Warp Films is an independent film production company based in Sheffield & London.

Warp Films was initially created with financial support from NESTA and had a remit to produce a number of short films.

Mark Herbert (Head of Warp Films) developed the first feature film from an idea based on a short Shane Meadows had done

on a camcorder.

NESTA (formerly NESTA, National Endowment for Science, Technology and the Arts) is an

independent charity that works to increase the innovation capacity of the UK.

To be able to explain media ownership in the film industry (level 2)To be able to analyse media ownership with reference to case studies (level 3)To be able to evaluate media ownership with reference to detailed case studies (level 4)

2004Budget = $700,000Box office = $198,081

Ranked 27th in Empire’s 100 Best British Films Ever.It earned a BAFTA nomination, was nominated for a record eight British Independent Film Awards, won the Hitchcock D’or at the Dinard Festival, and won the Southbank award for Best Film.

Warp films debut feature.

To be able to explain media ownership in the film industry (level 2)To be able to analyse media ownership with reference to case studies (level 3)To be able to evaluate media ownership with reference to detailed case studies (level 4)

Warp films second feature was their breakout success. It won Best Film at the British Independent Films Awards, the Special Jury Prize at the Rome Film Festival and Best British Film at the BAFTAs.

Plus it made a profit at the box office!

2006Budget = £1.5 millionBox office = £5,058,000

To be able to explain media ownership in the film industry (level 2)To be able to analyse media ownership with reference to case studies (level 3)To be able to evaluate media ownership with reference to detailed case studies (level 4)

To be able to explain media ownership in the film industry (level 2)To be able to analyse media ownership with reference to case studies (level 3)To be able to evaluate media ownership with reference to detailed case studies (level 4)

The film was a critical and box office success, achieving impressive numbers at the box office on its opening weekend.

It was a move towards comedy, all be it a very controversial one.

2010Budget = $1,472,500Box office = $4,658,470

To be able to explain media ownership in the film industry (level 2)To be able to analyse media ownership with reference to case studies (level 3)To be able to evaluate media ownership with reference to detailed case studies (level 4)

2010Budget = £1.2 millionBox office = £2.03 million

Warp clearly makes films for a British audience, that do not

conform to mainstream standards.

How does this directly contravene the Working Title model?

Does this present a different blueprint for British Cinema?

Submarine was made in association with Film4 and was distributed in the UK by Optimum Releasing and in the US by The Weinstein

Company.

To be able to explain media ownership in the film industry (level 2)To be able to analyse media ownership with reference to case studies (level 3)To be able to evaluate media ownership with reference to detailed case studies (level 4)

The company has quietly become a creative powerhouse by making films that range from gritty dramas to quirky rom-coms to

graphic thrillers.

Often acclaimed by critics and award judges, the relatively low-budget productions are not aiming for commercial success, but

nor are they lacking in ambition.

Rather than plumping for a formula involving gangsters or plucky underdogs with floppy fringes, the only thing connecting Warp's

films is that each is the product of a distinctive artistic vision.

Warp came about due to a £20,000 grant from Screen Yorkshire and have now managed to be financially independent and not rely

on external funding.

To be able to explain media ownership in the film industry (level 2)To be able to analyse media ownership with reference to case studies (level 3)To be able to evaluate media ownership with reference to detailed case studies (level 4)

Warp is admired in the film industry for the way it has grown while staying true to its independent vision, according to

Wendy Mitchell, news editor of industry bible Screen Daily.

"It has been - and continues to be - a huge supporter of new British talents and has made some of the boldest British films

in recent memory," she says.

To be able to explain media ownership in the film industry (level 2)To be able to analyse media ownership with reference to case studies (level 3)To be able to evaluate media ownership with reference to detailed case studies (level 4)

To be able to explain media ownership in the film industry (level 2)To be able to analyse media ownership with reference to case studies (level 3)To be able to evaluate media ownership with reference to detailed case studies (level 4)