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BFI: Statistical Yearbook 2018

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BFI: Statistical Yearbook 2018 Statistical Yearbook 2018 Welcome to the 2018 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2017. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience, development and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 CONTENTS Film at the cinema 7 Screen density and admissions per head of Facts in focus 8 population – international comparisons 79 Admissions 9 Screen density and admissions per head of population in the UK 80 UK box office earnings 13 Type of cinema screens by nation and region 82 Film releases and box office revenues in the UK and Republic of Ireland 13 Mainstream, specialised and South Asian programming 83 Widest point of release 17 Exhibitors 85 Country of origin of film releases 17 Exhibitor revenues 86 Top films at the box office 21 Digital projection 86 The top 3D films 23 Accessible cinema 86 Best weekend performance of UK films 24 3D and event cinema 86 Top 20 films at the UK box office, 1975-2017 24 Specialised releases: documentaries, foreign language films and re-releases at the UK box office in 2017 27 Home entertainment 89 Trends in specialised film 28 Facts in focus 90 Non-English language films 29 Film on physical video 91 Documentaries 32 Film in the physical video retail market 91 Re-releases 34 Top films on physical video 95 Releases and box office by genre 35 Film in the physical video rental market 99 Releases and box office by classification 40 Film on digital video 100 Value of film on digital video 100 UK films and British talent worldwide 44 Popularity of on-demand streaming services 102 Facts in focus 45 The audience for SVoD 103 UK films at the global box office 46 The audience for film on SVoD 104 UK films in North America 50 Top films on SVoD 106 UK films in Europe 52 Film on television 107 UK films in Latin America 54 Programming on the terrestrial channels 107 UK films in Asia 54 Film on peak time terrestrial television, 2008-2017 108 UK films in Australasia 55 Audiences for film on peak time terrestrial television 110 UK talent and the global box office 56 Top films on terrestrial television 111 UK source material 56 Film on multi-channel television 113 UK actors 59 The audience for film on all television channels, 2008-2017 116 UK directors 60 The value of feature film to broadcasters 117 International awards for UK films and talent 61 The UK film market as a whole 118 Distribution and exhibition 65 Facts in focus 119 Facts in focus 66 UK filmed entertainment market revenues 120 Distributors 67 The evolution of UK film revenues, 2008-2017 121 Width of release 70 The UK film market in the global context 123 Weekend box office 72 Release costs 73 Audiences 125 Exhibition 77 Facts in focus 126 UK cinema sites 77 Availability of comprehensive data on film audiences 127 UK screens 78 Audiences for film in the UK by platform 127 Screen location 79 Cinema audience by age 128 5 Cinema audience by gender and Spend across the UK nations 181 socio-economic status 129 Creative Europe investment in the UK 181 Cinema audience for UK films 129 BFI Lottery awards 2017 182 Audiences for film on television 133 Leading public investors in British film Film preferences by age 134 production, 2015-2017 183 Film preferences by gender 138 Film preferences by socio-economic group 140 Film education and industry Film preferences by nation 141 employment 184 Subscription Video on Demand 143 Facts in focus 185 Audience profile for selected SVoD services 144 Learning about and through film 186 Audience profile comparative analysis 145 Film education in formal education settings 186 Film education as a progression route 195 Screen sector certification Other film education activity 196 and production 147 Employment in the film industry 197 Facts in focus 148 Writers and directors of UK independent films, Qualifying as an official British production 149 2003-2017 199 Films with final certification, 2008-2017 150 The gender of writers and directors of UK films 200 Budget distribution of films with final The workplace location 201 certification, 2008-2017 152 The scale of the workplace 203 High-end television programme final certifications, 2013-2017 154 The UK film economy 206 Animation television programme final Facts in focus 207 certifications, 2014-2017 157 Film industry turnover, 2007-2016 208 Children’s television programme final Film industry contribution to GDP, 2007-2016 212 certifications, 2016 and 2017 158 Film exports, 2007-2016 215 Video game final certifications, 2015-2017 158 Film imports, 2007-2016 216 Screen sector production in the UK 159 The film trade balance, 2007-2016 217 The value of UK film production 159 Film export markets 217 The volume of UK film production 162 UK film exports compared with the global market for Film productions by genre, 2015-2017 163 filmed entertainment 218 Budget trends 165 The geographical distribution of the UK’s film Size distribution of budgets 166 trade surplus 219 Big budget productions, 2008-2017 167 Film industry companies 2013-2017 220 UK spend as percentage of total production budget 168 Number of companies in the film industry 220 Domestic UK productions by territory of shoot 169 Size distribution of film companies 222 Co-productions by territory of shoot 170 National/regional distribution of film companies Production company activity levels 170 in the UK 224 The value and volume of high-end television Leading film production companies in the UK 226 production 171 Genre of high-end television productions 172 Glossary 227 The value and volume of animation television Sources 233 production 172 Acknowledgements 235 The value and volume of children’s television production 174 The value and volume of video games development 174 Public investment in film in the UK 175 Facts in focus 176 Public funding for film in the UK by source 177 Spend by agency 179 Activities supported by public spending on film 180 6 FILM AT THE CINEMA Image: Star Wars: The Last Jedi © 2017 Lucasfilm Ltd. & TM, All Rights Reserved. 7 FACTS IN FOCUS UK BOX OFFICE RECEIPTS IN 2017 UK CINEMA ADMISSIONS IN 2017 170.6 million Attendances up 1.4% on 2016 up 4.2% on 2016 The fifth highest of the last decade ORIGIN OF FILM RELEASES BOX OFFICE SHARE OF UK FILMS Rest of the world 132 USA 193 All UK films All UK films 37.4% 35.9% 760 feature films released India in the UK and Republic 150 of Ireland UK independent UK 159 films 9.6% UK independent Other Europe films 7.4% 126 2017 2016 TOP GROSSING FILM TOP GROSSING SPECIALISED FILMS INDEPENDENT UK FILM Specialised films made up 60% of all Star Wars: film releases; they grossed £39 million, The Last Jedi Paddington 2 a 3% share of total £83m £43m box office RELEASES BY GENRE RELEASES BY CLASSIFICATION ‘12A’ films had the largest 23% Action was the highest earning of box office genre, taking 23% of the box box office office from11% of releases. The gross top earning action title was Guardians of the Galaxy: Vol. 2 11% Films classified as ‘15’ accounted of releases 39% for the largest share of releases 8 FILM AT THE CINEMA ADMISSIONS time, jumping by 10% to 212.2 million ticket sales, making it the largest market for admissions in Europe. Turkey A total of 170.6 million cinema tickets were sold in the UK remained the seventh largest European market for in 2017, a slight increase (1.4%) on the number of attendances with admissions of 71.2 million, up 22.1% admissions in 2016 (Figure 1). The number of cinema visits on 2016. in 2017 was the fifth highest of the last decade but since the early 2000s the trend has been fairly flat, with most According to the Motion Picture Association of America, years’ admissions being in the range 165-170 million. outside of Europe ticket sales in North America (USA and Canada) were at their lowest since 1995 (1.24 billion; down Figure 1 Annual UK cinema admissions, 2008-2017 6% on 2016), while sales in China were at an all-time high Number of admissions (million) (1.62 billion; up 18.1% on 2016). Attendances in India, 200 which remains the global leader in terms of admissions, saw a slight increase on the previous year (1.98 billion; 180 173.5 171.6 172.5 171.9 170.6 169.2 up 0.7% on 2016).
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