Piracy’, Marketing Science, vol. 29, no. 6, pp. 1138 – 1151.
Edelstein, D 2006, ‘Now playing at your local multiple: torture porn’, New York Magazine, Pub. February 6 2006, <http://nymag.com/movies/features/15622/>.
Mitchell, R 2004, ‘The Tragedy of 3D Cinema’, Film History, John Libbey Publishing.
Neale, S & Smith, M 2013,Contemporary Hollywood Cinema, Routledge, USA.
Nelson, J 2011, ‘Emerging filmmaking methodologies in the virtual space’, Amity Journal of Media & Communication Studies, vol.1, no. 2, p.34-38.
Rodowick, D.N 2007, The Virtual Life of Film, Harvard Universty Press, Cambridge, London
Thompson, K 2007, The Frodo Franchise: The Lord of the Rings and Modern Hollywood, University of California Press, USA.
Filmography
Attack of the Clones (George Lucas, 20th Century Fox, 2002)
Avatar (James Cameron, 20th Century Fox, 2009)
Batman Begins (Christopher Nolan, Warner Brothers, 2005)
Captain America (Joe Johnston, Paramount Pictures, 2011)
Fantasia 2000 (Various, Buene Vista Pictures, 2000)
Harry Potter and the Deathly Hallows – Part 1 (David Yates, Warner Brothers, 2010)
Harry Potter series (Christopher Columbus, Alfonso Cuaron, Mike Newell, David Yates, Warner Brothers, 2001 – 2011)
Hostel (Eli Roth, Lionsgate, 2005)
Human Centipede (Tom Six, IFC Films, 2009)
Hunger games series (Gary Ross, Francis Lawrence, Lionsgate, 2012 – 2015)
Iron Man (Jon Favreau, Paramount Pictures, 2008)
Jackpot (Michael Polish, Sony Pictures Classics, 2001)
Once upon a Time in Mexico (Robert Rodriguez, Columbia Pictures, 2003)
Russian Ark (Alexander Sokurov, Wellspring Media, 2002)
Saw Series (James Wan, Darren Lynn Bousman, David Hackl, Kevin Greutert, Lionsgate, 2004 – 2010)
Sharknado (Anthony Ferrante, The Asylum, 2013)
Spiderman (Sam Raimi, Columbia Pictures, 2002)
The Avengers (Joss Whedon, Walt Disney Studios, 2012)
The Dark Knight (Christopher Nolan, Warner Brothers, 2008)
The Dark Knight Rises (Christopher Nolan, Warner Brothers, 2012)
The Hobbit Trilogy (Peter Jackson, Warner Brothers, 2012 – 2014)
The Hunger Games: Mockingjay Part 1 and 2 (Francis Lawrence, Lionsgate, 2014 -2015)
The Incredible Hulk (Louis Leterrier, Universal Pictures, 2008)
The Lord of the Rings (Peter Jackson, New Line Cinema, 2001 – 2003)
The Lord of the Rings: The Two Towers (Peter Jackson, New Line Cinema, 2002)
The Phantom Menace (George Lucas, 20th Century Fox, 2000)
Thor (Kenneth Branagh, Paramount, 2011)
Twilight series (Catherine Hardwicke, Chris Weitz, David Slade, Bill Condon, Summit Entertainment, 2008 - 2012)
Twilight: Breaking Dawn Part 1 and 2 (Bill Condon, Summit Entertainment, 2011 – 2012)
Veronica Mars (Rob Thomas, Warner Brothers Pictures, 2014)
Vidocq (Pitof, Lionsgate, 2001)
Wish I was Here (Zach Braff, Focus Features, 2013)
X-men (Bryan Singer, 20th Centruy Fox, 2000)
Rodowick questions the future of cinema, wondering if celluloid is doomed to fade away, Rodowick continually questions the authenticity of digital film explaining celluloid as a physical recording of an event through a photochemical reaction whereas digital video produces an artifact that is nothing more than a computational notation of 0’s and 1’s. Rodowick describes this evolution as a ‘decentering of the theatrical film experience’ where traditional media practices are supplanted by digital innovation and a film can be reduced to a token of numbers.
To demonstrate this progression from analogue to digital Rodowick details a timeline in which he lists the major technological and industrial innovations within the film industry. The timeline ending in the year 2000 is now incomplete; cinema has continued to evolve with innumerable changes. This essay will attempt to add onto Rodowick’s timeline, from the years 2000 to 2014, outlining the major changes to cinema within the areas of film production, distribution and consumption.
Changes to the production of films can be divided into two areas, that of economic and industrial changes and that of technological advances. The first topic I wish to address is Hollywood’s increased focus on franchises in the early 2000s, specifically book series adaptions such as Harry Potter: 2001 to 2011 consisting of eight films, Twilight: 2008 to 2012 consisting of five films, Hunger Games: 2012 to 2015 consisting of 4 films and The Lord of the Rings: 2001 to 2003 consisting of three films. The increased production of book to film franchises reflects Hollywood’s attempts to capitalize on previously established media, one with a recognized fan base who will flock to see any content related to their fandom (Thompson 2007). In terms of major production focuses within Hollywood during the 2000s/2010s, the emergence and domination of franchising deserves to be put on Rodowick’s timeline.
It is through this fan devotion that Hollywood’s next tactic arose, splitting a book into multiple films. Beginning in 2010 with Harry Potter and the Deathly Hallows – Part 1, Hollywood began adopting the practice of maximizing box office profits per book with the knowledge that fans would continue to support the franchise, even though they were technically being exploited. This trend continued with films such as Twilight: Breaking Dawn Part 1 and 2 (2011 and 2012 respectively), The Hunger Games: Mockingjay Part 1 and 2 (2014 and 2015 respectively) and The Hobbit Trilogy (2012 – 2014), which squeezed three films from one novel.
Franchises of the 2000s were not solely adaptions of young adult novels; with new franchises emerging within the horror/thriller genre, often focusing on torture, leading critic David Edelstein (2006) to coin a new genre “torture porn” to cover franchises such as Hostel (3 films, 2005 – 2011), Saw (7 films, 2004 – 2010) and Human Centipede (2 films, 2009 – 2011). The 2000s also saw a resurgence of the comic book film. Beginning with Bryan Singer’s X-men (2000) and Sam Raimi’s Spiderman (2002) and evolving into urban realism with Christopher Nolan’s Batman Begins (2005), the latter half of the 2000s and early 2010s saw an explosion of comic book films particularly within the Marvel Cinematic Universe with films such as Iron Man (2008), The Incredible Hulk (2008), Captain America (2011), Thor (2011) forming a campaign previously unseen in Hollywood, one where a series of standalone films would culminate in a major blockbuster, The Avengers (2012).
This campaign by Marvel and Disney marks an evolution in the Hollywood production cycle, where films are not only standalone entertainment pieces but also act as a franchise promotion, by having character and plot crossovers. The result of which is an audience invested in how things connect and the overall story, meaning they will go and see multiple films in a franchise, even ones they are not heavily interested in, just to stay in the loop.
The next point regarding film production that I would add to Rodowick’s timeline is the development of online crowdsourcing platforms, such as Kickstarter (launched 2009) and Indiegogo (launched 2008). Crowd sourcing has provided a revival for the independent film industry and an avenue for growth in the amateur film industry. With the Hollywood studio system maintaining such a tight hold on film production, independent filmmakers are starting to skip the studio system and gain funding directly from their audience. Kickstarter has recently proved its effectiveness with crowd funded productions such as Zach Braff’s 2013 film Wish I was Here and the film adaption of the cancelled TV show Veronica Mars (2014). Crowd funding is important to address as it gives power to the creator and the consumer in an era where Hollywood’s fixation on accessibility, remakes and sequels are arguably stifling innovation and creative control (Nelson 2011).
In addition to the industrial and economic evolutions of film production mentioned above, the 2000s and 2010s have also presented numerous technological changes, of which the most important and influential should be added to the timeline. The first major technological advancement came in the early 2000s, with real time motion capture. Motion capture was first successfully implemented within Peter Jackson’s 2002 film The Lord of the Rings: The Two Towers, where the character of Gollum was brought to life, and revolutionized 3d computer generated characters.(1) The next major technological evolution also occurred in 2002 with George Lucas’s Attack of the Clones, this film was the first to be completely shot and projected digitally,2 a practice that would become standard in the future of Hollywood.
While digital cinematography was becoming standardized across Hollywood for its practicality and inexpensive nature, some directors sharing opinions similar to Rodowick above, continued to embrace analogue film supporting and utilizing developments of celluloid; this brings us to the emergence of IMAX. In contrast to traditional 35mm film, IMAX negatives are 70mm providing a substantially higher resolution. IMAX which was traditionally used for documentary and short entertainment films, reminiscent of Cinerama short films of the 1950s, was first employed in a theatrical film for Disney’s animated feature Fantasia 2000 (2000), the first live action feature film to utilize IMAX was Christopher Nolan’s 2008 film The Dark Knight, which contained 30 minutes of IMAX footage. To this date no film has been completely shot in IMAX 70mm the closest is The Dark Knight Rises (2012) with over an hour of IMAX footage, the technology remains difficult to employ with issues regarding the weight, size and noise of the camera, and the price of the film stock (Neale & Smith 2013). IMAX is important to note and add to the timeline as it stands as defiance to the increasing digitization of film production, and as a testament to the grandiose nature of cinema.
As IMAX refers to film technology of the 1950s, such as Cinerama, so does the next technological development: digital 3D. 3D, once seen as a gimmick in 1950s cinema to draw people away from television, is still seen as a gimmick to draw people away from television (Mitchell 2004). James Cameron’s 2009 film Avatar generated a craze becoming the highest grossing film of all time and reigniting Hollywood’s interest in 3D, perhaps not as a way for filmmakers to express their creative vision but certainly as a way to charge more per ticket. The stereoscopic technology behind digital 3D, however gimmicky the final product, is enough to warrant a place on Rodowick’s timeline.
The 2000s not only featured changes to film production but also to film distribution and consumption. The rise of the internet dramatically altered the way people consumed film, gone was the “inconvenience” of going to a cinema or waiting for something on DVD or VHS, given a couple of days a camcorder recording would be placed online to download and given a couple of months a DVD rip will be available. The main location of illegal downloads, The Pirate Bay, launched in 2003 alongside other similar torrent sites. The rise of torrenting and file sharing sites coincides with a decrease in physical media sales; the film industry was subsequently forced to legislate and innovate (Danaher et al 2010). One way the film industry adapted was to decrease the amount of time between theatrical release and DVD release, but the main way Hollywood responded was through the increase in digital distribution.
With increases in bandwidth and data caps, video content became easily transferable across the internet, video-on-demand sites began appearing, as did the use of video streaming sites to distribute trailers, perhaps most famously The Phantom Menace trailer in 1999. In the late 2000s and 2010s cinema attendance began to decrease, this has been attributed to the downturn in the economy, inflation of ticket prices, the increase in mobile phones (which are an annoyance in the cinema, but also allow the immediate sharing of opinions on social media which could drive people away from bad films), and of course the ease of access of films online (Corrigan 2012).
In response online distribution increased rapidly, sites such as Netflix and iTunes appeared as people abandoned physical media, instead building ‘cloud’ libraries. Sites like YouTube and Vimeo were developed so that amateur and independent filmmakers could easily distribute their work. Previously dead areas of cinema, such as exploitation, found a new audience with films such as Sharknado (2013) becoming a massive success with aide from social media.
The decade and a half since Rodowick’s timeline ends has seen some of the most important changes in the history of Hollywood, a digitization of the traditional world. I’m drawn back to Rodowick’s statement about the ‘decentering of the theatrical film experience’, it would appear that since writing those words cinema has undergone even further decentering. Changes within production, distribution and particularly the methods of consumption have made the cinema of today, a different but familiar experience, one that will continue to evolve into the distant future.
1. Motion capture refers to the digital capture of an actor’s movements, which then provide the framework for a character to be animated around. Motion capture has been present in Hollywood since the 30’s with Disney filming actress’s movements to be animated over to create Snow White’s movement, Motion capture as it is used in this essay specifically refers to digital capture.
2. Although Attack of the Clones is widely considered the first entirely digitally shot feature there are in fact multiple digital films filmed before it. Such as Once upon a Time in Mexico (released 2003), Vidocq (2001), Jackpot (2001) and Russian Ark (2002).
Bibliography
Corrigan, T 2012, American Cinema of the 2000s, Rutgers University Press.
Danaher, B, Dhanasobhon, S, Smith, M & Telang, R 2010, ‘Converting Pirates Without Cannibalizing Purchasers: The Impact of Digital Distribution on Physical Sales and Internet Piracy’, Marketing Science, vol. 29, no. 6, pp. 1138 – 1151.
Edelstein, D 2006, ‘Now playing at your local multiple: torture porn’, New York Magazine, Pub. February 6 2006, <http://nymag.com/movies/features/15622/>.
Mitchell, R 2004, ‘The Tragedy of 3D Cinema’, Film History, John Libbey Publishing.
Neale, S & Smith, M 2013,Contemporary Hollywood Cinema, Routledge, USA.
Nelson, J 2011, ‘Emerging filmmaking methodologies in the virtual space’, Amity Journal of Media & Communication Studies, vol.1, no. 2, p.34-38.
Rodowick, D.N 2007, The Virtual Life of Film, Harvard Universty Press, Cambridge, London
Thompson, K 2007, The Frodo Franchise: The Lord of the Rings and Modern Hollywood, University of California Press, USA.
Filmography
Attack of the Clones (George Lucas, 20th Century Fox, 2002)
Avatar (James Cameron, 20th Century Fox, 2009)
Batman Begins (Christopher Nolan, Warner Brothers, 2005)
Captain America (Joe Johnston, Paramount Pictures, 2011)
Fantasia 2000 (Various, Buene Vista Pictures, 2000)
Harry Potter and the Deathly Hallows – Part 1 (David Yates, Warner Brothers, 2010)
Harry Potter series (Christopher Columbus, Alfonso Cuaron, Mike Newell, David Yates, Warner Brothers, 2001 – 2011)
Hostel (Eli Roth, Lionsgate, 2005)
Human Centipede (Tom Six, IFC Films, 2009)
Hunger games series (Gary Ross, Francis Lawrence, Lionsgate, 2012 – 2015)
Iron Man (Jon Favreau, Paramount Pictures, 2008)
Jackpot (Michael Polish, Sony Pictures Classics, 2001)
Once upon a Time in Mexico (Robert Rodriguez, Columbia Pictures, 2003)
Russian Ark (Alexander Sokurov, Wellspring Media, 2002)
Saw Series (James Wan, Darren Lynn Bousman, David Hackl, Kevin Greutert, Lionsgate, 2004 – 2010)
Sharknado (Anthony Ferrante, The Asylum, 2013)
Spiderman (Sam Raimi, Columbia Pictures, 2002)
The Avengers (Joss Whedon, Walt Disney Studios, 2012)
The Dark Knight (Christopher Nolan, Warner Brothers, 2008)
The Dark Knight Rises (Christopher Nolan, Warner Brothers, 2012)
The Hobbit Trilogy (Peter Jackson, Warner Brothers, 2012 – 2014)
The Hunger Games: Mockingjay Part 1 and 2 (Francis Lawrence, Lionsgate, 2014 -2015)
The Incredible Hulk (Louis Leterrier, Universal Pictures, 2008)
The Lord of the Rings (Peter Jackson, New Line Cinema, 2001 – 2003)
The Lord of the Rings: The Two Towers (Peter Jackson, New Line Cinema, 2002)
The Phantom Menace (George Lucas, 20th Century Fox, 2000)
Thor (Kenneth Branagh, Paramount, 2011)
Twilight series (Catherine Hardwicke, Chris Weitz, David Slade, Bill Condon, Summit Entertainment, 2008 - 2012)
Twilight: Breaking Dawn Part 1 and 2 (Bill Condon, Summit Entertainment, 2011 – 2012)
Veronica Mars (Rob Thomas, Warner Brothers Pictures, 2014)
Vidocq (Pitof, Lionsgate, 2001)
Wish I was Here (Zach Braff, Focus Features, 2013)
X-men (Bryan Singer, 20th Centruy Fox, 2000)