Production and distribution:

Universal Pictures announced that they were going to release a sequel to 'Johnny English' in April 2010 seven years following the first film. Universal funded the film which came to $45 million and made a total of $159,270,879 in the Box Office.

Universal Pictures have produced a massive amount of films since it was founded in 1912 by Carl Laemmle. Films such as Jurassic Park, Babe, American Pie, The Bourne Identity, Nanny McPhee and Despicable me.

 

English Distributor (Released)	Universal International Pictures
Production	Universal Pictures
Foreign Distributor (Released)	Universal Pictures
Production	Working Title Films
Production	Hassen Brahiti / Studio Canal
Production	Relativity Media

 

Cast

• Rowan Atkinson as MI7 Agent Sir Johnny English Rowan Sebastian Atkinson (born 6 January 1955) is a British actor, comedian, and screenwriter. He is most famous for his work on the satirical sketch comedy show Not The Nine O'Clock News, and the sitcoms Blackadder, Mr. Bean and The Thin Blue Line. He has been listed in The Observer as one of the 50 funniest actors in British comedy,^[4] and amongst the top 50 comedians ever in a 2005 poll of fellow comedians.^[5] He has also had cinematic success with his performances in the Mr. Bean movie adaptations Bean and Mr. Bean's Holiday and in Johnny English and its sequel Johnny English Reborn. He also starred in the film Never Say Never Again (a spy film based on the James Bond novel Thunderball) in 1983.
• Gillian Anderson as MI7 Head Pamela Thornton (codenamed "Pegasus") Gillian Leigh Anderson (born August 9, 1968) is an American actress. After beginning her career in theatre, Anderson achieved international recognition for her role as Special Agent Dana Scully on the American television series The X-Files. Her film work includes The House of Mirth (2000), The Mighty Celt (2005), The Last King of Scotland (2006), and two X-Files films, The X-Files (1998) and The X-Files: I Want to Believe (2008).
• Rosamund Pike as Kate Sumner, MI7's behavioural psychologist and English's love interest.Rosamund Mary Elizabeth Pike (born 27 January 1979) is a British actress. Her film roles include villainous Bond girl Miranda Frost in Die Another Day, Jane Bennet in Pride and Prejudice, Helen in An Education, Lisa in Made in Dagenham, Miriam Grant-Panofsky in Barney's Version and Kate Sumner in Johnny English Reborn.
• Dominic West as Simon Ambrose, a high-ranking MI7 field agent who is actually one of the three founding members of Vortex. Ambrose, codenamed Agent One, regards English with disdain. Ambrose is the main antagonist of the movie.
• Daniel Kaluuya as Agent Tucker,^[5] English's youthful sidekick and the logical thinker of the two
• Richard Schiff as Titus Fisher, an ex-CIA agent who turned renegade and is the first member of Vortex. It is later discovered that Fisher was the CIA agent tasked with the disposal of the mind control drug.
• Tim McInnerny as Patch Quartermain, MI7 agent and inventor (the equivalent of "Q" from the 007 films).
• Mark Ivanir as Artem Karlenko (alias Sergei Pudovkin), a Russian former double agent who was recruited by MI7 in Moscow, having been under the employ of the KGB. After Karlenko came over to England, he used the cover identity of Sergei Pudovkin, a man of immense wealth and a member of an exclusive golf club.
• Burn Gorman as Slater, a corrupt MI7 agent and Ambrose's accomplice
• Joséphine Baume as Madeleine, Ambrose's henchwoman.
• Pik-Sen Lim as the Killer Cleaner
• Togo Igawa as Ting Wang, a Tibetan guru and English's mentor, as well as an MI7 sleeper agent
• Stephen Campbell Moore as British Prime Minister

Crew

Produced by
Raphaël Benoliel	....	line producer: France
Tim Bevan	....	producer
Liza Chasin	....	executive producer
Chris Clark	....	producer
William Davies	....	executive producer
Eric Fellner	....	producer
Debra Hayward	....	executive producer
Chiu Wah Lee	....	line producer: Hong Kong
Ronaldo Vasconcellos	....	co-producer

Original Music by
Ilan Eshkeri

Cinematography by
Danny Cohen

Film Editing by
Guy Bensley

Casting by
Lucy Bevan

Production Design by
Jim Clay

Art Direction by
Paul Laugier
Mike Stallion

Set Decoration by
Caroline Smith

Costume Design by
Beatrix Aruna Pasztor

Makeup Department
Blake-Horváth Csilla	....	makeup artist (as Csilla Horváth)
Sallie Jaye	....	hair stylist: Mr. Atkinson
Sallie Jaye	....	makeup artist: Mr. Atkinson
Graham Johnston	....	hair and makeup designer
Gerda Lauciute	....	crowd makeup: dailies
Nicola Springall	....	hair trainee
Nicola Springall	....	makeup trainee
Pippa Woods	....	makeup artist: dailies

Production Management
Nicky Earnshaw	....	production manager
Sasha Harris	....	unit production manager: additional photography
Tim Wellspring	....	unit production manager: additional material

Second Unit Director or Assistant Director
Scott Bunce	....	second assistant director: crowd
James Chambers	....	third assistant director: additional photography
Dan Channing-Williams	....	second second assistant director
Elle Crocker	....	dailies assistant director
Sekani Doram	....	floor assistant director
Mark Hopkins	....	second assistant director (additional photography)
Ben Howarth	....	first assistant director
Timur Karamolla	....	dailies assistant director
Martin Kenzie	....	second unit director
Beatrice Manning	....	second unit second assistant director
Andrew McEwan	....	first assistant director: additional photography
Terry McShane	....	third assistant director: second unit
Alex Oakley	....	first assistant director: additional photography
Ben Quirk	....	third assistant director: daily
Gemma Louise Read	....	third assistant director: second unit
Gareth Tandy	....	first assistant director: second unit
Greg Tynan	....	additional third assistant director
Tracey Warren	....	second assistant director: additional photography
Harriet Worth	....	second assistant director
Cindy Yu	....	second assistant director

Art Department
John Allen	....	carpenter
Will Ayres	....	dressing prop
Alan Bailey	....	property master
Dan Clay	....	art department trainee
Emma Clough	....	art department assistant
Dean Coldham	....	chargehand plasterer
Mike Cuddy	....	prop storeman
Paul Duff	....	set construction supervisor
Dave Fisher	....	chargehand standby props
Dean Fisher	....	standby props
Andy Grogan	....	set production buyer
Douglas Ingram	....	storyboard artist
Peter James	....	stand-by art director
Joey Kan	....	props production assistant
Eva Kuntz	....	concept artist
Kamlan Man	....	buyer
Simon Marsay	....	art department work experience
Dominic Masters	....	supervising art director
Richard Mccarthy	....	hod plasterer
Pedro Moura	....	junior draughtsman
Sophie Neil	....	art department assistant
Nick Pelham	....	storyboard artist
Jaime Riancho	....	art department intern
Quinn Robinson	....	junior draftsman
Quinn Robinson	....	junior draughtsman
Quinn Robinson	....	stand-by art director: second unit
Nick Smith	....	carpenter
Nic Stubbings	....	dressing propman
Stephen Swain	....	assistant art director
Anthony Szuch	....	drapes master
Dan Walker	....	concept artist
Wai Yan Wong	....	set decorator: Hong Kong

Sound Department
Hugo Adams	....	foley editor
Niv Adiri	....	sound effects editor
Oliver Brierley	....	adr mixer
Jeremy Brown	....	boom operator
Simon Brown	....	sound maintenance: second unit
Sandy Buchanan	....	adr recordist
Simon Diggins	....	pro tools monkey
Gillian Dodders	....	supervising adr & dialogue editor
Glenn Freemantle	....	sound designer
Glenn Freemantle	....	supervising sound editor
Mark Holding	....	sound mixer
Adam Mendez	....	foley recordist
Emilie O'Connor	....	assistant dialogue editor
Richard Pryke	....	sound re-recording mixer
Adam Scrivener	....	assistant re-recording mixer
Ian Tapp	....	sound re-recording mixer
Keith Tinman	....	sound effects editor
Vikram Biswas	....	post-production audio (uncredited)
Robert Karlsson	....	dolby sound consultant (uncredited)
Brendan Nicholson	....	preview re-recording mixer (uncredited)

Special Effects by
James Davis III	....	special effects floor supervisor
Dean Ford	....	special effects technician
Hugh Goodbody	....	special effects technician
Karen Holt	....	special effects assistant
Mark Holt	....	special effects supervisor
David Johns	....	snow effects technician
Paul McGuinness	....	senior effects technician
Martin 'Marty' McLaughlin	....	snow effects supervisor
Richard Newman	....	trainee snow effects technician
Del Reid	....	snow effects technician
Mark Weatherbe	....	senior special effects technician

Visual Effects by
Lorenzo Angeli	....	pipeline
Thomas Ayre	....	digital restoration
Claudio Bassi	....	digital compositor: Baseblack
Jens Baylis	....	editor: visual effects
Luca Bellano	....	digital compositor
Francois Bleibel	....	pipeline
Zachary Bloom	....	scanning and recording: Framestore
Scott Bourne	....	lead digital paint & roto artist
Ronan Carr Fanning	....	digital modeller
Manjoe Chan	....	matchmove artist: Framestore
Paul Chapman	....	digital compositor: Baseblack
Chris Cooper	....	lead matchmove artist: Framestore
Amy Davis	....	digital compositor: Framestore
Robert Duncan	....	visual effects supervisor
Carl Edlund	....	digital matte painter: Framestore
Stephen Elson	....	visual effects executive producer
Péter Farkas	....	digital compositor: Baseblack
Oliver Fergusson-Taylor	....	paint & roto artist
Peter Forson	....	visual effects editor
Matt Fox	....	vfx executive producer: Framestore
Sarah Gatefield	....	junior matchmove artist: Framestore
Charlie Habanananda	....	digital grading artist
Varun Hadkar	....	digital compositor: Framestore
Will Hardwick	....	visual effects artist
Chloe Harrison	....	visual effects line producer: Framestore
Karsten Hecker	....	film mastering engineer
Frederic Heymans	....	digital compositor
Leo Hills	....	pipeline technical director: Framestore
Victoria Hodson	....	matchmove artist
Jason Horley	....	digital matte painter: Framestore
Emma Hulme	....	digital restoration
Kevin Jenkins	....	concept artist
Mikael Jaeger Jensen	....	reference photographer
Sarah Juniper	....	digital compositor
Stephanie C. Kelly	....	compositor
Jorel Latraille	....	modeller
Robbie Lee	....	visual effects editor: Baseblack
John Peter Li	....	cg supervisor
Giacomo Matteucci	....	digital compositor
Katie McCulloch	....	digital restoration
Mark Millena	....	digital paint & roto artist: Framestore
Akhila Namboodiri	....	visual effects coordinator
Bruce Nelson	....	lead compositor
Paul Nendick	....	head of technology: Baseblack
Richard Ollosson	....	visual effects producer
Guo Kun Pan	....	render support: framestore
James Parsons	....	data operator - framestore
Radhika Patel	....	matchmove artist: framestore
Manuel Perez	....	digital compositor
Kate Phillips	....	visual effects producer: baseblack
Lee Chan Popo	....	visual effects artist
Howard Protheroe	....	digital compositor: Framestore
Sagar Rathod	....	lighting technical director
Adam Redford	....	texture artist: Framestore
Marc Rice	....	paint & rotoscoping supervisor
Dominic Ridley	....	lead data wrangler
Bjarni Robert Bragason	....	digital compositor: Framestore
Philip J. Robinson	....	matchmove artist
Niels Roscher	....	rigger
Aatesh Shah	....	systems engineer: Framestore
Asa Shoul	....	digital colourist
Laurence Smith	....	digital compositor
Stephanie Jean Staunton	....	digital compositor
Martin Stegmayer	....	digital compositor: Framestore
Mirek Suchomel	....	visual effects compositor
Alexander Swann	....	digital paint & roto artist
Elena Topouzoglou	....	digital compositor
Glenn Wells	....	matchmove artist: framestore
Nick Whiteley	....	compositor: Framestore
Sammy Wu	....	lead paint & roto artist

Stunts
Gary Arthurs	....	stunt driver
Andy Bennett	....	stunts
Stephanie Carey	....	stunt driver
Tony Christian	....	stunt driver
Ben Collins	....	stunt driver
Ray De-Haan	....	stunt performer: driving sequence
Ben Dimmock	....	stunt rider
Bradley Farmer	....	stunt performer
Pete Ford	....	stunt performer
Dean Forster	....	stunt performer
Glenn Foster	....	stunts
James Grogan	....	stunt double: Rowan Atkinson
Lyndon S. Hellewell	....	stunts
Paul Herbert	....	stunt coordinator
Ian Kay	....	stunt driver
Paul Kennington	....	stunt performer
Paul Kulik	....	stunt double: Mark Ivanir
Marc Mailley	....	stunt performer
Peter Miles	....	stunts
Andy Pilgrim	....	stunt performer
Shane Steyn	....	stunt performer
Ryan Stuart	....	stunt performer
Mens-Sana Tamakloe	....	stunt double: Daniel Kaluuya
Marlow Warrington-Mattei	....	stunt double: Dominic West
William Willoughby	....	stunt performer

Camera and Electrical Department
Rene Adefarasin	....	first assistant camera
Jason Berman	....	camera operator: Phantom
Jeremy Braben	....	aerial director of photography
Ben Brown	....	central loader
Peter Byrne	....	first assistant camera: "a" camera
Abigail Catto	....	second assistant camera: "a" camera
Chris Cavanagh	....	video playback assistant
Wailoon Chung	....	additional electrician
Stevie Cook	....	rigging gaffer
Sebastian Cort	....	camera trainee
Martyn Culpan	....	video assistant: second unit
Damian Daniel	....	additional camera operator
Tim Dean	....	libra head technician
Steven Desbrow	....	aerial director of photography: France
Adam Dorney	....	second assistant camera
Mike Farr	....	electrician
Mike Farr	....	lighting balloon technician
Max Glickman	....	second assistant camera
Stuart Godfrey	....	key grip: second unit
Leigh Gold	....	first assistant camera
Harlon Haveland	....	electrician
Gary Hedges	....	lighting technician
Darren Howton	....	practical electrician
Tom Hyde	....	electrician
Lizzie Kelly	....	video assist operator: second unit
Oliver Kember	....	camera trainee
Will Kendal	....	best boy
Martin Kenzie	....	director of photography: second unit
Giles Keyte	....	still photographer
Jody Knight	....	grip: "b" camera
Oliver Loncraine	....	first assistant camera
Tobias Marshall	....	second assistant camera
Guy McCormack	....	video playback operator
Paul McGeachan	....	gaffer
Danny McGee	....	practical electrician
Joe McGee	....	practical electrician
Dan Morrison	....	second assistant camera: second unit dailies
Simon Muir	....	key grip: second unit
Zac Nicholson	....	camera operator: "a" camera
Zac Nicholson	....	steadicam operator
Gary Parnham	....	electrician: second unit
David Pearce	....	camera trainee: second unit
James Perry	....	additional second assistant camera
Luc Poullain	....	aerial camera coordinator
Luke Redgrave	....	camera operator: "b" camera
Terry Robb	....	electrician
Chris Rusby	....	grip: dailies
Andrew Shields	....	video playback: second unit
Morgan Spencer	....	camera trainee
Robert Walisko	....	pursuit arm operator
Charlie Wall	....	assistant grip
Oliver Ward	....	aerial camera technician
Ben Wilson	....	additional camera operator

Casting Department
Olivia Scott-Webb	....	casting assistant

Costume and Wardrobe Department
Daryl Bristow	....	wardrobe supervisor
Péter Palotás	....	dresser
Peter Paul	....	assistant costume designer
John Rowe	....	set costumer

Editorial Department
Freddie Hall	....	second assistant editor
Meredith Leece	....	second assistant editor
Jaime Leonard	....	on-line editor
Begoña Lopez	....	digital intermediate producer
Steve Mercer	....	first assistant editor
Ben Mills	....	dailies assistant
Supriya Naidu-James	....	second assistant editor
Matthew Tucker	....	first assistant editor
Jodie Davidson	....	colorist: dailies (uncredited)

Music Department
Nick Angel	....	music supervisor
Andy Brown	....	conductor
Andy Brown	....	contractor
Jessica Dannheisser	....	orchestrator
Tilo M. Heinrich	....	additional orchestration
Stephen McLaughlin	....	music producer
Steven Price	....	music editor
Paul Saunderson	....	music programmer
Jeff Toyne	....	music arranger
Jake Walker	....	musician
Vicki Williams	....	music co-ordinator
Steve Wright	....	music production assistant

Transportation Department
Rob Hempenstall	....	transportation captain
Hefin Jones	....	facilities driver
Kevin Jones	....	facilities driver
Rod Patterson	....	facilities captain

Other crew
Tom Ackerley	....	floor runner: second unit
Daren Bailey	....	marine coordinator
Tom Barnes	....	location assistant
George Batchelor	....	floor runner
Jeremy Bau	....	assistant location manager: second unit, France
Thom Berryman	....	media transfer engineer
Helen Bingham	....	cashier
Lottie Birmingham	....	floor runner
Charles Bodycomb	....	armorer
Jamie Bolton	....	production asset manager
Jeremy Braben	....	aerial coordinator
Shoky Carter	....	base runner
Bruno Cassoni	....	assistant location manager
Sarah Clark	....	unit publicist
Oliver Cockerham	....	assistant production coordinator
Hannah Collett	....	production coordinator: additional photography
Daniel Cox	....	floor runner: additional photography
Melanie Dicks	....	environmental consultant
Chloe Dorigan	....	assistant: Tim Bevan
Cathy Doubleday	....	script supervisor: second unit
Janie Dowding	....	assistant: Oliver Parker
Lucy Drury	....	floor runner: reshoot dailies
Scott Eaton	....	production coordinator: France
Dave Evans	....	additional armorer
Ian Evans	....	chief helicopter pilot
Tilly Gerrard-Bannister	....	set runner: reshoots
Jackie Gilbey	....	payroll accountant
Peter Gray	....	assistant location manager
Daniel Gulliver	....	assistant location manager
Paul Hay	....	helicopter safety
Jon Hills	....	location security/support
Dan Hillsdon	....	production accountant: UK
Richard Hooper	....	key armourer
Patrick Hopkins	....	assistant to co-producer
Michael Jupp	....	second helicopter pilot
Waléra Kanischtscheff	....	voice actor: Karlenko in german
Emma Mallett	....	production coordinator: second unit
Rachel Martin	....	production secretary
Laura Moloney	....	craft assistant
Steve Mortimore	....	location manager
Nick Page	....	set production assistant
Natasha Phelan	....	floor runner: second unit
John Prendergast	....	assistant location manager
Joel Rogers	....	trainee assistant accountant
Isaac Sananes	....	location accountant
Jeszen Shih	....	crew manager
Jack Sidey	....	production coordinator: Working Title
David A. Smith	....	production assistant: second unit
Joel Stokes	....	production runner
Oz Thakkar	....	assistant to producer
Beth Timbrell	....	production coordinator
Sheilla Tse	....	production accountant
Morag Webster	....	unit nurse
Dan Whitty	....	location manager
Marc Wolff	....	aerial coordinator: France
Nathan Woods	....	financial controller
Henry Gordon	....	floor runner: dailies/second unit (uncredited)

Marketing:

The film has been distributed by Universal Pictures,
They have used a facebook page and made an appealing interactive website to promote the film. 
There was promotions through facebook, TV promotions, radio, magazines, and posters.
The rating is a PG, and therefore this film is suitable for everyone in a family. It includes well known actors who have been used in family films before, and is humorous which appeals to a wide range.
Below the line marketing has been used as it isnt just the traditional marketing stratergies, it has included a soundtrack and prmotion through Facebook.

Exchange:
The film has been screened in all cinema's, as it has a wide range audience, and would be liked and viewed by many.
It has been viewed at all cinemas including the well-known Odeon and Cineworld.
It was exhibited in digital format, this could be because it is cheaper, and has not been specifically made to suit needs (is a blanketed audience).
The budget for this film was $45 million.

What makes this a UK film?
It is set in the UK, showing famous landmarks. It also includes many famous British actors and actresses.

What attracted it to you?
When you have watched it how does it represent UK?
Did you enjoy it?

Discuss the ways in which the extract conducts the representation of ethnicity using the following: Camera shots, angles, movement and composition. Editing, sound and mise-en-scene. 

     

The scene opens with an ariel shot from the corner of the room, as if a security camera. It is also establishing as it sets the scene, showing the audience the main participants to the clip, and the dear room that it is set in. We can see that there are thin curtains that you could see out of, but would be hard to see in, showing insecurity within the room. We can see two people being sat at the table, with their arms tied up, and can tell that these people have been held hostage. The man standing at the door with the gun shows us that whatever is happening is bad, and dangerous, as the danger of the gun is involved. Next there is a tracking shot, following an Iraqi man around the room. He has dark lighting on his face; this connotes danger for the hostages.  As the Iraqi man talks about why he has these hostages under his control, the music increases volume and is very deep, again showing danger. A long temporal shot is used for continuity. We are seen to be eye line with the captives so the camera is lifted up at an angle to show the Iraqi man, showing that he is in charge, also the camera tracks the man as he walks around the room, this shows that he is in charge and dominated over the others.

     Music is used to contribute to the narrative in the story. Throughout the whole scene, non-diegetic music is used with violin strings, which helps build tension. This sound gets louder and picks up a pace as the scene goes on, reinforcing the negativity in the scene. This series of violins is interrupted on a regular basis with a bombing noise, which is deep and explosive. This shows danger and war. The lady is being forced to read a speech, when this is occurring the music seems darker and more dangerous. The music then gets higher and creates sympathy towards the woman. A photo is then shown, beforehand the music pauses, then a loud high noise starts again, and this emphasizes the music drawn to this photo. The photo is of a white man with blood in his head, dead. This is showing the reality of what is happening in the Iraqi war. A knife is then drawn to the black hostages’ throat. Diegetic sound was deliberately loud and exaggerated as it is highlighting the danger of the situation.

     Mise-En-Scene is everything in shot, and how it is all put together to create the scene that it is. When the opening shot is shown, the location is established. We can see that there is no view out of the window due to the curtains, creating a feel of isolation, possibly trying to link back to the feel of isolation in the war. The room is big and grand which contrasts the stereo-type of the Iraqi buildings which are seen in the news etc., is has some standard plain furniture in it, this shows remoteness. The fireplace is not used, it seems abandoned and cold, this could be trying to convey the feelings of the people in the room. Lighting is used specifically well in this scene. There is a dark shadow on half of the Iraqi man’s face, this could be showing that although we know the stereotype of him is to be dangerous and negative, that he could have a positive side, and have the same feelings as the British, this dark lighting adds tension and danger. The guard standing in the room with a gun is very masculine, this adds to the stereotype of men being associated with violence. In the room there is also a object mysteriously covered with a sheet, which builds suspension as we do not know what is under there and what danger it may bring. The Iraqi man is in a suit, looking more sophisticated than the British hostages, this goes against the general stereotypes of them wearing shwarbs, however the masculine gun man at the door wears a balaclava which is stereotypical for the bad guys. There are black and olive-skinned British hostages, this is going against the stereotype of pale skinned. The black man is shown differently from the standard representation of black people on TV Dramas as he is presented as black and a good guy, as he works for MI5.

    Finally, editing is used to emphasize to the audience what is going on, and what the producers want to be portrayed. The editing is used to build enigma and gives clues to the audience about how they are meant to feel about each of the characters and towards the scene. The way that the cuts are edited together makes the scene flow much better, if this didn’t happen the atmosphere would be ruined and easily lost.  Shot-reaction-shot is used to build tension, as the audience can know what is going on by the narrative but also from seeing the reactions from the characters. There is a flash of white on a shot of the photograph for a dramatic effect. Quick movement between transitions is used to increase the pace of the scene and get the audience's heart pacing. This creates tension and suspension in the scene, and focuses most cuts on the reaction shots.

Discuss the ways in which the extract constructs representation of ethnicity using the following:

·      Camera shots/ angels/ movement

·      Lighting

·      Sound

·      Mise-En-Scene

·      Editing

In class, we watch an extract from the TV Drama Hotel Babylon. It is aimed at 15+ and is shown on TV at 9pm on a weekday.

The scene begins with a hotel manager walking in to the swimming pool area. It shows a tracking shot. We can tell that he has a very high up position in the hotel as he is wearing his black suit and positioned very straight and tall, showing superiority, however when this man is greeted by what seems an ex-friend, he acts very awkward, with obvious example of him trying to get away. The friend that he is greeted by is of a Carribean race, he uses slang words that are found in that language. To the audience he is looked down on, as the character (the manager) is liked by the audience, and it seems as though the other guy is making the manager feel awkward, and not wanting to be there.
Another race shown in the clip is in the kitchen, it shows an italian man, and a british. Using the italian guy is very stereotypical as they are known for their italian food. He insults the english chef by calling him a 'British pig'. We can see that they obviously have a past together due to the realtionship we see, however we can also tell that they discrimminate against each other due to their different nationalities, as we can see due to the insults. As the argument progresses, as does the music, it becomes a lot louder and helps build the tension. The italian chef is wearing black, which connotes evil and this makes the audience know that they should not be liking this chef.
Next we hear music, it is coming from a room in the hotel. Two polish women walk in, one being very outgoing and one being the opposite. They are portrayed as poor to the audience as they are stripping and dancing to a sexual french song, when they don't want to do it. One of the maids is wearing white underneath (connotating purity and goodness) and the other black, along with the white underwear she has a cross neclace on, it is obvious she doesn't want to be doing this.
The Japanese is seen to be rich and a tourist (stereotypical) as he is staying in a hotel there and the maids make a comment about him being a top customer. Japanese are known to be the tourists around the UK.
Later the immigration officers come in, and all the immigrants are hidden away, this is a major part of the scene which the camera's are seen to be looking down at them, as they are against the law. A hotel manager also helps them to hide, this shows she has something to do with this.
All of the managers are easily seen due to their black smart suits. The more laid back memebers of staff seem to be the white british ones, wheras the others seem up tight and rushing around the hotel trying really hard. 
This clip shows a wide variety of different races and carries out their strereotypes very well.