The Stuart Hall Project (John Akomfrah, 2013)

Who we are

As the lead organisation responsible for the cultural, creative and economic aspects of film in the UK, the BFI’s mission is to ensure that film is central to our cultural life. We do this by:

– Growing the next generation of filmmakers and audiences – Connecting audiences to the widest choice of British and World cinema – Preserving and restoring the most significant film collection in the world for today and future generations – Championing emerging and world class filmmakers in the UK through investing in creative, distinctive and entertaining work – Promoting British film, talent, skills, facilities and services to the world

Our strategic plan for 2012–2017 is set out in Film Forever and covers all BFI activity. Our work is funded by a mix of Government Grant in Aid (GiA), Lottery and our own earned income including fundraising and new entrepreneurial activity. We are a registered charity governed by a Royal Charter and a distributor of Lottery funds for film.

Cover: Pride (Matthew Warchus, 2014) UNLOCKING FILM contents HERITAGE FOR EVERYONE IN THE UK TO ENJOY BY INTRODUCTION INVESTING IN PAGE 4 PRESERVATION, DIGITISATION, INTERPRETATION AND ACCESS

PAGE 40 Page 40

SUPPORTING THE FUTURE SUCCESS OF BRITISH FILM BY INVESTING IN FILM DEVELOPMENT, PRODUCTION, TALENT AND SKILLS Page 8 Page 28 PAGE 28

EXPANDING HELPING TO MAKE EDUCATIONAL A DIFFERENCE: OPPORTUNITIES Leadership AND BOOSTING and advocacy AUDIENCE CHOICE PAGE 48 ACROSS THE UK

Education PAGE 6 Audiences FUNDRAISING PAGE 8 AND PHILANTHROPY Page 52 Page 6 PAGE 52 We are concerned that emerging talent The launch of BFI Player in October 2013 the €1.46 billion the Creative Europe introduction and creativity particularly outside the represented one of those great defining programme has to support film capital should not be overlooked, or lost, moments for the BFI, perhaps the most professionals – producers, distributors due to lack of opportunity. A number of important since the opening of the and cinema exhibitors – over the next initiatives have been set up to address National Film Theatre in 1957. While seven years. this danger – the BFI Film Academy, we always aim to place our content on (which this year expanded into as many digital platforms as possible, We are expanding the size of the Scotland, Wales and Northern Ireland); BFI Player allows us for the first time to Certification Unit to manage the the new emerging talent NET.WORK involve audiences right across the UK in increased applications being received set up in collaboration with Creative the whole of our programmes, activities as a result of the new tax reliefs for England, Creative Scotland, Film Agency and archives as well as providing a high-end television, animation and There is a great sense of momentum as China, the biggest growing market for Wales, Northern Ireland Screen and much-needed new income stream. games and we are running workshops we start to deliver what our audiences for film and television sales in the Film London to support upcoming talent In parallel with the Unlocking Film and surgeries UK-wide. In addition, and industry colleagues have asked world, helped also by a major year-long and develop projects, and a number of Heritage programme that will digitise we are undertaking research to start for. Film, overall, was helped this year cultural exchange between the BFI and specific funds for short films around 10,000 archive titles from the BFI and to determine what support might be by new announcements from the China. The British Film Commission the UK. Our partners Creative Skillset other significant UK archives and needed to maximise the economic Chancellor which strengthened the film has helped the UK attract more than also successfully secured £16 million collections, BFI Player will allow potential of the new tax reliefs. tax relief and introduced new reliefs for £850m of inward investment for film from Government to invest in skills viewers to experience and enjoy animation and high-end TV. (The tax production and a further £150m for development across film, high-end TV, a greater choice of cultural riches There is a new buoyancy to the film relief for video games was subsequently high-end television, using the new animation, games and VFX, addressing from the BFI programme and the and television sector and with it come approved by the European Commission UK tax reliefs. current and future skills gaps in the Film Audience Network. It is already new expectations. Our greatest in April 2014). With so many British sectors and in key city regions. We providing a platform to showcase challenge and concern in the future films and British talent nominated The future of British film depends upon have re-energised the Vision Awards British films. is meeting these expectations in the for Oscars and BAFTAs – and winning our ability as a nation to identify the which together with similar initiatives context of a funding environment that, them – there is a sense of confidence next generation of talent. We know that delivered by Creative England seek to We also provide leadership and as with all other publicly-funded and purpose. people who regularly enjoy film when provide seed funding to promising SMEs. practical support for the UK film sector organisations, is set to decrease over they are young are three times more where we can add real value to the the coming years. This is a trend we The international success and likely to be committed consumers of Film Forever recognised that a prosperous work of others. One such serious issue do not see being reversed in the recognition of British film in 2013-14 film as adults or seek a career in the film industry requires a vibrant film was a proposed change in the European medium term. Our recent record of was impossible to ignore. In a time of film industry. As writer of Gone Too audience; this plan is the first in many Commission’s rules governing the use developing new and inventive revenue heightened international competition, Far Bola Agbaje said, ‘If you ignite that years that has growing audiences as a of State Aid for film which, if enacted, streams in parallel with driving down UK film proved itself to be a truly global spark in the young, you create a fire strategic priority to benefit audiences would have hugely damaged UK Film, costs is very strong. We recognise that business and driver for growth. British that will burn forever’. and the industry alike. We have set up a both culturally and economically. our biggest task over the next 12 film’s continued success depends on range of schemes to re-energise cinema We led negotiations in Europe on months is to give serious consideration its ability to maintain a strong global Launched this year and funded by activism at a more local level, and new behalf of the UK so that changes in to the years ahead and to work out how position and our new International BFI Lottery, Into Film is the boldest initiatives with the main cinema circuits the Cinema Communication in 2013 to manage with less public funding to Strategy has identified and agreed with initiative ever to make sure that to offer a wider, more adventurous film ensured that the film tax reliefs and ensure that all our activities – our the main UK partner agencies and film plays a central role in the lives programme all round. This year our major Lottery money for film production cultural programmes, our support industry stakeholders a set of priority of young people. Led by some of the cultural blockbuster programme Gothic: in the UK could continue to operate for the industry, our international territories for partnerships and growth most influential leaders in the UK The Dark Heart of Film was delivered on effectively and efficiently. activities and our very precious following a forensic analysis of the film industry, Into Film is drawing multiple platforms and in an astonishing national archive – remain relevant, international marketplace. On the back on the experience and the strengths variety of inventive ways by our Film Staying with Europe, we were delighted ambitious and top quality. of this focus we have led delegations to of previous projects, to present a Audience Network partners right across to partner with the British Council and Brazil and made considerable progress compelling new film offering to the UK, offering a taste of what we can launch the Creative Europe Desk UK. Amanda Nevill Chief Executive towards a co-production treaty with every school child in the UK. achieve for audiences in the future. The Desk will be the UK’s gateway to Greg Dyke Chair

4 5 EXPANDING EDUCATIONAL OPPORTUNITIES AND BOOSTING AUDIENCE CHOICE ACROSS THE UK

within the national curriculum debate Education and to make other contributions to the curriculum review in England STRATEGY AND ADVOCACY alongside our education partners. We also led a consortium of UK and Education sits at the heart of our European partners in the publication ambitions for film in the UK and we of Screening Literacy, the first are working to integrate film into Europe-wide survey of film education, all forms of education, learning, funded by the European Commission. training, cultural appreciation and understanding. People who regularly TALENT IS EVERYWHERE, enjoy film when they are young OPPORTUNITY ISN’T: are more likely to be committed THE BFI FILM ACADEMY consumers of film as adults or they may seek a career in the film industry. The BFI Film Academy gives talented Launch of the second year of the BFI Film Academy at the Houses of Parliament Into Film National Youth Film Festival in Glasgow We are currently consulting on a new teenagers with a passion for film the Education Strategy to be launched opportunity to be part of the UK’s in Summer 2014 that will shape the future film industry. Now in its second Top students, along with other successful WATCHING, MAKING AND arts and cultural organisations, role of film in education for years to year, almost 1,500 Academy places have applicants, are then invited on to a UNDERSTANDING FILM: Into Film’s activities have included come. The Strategy addresses three been made available across the UK to two-week intensive residential course THE BFI 5–19 EDUCATION new curriculum-linked film resources key issues – how do we turn the gifted and committed 16–19 year olds run with the National Film & Television OFFER – INTO FILM for schools, pilot teacher training knowledge and assets of the BFI into to develop new skills and build a career School, and supported by BAFTA, and CPD sessions, the introduction rich resources for education, learning in the film industry. The Academies Pinewood, Skillset and a raft of other Based around watching, making of filmmaking into film clubs and and training; how do we ensure the expanded this year from England skills professionals. All participants can and understanding film, Into Film’s the successful expansion of the club full and complete integration of film into Northern Ireland, Scotland and join an alumni support programme ambition is to put film at the heart of network to Scotland (with Northern into all forms of education, learning, Wales with 39 programme partners and later this year we will be launching children and young people’s learning Ireland and Wales to follow). By March training, cultural appreciation and now offering practical skills training intern scholarships to aid their intern and cultural experiences. Supported 2014 more than 8,000 schools will have understanding; and how do we create and masterclasses in a range of opportunities in the industry. The BFI by BFI Lottery and other funders, Into participated in Into Film’s programme. a world class centre of excellence in specialisms – animation, documentary, Film Academies are funded by the Film (initially known as Film Nation film education? screenwriting or VFX – taught by Department for Education, National UK) is a brand new organisation set leading industry professionals such Lottery, Creative Scotland and up to make a step change in film We continue to advocate for as filmmakers Destiny Ekaragha and Northern Ireland Screen and bursaries learning for students in every school recognition of the value of film in Edgar Wright and playwright and and allowances are offered to ensure the across the UK. Working with the BFI Film Academy at Cornerhouse in Manchester teaching English and literacy work screenwriter Abi Morgan. courses are available to everyone. education sector, film industry and

6 7 for e very regional 9 leaders of BFI £1 INV ESTMENT, FILm festivals 390 raised members £4

Audiences to grow audiences, to develop collaborative programming and to BFI AUDIENCE FUND share expertise. We have invested in and set up nine audience development Film Forever recognised that a hubs across the UK, devolving Neighbourhood cinema event with North East Arts Touring at the Glenesk Retreat, Angus, Scotland (Photo: Graham Dargie) prosperous film industry requires a decision-making from the BFI to those vibrant film audience and identified on the ground. Each hub has one or growing audiences as a key priority. two lead organisations with a range Film-watching is one of the UK’s of members – so we now have around most loved and important cultural 390 organisations across the UK February 2014 to January 2015, the activities, but outside London the working together to grow audiences for Fund has up to £300,000 to support range of film is often very narrow. British and independent film. Network touring operators with practical We are tackling this by re-energising members range from cinema venues community cinema activity such as regional cinema networks, revitalising and film festivals to film societies and film screenings and events, essential cinema activism at a local level and other film-related organisations. This equipment, training for staff and developing proposals with the main year, our first big FAN project was the volunteers and the licensing of films cinema circuits to offer a wider, more Gothic blockbuster which members for exhibition. adventurous film programme all delivered in often spectacular ways round. Eventually all these initiatives such as the all-night Night of the Dead Film Festival Fund will complement and work in tandem screenings in Sheffield. Film festivals are one of the most with BFI Player. British film typically popular ways audiences can enjoy a has around 10% market share and we BFI Neighbourhood Cinema far greater and original choice of films want to see this reflected in audience Film societies, community cinemas in their local cinemas or specialist choice not only in cinemas, but also and touring cinema operators are venues. This year our £1m festival online and on other platforms. These a crucial and often thriving part of fund supported more than 30 film activities are supported through the the UK’s film exhibition landscape, festivals ranging in scope, scale and Audience Fund. bringing a wide variety of films to character from genre-based initiatives audiences who don’t have easy access such as Abertoir, the festival of horror BFI Film Audience Network to cinemas. BFI Neighbourhood films in Aberystwyth, to major The BFI Film Audience Network (FAN) Cinema is investing £2m over four international gatherings such as is a cornerstone of our audience years into new and existing venues, Sheffield Doc/Fest and the Edinburgh strategy and has been designed to touring cinema initiatives and a International Film Festival. Collectively bring more exciting projects and website offering online support. these festivals attracted more than Film Hub Wales Gothic screening of Nosferatu (1922) at Castell Coch, Caerphilly in experiences to more local venues, For phase one, which runs from 400,000 admissions this year. partnership with Chapter’s Darkened Rooms and CADW (Photo: ©Jon Pountney)

8 9 372,000 FOLLOWERS ON Twitter, Facebook, Tumblr, Instagram & Google+

The Wicker Man (Robin Hardy, 1973)

BFI DIGITAL

Launched in October, BFI Player is a game changing video on-demand service that offers audiences across the UK a new way to access a wider choice of film as well as helping independent British films to find new Opening of Accrington Electric Tramways Nymphomaniac Vol. I (Lars von Trier , 2013) (Mitchell & Kenyon, 1907) audiences. It allows us for the first time to meaningfully involve audiences in the whole of our programmes, activities and archives the BFI London Film Festival in as well as providing a much-needed partnership with American Express®. new income stream. With a mix of Plus, for the first time ever, viewers 9.3m free and pay-to-view digitised content, can now watch for free all 450 (28 visits BFI Player offers films from the BFI hours) of the extraordinary films of to BFI.ORG.UK and regional archives and a mix of Mitchell and Kenyon offering a rare contemporary features, documentaries insight into the lives of ordinary and short films funded by the BFI and, Edwardians at play and at work. eventually, content from our Film The finding and subsequent restoration Audience Network partners as well. of these 800 rolls of nitrate film by the 3.4m It launched with a selection from our BFI ranked as one of the most exciting blockbuster Gothic programme and film discoveries of recent times and views on the UK release of The Epic of Everest BFI Player offers a timely platform for BFI youtube The Great Beauty (Paolo Sorrentino, 2014) alongside its premiere screening at wider audiences to enjoy them. channels

10 11 new BFI Gothic titles 9 re leased ON DVD & BLU-RAY 25,000 sold

Nosferatu the Vampyre (Werner Herzog, 1979)

THE BFI CULTURAL library and haunted houses, along with PROGRAMME education, community and children’s events. Some of these activities were GOTHIC: The Dark Heart of Film also supported by a new dedicated The annual BFI blockbuster is an programming development fund worth opportunity to turn the spotlight up to £1.4m a year to 2017. on and explore different genres and themes of film and television, bringing Broadcast and commercial cinema in fresh voices and new audiences. partnerships extended the national This year’s blockbuster was Gothic: The reach of the project and – following on Dark Heart of Film which celebrated the from the success of our first blockbuster Gothic tradition in film and television The Genius of Hitchcock which has now from the earliest ghostly silent films toured to more than 30 countries to popular present day vampire series. worldwide – we are working with the The Innocents (Jack Clayton, 1961) It launched in blood-drenched style British Council to offer Gothic to a global at a sell-out Monster Weekend at the audience. Gothic was also our first British Museum with screenings of project using Unlocking Film Heritage George A Romero. The programme was Night of the Demon (1957, supported by (UFH) awards to create new digital complemented by a lavishly illustrated Simon W. Hessel), Dracula (1958) and cinema prints of ten British Gothic BFI Gothic compendium, and a raft of The Mummy (1959). feature films to screen across the UK. online and social media activities.

Our partners in the new Film Audience The BFI London Film Festival Underpinning Gothic was a strong Network embraced the Gothic theme programmed a number of Gothic education programme with a rich with the staging of terrifically original film firsts, including the BFI National assortment of Gothic adventures for and exciting events across the UK. Archive’s newly remastered Gaslight all ages. Into Film offered a National top seller These ranged from outdoor screenings (1940, with the support of The Mohamed Youth Film Festival, the education at the stunning Kirkstall Abbey ruins S. Farsi Foundation), and we held a programme at BFI Southbank worked in Yorkshire, Häxan: Witchcraft Through four-month BFI Southbank season which with Lambeth schools, and Magic the Ages in Glasgow, Edinburgh and featured talks and on-stage appearances Lantern shows were held alongside 4,000 Dundee, and screenings in St Hilda’s from renowned directors such as school study days and a major DeaD of NiGht Gothic screening of Nosferatu in in Whitby, Cardiff Castle, a Gothic Roger Corman, Dario Argento and conference for 100 English teachers. DVDs SOLD Kirkstall Abbey ruins, Yorkshire

12 13 Back to 1942 (Feng Xiaogang, 2012)

Electric Shadows China’, many of them previously unseen in the UK. Electric Shadows China is a key territory in the BFI’s was sponsored by Lycamobile, as international strategy for film and in main sponsor, and Shangri-La Hotels early January 2014 we announced a and Resorts, with special thanks year of business, trade, creative and to Cathay Pacific Airways. Electric cultural collaborations between the Shadows will continue in 2014 with UK and China. Electric Shadows (the ‘A Century of Chinese Cinema’ Chinese term for movies or ‘dian ying’) – an unprecedented five-month is a programme that encompasses the exploration of Chinese cinema full range of BFI exhibition, archive, in the UK. digital, education, theatrical and DVD distribution and publishing initiatives and is helping us to open up previously hard-to-see Chinese cinema to UK audiences and to make UK film accessible in China. China will soon be home to the world’s biggest box office and we are working alongside a range of partners including the British Council, DCMS, UKTI and the GREAT Britain Campaign to develop new links. Electric Shadows was launched at BFI Southbank with a visit by one of China’s most successful film directors, Feng Xiaogang, alongside His Excellency Mr Liu Xiaoming, the Chinese Ambassador to the UK, with BFI CEO Amanda Nevill Feng Xiaogang a season of his films ‘Spectacular

14 15 Highlights of partner projects at different communities across London, from the Sir John Cass’s Foundation BFI Southbank include the BFI and this year reaching nearly 5,000 people for our Cultural Campus programme BAFTA Screenwriter Lecture Series through 30 events. Highlights included we hosted classes for local primary in association with the JJ Charitable Chinese New Year films, 15 events schools as well as more than 500 Trust; Sheffield Doc/Fest, showing and screenings for African Caribbean separate learning events for over programmes simultaneously with the audiences and learning opportunities 45,000 learners of all ages. We also festival in Sheffield; Sci-Fi London; the around the Satyajit Ray season. received £200,000 from the Mayor’s Birds Eye View festival celebrating the office to work with London schools work of women filmmakers; Kendal Future Film is a BFI youth programme in their language teaching. Mountain Festival; LOCO London supported by the Chapman Charitable Comedy Film Festival; and ongoing Trust and this year’s 7th Future partnerships with two Asian film Film Festival in February saw 4,000 festivals: Tongues On Fire and the young people take part in a weekend London Indian Film Festival. of events at BFI Southbank, while a further 8,000 students of all ages Our long-established Adult visited over the year as part of our Community programmes offer film schools’ programme Beyond Future education opportunities for many Film. Thanks to continued support

Screen Epiphany: Cillian Murphy Vivien Leigh

BFI SOUTHBANK Some of the great guests who selected PROGRAMME and spoke about the film that inspired them in our Screen Epiphany in BFI Southbank offers one of the most partnership with American Express® varied and rich programmes of film programme included Edgar Wright, and television screenings, events, talks James Franco, Yoko Ono, Tim Rice, and exhibitions in the world, and this Cillian Murphy, Anna Chancellor, year attracted 277,300 attendances David Baddiel and David Arnold . BFI Mediatheque to screenings and events. The Gothic h as blockbuster was the highest grossing Television is a core element of our big season of the year, contributing 14% screen programme as well as a key strand of overall revenue, followed by the in both our book publishing and DVD 900 retrospective of British actress Vivien label. Television programmes held in the hours of TV Leigh, which also achieved the highest BFI National Archive represent more programming average occupancy of 77%. Other film than 40% of titles available for free public and TV highlights ranged from Warp, viewing in BFI Mediatheques – that is ‘Jacobean Tragedy’, Dr Who at 50 and over 1,100 titles and almost 900 hours of the 30th anniversary of Spitting Image programming – and huge collections are through to Al Pacino, Satyajit Ray, also available at the BFI Reuben Library. 277,300 Werner Herzog, Yoko Ono and Rita We showcased new TV drama with Hayworth. Special strands included 24 special previews including with people came to ‘Discover Arab Cinema’ and a Derek David Hare, Christopher Hampton, a film or event Jarman season ‘Queer Pagan Punk’. Jimmy McGovern and Mark Gatiss. Celebrating 30 years of Spitting Image

16 17 countries 12 DAYS 74 represented opening & closing 151,000 galas at Audiences 50 UK cinemas with THE BFI LONDON in the documentary and first feature FILM FESTIVAL competitions. At the festival Awards Dinner, Sir Christopher Lee was 11,200 The BFI London Film Festival in presented with a BFI Fellowship Audiences saw partnership with American Express® by Johnny Depp, and awards were celebrates new voices, new stories presented to: Best Film: Ida (Pawel and new ideas and brings them not Pawlikowski, 2013); Sutherland Award: only to audiences across London, but Ilo Ilo (Anthony Chen, 2013), Grierson 548 increasingly UK-wide over a range Award: My Fathers, My Mother and Me screenings & of platforms. This was a superlative (Paul-Julien Roberts, 2012); and Best events across year for cinema from around the British Newcomer: Jonathan Asser London world and for British filmmakers for screenplay, Starred Up (2013). and creative talent working in front of and behind the camera, both at home and abroad. For the first time since 2006 the Opening Night Gala was a film from a British director as we presented the European premiere 22 world of Paul Greengrass’s Captain Phillips (2013). The festival closed with UK stars Emma Thompson, Colin Farrell international and Ruth Wilson appearing alongside 13 Tom Hanks in John Lee Hancocok’s Captain Phillips (Paul Greengrass, 2013) Saving Mr. Banks (2013). Both galas European were simultaneously beamed to 50 & 29 premieres cinemas, reaching a UK-wide audience of 11,200, and with live cinecasts of the lead actors.

The Official Competition for Best Film, which recognises inspiring, inventive and distinctive filmmaking, premiered BFI Head of Festivals Clare Stewart, Mayor of London four new British works while other Boris Johnson, new BFI Fellow Sir Christopher Lee and BFI CEO Amanda Nevill Kate Winslet arrives for British filmmakers were represented Labor Day (Jason Reitman, 2013)

18 19 The Epic of Everest BFI National Archive and has now been beautifully restored by the BFI, working This year’s BFI LFF Archive Gala closely with Captain Noel’s daughter featured the world premiere of Captain Sandra Noel, and generously supported John Noel’s remarkable and newly by The Eric Anker-Petersen Charity. restored 1924 film The Epic of Everest with a specially commissioned score and live The premiere was programmed performance by composer Simon Fisher alongside a theatrical release across Turner and guest musicians. Captain the UK and on the newly launched Noel was the official photographer on BFI Player and Curzon Home Cinema. the legendary 1924 British Expedition The film has gone on to remarkable to Mount Everest, remembered today success with bookings by 55 venues for the loss of mountaineers George UK-wide and a box-office gross to date Mallory and Andrew Irvine and the of £60,000. It has been screened on a ongoing debate over whether or not private jet flying over Mount Everest to they reached the summit. Filming mark the National Geographic Society’s in brutally harsh conditions with a 125th anniversary celebrations while specially adapted camera, Captain their Explorer in Residence Wade Noel’s extraordinary footage captured Davis gave an accompanying lecture images of breath-taking beauty and on the 1924 expedition and also at the considerable historic significance. Kathmandu International Mountain The precious 1924 documentary is one Film Festival, becoming the BFI’s The Epic of Everest (J.B.L. Noel, 1924) of the most remarkable films in the first-ever booking in Nepal.

20 21 21,800 AUDIENCES 10 days

52 Tuesdays (Sophie Hyde, 2013)

BFI FLARE: across the BFI. The festival is now called WHAT’S IN A NAME? BFI Flare: London LGBT Film Festival with the new identity also promoting The BFI’s annual lesbian and gay film a new LGBT collection on BFI Player festival has been a successful and and a regular monthly screening at popular feature in the BFI calendar, BFI Southbank. but a consultation at last year’s event showed us very strongly that it was time The festival welcomed back Principal for a rethink of the festival name. The Sponsor Accenture and it attracted The Alternative Miss World (Richard Gayor, 1980) ensuing debates about a new name on audiences of 21,800, screening 50 social media and throughout the festival features and 62 short films. The were lively, at times heated, and always festival’s Opening Night Gala featured passionate, demonstrating a huge range the European premiere of Hong Khaou’s of views on the topic. The result is a Lilting (2014) starring Ben Whishaw new name and a new platform to build and closed with Australian filmmaker and widen LGBT audiences not only for Sophie Hyde’s Sundance prize-winner the annual festival event, but also right 52 Tuesdays (2013). Lilting (Hong Khaou, 2014)

22 23 45,000 550,000 people visited people watched A BFI Mediatheque a BFI-distributed film in the UK &250,000 298 internationally titles added 188 hours of new material BFI Mediatheque, National Media Museum, Bradford

BFI DVDS, PUBLISHING Three new BFI Mediatheques Footage sales staff worked with BFI PUBLISHING It was a broadly successful year AND MEDIATHEQUES were opened in the National Media a number of filmmakers on for book publishing with sales in Museum, Bradford, the Library of feature-length documentaries including The BFI’s flagship film magazine Sight the US (a major business priority The BFI releases classic films in new Birmingham and Manchester Central Sheffield Doc/Fest and the BBC to create & Sound has maintained sales despite a for our publishing partner, Palgrave restorations from our own and other Library, with significant new regional The Big Melt, a reimagining of films persistently challenging environment Macmillan) up 29% from the previous archives around the world as well collections to mark the launches as about steel, taken from our three year for magazine publishers. Following year. We also published a second as contemporary British titles into a well as 100 titles from the NMM’s industrial heritage project to bring back a new design and editorial offer, the BFI compendium Gothic: The Dark Heart wide range of cinemas, film festivals, pioneering TV Heaven programme. to life films about coal, ships and steel magazine has delivered a year-on-year of Film, eight Gothic-related special film clubs, pop-ups and other venues. and set to a new score by Jarvis Cocker. growth in core subscription revenues edition Film Classics and new editions Key titles included John Akomfrah’s Best-selling BFI Blu-ray and DVD while at the same time delivering of all our on-going series titles. BFI-backed documentary feature The titles released as part of Gothic substantial savings in production and Stuart Hall Project (2013) and new 4K included BBC Ghost Stories and distribution costs by turning 13% of digital restorations of Journey to Italy Thorold Dickinson’s Gaslight (1940) the subscriber base digital. (1953), La Belle et la Bête (1946) and remastered by the BFI National Gone with the Wind (1939). Released to Archive with the support of The coincide with the centenary of actress Mohamed S. Farsi Foundation. Vivien Leigh, Gone with the Wind played at more than 100 UK venues (including 267,000 50 Cineworld sites). BFI Blu-ray and DVDs sold

24 25 BFI Across the UK Some key activities

UK-wide the BFI funds: BFI Film Audience Network (nine Hub regions with 390 members and their lead centres as shown here); BFI Neighbourhood Cinema; BFI Player; BFI Distribution, Exhibition, DVDs and publishing; 32 BFI Distribution Fund awards; 13 Programme Development awards UK-wide (shown as below benefiting multiple regions); BFI Film Fund (with locations across the UK); 2 Into Film; British Film Commission; BFI NET.WORK partners: Creative England, Creative Scotland, Film Agency for Wales, Northern Ireland Screen and Film London.

1 northern Ireland belfast 2 Scotland Edinburgh 7 centre East Nottingham, Cambridge 3 BFI Film Academies; 5 BFI Film Academies; 3 Programme Development Awards; 4 Programme Development Awards; 6 BFI Film Academies; 5 Programme 3 Film Festival Awards; 2 Film Festival Awards; Development Awards; 3 Film Festival 1 BFI Roadshow; 4 BFI LFF screenings; Awards; 6 BFI LFF screenings; 2 Production & Development Awards; 1 Archive Partner; 2 Archive Partners; 1 Mediatheque; 3 Film shooting locations; 1 Mediatheque; 1 BFI Roadshow; 2 BFI Roadshows; 4 Production 29 FAN members 5 Production & Development Awards; & Development Awards; 3 Film 2 Film shooting locations; 1 shooting locations; 12 FAN members; 28 FAN members 3 2 Neighbourhood Cinema Awards

3 North sheffield 4 North West Central 8 London manchester 6 BFI Film Academies; 10 BFI Film Academies; 5 Programme Development Awards; 3 BFI Film Academies; 5 Programme Development Awards; 11 Film Festival Awards; 6 BFI LFF 4 Programme Development Awards; 10 Film Festival Awards; screenings; 2 Archive Partners; 2 Film Festival Awards; 2 Archive Partners; 2 Mediatheques; 2 BFI Roadshows; 6 BFI LFF Screenings; 1 Mediatheque; 3 Production & Development Award; 1 Archive Partner; 4 1 BFI Roadshow; 1 Film shooting location; 2 Mediatheques; 1 BFI Roadshow; 17 Production & Development Awards; 36 FAN members; 1 Production & Development Award; 3 Film shooting locations; 2 Neighbourhood Cinema Awards 53 FAN members 157 FAN members 7 5 Wales cardiff 6 south West & West Midlands 9 South East brighton bristol 3 BFI Film Academies; 5 6 BFI Film Academies; 4 Programme Development Awards; 7 BFI Film Academies; 5 Programme Development Awards; 4 Film Festival Awards; 7 Programme Development Awards; 3 Film Festival Awards; 2 BFI LFF screenings; 13 Film Festival Awards; 8 10 BFI LFF screenings; 1 Archive Partner; 11 BFI LFF screenings; 2 Archive Partners; 1 Mediatheque; 1 BFI Roadshow; 1 Mediatheque; 1 BFI Roadshow; 1 BFI Roadshow; 4 Production & Development Awards; 6 9 4 Production & Development Awards; 2 Film shooting locations; 23 FAN members; 1 Film shooting locations; 40 FAN members 2 Neighbourhood Cinema Awards 36 FAN members

26 27 SUPPORTING THE FUTURE SUCCESS OF BRITISH FILM BY INVESTING IN FILM DEVELOPMENT, PRODUCTION, TALENT AND SKILLS

DEVELOPMENT Other titles in the festival included Last Philomena was nominated for four AND PRODUCTION Days on Mars (2013), an ambitious science Academy Awards® including Best fiction feature from Ruairi Robinson, Picture, Best Screenplay and Best In a year of renewed creative and Mark Cousins’ essay work A Story of Actress, and both Philomena and confidence and critical success, Children and Film (2013). The 70th Venice The Selfish Giant were nominated the BFI made 137 awards to a broad Film Festival saw Jonathan Glazer’s for BAFTAs, as were three of the range of feature film projects across Under the Skin (2013) and Stephen BFI-backed shorts. production, development and Frears’ Philomena (2013) in competition, distribution, amounting to a Lottery while the 38th Toronto International investment of £25.8m. This included Film Festival programmed 29 British a record 34 production awards, of titles, 12 backed by the BFI Film Fund. which half were projects from first or second-time directors. The total The 57th BFI London Film Festival in number of production applications partnership with American Express® also rose by 150% on the previous included eight BFI Film Fund features year, as other financing opportunities including the world premiere of Destiny remain limited, and was spiked by Ekaragha’s debut feature Gone Too Far a new approach to how we make (2013), a comedy which was developed funding decisions for documentary and largely financed by the BFI. Lenny and first features. Abrahamson’s highly anticipated Frank (2013), John Michael McDonagh’s 2013 was also a banner year for British Calvary (2013) and Iain Forsythe and film on the international stage and Jane Pollard’s 20,000 Days on Earth many of the higher profile premieres (2014) all debuted at the 2014 Sundance at key international festivals were Film Festival to much acclaim and sold 137 projects supported by the BFI. to US distributors during the festival. Film Fund Director’s Fortnight at the 66th Cannes At the 2014 Berlinale, Yann Demange’s awards International Film Festival included debut feature, ’71 (2014), played In Clio Barnard’s critically acclaimed Competition and received some of the The Selfish Giant (2013) and Scottish best critical notices of the festival. filmmaker Paul Wright’s debut Calvary also won best film in the For Those in Peril (2013) featured in Panorama strand at the independent £25.8m Suffragette (Sarah Gavron, 2014) International Critic’s Week. jury awards. Lottery investment

28 29 SUPPORTING BRITISH FILM: SOME KEY BFI TITLES X PLUS Y Morgan Matthews

20,000 days on earth Iain Forsyth, Jane Pollard

PRIDE Matthew Warchus

GONE TOO FAR Destiny Ekaragha £11m (TO DATE) Highest-grossing independent PHILOMENA film of the year STEPHEN FREARS

MR. TURNER Mike Leigh the invisible woman Ralph Fiennes

Jimmy’s hall A STORY of children and film ’71 Ken Loach Mark Cousins Yann Demange

30 31 SUPPORT FOR £3m COMPANY GROWTH a year to develop new talent The BFI Vision Awards are funds to help already established production companies develop slates of film Vision Awards projects, to create jobs and to grow 11 of up to their businesses both nationally and internationally. This year, we made 11 awards of up to £50,000 (recipients were Blue-Zoo Animation, The launch of BFI NET.WORK with partners in Bristol £50,000 Flickerpix, Fly Film, Forward Films, Inflammable Films, JW Films, Origin SUPPORTING BFI NET.WORK will expand next year Pictures, Rainy Day, Roast Beef FUTURE FILMMAKING to include a UK-wide programme Productions, Stray Bear Films and of events; a ‘talent campus’ style Third Films), along with eight awards BFI NET.WORK marks a significant weekend; an animation development of up to £100,000 a year (42 M&P, shift towards truly UK-wide support for programme in conjunction with Cowboy Films, Independent, Lupus talent development, offering hands-on Aardman; and an online portal Films, Nexus Productions, Passion and holistic development opportunities which will connect NET.WORK Pictures and Red Box Films, Warp for promising UK writers, directors and activity and provide a discovery Films and Wildgaze Films). Of the producers who have yet to make their platform for filmmakers. companies awarded, six are based first feature. Launched in September outside London, eight are female-led 2013 at Encounters Short Film Festival We are also working with Film companies and for the first time in Bristol and with an annual budget of London to target filmmakers at an – and in acknowledgement of new over £3m from the BFI (an increase of early stage in their career. London opportunities afforded by £1.5m on funds previously available), Calling and London Calling Plus the recently introduced UK tax we are working with national partners are short film schemes operating credit for animation – four are Creative England, Creative Scotland, within the BFI NET.WORK and, for animation studios. Film Agency for Wales and Northern the first time, the BFI is supporting Ireland Screen to establish a joined-up a rebooted version of Film London’s Creative England is delivering network of experienced development low budget feature production scheme a three-year business growth teams across the UK. These teams Microwave – aiming to produce programme for film-related will discover and develop the UK’s six films over three years – with a businesses, supported by most distinctive filmmaking voices specific target to long list at least £500,000 of BFI Lottery funding a and ultimately prepare them for 50% BAME filmmakers. year. Launched in December 2013, their first feature film through script the programme provides both development, short film production Our partners Creative Skillset individual entrepreneurs and and other tailored activity. successfully secured £16 million companies outside London with from Government to invest in bespoke development support The first two Talent Centres have skills development across film, over the medium to longer term. been established in Brighton and high-end TV, animation, games The offer covers market research, Sheffield in partnership with Creative and VFX, addressing current and business planning, skills/professional England and led by experienced talent future skills gaps in the sectors development, mentoring and development executives. and in key city regions. BFI Film Academy at The Mouth That Roars in Hackney, London networking.

32 33 Launchpad at Hay (script reading)

CINEMATIC DOCUMENTARIES

Throughout 2013, the BFI supported Launching a fresh approach, Cinematic, Film Agency for Wales’ applications for documentary emerging talent scheme devised and production funding are now being developed in partnership with the considered through twice yearly BFI, BBC Films, S4C, Soda Pictures pitching sessions at Sheffield Doc/Fest and Creative Skillset. The scheme and London. The new process will give supports emerging filmmaking talent selected documentary filmmaking from Wales to make distinctive, teams valuable direct feedback contemporary feature films with from BFI Film Fund executives and Dark Horse (Louise Ormond) Cinematic budgets of around £300,000. the wider documentary funding Successful projects announced in community, plus they also benefit SCRIPT EDITOR TRAINEES February to move into production from an intensive day of expert-led were Just Jim – the directorial debut development ahead of their pitch. We have launched a Script Editor of Submarine star Craig Roberts; Eight projects were shortlisted from a Trainee programme to hot-house The Lighthouse – directed by Chris first round of over 50 applications to the current and next generation of Crow (Panic Button, 2011), written by pitch at Sheffield Doc/Fest, following writers. Selected trainees shadow Chris Crow and Michael Jibson which two standout projects – Dark BFI Film Fund executives on multiple and produced by David Lloyd; and Horse and Thomas Quick – received projects during a six-month in-house Y Llyfrgell (The Library) – directed production funding. The second round placement, followed by two months at a by Broadchurch’s Euros Lyn and of pitches was held at BFI Southbank production company. The first selection written by award-winning novelist in December 2013 and the successful round launched in December, attracting Fflur Dafydd. projects were A Syrian Love Story and Launchpad at Hay screening 419 applicants for the first two places. Who’s Gonna Love Me Now?

34 35 China

In December the BFI was part of Prime Minister David Cameron’s Trade Mission to China which saw the historic signing of a cultural exchange agreement between Culture Secretary Maria Miller and the Chinese Culture Minister Cai Wu. The five-year agreement will see the continuing development of an active programme of cultural exchanges in each country including the sharing of professional expertise, information and knowledge. This agreement was followed in April by the signing of the much-anticipated co-production treaty by Culture Minister Ed Vaizey and Vice Minister Tong Gang of the State Administration of Radio, Film Filmmaker Zhao Wei’s screening of So Young at the BFI London Film Festival & Television (SARFT). This landmark agreement will allow qualifying co-productions to access national 2013. British filmmakers – from David benefits including sources of finance Co-production Lean to Christopher Nolan – have and easier access to local audiences. treaty updates looked to Morocco for its stunning Tom Hooper, Jury President, speaking at the Shanghai International landscapes and substantial production Film Festival which featured the Hitchcock 9 restorations Together with the British Council, we Brazil infrastructure. The treaty will be a led a delegation of UK film industry Following the signing of the Brazilian catalyst to grow opportunities to pool professionals (talent agents, producers, treaty in 2012, we await ratification on creative and financial resources, and INTERNATIONAL STRATEGY targeted countries. BFI activity in festivals to promote British film distributors, film sales companies, the Brazilian side in 2014. foster deeper collaboration between these areas has included industry and creativity overseas. exhibitors) to take part in the 4th filmmakers in both countries. A new International Strategy delegations to the Rio Film Festival, Beijing International Film Festival China to promote UK Film on a global level Beijing, a pilot P&A scheme to A new International Fund of £1.2m as well as an extensive programme Signed in April 2014 and now awaiting South Africa both culturally and economically encourage sales of UK independent has been set up to support the strategy of events and meetings. The UK ratification (see above). Following agreement between was launched at this year’s films to the US and support for a UK and we have a dedicated commitment Film Centre returned in March to the BFI and DCMS with the South BFI London Film Festival following film presence at major international to minority co-production with up to Hong Kong for FILMART (Hong Kong Morocco African government, the existing extensive economic research, festivals and markets. Screenings of £1m a year from the BFI Film Fund. International Film & Television A co-production treaty negotiated by co-production treaty will be extended consultation and input from key the BFI’s Hitchcock restorations (see We also fund the UK’s promotional Market) the content sales market, the BFI and Centre Cinématographique to include TV. The UK is in advanced stakeholders. The strategy identifies page 38) have now been held in 24 agency for film, the British Film alongside the Hong Kong International Marocain (CCM) was ratified by the discussions with South Africa to bring measures for growth, inward countries, including China and Brazil, Commission (see page 38) and we Film Festival. UK films for sale at UK and Moroccan Governments in the required amendments into force. investment, co-production and export. using the soft power of culture to open are enhancing the Film Export Fund the market included Carol Morley’s doors for business. We developed the which helps British films selected for BFI-backed The Falling (2014). We are The research identified Brazil, China new international umbrella brand the international film festival circuit also developing a focussed Export and the US as the priority economic adopted for British film ‘We Are UK to make sales. Strategy for China with UK Trade and territories for development for UK Film’ and we are working with the Investment, Film Export UK and other film, followed by a ranking of other coalition GREAT campaign at international partners.

36 37 Cultural exchange THE BRITISH FILM EXPANDED ROLE FOR THE COMMISSION BFI FILM CERTIFICATION UNIT Silent Hitchcock The Genius of Hitchcock – our first The British Film Commission (BFC), The BFI Film Certification Unit ever Blockbuster season – was a with offices in the UK and the certifies films, high-end television and phenomenal success in 2013-14 US, is responsible for maximising animation programmes as British either both at home and abroad. The and supporting the production of under the cultural test or as an official season also showcased Hitchcock’s international feature film and high- co-production under one of the UK’s nine surviving silent films recently end television in the UK and in 2013 ten bi-lateral treaties or the European restored by the BFI through our helped the UK attract £850m of inward convention. The Unit took on the new biggest ever fundraising campaign. investment for film production, and a responsibilities for high-end television Silent Hitchcock screenings have further £225 for international television and animation programmes in April been held in China, Australia, in the first 12 months of the new tax 2013 and video games will follow once Brazil, Mexico, France, Germany, relief for high-end television. State Aid clearance has been received. India, Turkey, Argentina and the USA – with 250 screenings and As part of a range of initiatives During 2013-14 584 film applications audiences now totalling over to promote the UK as a filming were received with 231 interim and 193 100,000. The Clockenflap Music destination, the BFC held events in final certificates/approvals issued. The and Arts Festival in Hong Kong was the US and Europe and co-hosted Unit also issued 85 European certificates one of the most impressive events events with the BFI under the We Are of nationality to assist filmmakers yet as Hitchcock’s Blackmail (1929) UK Film banner at the Sundance and distributing films. Since taking on the screened at the spectacular open air Toronto International Film Festivals. new reliefs, the Unit has assessed 43 setting before an audience of almost The BFC hosted the Chancellor of high-end television applications and 3,000 people. the Exchequer’s launch of the UK’s issued 19 interim certificates, 19 letters new High-end Television Tax Relief at of comfort and 5 final certificates. The season also garnered a top BAFTA as well as staging seminars for For animation programmes the Unit accolade from the UNESCO the US TV industry in Los Angeles and has assessed 34 applications issuing Memory of the World Programme New York to promote the new relief. 23 interim certificates, 17 letters of as Hitchcock’s silent films were In addition, the BFC provided comfort and 2 final certificates. formally inscribed on its UK Register production support to the major of Important Documentary Heritage. international titles in production Other inscriptions this year included throughout the UK’s Nations and the Doomsday Book and the Regions including features Marvel’s Churchill Archive. Avengers: Age of Ultron, Warner Bros.’ Jupiter Ascending, Disney’s Cinderella and Universal’s Dracula Untold and to high-end television including 20th Century Fox Television’s 24: Live Another Day, Sony/Starz’ Outlander and ABC’s Galavant. 250 100,000 international Hitchcock fever at the Shanghai people watched a silent Hitchcock International Film Festival Hitchcock screenings

38 39 UNLOCKING FILM HERITAGE FOR EVERYONE IN THE UK TO ENJOY BY INVESTING IN PRESERVATION, DIGITISATION, INTERPRETATION AND ACCESS

Screen Archive of Wales and English ACCESS FOR EVERYONE, regional archives. Digitisation Fund EVERYWHERE awards of £5m were later launched in December 2013 with recipients to be Unlocking Film Heritage (UFH) is one announced in April 2014. of the BFI’s most ambitious archive projects to unlock rarely seen content Meanwhile, the BFI has embarked on for everyone in the UK to access the mammoth project of researching, and enjoy. In close partnership with identifying and contextualising the regional and national archives, as well other 5,000 titles to be digitised as commercial rights holders, we are from the national collection. A plan digitising 10,000 titles around specially has been developed in collaboration selected and contextualised curatorial with a newly formed UFH Curatorial themes that will transform our Advisory Panel to make sure that the understanding of the shape, history 10,000 digitised films reach the widest 500 and diversity of film and TV in Britain. range of target audiences. Among the newly digitised online titles available at the launch titles on BFI Player Half of the 10,000 titles to be digitised of BFI Player was the first release of are coming from partners. To help UFH titles – a collection of 450 films them first to identify which titles made by British pioneer filmmakers should be selected, awards were Mitchell and Kenyon. This collection 800 offered through a UFH Discovery currently remains among the top 20 Fund. Among the 11 recipients of this most viewed films on BFI Player with TITLES DIGITISED funding were the Scottish Screen Tramride Through the City of Sheffield PENDING RELEASE Comparing multiple elements of film during restoration process with Claire West, Archive, the National Sound and (1902) the stand out hit. ON BFI PLAYER BFI Examination Conservation Specialist (Photo: Adam Bronkhorst and Kevin Meredith)

40 41 1,000 titl es being researched & contextualised 113,000 BFI stills digitised

TRANSFORMING distributed films produced in the KNOWLEDGE ACCESS UK since the start of cinema until now. We have already uniquely identified In April the BFI Collections Information almost 16,000 titles eligible for Database (CID) was made available inclusion and are working on detailed online via bfi.org.uk, making the largest descriptions, including where they are film and television collections database held, how they can be accessed, and searchable worldwide for the first time how much or how little is known and revealing the full extent of our about them. collections. This unrivalled resource includes detailed descriptions and CONSERVATION holding information for the whole BFI National Archive (film and television), A major project is to ensure that the Special Collections (scripts, documents BFI National Archive is equipped for a and ephemera, stills, posters and digital future. As our transformation designs) and the BFI Reuben Library from analogue to digital continues (books, journals, press cuttings and apace, we are presented with periodicals index). exciting opportunities for film and video conservation. Along with the CID will be further developed to form digitisation of hundreds of Victorian and the basis of the National Catalogue Edwardian films, major development project and will be key to providing programmes continued to strengthen joined-up access to all our digital digital capabilities and preservation assets including BFI Player. CID also infrastructure at our conservation forms the foundation of the first-ever centre, equipping the archive to meet the UK Filmography – a vast catalogue growth and access challenges that digital Photochemical film printing with Chris Stenner, BFI Wet Lab Operations Specialist (Photo: Adam Bronkhorst and Kevin Meredith) of all feature-length, theatrically production and digitisation presents.

42 43 The Epic KEY BFI of Everest Captain John Noel, RESTORATIONS 1924 Premiered as the BFI London Film & REMASTERED FILMS Festival’s Archive Gala in October with simultaneous release in cinemas and on BFI Player. Restoration supported by The Eric Anker-Petersen Charity

Gaslight Sebastiane Thorold Dickinson, Derek Jarman, 1940 1976 Premiered at the BFI London Film & Festival and was screened in cinemas Caravaggio and released on DVD. Remastering Derek Jarman, supported by The Mohamed 1986 S. Farsi Foundation Premiered at the Berlinale before screening as part of the Derek Jarman retrospective at BFI Southbank

Night of the Demon Jacques Tourneur, The 1957 Mistletoe Bough Premiered to a huge and enthusiastic crowd outside the British Museum as Percy Stow, the launch event of the Gothic season, 1904 introduced by its star Peggy Cummins. Premiered on BFI Player Restoration supported by with a new score by Saint Etienne Simon W. Hessel.

44 45 BFI REUBEN LIBRARY with festivals and blockbuster seasons, as well as hosting book Celebrating its first anniversary launches, workshops and over 130 since relocating to BFI Southbank, study visits from schools, colleges and the BFI Reuben Library has gone from universities. We are now working to strength to strength, transforming integrate the library with the into an access centre for all BFI BFI Mediatheque, to provide seamless collections with ever-increasing on-site access to our still and moving visitor numbers and a much greater image collections, both analogue and engagement with a younger audience. digital, especially for material that First time users have also significantly cannot be viewed on BFI Player increased with an average of almost because of rights restrictions. 6,000 visitors each month. Since moving to BFI Southbank, the library has fully integrated with the venue’s wider cultural offer and programming activities, holding events that tie-in 615,000 visits to Sc reenonline

Drawing for Those Magnificent Men in their Flying Machines (1965) Donated by the Estate of Ronald Searle

ACQUISITIONS Exhibitions curated by the special In 2013 the Queen hosted a reception AND EXHIBITION collections team during the year for 300 members of the film industry included Derek Jarman and the at Windsor Castle. On display were a Key acquisitions included films Boulting Brothers. A highlight was number of films from the BFI National 2.2m by animators Halas and Batchelor ‘Haunted: The Innocents’ which Archive including Scenes at Balmoral YouTube views and Bob Godfrey; a collection from explored one of cinema’s greatest (William Downey, 1896) – the first the Central Office of Information Gothic ghost stories, The Innocents film to feature a member of the royal BFI National and a significant number of nitrate (1961), from script to screen. Objects family. The film was shown alongside Archive films prints of key British features. Paper on show included handwritten script Queen Victoria’s original diary entry acquisitions included Roy and John drafts by Truman Capote, costume for the day. Boulting’s papers and Ronald Searle’s designs by Motley, and concept work related to film including original drawings by artist John Piper. artwork for titles Those Magnificent Men 70,000 in Their Flying Machines (Ken Annakin, visits to th e 1965) and a treatment for The Belles of BFI Reuben Library BFI Reuben Library St Trinian’s (Frank Launder, 1954).

46 47 HELPING TO MAKE UK-wide A DIFFERENCE: 11BFI roadshows Creative Europe Leadership €1.4bn and advocacy programme

BFI Roadshow at Watershed in Bristol

As the Government’s lead agency congratulates the successes, identifies EUROPE AND FILM PROTECTING RIGHTS Creative Europe Research and for film, the BFI has a role in making some areas needing more focus and OWNERS AND Statistics unit sure that public policy supports makes a number of recommendations The BFI led an industry working group PROMOTING ACCESS The BFI formed a partnership with film and, in particular, British film. for the industry, the BFI and the to the European Commission to make the British Council that will establish The bedrock of cultural and One of the ways we do this is to Government. To publicise and discuss a case for the UK on proposed changes Intellectual property (IP) issues Creative Europe Desks in England, commercial growth is having data that make representations on public our work on delivering Film Forever we to the Cinema Communication. The remained high on the public policy Scotland, Wales and Northern Ireland facilitates a better understanding of policy issues to the UK Government held a series of UK-wide roadshows Cinema Communication sets out the agenda and we continued to be as contact points for both the Media an industry sector and in the case of and its devolved Administrations, with executives and teams from basis on which Member States can actively engaged with the Intellectual and Culture strands of the new EU film this information is provided by the European Commission and various across the BFI travelling to the events provide support to film production Property Office, cross-party MPs and Creative Europe funding programme. the BFI’s Research and Statistics Unit statutory organisations. We also work throughout November 2013. whether using Lottery money or other concerned groups over changes Creative Europe replaced the MEDIA (RSU). In 2013-14 the Unit produced with other relevant and interested In practice this meant visits to 11 cities, through tax reliefs and is fundamental to the IP regime that were eventually Programme in January 2014. The its 2013 Statistical Yearbook with organisations to identify ways in running well over 100 workshops, to the success (or otherwise) of British to be included in the Enterprise and new programme is worth €1.462 quarterly and annual statistics on which policy for film can be made attracting 876 registrations, and film. We also worked closely with both Regulatory Reform Act billion over the next seven years (a film production, certification and the to work most effectively to benefit travelling 3,392 miles. The roadshows the European Commission and with 9% increase on the current funding UK share of the theatrical and other audiences, the industry, film culture provided great opportunities to discuss counterparts in other member states, We were represented on the Licences levels) and will provide support for film markets. The RSU also produced and learners in the UK. our new initiatives alongside our particularly the European Film for Europe working groups set up film, television, video games, visual a report highlighting the increasing partners Creative England, Creative Agency Directors (EFADs) group. by the European Commission to and performing arts, cultural heritage, success of female screenwriters of Film Forever and the Scotland, Film Agency for Wales, The negotiations eventually resulted examine ways in which the industry architecture, design, music, radio and UK films in 2010-12. Independent Film Review Northern Ireland Screen, Film London, in significant changes, beneficial could improve cross-border licensing publishing. From 2016 it will operate Into Film and Creative Skillset as to the UK, which were published in respect of, for instance, catch-up the Creative Industries Guarantee It’s still about the audience. Two well as the new Film Audience in the final version of the Cinema services, user-generated content and Fund, expected to unlock €700 million years after the publication of the Film Network leaders. Communication in late 2013. These screen heritage materials. This work of investment from the private sector. Policy Review, Lord Chris Smith and changes safeguard the UK film tax concluded in November 2013 with his independent panel have delivered reliefs so they can continue to operate a range of outcomes that included their follow-up report reviewing the effectively and efficiently underpin a Memorandum of Understanding BFI’s progress to date on delivering the £4.6 billion economic impact of around screen heritage. our new responsibilities. The report the UK film industry.

48 49 Adopting Making a Difference: PIONEERING CELEBRATING Diversity SUSTAINABILITY

In February 2014 the BFI’s Diversity At the heart of our commitment to BS 8909 Strategy was approved by the Board sustainable development across the the industry standard of Governors. Its aim is to contribute BFI and the wider film industry is to making a real difference to the our ongoing work to encourage film film industry workforce, to on-screen organisations to adopt BS 8909 – the portrayal, to audiences and, crucially, official standard for the sustainable to the BFI. Our first priority will be management of the UK film industry. to tackle diversity in the workforce To meet this commitment ourselves and at the BFI using a two-pronged we have now set up a sustainability approach supported by new funds, management system (SMS) in line new research and access to expert with BS 8909 and set targets to guidance. Organisations who receive reach by 2017. Although our focus BFI Lottery funds will be expected this year has been on gathering and helped to take on interns, data and developing benchmarks trainees or apprenticeships from in each priority area of the SMS, as underrepresented groups and there an organisation we have achieved will be a new interns and placement some measurable results including fund to support this and other becoming zero waste to landfill. placements including for BFI Film Academy alumni. As the lead body for film in the UK, we aim for best practice and take seriously our responsibility to co-ordinate a UK-wide sustainability strategy for all parts of the film sector. We continue to support regular meetings with representatives from the main trade organisations and to host the greeningfilm.com website with news, information and case studies for professionals. During the BFI London Film Festival we hosted a special workshop ‘Focus on Sustainability’ with panellists representing film production and production support services to look at the challenges and potential rewards from embedding sustainability into business practices.

Livia Firth at Focus on Sustainability Workshop

50 51 FUNDRAISING AND PHILANTHROPY

Olivia Colman and Michael Gambon Damian Lewis and Helen McRory

Your support secures film world. With a rich programme of as principal sponsors of BFI Flare: the future of British film curated film content throughout the London LGBT Film Festival and night and a high-profile auction with main sponsors of the BFI London Film From the biggest of sponsorship money-can’t-buy prizes, the evening also Festival. BFI Flare welcomed back the Emilia Fox Sienna Miller agreements through to the smallest received a wealth of media coverage. Interbank LGBT Forum and we worked of thoughtful donations, the collective for the first time with special screening generosity of many trusts, foundations, Support from individuals over the past sponsor Celebrity Cruises. corporations and individuals has year has grown considerably not only raised an incredible £3.7m this year to because of LUMINOUS, but also thanks Philanthropy and giving have never support the work of the BFI and we are to the continued growth of BFI Patrons been so vital to the cultural sector and tremendously grateful for this help. and other successful initiatives such we have worked hard to retain and The contributions we receive from as The Magnificent 700 – a scheme renew these important relationships philanthropy and sponsorship are a to name a seat in BFI cinemas – and through closely involving our partners crucial element of the BFI’s earned the Film Forever Club. This Club allows in the richness and diversity of our income and are essential to achieving supporters to play a vital role in programmes. Because of these valued our goals. the BFI’s future and to deepen their connections, many Patrons, partners Jodie Whittaker and Tom Hollander engagement with us though a three and philanthropists have gone on to This amazing support was nowhere year philanthropic commitment become the BFI’s best ambassadors. more evident than in the great towards specific BFI projects. There is enormous potential for response to our inaugural fundraising attracting fresh support from people gala LUMINOUS which celebrated We continued to work with our who share our passion for film and its British film and British film talent longstanding partners American future. We are extremely grateful to in aid of the BFI National Archive. Express as year-round supporters and everyone who has helped us this year The gala was a huge success, raising principal sponsors of the BFI London and we look forward to continuing to significant funds for the Archive and Film Festival and we announced a work with all our supporters in the £3.7m attended by luminaries of the British three-year partnership with Accenture year ahead. funds raised BFI LUMINOUS Gala

52 53 MAJOR DONORS, EPIC PATRONS Alexandra Joffe IN-KIND PARTNERS Your support helps INCLUDING FILM Nicola Kerr FOREVER CLUB Simeon Brown Stephen & Sigrid Kirk 8 Northumberland  James Clayton Steven Larcombe Bulgari Hotels and us keep film alive Barbara Broccoli Eric Fellner Laura Lonsdale Residences Greg Dyke Tanis & Sam Kawkabani Jackie Mountain Capablue We would like to thank the following for their generous support throughout the year: Hani Farsi Lynn M. Lewis Eamonn Murphy Cathay Pacific Airways Simon W. Hessel Betsy & Jack Ryan Amanda Nevill Champagne de Bleuchamp Ella Krasner N’Gunu Tiny John Reiss Christie Ian & Beth Mill Francesca Tondi Sarah & Philip Richards Digital Cinema Media Col & Karen Needham Colin Walsh & David Ederick Amy Ricker Disaronno Sir Alan Parker The Stuart and Hilary Sue & Tony Rosner Doremi Joyce & Simon Reuben Williams Foundation Michael Sandler Green & Black’s Matt Spick Lisbeth Savill Hardy’s Government LUMINOUS GALA Martin Scorsese TRUSTS AND Peter & Nancy Thompson CLASSIC PATRONS Joana Schliemann Heineken AMBASSADORS Dan Stevens FOUNDATIONS   Nick Scudamore The Hospital Club The Department for  Jeremy Thomas And with additional thanks to Stefan Allesch-Taylor Angela Seay Konditor & Cook Culture, Media & Sport Wes Anderson Emma Thompson The Eric Anker-Petersen our anonymous major donors. Francis Bennett Gregory Stone & Latham & Watkins The Department for Gemma Arterton Alan Yentob Charity Josh Berger Annabel Scarfe M.A.C Education. Danny Boyle  Blavatnik Family Foundation DIRECTOR’S CUT Nick Blackburn Mark & Lee Shanker The May Fair Hotel Barbara Broccoli PUBLIC SECTOR Sir John Cass’s Foundation PATRONS Felicia Brocklebank Francyn Stuckey MNX iNTERNATIONAL Naomi Campbell SUPPORTERS Chapman Charitable Trust Rob Carrington Danielle Summers Renault DEVELOPMENT Idris Elba The John S Cohen Foundation Eric Abraham Alison Cornwell Richard & Astrid Wolman Soho House COUNCIL MEMBERS Ralph Fiennes Arts Council England European Cultural Peter Baldwin & Lisbet Rausing Cley Crouch  Topolski 2013–14 Eric Fellner Europa Cinemas Foundation Donald & Corrine Brydon Carl Dalby CORPORATE Unique Digital Julian Fellowes European Commission The Mohamed S. Farsi Amanda Eliasch Ian Durant PARTNERS  Josh Berger, Chair Colin Firth Foundation Gerry Fox Sarah & Louis Elson Thanks also to all our other Louis Elson Livia Firth The Edwin Fox Foundation Jacqui Fox Gavin Essex Accenture supporters, including anonymous Hani Farsi Tom Ford The Goethe Institute David Giampaolo Jeff & Emily Fergus American Airlines donors, BFI Champions, Eric Fellner Tom Hiddleston The Great Britain Keith Haviland Paola Ferretti-Johnson American Express BFI Members and the Gerry Fox Tom Hollander Sasakawa Foundation Simon W Hessel Joachim Fleury Celebrity Cruises Friends of the BFI. Daniel Friel Tom Hooper The Hartnett Col & Karen Needham Peter & Judith Foy Deluxe Kathryn Greig John Hurt Conservation Trust Joyce Reuben Larisa Fuksman Interbank LGBT Forum Isabella Macpherson Asif Kapadia The Headley Trust Alan Smith Paul Gambaccini Lycamobile Caroline Michel Sir Ben Kingsley The Hintze Family Charitable Lizie Gower Samsung Beth Mill Peter Kosminsky Foundation Claude Green Shangri-La Hotels Sir Alan Parker Jude Law The Japan Foundation Louis Greig and Resorts Joyce Reuben Damian Lewis The David Lean Foundation Michael Hamlyn Shell Joana Schliemann Ken Loach The Radcliffe Trust Derek & Maureen Harte TV5MONDE Colin Walsh John Madden The Reuben Foundation Ashley Highfield Richard Wolman Helen McCrory The Rose Foundation Duncan Hopper  Michael Parkinson The Dr. Mortimer and Rachael Horsley Dev Patel Theresa Sackler Foundation Fady Jameel Guy Ritchie The Philip and Irene Nicolas Roeg Toll Gage Foundation

54 55 BFI INCOMe and expenditure 2013–14

INCOMe expenditure

BFI Grant-in-Aid, earned income BFI as a Funder BFI excluding Lottery & BFI as a Funder and philanthropy Income 2013–14 ring-fenced Grant in Aid Expenditure 2013–14 Income 2013–4* Expenditure 2013–14 £38m £55.5m £38.9m** £102.6m

12% 5% 6% 14% 6% 3%

37% 44% 26% 61%

44% 54% 2% 86%

Education, Learning & Audiences £23.9m Grant in Aid – r evenue & capital funding £16.6m Supporting British Film £0.6m Education, Learning & Audiences £38.6m Self-generated income – charitable activities, including Film Heritage £10.3m Supporting British Film £55.2m 44 £16.7 m+4412+A 14 £47.8m +86+A 61 £2.3m +22665+A 37 £2.8m +5436A ticket sales, DVD sales and film distribution Lottery income Capital expenditure Film Heritage Philanthropy, fundraising and grants £4.7m Grant in Aid – rin g-fenced awards £7.7m Cost of Delivery £1.8m Cost of Delivery £6m

**Excluding fixed asset depreciation and amortisation.

In the year we awarded a number of significant multi-year Lottery awards in support of Film Forever strategic objectives, using uncommitted Lottery reserves and, on DCMS guidance, the certainty of future years’ Lottery income. These multi-year awards included Creative Skillset (£21m) and Into Film (£26m). In line with our *Total reported income of £93.5m includes £55.5m of Lottery income Lottery Accounts Direction and Charity accounting principles these awards are recorded at their full commitment value in our year end figures for 2013-14. and ring-fenced Grant in Aid. These figures and graphs are unaudited analyses and extracts of the figures included in the audited financial statements for the year, copies of which are available from our website at bfi.org.uk or in writing from the Board Secretary, BFI, 21 Stephen Street, London W1T 1LN.

56 57 Supported by bfi.org.uk The British Film Institute is registered in England as a charity, number 287780. Night of the Demon at the British Museum Registered address: 21 Stephen Street, London W1T 1LN 21 Stephen Street London W1T 1LN @bfi bfi.org.uk