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Screen Agencies: an Overview

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Screen Agencies: an Overview Screen Agencies: An Overview Working Paper September 2017 EKOS Limited, St. George’s Studios, 93-97 St. George’s Road, Glasgow, G3 6JA Reg 145099 Telephone: 0141 353 1994 Web: www.ekos-consultants.co.uk Direct enquiries regarding this report should be submitted to: Brian McLaren, Managing Director, EKOS Email: [email protected] Tel: 0141 353 1994 As part of our green office policy all EKOS reports are printed double sided on 100% sustainable paper Contents 1. Introduction 1 2. Commentary 4 3. Agency Summaries 9 4. Tax credits 37 5. Final Comments 40 1. Introduction Context The current assignment was commissioned by Creative Scotland as part of a wider programme of work to inform the development of a Screen Unit within the organisation. In particular, the information reported here is intended to inform one of a number of work streams defined within the overall programme – the Strategic Approach Work Stream. The Strategic Approach Work Stream is examining comparable and alternative strategic approaches to address the issues affecting the screen sector in Scotland, and deliver positive change through the opportunities presented by the Screen Unit project. The primary deliverable of the Strategic Approach Work Stream will be a paper containing: • a summary of three relevant international approaches/ strategies to deliver growth in Screen Sector strength, capacity and impact together with economic, cultural and social benefits; • critical ‘gap’ analysis of application within a Scottish context and objectives for the Screen Unit Project; and • a maximum of three options for a Strategic Approach for Scotland. Study Brief The brief for the current project was to gather information on screen agencies in the following nations/ regions: • Northern Ireland • Australia • Republic of Ireland • Denmark • Wales • Vancouver In particular, Creative Scotland provided a list of questions/ issues to be covered, as follows: • how does each territory structure its approach to Screen e.g. one body or more, how governed and reporting to which part of its Government? What 1 remit(s)? How funded, with what balance of public/ non-public or leveraged funds? • does the territory have a strategy for the Screen Sector as a whole? If so what is it, e.g. across TV and film, and how does it link its strategy to success e.g. growth, employment etc.? • which other public agencies are drawn into that strategy and how do they each contribute to its delivery? • where does public sector Screen Sector support for content development/production and exhibition, business development/enterprise support, internationalisation, inward investment, skills/talent development sit? One public body or more than one with specific remits? • how is it funded and what is the source of the funding? • does the agency impose conditions on access to funding and if so, what sort of conditions? • how do relationships work with broadcasters and do they have formal partnership agreements? If not what sort of arrangements do they have? • how do they work with new commissioners like Netflix/Amazon • what is their approach to data gathering for the Sector and reporting on activity to Governments? • what do they consider to be the key opportunities for next 3-5 years? • what published evaluations exist of other approaches, and what can Scotland learn from these in relation to boosting sector growth, employment, sustainability, resilience and audience reach? It is important to note that it was not the purpose of the work to identify strategic options nor make recommendations regarding the scale, form and function of the proposed Screen Unit. Instead, the focus was on simply collecting and presenting (preferably in a tabular form) the information outlined in the question set. Approach The data collection was largely desk based, making use of published sources and online information, including corporate documents, information from agency websites and wider research materials. We have also benefitted from comment and input from Dr Michael Franklin of Goldsmiths University. 2 The work was conducted over a three week period, effectively limiting the depth and extent of the review work that would be possible. In particular, there are significant and complex strategic issues raised by some of the questions set out above, and which cannot be addressed in a study of this nature, or with such limited time and resources. It is important that the information provided herein is viewed in this context. We would also add that there are gaps in the evidence base, particularly regarding the efficacy of particular approaches and the extent to which growth or success in the screen industries (however measured) can be attributed to the actions of screen agencies. Thus we can identify the range of approaches and support activities, but drawing firm conclusions on their relative effectiveness is not possible on the basis of the information that is currently available. With this in mind, we have indicated where we think further research would be of value to Creative Scotland and its partners, from which an informed strategy could be developed. 3 2. Commentary Information for each of the selected territories is presented in the following section. Here we offer some broad commentary on the issues that arise. Structures In each of the territories examined, there are specific structures dedicated to supporting the screen sector. In some, this comprises a number of agencies with different functions (e.g. Ireland, Vancouver), and in others the activities are more concentrated within a single body (e.g. Northern Ireland, Denmark), albeit working with partners. In Scotland, support for screen sits with the cultural agency (Creative Scotland) with some functions picked up also by the Enterprise Agencies and Skills Development Scotland. In each territory the screen agencies appear to have a direct relationship with government, although NI Screen is funded via Invest NI, the region’s arms-length economic development agency, lending its strategy and the performance measures agreed with Invest NI a strongly economic focus. Film Cymru Wales works in close partnership with the Arts Council for Wales (ACW), and receives funding from ACW. In the other territories, the agency strategies refer mainly to partnership working with government and in the case of Vancouver, with the civic authority. All are publicly funded, usually directly by government (apart from NI Screen and in part FCW) and the extent of private leveraged funds is not known. It is also not clear what is meant by this insofar as this could relate to private funding into the agencies themselves or (more likely) private investment into screen production that has been levered by the agencies’ own investments. It is perhaps worth noting that NI Screen’s strategy identifies a direct role for broadcasters (BBC and HBO) as well as public sector partners in supporting screen investment. Further research would be required to determine the extent of this in each territory and the extent to which that levered investment could be attributed to the screen agencies’ efforts. It might be useful to consider a short study to establish the totality of investment in screen sector support in a selected number of territories drawing in the investment and support provided by all agencies, including in areas such as training and infrastructure, which may be the role of organisations other than the screen agencies. This could investigate the nature of leveraged funds, including those mediated by tax credit provision, European regulation and international partners. 4 Our view is that the structure is actually less important than its capacity to deliver against a clearly defined strategy. Strategy and Focus A number of issues arise when considering the strategic direction of each territory. First, there are different overall definitions proposed for the screen industries, with some working in more narrowly defined areas (e.g. film) and others talking a wider approach that includes newer digital media sector such as games, mobile content and apps and online and social media. In Scotland this remains somewhat unclear. Creative Scotland’s screen team focussed largely on film and TV production, but the organisation is also involved with areas such as games. The Enterprise Agencies have interests across all of these areas, and focus on support for businesses. This is similar to the arrangements between NI Screen and Invest NI for example, although Invest NI tends to default to NI Screen for all screen related activity. NI Screen also has a broad remit which includes digital content. The point here is that clarity on definition of terms will be important such that the wider screen community understands where to go for what support. It is perhaps also worth noting the growing trend towards diversification in parts of the screen sector, suggesting a case for any new Screen Unit to have some overview of the digital media opportunities for production companies. The second comment we would make on strategy is to note the degree of similarity across many of the territories, as well as some quite striking differences. Most of the agencies in the territories examined are working to strategies that are expressed in quite general language, and that typically address three broad areas: • economic development/ growth of the sector; • cultural considerations; and • education and learning. The first is rarely defined in clear terms, with strategies instead seeking to create ‘sustainable screen sectors’ or support ‘growth’. Cultural issues tend to relate to representation on and off screen, diversity considerations and in specific cases the promotion of indigenous languages. Education is typically expressed in vague terms with unclear priorities. Published strategies do not typically make clear the relative 5 emphasis on differ areas and priorities. For example, if economic growth is the goal, then how much effort might be directed toward attracting inward investment and how much towards indigenous growth? This is rarely made clear.
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