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Door #2:  Independent films tell stories that could not possibly be told in blockbuster form.  Inspired by true events, Honeytrap tells the story of a 15-year-old girl, Layla, who sets up a loverlorn boy by leading him into a brutal gangland killing.  It’s a tough subject.  And one told from a girl’s perspective (Layla is played by Skins actress Jessica Sula).  Thus, the studio bigwigs  will need to see it to believe it.  Hence why they’re making it first, then selling it.  And making camera hire for independent films so easy is how we help guarantee it gets seen.  (It has been pre-sold to Anchor Bay for the UK, Australia and New Zealand, by the way.)

Door #3: The social value of the work, for which Rebecca is well known. Honeytrap is providing disadvantaged London youth with first-hand experience behind and in front of the camera. We’re talking 30 apprenticeships to young people from the Brixton area—the people who have been and continue to be worst affected by the issues explored in the film.

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It can be argued that Honeytrap was too focused in its local audience and as a result was fated to suffer nationally and globally. The input of a global institution would have made the film more accessible

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spectre was filmed in Austria, Mexico City, Morocco, London, and Rome targeting a global audience because spectre interwined other cultures into the film making it more of a relateable film for global audiences.

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Sacha Baron Cohen et al caused great offence to the people of Grimsby due to its presentation of both the locals and north England. The feared international audiences would believe such representations. This is a perfect example of the issues raised when a global institution targets a specific, local audience

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When Spectre was being released it was released in a stagger way; starting in the UK and finishing in the USA.

An issue from this is that two large American companies (MGM and Colombia)  were involved with the making of Spectre and also they own the company and therefore they may feel angered and left out as they were a big part of production and distribution, however the American audience was left until last, making them feel as though they are the least important.

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Aston Martin DB10; one of James bonds best known sports cars in the Aston Martin DB5, which made its debut in "goldfinger" and was outfitted with a rear- facing water cannon and jetpack in the trunk for "thunderball." The DB10 was custom-produced for spectre  and features a rear-facing flamethrower plus other options. a less high tech type of flamethrower equipped car won a tongue in cheek Ig nobel prize in 1999 and inspired the invention on the flamethrower motor scooter.
Aston Martin is a british car brand, promoting the British car industry therefore targeting a british national audience. landrover was also used in the film and fiat which is an Italian brand which can then target the global market as they used the fiat in scenes based in Italy.

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However, by releasing Spectre initially in the UK, the film was guaranteed a positive reception that then spread worldwide as the reviews an box office reports filtered oit

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National productions like Spectre provide work for British studios, actors, directors, editors etc which they would not necessarily be provided to them globally. Many argue that this is unjust as global workers should be allowed to partake in British cinema but, if global institutions hadn't expressed so much interest in British cinema it would not be doing as well as it currently is

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Worldwide, Britain people are viewed as being high class, sophisticated and well spoken. As a result they are very popular (ie Benedict Cumberbatch) with global audiences. Using such people in the press tours for films like Spectre induced hype. This method would not have worked for Honeytrap as the featured actors etc do not fit the British stereotype.

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"I was overcome by people from all over the US telling me that, despite its London-centricities, Honeytrap told a story they recognised too."

However we now know that Honeytrap didn't make as big a splash as Johnson wanted, due to the fact that on a larger scale, Americans cannot relate to the storyline and situation as much as a British audience could.
This is because the film was made more for a British audience - with the input of a global institution, the film would have been more likely to become successful worldwide.