Production
The budget for Cradle of Life was just under $100 million (lower than the first film) and like the first film, it was financed through Tele-München Gruppe. The picture was also distributed internationally by Japanese company Toho-Towa.
Filming lasted for three and a half months, which included six-day shoots on location in Hong Kong, Santorini, Llyn Gwynant in North Wales (doubling for mainland China), and a two-week stint in Kenya for shooting at Amboseli and Hell's Gate, with the remainder of the picture filmed on soundstages in the UK. The film was banned in China (save for Hong Kong and Macau) after the government complained that it portrayed their country as lawless and "overrun with secret societies". One scene in the movie was set in Shanghai, but it was shot on a set and not on location.
Cradle of Life also featured the new 2003 Jeep Wrangler Rubicon, first seen when Lara parachutes into the moving vehicle in Africa and takes over the wheel from Kosa. As part of Jeep's advertising campaign, it was specially customised for the film by Jeep's design team along with Cradle of Life production designers, with three copies constructed for filming. 1,001 limited-run Tomb Raider models were produced—available only in silver like the film version and minus its special customisations—and put on the market to coincide with the release of the film. Jeep vice president Jeff Bell explained, " is more than just a product placement the Jeep Wrangler Rubicon is the most capable Jeep ever built, so the heroic and extreme environment in which Lara Croft uses her custom Wrangler Rubicon in Tomb Raider is accurate." In the end, Lara's Rubicon had less than two total minutes of screen time in the finished film.
Read more about this topic: Lara Croft Tomb Raider: The Cradle Of Life
Famous quotes containing the word production:
“The production of too many useful things results in too many useless people.”
—Karl Marx (1818–1883)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I can’t see it any other way. In that sense human nature kinda goes backwards. It’s a step backwards. You have to realize the people weren’t quite ready for a socialist production system.”
—Gus Hall (b. 1910)