British Film Institute Annual Review 1999-2000

www.bfi.org.uk

1999-2000 Review Annual Institute Film British bfi Fellows Fellowships at 31 March 2000

bfi Fellowships are given to individuals Dame from around the world Lord Attenborough CBE in recognition of their Lord Bernstein outstanding contribution to film or television Sir culture. Lord Brabourne Sir A total of 50 bfi Marcel Carné Fellowships have been presented since this Gérard Depardieu award was initiated in 1983, the bfi’s silver David Francis OBE jubilee year; none was Sir J Paul Getty bestowed during 1999- Graham Greene 2000. New Fellowships Sir will be awarded in Leslie Hardcastle OBE 2000-2001 and beyond. Sir Jeremy Issacs CBE Krzysztof Kieslowski Elem Klimov Sir Sir Maureen O’Hara Lord Olivier CBE CBE Lord Puttnam CBE CBE CBE Sir Sydney Samuelson CBE Powell Jean Simmons Anthony Smith CBE Dame Robert Wise British Film Institute www.bfi.org.uk Alan Yentob 21 Stephen Street Telephone +44 (0)20 7255 1444 Fax +44 (0)20 7436 0439 W1T 1LN E-mail [email protected] UK 24-hour bfi events line 0870 240 40 50 British Film Institute Annual Review 1 April 1999 – 31 March 2000 Contents 040 10 4 2 Introduction by bfi Chair, CBE Director’s report by Jon Teckman

Departmental reviews: Education

Exhibition 36 26 18

Collections

Production

Financial statements bfi Fellows 2 bfi mission statement In October 1999 was delighted to succeed Another key initiative is underway to develop an CBE as Chair of the British Film Internet outlet for our unique collection of film The British Film Institute (bfi). He and the then Director, information and records. In a world of sudden Institute’s mission is John Woodward, had recently launched the Internet enterprises, we are grounding our to develop greater fundamental restructure and refocus of the plans in a steady and thorough understanding understanding and organisation which I and the current bfi of our future market. appreciation of film, Director, Jon Teckman, are carrying television and the through. The three proclaimed aims of the bfi We also intend to strengthen the reputation of moving image. remain to make our unique collections of film our Conservation Centre at by and television more accessible to people; to keeping its procedures and technologies at the get a broader range of films into UK cinemas; forefront of what is possible. and to create a coherent education strategy, so that young people develop as critical an Finally, our most high profile undertaking so far awareness of moving image culture as English – the building of a major bfi Film Centre as part lessons aim to teach them about literature. of the redevelopment – is, at the time of writing, going forward with the design I am increasingly aware that there is a huge brief and the appointment of an architect public for our services. Of course archivists, expected soon. All these initiatives are in line researchers, students, cinema bookers and with our agreement with the Department for festival planners have always made use of the Culture, Media and Sport (DCMS) and the bfi’s vast resources of film and television and recently formed Film Council. supporting documentation including stills, posters and designs. That’s what we are here The British Film Institute has a unique place in for. But we are adding to our core supporters the world of cinema. Its range of activities is whole new audiences drawn to cinema and its already extensive. Its staff are expert in their history for the first time. For example, our skills and dedicated to the objectives. I want recent scheme to have bfi programming shown to see more and more people enjoying what on multiplex screens is proving popular and we we offer. plan to extend it: we want to put bfi-supplied films within everyone’s reach. Throughout the year I have benefited from the tireless support of my Deputy Chair, Eric Senat, and a keen and talented Board. Recently two of them, Charles Denton and Sarah Radclyffe, resigned following their appointment to the Film Council Board. Lord Dafydd Elis-Thomas and Simon Olswang also left us. My thanks to them all.

In February 2000 the Board was also strengthened by the appointment of Jenny Abramsky, Terry Ilott, Nasreen Munni Kabir and David Kustow as new Governors.

Jon Teckman, as Director, now leads a bfi strong in purpose, united in enthusiasm and with a range of talents to match the scale of our objectives. Introduction

JOAN BAKEWELL CBE bfi Chair Aerial view towards the City of London highlighting the new bfi Film Centre location on the South Bank, between Hungerford Bridge and the BA London Eye Director’s report 4 them fortheiradroit stewardship ofthe the bestofsuccessinfuture andthank change forthe Director –were aperiodofconsiderable months –duringwhichIservedasDeputy industry andfilmculture. Theprevious 18 responsible fordevelopingtheUK’s film strategicagency the newGovernment-backed become ChiefExecutiveoftheFilmCouncil, succeeding JohnWoodward ashedepartedto I wasappointed review of1999-2000. Welcome totheBritishFilmInstitute’s like topaytributethe end oftheyeartojoinFilmCouncil.Iwould our colleaguesin for ourfournewdepartments–andthelast,as 1999–2000 wasthefirstfullyearofoperation specialist area. delivering improved servicestothepublicinits Collections; Production –eachchargedwith operating departments–Education;Exhibition; priorities, andanewstructure, withfour for usanewdirection, focusedoneducational our activities,conductedin1998,established Chair, AlanParker and Sport(DCMS).We wishtheFilmCouncil directly bytheDepartmentforCulture, Media now awarded bytheFilmCouncil,ratherthan ing toapproximately halfourannualincome,is Ourgrant-in-aid,amount- Board ofGovernors. body andaregistered charity, overseenbyour independently constitutedasaRoyalCharter objectives throughout theUK.We remain Film Council’s filmeducationandcultural The Today’s BritishFilmInstitute efforts. following pagesare fulloftheresults oftheir period ofuncertaintyaboutthefuture. The formidable rangeofinitiativesafteraprolonged structure andtocreate andimplementa who workedsohard toadoptthenew bfi Deputy Director andHeadof Education bfi bfi Central Services is nowtheprincipalbodydelivering Chair: JoanBakewell bfi Director: JonTeckman bfi bfi . Acomprehensive review of bfi bfi bfi CBE Director inNovember1999, Directorate Production leftusatthe Governors Exhibition , andJohnWoodward bfi bfi Education: Richard Collins bfi ’s dedicatedstaff, London IMAX CBE Cinema bfi Collections bfi ® . The QuayBrothers The AmberCollective Sara Sugarman Tony Scott Lynne Ramsay Sally Potter Shane Meadows Patrick Keiller Issac Julien Derek Jarman Bill Douglas Simon Beaufoy John Akomfrah include: shorts forthe made earlyfeatures or Film directors who bfi Jon Teckman, Director bfi In May1999,the later intheyear. activities, priortoaconventional35mm release format, withaccompanyingeducational Fantasia 2000 houses experiencedWalt DisneyPictures’ Awards for BestAnimatedShortatthe2000Academy centenary year, was Hemingway’sAn earlypresentation, inErnest first time. to showlarge-formatfilmsaudiencesforthe soaring screen, thelargestinUK,allowsus Hodgkin, colourfullyilluminatedatnight.Its houses amuralpaintedbySirHoward London landmark.Itsglasscircumference of England,thecinemaisnowestablishedasa National Lotteryfundingfrom theArtsCouncil A £20millionproject, including£15millionof concentration ofartsandleisure facilities. Bank, hometotheworld’s largest regenerate thecapital’s fast-changingSouth Bridge, this482-seatvenuehashelpedto endofWaterlooand locatedatthesouthern place on11June.DesignedbyBryanAvery by opened tothepublic.Aroyal launch,attended the Fund, andnowtransferred totheFilmCouncil, Starting in1951withtheExperimentalFilm Farewell royal openingandwentontoscooptheOscar received itsworldpremiere atthecinema’s by theRussianartistAlexanderPetrov. Thefilm featuring 22minutesofoil-on-glassanimation the catalogue, nowasmallbutimportantpartof influential film-makers.Ourproduction early careers ofsometheUK’s mostdaring, latest works–CarineAdler’s awards heapeduponits international With whose visionswehelpedbringtothescreen. who’ ofground-breaking Britishfilmtalent, John Maybury’s Dizdar’s bfi innovation andsuccess. appropriately well-attendedcelebrationofits Scala, King’s Cross, inMarch 2000wasan out onahigh.Afarewell partyheldatthe bfi presents ‘TheIMAXExperience bfi bfi Patron, HRHThePrinceofWales, took ’s Production departmentkick-startedthe ’s extensivecollections,reads asa‘who’s ® . From JanuarytoApril2000,full Beautiful People bfi , shownexclusivelyinlarge- Production Love istheDevil bfi The OldManandtheSea London IMAX – bfi Under theSkin Production went ; Jasmin ® Cinema ® ’ ; , ® The IMAX South Bank Making filmafocusonLondon’s operation). in theyearto31March 2000(elevenmonths of cinema attractedahealthy353,526admissions National MuseumofScienceandIndustry, this NMSI Trading, thecommercial armofthe itsoperationandmarketingoutsourced to With expandedcateringand retail areas • more educationandstudyrooms • • an enlarged animproved MuseumoftheMovingImage • anewfive-screen NFT • mayaccessunderoneroof:generations. Visitors for themovingimage,servingthisandfuture We envisageitastheUK’s premier showcase single, highlyaccessible,state-of-the-artfacility. services tobepresented coherently withina 1933, thisFilmCentre willenableourpublic For thefirsttimesince popular BALondonEye. Bridge andJubileeGardens, adjacenttothe new February 2000,themasterplanincorporatesa Mather Architects. Publishedindraftform Waterloo BridgehasbeendevisedbyRick masterplan forthesitebetweenCountyHalland After veryextensiveconsultation,anoverall seeking tomakefurtherdramaticimprovements. interested partiesinthearea, weare now In partnershipwithSBC,andworkingother followed bytheriverfront FilmCaféin1997. we addedtheMuseumofMovingImage, the by theNationalFilmTheatre (NFT),becoming Telekinema, whosesitewastakenoverin1952 of theSouthBankCentre (SBC),andthe buildings: theRoyalFestivalHall,headquarters Britain. From thiseventemergedalegacyoftwo back halfacenturytothe1951Festivalof of moving imageandsoundclips a ‘mediathèque’withaccesstomany and separatetemporaryexhibitionspace bfi bfi bfi developments ontheSouthBank,dating ’s firsthomeontheSouthBank.In1988 Film Centre, locatedbyHungerford ® cinema isthelatestinasuccession bfi National Library, including bfi ’s inceptionin The ACE-supported bfi London IMAX® Cinema New-livery NFT banners on Computer-generated impression of the new (main photograph) opened with the Royal World the South Bank bfi Film Centre entrance Premiere of The Old Man and the Sea Director’s report 6 team willberecruited. income, andoverthenextyeara Development million –requires the presently estimatedtocostapproximately £50 members andthepublic.Thenewbuilding– continuous, uninterruptedservicetoits redevelopment process, the NFT willprovide a will beginin2003.Throughout the anticipate thatbuildingworkontheFilmCentre outcomes ofon-goingpublicconsultation,we Subject toplanningpermissionandthe actors’ consultancyservice. locations, asdoestheexcellentmuseum education workshopscontinueinother preparation. Meanwhile,ourmovingimage milestone imagesandinteractivedisplays,isin the Move central London.Atouringexhibition, collections UK-wide,ratherthansolelyin opportunity topromote accesstoourmuseum In theinterimperiod,wewillseize on display. conservation workonsomeoftheobjects Centre –willallowthecompletionofessential the openingofanewmuseumin 1999. Asubstantialclosure period–priorto should closetothepublicafter31August agreed thatthemuseumbuilding Governors unchanged. Aftercareful deliberation,the under Waterloo Bridge,itremained essentially But, constrictedbyalackofspaceonitssite parties andmanyotherenthusiasticvisitors. alive thestoryoffilmandtelevisionforschool innovative attractionwhenitopened,bringing The MuseumoftheMovingImagewasan of theMovingImage Temporary closure oftheMuseum Centre inBerkhamsted,Hertfordshire. collections attheJPaulGettyConservation the standard ofcare andaccessgiventoour Bank, wewillalsobelookingtoimprove further Alongside theseambitiousplansontheSouth bfi building, incorporatinganewheadquartersfor audiences. Detaileddesignsforthenew of educationalactivitiesandservicestolarger space sorely neededtopresent agreater range The new staff, willbedevelopedoverthenextyear. bfi , offering amixofhistoricalobjects, Film Centre willgiveustheextra bfi to raiseadditional Movies on bfi Film bfi among theseinitiativesis communications technologies.Foremost thelatestinformationand harnessing access toourknowledgeandcollectionsby are committedtoproviding greater public spectrum offilms,formatsandmaterials,we As wellas‘primaryaccess’toabroad bfi bfi We completelyredesigned andexpandedthe discussions withtheAMSteam. and managingdata,havebeeninvolvedin bfi and tofacilitateusers’accessthem.Many vast collectionsofinformationandmaterials, (AMS), todeterminehowbestmanageour consultant AmericanManagementSystems We alsostartedworkingwiththesystems (subject tocopyrightclearances). holdings foreffective useontheInternet develop ourvariousdatabasesordigitise potential investors,withoutwhomwecouldnot compile abusinessplan,tobeusedattract We beganto materials availableontheInternet. exciting plantomake www.bfi.org.uk/filmcentre bfi addresses –URLsnowapplytoeachofthe numbers ofvisitors.Dedicatedonline marked, andcontinuing,increases inthe launch ofthenewsiteinNovember1999saw You OnlyLiveOnce in January-February2000,aUKre-release of month retrospective ofLangfilmsattheNFT feature onFritzLangtocoincidewithatwo- The websitecarriedasubstantial,exclusive www.bfi.org.uk/imax in Nottinghamandthe launched inMay1999attheBroadway Cinema theinitiativewas Plus andCarltonInternational, IBM,Granada,BBC,Canal Cable &Wireless, significantsponsorshipsupportfrom With access tothe projects. department, including a newly-created sectionofourEducation The websitenowformspartof new looktowelcomethecentury. Sound and anarticleinourmagazine ’s website( ’s principalservices–forinstance, staff, whosejobsincludecreating, storing goes digital , whichwasitselfgivenacontemporary bfi Online isamultimediapilot,offering www.bfi.org.uk bfi ’s collectionsindigitalform. . (1937) from bfi bfi bfi information and ’s Londonpremises. Online andresearch Project Rosebud or ), andfollowingthe Sight and bfi bfi Knowledge, Collections , an the book from theTelevision IndustryTracking Study;and which reported in1999-2000:Thethird report We participatedintwokeyresearch projects July 1999. the results ofauniversitypilotwhichendedin educational environments –andcomplement terms ofusebymembersthepublicandin are providing muchusefulintelligence–in As weadvanceinthedigitalworld,thesepilots it remained opento thepublicforsixmonths. studios celebratingHitchcock’s earlycareer; Parker, alocallad,opened anexhibitionatthe and membersofthepress. alongside manyotherfilmindustry colleagues Hitchcock’s movies were reunited attheevent, Several actorsandtechniciansfrom property’s current developer, LincolnHoldings. Generous co-operationwassecured from the had stoodunusedbyfilm-makersfor50years. The Lodger Gainsborough Studios,where Hitchcock made spectacular styleinJune1999atLondon’s The wholeprogramme waslaunchedin Sound and aninformativesupplementin with ourpartnerorganisationFilmEducation; bfi regional cinemas;anewbookofessaysfrom The Lodger subsequently video)release ofhissilentchiller at theNFT; theUK-widecinema(and encompassed acomprehensive retrospective Ultimate Hitchcockprogramme, which London asanenthusiasticPatron ofour daughter, PatriciaHitchcockO’Connell,to We were delightedtowelcomeSirAlfred’s fell onFriday13August1999. appropriately forthemasterofmacabre, celebration ofHitchcock’s centenarywhich, of such‘pan-Institute’co-operationwasour the bestofaparticularproject. Afineexample departments collaborateseamlesslytomake The The UltimateHitchcock professionals. the perceived declinein‘quality’bytelevision press coverage,withparticularattentionpaidto Audience Tracking Study. Bothreceived wide which wastheculminationofafive-yearTV Publishing; aschools’studypackproduced bfi . is oftenatitsmosteffective whenthe TV Living ; atourofseveralotherfilmsto and The LadyVanishes , publishedbyRoutledge, bfi Chair Alan Sight and , butwhich Patricia Hitchcock O’Connell with bfi Director, Jon Teckman, visits the bfi Stills, Posters and Designs Library (left) to mark the centenary of her London-born father, Sir Alfred

Cover story: Masterful Alan Parker opens the bfi’s Updated design (right) centenary essays Ultimate Hitchcock exhibition at for Sight and Sound from bfi Publishing Gainsborough Studios, alongside in 1999-2000 site developer Keith Meehan Director’s report 8 Council inIsraelandLatviatomount comment. Furtherafield,wehelpedtheBritish public continuetoexplore thelistandpass www.bfi.org.uk/bfi100 Full detailsare availableonlineat original and subsequently issuedbrandnewprintsof qualifying DVDreleases. From thelist, while tie-instickersappeared onCarlton’s Cinema presented aseasonofsix the ‘topten’.ThedigitalchannelCarlton Ross announced, andBBC1’s films ontheSaturday afterthelistwas and sustained.BBC2screened three ofthe Media interest inthe discussion, ratherthanasanendtoone. and wasrightlypromoted asastarting-pointfor spanned sevendecades,from 1935to1998, by worksfrom 69otherdirectors. Thelist in UKcinemasforits50thanniversary, followed (1949), whichhappilyhadjustbeenre-released the pollcameSirCarol Reed’s the filmandcinemaindustryUK-wide.Top of 25,700 votescastbyhundreds ofmembers The approached. lists publishedasthenewmillennium of the20thcentury–oneseveralcelebratory a selectionof100favouriteBritishfeature films In September1999,weunveiledthe Favourite filmsfrom pollto years tocome. development offilm educationintheUKfor report, which setsanagendaforthe implementing recommendations ofthe FEWG and weare nowtaking theleadin recognise theimportanceof ‘cine-literacy’, to lobbyeducationalpolicy-makers to helpsus image-based teachingandlearning 1998. Ouron-goingresearch intomoving Review Group report, following thepublicationofFilmPolicy by the Working Group. FEWGhadbeen established Matter In July1999,welaunched of film-goers Enthusing thenextgeneration libraries. displays highlightingselectionsintheirvideo bfi A MatterofLifeandDeath ran anexclusivefeature withclipsfrom , thereport oftheFilmEducation bfi 100 wascompiledfrom more than at theGovernment’s request, a fewmonthspreviously. bfi , where membersofthe A BiggerPicture 100 wasconsiderable Film 99withJonathan Making Movies , aswellthe The ThirdMan bfi bfi bfi 100 titles, , in 100, 100 Kes bfi to the and togiveamore coherent, consistent identity development andremuneration procedures; system; toreview ourstaff management, system; tomoveanonlineaccounting andupgradethe modernise organisation work–webeganpreparing to generic functionswhichhelptomakethewhole follow. the Within The reports ofouroperatingdepartments bfi and enjoyallthatithastooffer. principle ofequalityopportunitytoappreciate popular culture andweare committedtothe diverse cultures. Filmliesattheheartof promote publicaccesstofilmrelating tothese diverse cultures andcommunities,to effectively totheneedsofUK’s manyand across the establish culturaldiversityasacore value We alsoembarkedonaseriesofinitiativesto will bebuiltuponinsubsequentyears. explore titles.This abroader mixofinternational audiences togobeyondthemainstream and Odeon, aswellWarner inviting Village, programming relationship wascreated with the greatest possiblevarietyoffilms.Anew the widestpossiblerangeofcinemastoplay Exhibition Strategy, whichisnowencouraging This associationpresaged ourUK-wide Screen Among thecinemasparticipatingin height inbooks. televisions fortheirschoolsplusown and competitionsforchildren towinPhilips delivered bywriters,actorsandfilm-makers; at cinemasUK-wide;workshopsandtalks from (orinto)Puffin paperbacks,whichplayed well attendedseasonoffantasyfilms,adapted for 7–12year-olds. Theproject compriseda Puffin onScreen Books (partofthePenguingroup) topresent In autumn1999,welinkedupwithPuffin Central Services bfi were fiveWarner multiplexes. Village ’s variousmarketingcommunications. bfi . We willseektorespond more , acelebrationoffilmedstories bfi ’s CentralServices–the bfi ’s IT internal Puffin on be is What Iwantthe bfi A visionforthe their area ofinterest. to findoutmore about expertise, comesto, level ofknowledgeor image, atwhatever other formofmoving in film,televisionor that anyoneinterested the organisation bfi to have workedtirelessly insupportofthe Joan andallhercolleaguesontheBoard who substantially poorer. Iamextremely gratefulto without whosetalentsthe sheisaconstantguidinglight Governors: succeed AlanParkerasChairofourBoard of We are fortunatethatJoanBakewellagreed to rapid technologicalandculturalchange. possible audiences,atatimeofastonishingly our uniqueportfolioofservicestothewidest fundamental issuesaboutthewaywedeliver its 67-yearhistory. We mustaddress of themostexcitingandchallengingperiodsin ofthemillennium, At theturn Future challenges of myseniormanagers;andtoallthe oversee theEducationdepartment;torest 2000 toDeputyDirector andstillcontinuesto Richard Collins,whowaspromoted inJanuary bfi JON TECKMAN determination andconfidence. Focused onourtargets,welookaheadwith the fascinatingworldofmovingimages. to experience,enjoyanddiscovermore about many more peoplearound theUKopportunities Council’s goalsforfilmeducationandoffer confident thatthe suchastrong teaminitscorner,With Iam knowledgeable, enthusiasticstaff. The ThirdMan Sir Carol’s son,ata Broadcaster GylesBrandreth withMaxReed, Director , whichtoppedthe bfi bfi will delivertheFilm gala screening of bfi would be bfi bfi faces one bfi 100 poll bfi ’s ; to A host of stars (clockwise from left): ’s A Matter of Life and Death; Orson Welles in ; Graham Cole of ITV’s and representatives of Penguin Children’s Books celebrate with the winner of the bfi’s Puffin on Screen design competition at Waterstone’s, Piccadilly; in Carine Adler’s award-winning debut Under the Skin from bfi Production

bfi poster campaign displayed in the bfi London IMAX® Cinema Education 10 makeitsactivitiesavailabletoall • carryoutresearch intomovingimage • influenceeducationalpolicymakerson • raisestandards intheteachingof,and • Specifically, aboutthemovingimage. learning in accomplishingthisandencouraginglife-long The Educationdepartmentplaysapivotalrole moving image. understanding andappreciation ofthe its overallmissiontofosteragreater Education liesattheheartof throughout theUK based learning the importanceof‘cine-literacy’ classroom moving imagebothinsideandoutsidethe about,film,televisionandthe learning bfi Education aimsto: bfi with The range ofservicesandactivities. strives toachievetheseaimsthrough awide Headed byRichard Collins,thedepartment bfi seriously interested inthemovingimage. authoritative monthlyfilmmagazine,foranyone Sight andSound stages offormalandinformaleducation. UK-wide forbothteachersandstudentsatall arranges eventsandactivitiesatvenues bfi guidance andeducationalresources. The offering trainingprogrammes, curriculum policy makers,andsupportingteachersby bfi of searching options. and 750,000personalitieswithaflexiblerange on more than600,000filmandtelevisiontitles world. Itoffers extensivedataandreferences digital databaseonfilmandtelevisioninthe biggest, andprobably themostauthoritative, Television) atthe SIFT (SummaryofInformationonFilmand information onfilmandtelevision. world’s greatest collectionsofprinted and television. comprehensive source ofmaterialonfilm with -to-the-minuteinformation,andisa London. Itisanattractiveandinformativesite, access thespectrumof November 1999–isthehandiestwayto bfi series. bfi FilmClassics film andtelevision,includingtheindispensable Publishing Education Projects DevelopmentUnit Education Projects Website bfi National Library ( www.bfi.org.uk produces arangeofbookson and is thenewlyre-designed, bfi bfi ModernClassics National Library bfi focuses oninfluencing houses oneofthe services outside ) –re-launched in is the and INSETdays. University andMiddlesexcourses training inmovingimageeducationonOpen (target: 150).Thisfigure represents teacher training placeswere achievedduringtheyear UK cinemaindustry. Atotalof209teacher Education those produced inpartnershipwith distributed toschoolsandcolleges,including 3,000 educationpacks(triplethetarget)were Book 2ndEdition and Chinesetranslationrightsto publishers inSpain,Germany, ItalyandTurkey, language rights.Eighttitleswere soldto had itsbestyearyetforsalesofforeign were publishedduringtheyear. more extensivethantheunitssold.27titles to schoolsandtherefore achievedareadership copies of copies ofbookswere distributedfree with As wellasthesalesby financial indicesestablishedforit. to 7,000,thedepartmentmore thanmetallthe copies thanoriginallyplanned,bringingthetotal decision toprintanddistribute2,000more report, Film EducationWorking Group (FEWG) with theexceptionofanoverspendon Performance Indicators(KPIs).Nevertheless, much, onsomeofitsquantitativeKey bfi extremely competitivemarkets. of thesepublishingactivitiesoperatein only fallingslightlyshortofitssalestarget.Both alsohadagoodyear,commercial concern, Sound target by4%(or3,000copies). – performance ofoneitstwomajorbusinesses for theyear, largelyduetotheexceptional The departmentexceededitsrevenue targets 1999-2000 Performance/revenue targets for bfi Education under-performed, butnotby Publishing , thedepartment’s othersubstantial Making MoviesMatter Sight andSound , the external bodyfundedbythe , theexternal , whichexceededitssales were alsosold. bfi Publishing, 35,000 . Manysaleswere , followinga Sight and bfi h Cinema The Publishing Film Culture Secretary Chris Smith launches A range of bfi Authoritative guides from bfi Publishing: Media Courses 2000 the FEWG report, Making Movies Matter Education Projects and A Companion to German Cinema workshops available UK-wide Education 12 part ofthisconference involvesgivingteachers 1999 3-day mediastudiesconference inJuly Education Projects organised theannual held throughout each yearandacross theUK. In-service trainingdaysforteachers are also is withMiddlesexUniversity. these coursesiswiththeOpenUniversity, one courses accredited atMaster’s Level.Oneof the movingimageinlong-distancelearning the theoryandtechniquesofteachingabout Each year, EducationProjects trainsteachersin department’s Programming Unit. with andinculturalfilmprogramming journalism the annualshortcoursesinfilmmagazine during theyearinothersectionsof Examples ofworkcarriedoutwithcolleagues bfi electronic media,withcolleagues,suchas inprint,videoand for teachingandlearning bfi 2000, alongwithAntonKaef’s studyofLang’s the NationalFilmTheatre (NFT)inFebruary Tom GunningsupportedtheLangseasonat of Lang’s filmsbycelebratedUSacademic The FilmsofFritzLang over 3,000salesinMarch 2000alone. ran instores UK-wideandhelpedtogenerate landmark series.A marked thefiftiethpublicationin of AmyTaubin’s examinationof –bfiFilmClassic 2000). months ofpublication(JanuaryandFebruary sold more than1,000copiesinitsfirsttwo UK’s mostrecent decadeofcinemahistory, British Cinemaofthe90’s six months. successful thatitneededreprinting within 6,000 copiesinOctober1999,wasso This newedition,released inaprint-runof decisively shapedfilmeducationintheUK. updated editionofaworkthathasalready The CinemaBook2ndEdition bfi Activities duringtheyear in the Video Publishing and external partners. Publishingandexternal Video Education Projects Publishing Sight andSound aimed atA-levelteachers. Animportant bfi FilmClassics ’s newtitlesincluded: 50 FilmClassics and theExhibition publishes resources . Thismajornewstudy series. , examiningthe . Thepublication Taxi Driver , arevised and promotion bfi ’s bfi are the based incinema auditoria, are supportedby stable ofevents.Theseactor-led sessions, projects originating from theunit’s growing tour suitablecurriculum-related education This includesworkingwithregional partnersto UK-wide. of venue-basedmovingimageeducation working withthemtosupportthedevelopment venues inaspecificregion ornation,andis for contactwithculturalcinemasandotherarts Projects DevelopmentUnit Each memberofstaff inthe throughout theUK resources anddevelop activities Fostering localcollaborationtopool image educationacross theUK. forum wastopromote andprogress moving moving imageeducationalists.Theaimofthis teachers, educationalpolicymakersand senior publicservants,filmandtelevision the NIFCjointlymountedaone-dayforumwith and mediacentre) inDerry, In December1999attheNerveCentre (anarts Ireland. annual filmfestivalforyoungpeopleinNorthern Education inScotlandand Scottish Screen, theAssociationforMedia Ireland FilmCommission(NIFC), the Northern continuing tobuildonitsestablishedlinkswith education. to provide andpromote movingimage Development AgenciesinEnglandandWales The Education tousersallovertheUK UK-wide Modern Noir and directors. work inthemedia,suchasproducers, writers the opportunitytolistenandtalkpeoplewho Censorship Fritz Langandthefollowing16+studyguides: included bibliographiesofAlfred Hitchcockand to otherlibrarycollections.In1999-2000,these own collections,butalsoprovides entrypoints study guidesnotonlysupportstheuseofits bfi circulated toschoolsacross theUK. media newsletter, isalsopublishedand National Library bfi bfi ’s resources teachingandlearning and funds RegionalArtsBoards andMedia bfi bfi , . War Films Education isalsoactively – aimingtobring In Focus – theLibrary’s rangeof , , aregular movingimage Shakespeare Cinemagic bfi Education has responsibility Education and bfi and , an ’s documentsupplyscheme. other librariesanywhere intheUKthrough the Library’s collections.Theseare delivered to are fulfiledfromFilm IndexInternational, the 40,963), basedonreference data inSIFTand the year(1999-2000:49,172;1998-1999: articlerequests, whichincreasedJournal during CD-ROM formasFilmIndexInternational. its subsidiaryChadwyckHealey)forsalein (through and HowellInformationLearning available bylicensingsomeofthedatatoBell Scotland. SIFTinformationwasalsomade Ireland and libraries inEngland,Northern installing terminalsinpartnerpublicaccess National LibraryofWales, Aberystwyth,by installation ofaworkingSIFTterminalinthe There are planstobuildonthesuccessfulpilot available from terminalsoutsideitspremises. In 1999-2000the image initiativesbothinandoutofschools. at theUniversityofExeter–todevelopmoving Centre –amuseum,libraryandresearch centre cinemas, workshopsandtheBillDouglas Development Agency, toworkwithschools, Education AuthorityandtheSouthWest Media 1999 (launchedinMarch 2000)withtheLocal Education Projects helpedtosetthisupin was theDevonCine-literacyPartnership. education. Anexampleofthistypeactivity partnerships andenhancemovingimage such astheRegionalArtsBoards, tosetup Education ActionZones,andwithotherfunders initiatives suchasStudySupportand fundededucational with selectedGovernment Education Projects the includes uniqueaccesstofilmmaterialfrom representation infilmthrough dramaand students, itexplores thehistoryofblack to tourthroughout 2000.AimedatA-level was teacher preparation meetings.Onesuchactivity bfi Black intheFrame ’s collections. bfi also worksstrategically began tomake , whichwillcontinue SIFT The eyes have it in Sight and Sound bfi Online pilots digital access to the bfi’s collections Education 14 . show atpubliclibrariesinLondonand drawn from theLibrary’s collectionandwason the Movies initiatives duringtheyearincluded resources tolibraryusers.Othercollaborative collections andinproviding informationon will co-operateinbuildingandsharingtheir in November1999.Membersofthisnetwork collections. ThefirstmeetingofLIPtookplace significant movingimagebookandjournal Information Plan(LIP),ofUKlibrarieswith establishing anetwork,TheLibraryand The bfi National Library , whichprovided arangeofexhibits took theleadin Music and the means theonly, initiativewhichdemonstrates The websiteisthemostsignificant,butbyno country. users thananyotherEuropeanmore Internet access.TheUKhas overseas withInternet support andservicestoanyoneintheUKor major informationbankandtool,bringing The new ‘virtual bfi United States. those inFrance,Australia,Japanandthe most frequently duringtheyear, followedby Not surprisinglyusersintheUKvisitedsite is 2pm,UK-time. Sound database ofshortcoursesand areas are theNFTpages, generated from databases.Themostpopular than 1,000staticpages,andover4,000pages By theendof1999-2000sitehadmore from theLibraryinoneyear. to fewerthan1,500hard copiespurchased publications maybedownloaded–compared During onemonthasmany1,500 exclusive totheweb. themes andfilm-makersincludecontent features showingthe catalogues ofavailablefilmprints.Regular assisted regional cinemas;andsearch study guides;checkscreening timesat number of disabled. Userscandownloadthefulltextofa guidelinesonaccessforthe with international available intext-onlyformat,whichcomplies supporting layoutandorientation,itisalso navigate, withintelligentuseofgraphics, physically totravelLondon.Fastloadand and Action through anew titlecalled material availableintheIndianmarket arrangement tomake magazine inKorea wasjoined byasimilar Sound non-English speakingreadership. thoughtful andwell-researched contenttoa publications were expanded,bringing withinternational live outsideLondon.Ties institutions. Nearly90%ofthecustomerlist approximately 1,600UKbookshopsor Publishing bfi ’s commitmenttodevelopingitselfasa ’s existingcollaborationwithKINO bfi magazine. Thesite’s busiesttimeofday ’; accessibletoallwithouttheneed bfi . bfi website educational publicationsincluding distributes itstitlesto bfi Sight andSound ( www.bfi.org.uk ’s activitiesaround Lights, Camera bfi Sight and /Skillset Sight and ) isa bfi The Direct Provision The dealt witheachworkingday. Approximately 150enquiriesare received and as wellqueriesvialetter, faxande-mail. enquires from thepublicandsubscribers, information serviceresponds totelephone frequently fulltocapacity. Thelibrary’s to annualpassholdersanddayvisitors,is yet buyit.Thegroups haveproduced magazine’s readers aswell asthosewhodon’t groups totakeintoaccounttheviewsof Sight andSound activities inautumn1999. discussions, suchasthe classes tointroduced screenings, seminarsand planning team.Eventsrangedfrom master- scheduled inconjunctionwiththeprogramme events closelylinkedtoNFTseasons, A strong strandofthisworkwastheeducation was incorporated. where archive materialaboutlocalcinemas adapted forafamilyaudienceinBirmingham, material from rationing. Thedrama,whichincludesfilm and particularlytheimpactofevacuation enhance theirknowledgeofwar-time Britain, to theworldofachildren’s cinemaclubto commissionaire andusherette takepupilsin actors inrole asa1940sOdeon curriculum. Inthisdrama-basedworkshop, specifically devisedtosupporttheHistory is aprimaryschoolsproject (keystage2) venues. Forexample, families andthepublicatNFTother animation educationalactivitiesforschools, Unit the bfi Regular newslettersfrom Education Projects and bfi bfi bfi presents workshops,performancesand National Library National Library Education Projects Development bfi Collections, wasrecently launched aseriesoffocus Entertaining theNation Puffin onScreen reading room, open Reading movies: bfi Fellow Martin Scorsese’s Taxi Driver was the subject of the 50th bfi Film Classic, one of a range of new bfi titles published this year Education 16 Target: 5 Actual: 6 Research output Target: 150 Actual: 209 Teacher trainingplaces Target: 9,167 Actual: 12,852 (April-August 1999) Image eventsattendees Museum oftheMoving Target: 22,000 Actual: 46,900 Mailings Target: 150 Actual: 150 Seminars Target: 1,000 Actual: 3,000 packs circulated Film Educationstudy Target: 5,000 Actual: 7,000 FEWG reports circulated Target: 83,000 Actual: 86,306 bfi Target: 312,000 Actual: 310,167 Sight andSound Target: 42,600 Actual: 49,172 SIFT entriesadded Target: n/a Actual: 5,141 Library periodicalsadded Target: n/a Actual: 1,482 Library booksadded Target: 40,000 Actual: 39,561 Information enquiries Target: 17,000 Actual: 16,945 bfi Indicators 1999-2000 Performance Summary ofKey bfi Publishing booksales National Libraryvisits Education sales loving moviesisallabout’. and shoulderrubbingthatdampenswhat hit ofcinema...withoutalltheindustrygossip readers’ opinionthat of themagazine,andhavereinforced our interesting commentsonthestyleandcontent of themagazine,‘ In April2000filmdirector Cameron Crowe said are carriedoutannually. which coverallaspectsofthepublicationand magazine’s more factualreadership surveys Focus groups workhandinwiththe unique publication. Sight andSound Sight andSound is abracing is a media policy. enquiries oneducationandmovingimage andhandled official overseas Governments, programmes, gaveexpertadvicetoUKand assessors onUKandEuropean Unionresearch Members ofthedepartmentactedas wider literacy. image atprimarylevelinenhancingchildren’s critical andcreative workwiththemoving which willestablishmore clearlytherole ofboth developing research andresource initiatives Communications Agency, British EducationalTechnology and Literacy Strategyregional directors andwiththe Following jointseminarswiththeNational UK’s devolvedassembliesasthesedevelop. responding totheeducationalpoliciesof Ireland andWales toexplore waysofbest with thescreen agenciesinScotland,Northern recommendations inEngland.Itisalsoworking other leadingagencies,toimplementFEWG Authority, theTeacher Training Agencyand Employment, theQualificationsandCurriculum working withtheDepartmentforEducationand Following uponFEWG, since then. much oftheEducationdepartment’s activities 1999 andFEWG’s recommendations informed hard copiesof Group’s report, following publicationoftheFilmPolicyReview provided thesecretariat. FEWGwassetup Working Group (FEWG),forwhich Matter the yearwaspublicationof The department’s biggestachievementduring Policy Work Making MoviesMatter State forCulture, MediaandSport,launched The Rt.Hon.ChrisSmithMP, Secretary of the distributed andabout1,600downloadedfrom bfi , thereport oftheFilmEducation website. Making MoviesMatter A BiggerPicture at a bfi bfi bfi Education is Education is reception inJuly Making Movies . Around 7,000 bfi Education were bfi in 1999-2000: put intopracticebytheEducationdepartment following are examplesofthiscore valuebeing The Cultural diversity The format, representation intheacclaimedworkshop and educationalgroups foregrounded black The department’s direct provision toschools bfi diverse topics. content in1999wasdevotedtoculturally directors andgaycinema.25%ofitsfeature cinema, blackandAsianwomen Sight andSound Lesbian andGayFilmFestivalinMarch 2000. Caravaggio published in1998.The breaking titlesinclude Narratives/African Cinema encyclopaedia of and television. issue ofitsholdingsonblackandAsianfilm Fritz Langonthe Bringing lighttotheMasterofDarkness: Publishing Education bfi bfi is committedtoculturaldiversity. The Black intheFrame National Library launch tiedinwiththe supports issued arevised andexpanded Indian CinemaandSymbolic featured workonChinese bfi website Hong KongCinema bfi ModernClassic: Black FilmBulletin produced aspecial . Itsotherground- . bfi ’s London , . Diverse choices promoted by bfi Publishing A wizard performance by Andrew Ashmore of the Museum Actors Consultancy at the NFT during the bfi’s Puffin on Screen celebrations Exhibition 18 The The comprises: Headed byAdrianWootton, toprovide comprehensive informationabout • provide theseactivitiestothewidestrange • promote anddelivereducationalactivitiesto • promote accesstoandappreciation of • bfi culture. British andworldcinemamovingimage audiences accesstothebroadest rangeof and bookingfilms, marketingandpublicity. staff adviceonactivitiessuchasprogramming bfi As wellasproviding financial assistance, independent localcinemasacross theUK. The departmentsupportsanetwork of Regional FilmTheatres (RFTs) the world. new ingayandlesbianexperiencefrom around audiences thechancetoseebestthatis The departmentalsorunstheLLGFF, giving (LLGFF) London LesbianandGayFilmFestival the . Leicester Square andothervenuesacross screened attheNFT, OdeonWest Endin encompassing thebestofworldcinema,are approximately 160features and75shortfilms, Exhibition. FortwoweeksinNovember 1999, isorganisedandprogrammed by The annualLFF, inits43rd yearinNovember London FilmFestival(LFF) unique insightintotheworldoffilm. actor, countryorgenre, givingaudiencesa programmed seasonsbasedonadirector, enormous rangeoffilmswithspecially on London’s SouthBank.TheNFTpresents an and audiences throughout theUKforexhibitors,distributors film, televisionandmovingimageculture the of audiences,specificallyinthecontext potential educational andlearning complement screenings, toachievetheirfull programmes throughout theUK television bydeveloping the broadest possiblerangeofcinemaand Exhibition offers cinemamanagers and Exhibition aimsto: bfi bfi bfi Exhibition departmentoffers UK National FilmTheatre (NFT) ’s culturaldiversityaims bfi bfi Exhibition Exhibition bfi ahead oftarget. performance oftheRFTs in1999-2000is1.6% based). Ifthisisfactored in,thenthe year (onwhichthe1999-2000targetwas serviced bythe was thereduction inthenumberofclients was notduetounder-performance. Thereason (1,323,818) wasbelowtarget(1,550,000),this Whilst thenumberofadmissionstoRFTs target was33,000). within acceptablelimits(32,065achieved– slightly undertarget,butthevariancewas Annual membershipoftheNFTwasvery than 10%. 223,566 exceededtheoriginaltargetbymore By theendofyear, totalticketsalesof targets were metbytheendofFebruary2000. enthusiastic thatitsadmissionsandrevenue programme andnew-lookNFTwasso The response from audiencestothenew figures thisyear. LFF andLLGFFenjoyedrecord attendance targets fortheNFTandfestivals.Both bfi Performance targets for1999-2000 of over1,800,000duringtheyear. department helpedtoscreen filmstoaudiences the UK.Working withitsmanypartners,the broad rangeofexhibitionactivitiesthroughout The departmentspends£1.8monfundinga special cinemaprojects Cinemas, festivals,filmsocieties, Exhibition more thanmetitsaudience bfi compared totheprevious The firstofthese, between theculturalandcommercial sectors. increasing accessvianewpartnerships research andconsultation,withtheaimof was publishedinJune1999afterextensive UK CinemaExhibitionStrategy films, andforawiderrangeofaudiences.The for 1999-2000:accesstoadifferent rangeof Broadening accesswasExhibition’s keytheme New initiativesduring1999-2000 UK CinemaExhibitionStrategy. review ofthe the independentexhibitionsector, withamajor department addressed thelong-termhealthof Planning forthefuture January 2000. Attenborough LifetimeAchievementAward in BAFTA, co-presenter oftheRichard sponsors oftheLondonFilmFestival,to took manyforms,from AmericanExpress, New collaborations film bookingservice. digital projection, todigitisingthedepartment’s exhibition sector;from exploringtheimpactof of A furtherthemefortheyearwasembracing campaign toreach newcinemafans. programme wascombinedwithare-launch implemented from January2000;thenew to awiderrangeofaudiences.Itwas making theNFTmore relevant andaccessible published inOctober1999,withtheaimof The in March 2000. at Browse thebenefitsofNFTmembership new technologies www.bfi.org.uk/nft NFT’s newprogramme strategy bfi ’s linkedtothe fundingpatterns bfi at Odeon,waslaunched and newpartnerships and theirimpactonthe – inparticular, the document was Travel beyond the mainstream with stars including via bfi-programmed Odeon screens Exhibition 20 Empire Essential Cinema London Underground, usingthenewcopyline This wasfollowedbyapostercampaignon monthly programme andpublicitymaterials. new lookforthebuilding,andare-designed November 1999,togetherwithanewlogo, in journalists group ofUKandinternational new programme wasannouncedtoalarge by are-positioning campaignfortheNFT. The The programme strategywascomplemented NFTre-launch Essential Cinema: films, seasons, extendedrunsofneworre-released aimed tobuildonthestrongest features: major clearer filmprogramme. Thenewstrategy team puttogetherablueprintforsimplified, Early intheyear, theNFT’s newprogramming New programme strategy NFT Mickey Spillane. Guardian tour culminatingintheNFTscreenings anda festival, andwasfollowedbyaUK-wide cinema in theDark Observer of amajorpartnershipwithBudweiser and contemporary crimefilmswascreated aspart A programme ofUKandUSclassic B Reel:IconsoftheUnderworld and AfricanStudies. and aconference withtheSchoolofOriental 50 filmsandevents,anexhibitionofpaintings Foundation, supportedbyIranAir, andfeatured created inpartnershipwiththeIranianHeritage to theUKforfirsttime.Theseasonwas and introducing manyremarkable film-makers celebrating Iraniancinema’s artisticvibrancy, NFT presented amajortwo-monthseason festivals. Through JuneandJuly1999,the showered withawards from international of the1990s,withIraniandirectors being Iranian cinemaisamongthemostwidelyhailed Iranian cinema ;andFritzLang. Icons oftheUnderworld;; included: areview ofIraniancinema;BReel: The mostambitiousprojects oftheyear Major seasons Gallery andmanyothers. Borders Bookshops,theTate, theHayward Guardian , Heat . Theseasonwaslaunchedat Interview withveteran crimeauthor , Nottingham’s crime andmystery , FHM Interviews andspecialpreviews. , andpromotions with: , Arena , The Face , XFM, Shots Metro The , In August1999,aspartofthe The UltimateHitchcock and Lang’s titles – release of studied. Linkedtoeducationactivities,a versions ofhisclassicwere screened and himself, and treasures, rare interviewfootagewithLang and includedrecently unearthed‘lost’ Lang. ThiswasthefirstatNFTin20years, mounted aretrospective ofthework Fritz In JanuaryandFebruary2000,theNFT Fritz Lang star, KeirDullea. also abletoenjoyanintroduction from thefilm’s attendingapress screeningJournalists were Sir ArthurCClarkwasthespecialguest. the flagshipeventforprogramme atwhich the NationalFilmandTelevision Archive, was 2001: ASpaceOdyssey first publicscreening ofthenew70mmprint with Warner Bros. andtheKubrickestate.The took place:aKubrickseason,incollaboration busiest month,anotherhighlightoftheyear In September1999,traditionallytheNFT’s Kubrick was tremendous. years andresponse from audiencesofallages media coveragethananyseasoninthelastten TheUltimateHitchcocksecuredVideo. more score byNeilBrand,commissioned and aperformanceof rarely seen audiences for in thisproject reaped rewards withexcellent events. Theparticipationofall and wassupportedbyarangeofacademic Charles Barr, whogavetheopeningaddress, The seasonwascuratedbynotedacademic Hitchcock O’Connell. Interview withFarleyGrangerandPatricia the centrepiece ofwhichwasthe launched itsmammothHitchcockretrospective, Hitchcock centenarycelebrations,theNFT and excellentattendancefigures. the seasonachievedravereviews inthepress, The FilmsofFritzLang Scarlet Street The ManWhoKnewToo Much M Metropolis bfi in the Collections’ newprintofthe bfi The Ring Film Classicsseries– , andtwo Day inwhichtwo , aTreasures printfrom by Tom Gunning, bfi bfi with anew ’s Ultimate departments Guardian bfi Publishing bfi bfi , re- will lookatwaysofextendingit. for theforeseeable future andthedepartment from thisgroup:learned theforumwillcontinue range ofNFTissues.Agreat dealhasbeen in order toexchange viewsandadviceona bfi volunteer memberswhomeetregularly with 1999-2000. Themembers’forumisateamof idea byintroducing amembers’forumin The departmentextendedthisstudentforum to distributepublicitywithintheircolleges. generate grassroots supportfortheNFTand enthusiasm forstudentmembership,to representatives oncampus,building onthe the yearwithanetworkofvoluntaryNFT student members.Work continuedthroughout be effective withover3,000joiningtheNFTas focused on17Londoncolleges.Thisproved to direct sellingcampaigninstudentmedia, throughout theyear. Thedepartmentinitiateda London studentswere akeytargetgroup Membership andAudienceDevelopment and LucBesson. Denzel Washington andNormanJewison; Ralph FiennesandStephenWoolley; Burton;AlanParker;NeilJordan; Tim Steven SoderberghandRichard Lester; JaneCampion; RothandRayWinstone; Tim Bird andRobertCarlyle;FarleyGranger; ; MickeySpillane;Antonia and directors including:KennethBranagh; rangeofstars 19th yearwithaninternational the ever-popular interviewseries,entered its The partnershipwith Guardian UK-wide. went onasmalltourofindependentcinemas screened touniversalpress acclaim,which remarkable Turkish film, filmfestivalswasthe made atinternational Who KnewToo Much Caine; aswelltheHitchcockrarity, classic, tragic expeditiontotheSouthPole;British titles including: with screens. Anumberofsuccessfulcollaborations films whichmaynototherwisereach UK policy ofpresenting firstandextendedrunsof During theyear, thedepartmentdevelopedits First runs Exhibition’s programme andmarketingstaff bfi Collections ledtopopularscreenings of Interviews andSpecialEvents South Get Carter , thefilmofShackleton’s . Amongthediscoveries Journey totheSun , starringMichael , sponsorof The Man , Essential cinema: the NFT’s Iranian season; South Bank posters; B Reel’s urban ; Kubrick’s 2001; a major Lang retrospective (the director, above, is seen on the set of Scarlet Street with Joan Bennett and Edward G Robinson); NFT programme booklets every month Exhibition 22 procedures. and streamlining a co-ordinated audience developmentplan; undertaking agreater advocacy role; creating partnerships andreviewing existingones; the strategyinclude:investigating new of audiences.Thekeyrecommendations of of therangefilmsexhibited,and therange focused onbroadening access,bothinterms cinema andmediaindustries.Thisstrategyis following extensiveconsultationwithboththe Strategy wasapproved bythe In June1999,theUKCinemaExhibition UK CinemaExhibitionStrategy exhibition sector. festivals fund;andnewpartnershipsacross the the UKCinemaExhibitionStrategy;anew The yearsawthestartofseveralnewinitiatives: these andmanyotherpartners. UK eachyear, andoffers marketingsupportto programmes aseriesoffilmtoursaround the Services provides guidanceandadvice, funds of£1,800,000.Inaddition,Cinema In total,thissectionadministersgrantsand 135,000. regional filmfestivalswithaudiencesof with audiencesthisyearof1,320,808,and network ofindependentRegionalFilmTheatres a widerangeofpartners.Theseinclude Exhibition administersfundingandsupportfor Through theCinemaServicessection, Cinema Services collaboration withArtsline. guide wasproduced fordisabledfilmfansin were madetoaccessforthedisabled,anda customer satisfactionsurvey. Improvements the results willbemonitored yearonbya office andfront ofhousestaff wascreated, and 2000. Anewtrainingprogramme forallbox Customer care wasalsodevelopedin1999- price ofjust£1forchildren. NFT weekendscreenings, withanewticket Puffin onScreen 1999-2000 includedaseasonandtourof develop itsservicesforchildren. Activitiesin group willhelpittoidentifythebestways audience thatneedstobebuiltandthisuser identifies children andyoungpeopleasan group. There are alsoplansfora bfi Exhibition’s developmentstrategy bfi titles, andtheregular Junior funding application Junior NFT bfi ’s Governors, users’ bfi cinema courseeachyear. exhibition backgrounds, andhostsacultural 27 studentsfrom arangeofacademicand bursaries andtraininginfilmprogramming to Birkbeck College’s MAprogramme whichoffers Cinema Servicesalsocollaboratedwith Agencies andLotteryfunddistributors. Regional ArtsBoards, MediaDevelopment The sectionalsoworkedcloselyalongsidethe a pilotpre-recorded audiodescriptionsystem. of schoolvisitstocinemas,and Cinemas developed projects including theArtsCouncilofEngland,section With with partnerstodeveloptheexhibitionsector. During theyear, CinemaServicesalsoworked Projects andRegionalPartners enhancement, andeducationwasalsooffered. training placements,programme andmarketing the 60projects around theUK;supportfor panel waspleasedtooffer assistanceto13of 60 applications,allofahighstandard. The Fund of£30,000wastremendous withsome The response totheRegionalExhibitionProject Regional ExhibitionProject Fund Documentary Festival. North andtheSheffield International the LondonTurkish FilmFestival,QueerUp were offered to22organisationsasdiverse £125,000. Awards from £1,000to£20,000 announced, withanincreased fundof March 2000,thesecondround ofgrantswas made inMay1999toatotalof24projects. In Film FestivalsFund.Thefirstawards were 1999-2000 wasthecreation ofa£100,000 A significantnewfundingdevelopmentfor New FestivalsFund procedures. existing partners,andthestreamlining ofour financial planning,ourapproach tonewand published insummer2000,willinformour existing fundingrelationships. Theresults, tobe commissioned awide-rangingreview ofits During thewinterof1999,CinemaServices Funding review , whichlookedatthepracticalbarriers Schools in Talking Images , of of Programming expertiseisaparticularstrength Touring programmes first ofthe In March 2000,OdeonCinemasbecamethe New partnerships in spring2000. and theBritishAnimationAwards, which toured (5 venues);ItalianFestivalClassics(10 Gehr(4venues);French FilmFestival Ernie Brief Encounters Documentary Festival(10cities); There were manymore: Sheffield International spring 2000. Fritz Langretrospective including achildren’s programme; Iranian Cinema Eire; Norwegian films,visited23citiesintheUKand ofNorway Visions a tourof7Bresson filmsto7cities; Pale Fire: theCinemaofRobertBresson Hitchcock titles,markingthecentenary; The UltimateHitchcock children to25citiesUK-wide; Puffin onScreen with Budweiserand US gangstertitlesscreened incollaboration B Reel:IconsoftheUnderworld Major toursincluded: work. film-makers, withcomplementaryeducation classics ofworldcinemaanddiscoveringnew films toured theUK.Theseincludedrarities, During theyear, over15themedpackagesof programme adviceandtouringfilmpackages. partnerships inthis sector. department willseek outadditional More citieswillfollow laterin2000,andthe andMaidstone. Cheltenham, Epsom,Guildford, Ipswich, eight Odeons:inBirmingham,Bournemouth, bfi relationship meansthatfrom April 2000, bfi bfi Exhibition willbeprogramming screens in -supported cinemasintheformof Exhibition, andisoffered tothenetwork bfi ’s newexhibitionpartners.This , 10titlesplayedin8cities, shorts festival(10venues); , atouroffantasyfilmsfor , apanoramaof16recent , atourof12classic , 11titlestoured in ; , Britishand , Film seasons devoted to Bresson and Hitchcock captivated audiences at the NFT and UK-wide Exhibition 24 Target: 680,000 Actual: 672,754 Film Cafécustomers Target: 33,000 Actual: 32,065 members NFT Target: n/a Actual: 123,033 attendances Regional festivals Target: 124,000 Actual: 134,662 Festivals attendances Target: 1,550,000 Actual: 1,323,818 attendances Regional FilmTheatre Target: 200,000 Actual: 223,566 NFT attendances Indicators 1999-2000 Performance Summary ofKey bfi Exhibition screening of The LLGFFgotoff toanexcellentstartwitha special events. retrospectives (includingtelevisionmaterial)and feature films,worldpremieres, shorts, festival hadadiverseprogramme ofnew received withrecord attendancefigures. The This year’s LLGFF, the13th,wasverywell London LesbianandGayFilmFestival Festivals extravaganza highlight, andfastestsell-out,wasthecamp producer andseveralcastmembers.The British feature West End,sawapresentation oftheacclaimed South Bank.ClosingNight,alsoheldinthe Soho tocomplementthoseattheNFTon West Endprofile withscreenings attheCurzon Odeon West End.Thefestivalmaintainedits producer DollyHall,attheOpeningGalain Than Chocolate the festivalaudiencewinningmovie, Eire. Two features from Canadatoppedthebill: shorts travelledto24citiesacross theUKand September 1999,ashowcaseoffeatures and Festival onTour begins.From Mayto When theLLGFFisoverinLondon, 22,000 ticketsalesand30sold-outscreenings. broken: boxoffice wasupby10%with over Previous admissionsandrevenue records were industry delegatesfrom around theworld. The LLGFFwelcomed150film-makersand media. coverage inbothspecialistandmainstream partners. Thefestivalattractedunprecedented and thePinkPaperprovided supportasmedia and Millivres were sponsors;Diva,GayTimes sponsors, partnersandvolunteers.Channel4 the generous supportofawiderange As always,the1999festivalwasenhancedby fulfilled theirmusicalfantasiesinNFT1. and 70,dressed asgoatherds andnuns, which aeuphoricaudience,agedbetween4 reaching audiences ofover4,800. successful venues. Thisisalwaysoneofthe most education eventsincollaborationwith thehost supported byChannel4andcomplemented by programme ofFrench shorts.Thetourwas a Spanishfeature, A European flavour pervadedelsewhere with bfi High Art Singalonga SoundofMusic touring programmes, thisyear Get Real , andthedelightful Beloved Friend, , introduced bythe , attendedbythewriter, Beefcake and a Better , at . Cry Awards (BAFTA), BAFTA); SpikeJonze’s Topsy Turvy ceremonies. Othersincluded:MikeLeigh’s honours attheworld’s mostprestigious award in theLFFwere garlandedwiththehighest and sixBAFTAs, manyothertitlespremiering the disabledwasimproved. proved tobepopular. Accesstothefestivalfor delegate centre wascreated attheNFTand 500 industrydelegatesattended.Anew press delegatesand national andinternational addition tothe250visitingfilm-makers,600 Press andindustrysupportwasexcellent.In Globe). During eachyear, the London FilmFestival select highlights.Nevertheless,the appearing attheLFF, itisalmostimpossibleto 250film-makers educational activities.With five AcademyAwards Like at theClosingGala. Mendes introducing hisfilm These includedfirsttimeBritishdirector Sam young cinematalentfrom around theworld. There wasalsoatremendously excitingcrop of Lee andJimJarmusch. Robbins,SusanSarandon,Spike such as:Tim Interviews were particularlyspecialwithguests special events, screened, inadditiontoauniquerangeof In total,160feature filmsand75shortswere Lux Hoxton. Square, ICA,CineLumière, RitzyBrixton;and the NFT, OdeonWest End,OdeonLeicester staged at15venuesacross Londonincluding: 3-18 November, whenthe43rd festivalwas enjoy thebestinBritishandworldcinema,from from throughout theUKtravelledtoLondon 100,000 peopleviewtheresults. Audiences the verybest.EachNovember, more than 2,000 filmsfrom over50countries,selecting (one AcademyAward American Beauty ® ); andKimberleyPierce’s The CiderHouseRules (two AcademyAwards Guardian ® , whichwentontowin bfi , three GoldenGlobes Being JohnMalkovich ’s LFFteamviewsome Interviews and ® and oneGolden American Beauty (two Academy Boys Don’t ® Guardian and a and establishinganewrecord forthe admissions, exceedingtargetby10,662, Overall, thesefestivalsattracted134,662 Michael Winterbottom. special guestsincludingBrenda Blethynand specially created educationeventsand festival, withacross-section ofsome20titles, around 5,000enjoyedatasteoftheLondon Sheffield; andothervenues.Audiencesof Newcastle, Norwich,Nottinghamand Cardiff, Glasgow, Liverpool,, Sponsor); OdeonCinemasinBrighton,Bristol, was presented inassociationwithBT(Main venues in10citiesacross theUK.Thetour London FilmFestivalonTour travelledto16 In thetwoweeksfollowingLFF, the London FilmFestivalonTour new MainSponsor. festival, whileSkyPremier waswelcomedasa makers from around theworldtoandfrom the Sponsor, provided invaluablehelpinflyingfilm- 13th year. AmericanAirlines,asaMain Evening Standard asMajorSponsorforthe Principal Sponsorforathird year, andthe partners. AmericanExpress as returned help andsupportofaround 30sponsorsand The LFFwouldnotbepossiblewithoutthe Sponsors andpartners In addition, enjoyed atotalof123,033admissionsthisyear. bfi -supported regional festivals bfi . (bottom left) attends the American Beauty premiere at the Odeon, Leicester Square closing LFF 1999

Publicity for the LLGFF, LFF on Tour Distinguished judging panel for the and TV99 festival bfi , awarded to the director of the best first feature film (Lynne Ramsay for Ratcatcher), at LFF 1999 Collections 26 exhibition, and inthedevelopmentofUK-widetouring range ofexhibitionandeducationinitiatives, style accesstothecollectionscontinuesviaa unchanged sinceitopenedin1988.Museum- of theMuseumMovingImage,largely was thetemporaryclosure forredevelopment Policy. Perhapsthegreatest changethisyear particularly itsAcquisitionsandDisposals department’s CollectionsManagementPlan, the publicationoffirstpart work ofthe which underpinsthisaccessandmuchofthe to venuesUK-wide.Thecare ofthecollections, bfi Notable successesincludedtherelease ofthe continued toexpand. collections foranever-broader audience registry, SpecialCollections,Stills, Postersand cataloguing, donor access,filmhire, filmsales, several activities:archive footage sales, The department’s accesssection preserves from them,and they mayenjoyandlearn the broadest possible rangeofaudiences,so department both give itaddedcontextandmeaning.The costumes are savedalongsidethesoftware to marketing materials,technology, props and scripts andprintedephemerasuchas related holdingsofstills,posters,designs, 200,000 televisionprogrammes. Important contain more than275,000filmtitlesand collections, startedoversixtyyearsago,now toolfor,a learning everyone.The image heritage-areflection ofthelivesof,and special role asguardian oftheUK’s moving Headed byCaroline Ellis,thedepartmenthasa developanextensiveknowledgeofthe • facilitatetheuseof • care fortheUK’s movingimageheritageto • collect,preserve andshare theUK’s principal • bfi achievement, asaccesstothe This wasayearofconsiderable ’s firstDVDandmore bookingsoffilmprints generations documented forcurrent usersandfuture collections andensure thatthisis educational purposesUK-wide the highestprofessional standards widely accessibletothepublic moving imagecollections,makingthem Collections aimsto: Movies ontheMove them forthefuture. bfi as awhole,wasadvancedby shares these collectionswith bfi ’s collectionsfor . bfi bfi ’s ’s comprises department’s Care ofthecollectionsalsotakesplaceat producing arangeofelementsforaccess. loss ofmaterialthrough age,whilstalso enables thedepartmenttokeepaheadof be halted.Acomplexduplicationprogramme particularly thenitratefilmcollections,cannot decay. Butthegradualdeteriorationoffilm, at theConservationCentre prevent rapid controlled storageandprofessional monitoring are notoriouslyunstable,andenvironmentally Berkhamsted. Paper, videoandparticularlyfilm J PaulGettyConservationCentre At thecore ofthepreservation workisthe theatres atStephenStreet, London. Designs, videopublishing,andtwoviewing diversity. material andkey areas suchascultural tightly onBritishproduction, contemporary Future yearswillseecollecting focusedmore collecting andaddresses gapsintheholdings. the policyprioritisesareas forproactive consultation bothwithinthe Policy Collections AcquisitionsandDisposals acceptance bythe This yearsawthedevelopment,and for the20thcentury. materials foralmosteverycategoryofsubject publications andaseducationalsource museums andartexhibitions,usedin with partnersalsosees study facilitiesforspecialistresearch. Working television programmes; andtheprovision of Image; theextensiveuseofarchive materialin educational workoftheMuseumMoving cinemas worldwide;theexhibitionsand National FilmTheatre (NFT),filmfestivalsand distribution; filmandtelevisionscreenings atthe through manychannels:filmandvideo enables thedepartmenttoreach audiences The widerangeofmaterialsheldbythe used todayandtomorrow. work whichensures thatthecollectionscanbe documentation. Itisthis‘behindthescenes’ restoration, andtheirrecording or environment, individualconservationor encompasses thecollections’security, collections andnitratefilms.Thiscare Image; andatitsspecialiststores formuseum Collections Library;theMuseumofMoving Posters andDesignsLibrarySpecial . Theresult ofmanymonths’ public accesspoints bfi Governors, ofa Governors, bfi holdings loanedto bfi and externally, : theStills, at bfi copy of Pictures. Highlightsincluded:aunique70mm Columbia TriStar andUnitedInternational donations camefrom BBCTV, Warner Bros., retained forresearch viewing.Important were added,halfofwhichwere VHScassettes through donationandin1999,3,224items breadth offilmhistory. Materialisacquired is collectedrepresenting film-makingacross the Britishproduction atitscore,With added in1999-2000 What the accessing electronic images. installation ofup-to-date equipmentfor The Tales ofHoffmann posters, includingthepurchase atauctionof retrospective acquisitionprogramme offilm private sources. 1999-2000 sawa Donations camefrom bothcommercial and particular emphasisonBritishproductions. sources andperiods;thelattertwohavea embraces materialfrom allfilmandtelevision The conditions inNewYork in1938. transmissions madeduringfreak weather from aprivatecollectorrecording ofBBC The Corner high-quality copiesof collaboration withthelateStanleyKubrick;and Dolby noisereduction, prepared in Believed Wiped coverage. Through theon-going a completerecording ofChannel4’s cricket In 1999,15,481titleswere acquired, including companies, andregional ITVispurchased. programming isalsodonatedbythe material isrecorded from transmission,butpast and feelofeachchannelispreserved. Most other materialtoensure thatthegenerallook of originalproductions, alongsidesufficient British television documentary filmunit. prestigious commercially-sponsored enhance ourholdingsfrom Britain’s most Unitcollection,whichwillgreatlyand Video negotiations forthedepositofShellFilm individuals. Ahighlightwasthecompletionof -makersandprivate departments, sponsors, government In 1999,847titleswere acquired from industry widest possibleexperienceof20thcenturylife. Stills, PostersandDesigns non-fiction film (1940) and 2001: ASpaceOdyssey bfi collects andwhatwas campaign, wealsoreceived is represented byrecordings Nights ofCabiria collections reflect the The ShopAroundthe (1951), andthe Missing (1968) with collection fiction film (1957). Magnificent first DVD Discover more about moving image from the bfi: preservation via the bfi website Akira Kurosawa’s Collections 28 The collection ofmaterials. acquisition oftheMorecambe andWise industry personnel.The1999highlightwasits memorabilia andpersonaleffects relating to production offilmandtelevision,togetherwith items usedintheproduction andpost- The to thestorageof paper itemscontinuedatthe preserving theoriginalmaterials.Improvements of press bookswas completed,thereby In theSpecialCollectionsunit, microfilming stringently managed. damage, handlingofstillsisnowmore Conservation Centre. Inorder tominimise material mostatriskwastransferred tothe concluded. Followingaconservationstudy, Stills, PostersandDesignscollectionwas During theyear, thepainstakingauditof collections, are held. well assomefilm,televisionandpaper Stephen Street site,where mostofthe stills,as of securitymeasures wasundertakenatour the developmentofasecuritypolicy, anaudit collections attheConservationCentre. During other catastrophe, were prepared forthepaper Disaster plans,guarding againstfire, floodor by thenewAcquisitionsandDisposalsPolicy. decisions begantobeinformed,andfocused, nitrate storage.Intandem,preservation gave usthespaceandflexibilitytoupgradeour support oftheHeritageLotteryFund(HLF), new nitratefacilityatGaydon,builtwiththe continue throughout 2000.Completionofthe nitrate vaultsatGaydon,Warwickshire; itwill conditions attheConservationCentre andour initiated. Thisincludedreviewing storage review oftheoverallcare ofthecollectionswas planning begantohaveanimpact,anda During 1999-2000,collectionsmanagement Care ofthe Joan Kemp-Welch. J VBurden; andearlytelevisiondirector Don Houghton;documentaryfilm-maker costume designerBorisBilinsky;scriptwriter Charles CrichtonandCliveDonner;set were addedin1999included:directors figures whosescriptsorpersonalpapers again emphasisingBritishproductions. Key documents relating tomovingimagehistory, bfi Museum oftheMovingImage ’s ’s Special Collections bfi Collections comprise original collects Something AlwaysHappens season; newprintsofthequotaquickies, (1938), madefortheNFT’s Humphrey Jennings (1916) andtheDufaycolortitle new viewingcopiesof both forshowingintheNFT’s televisionstrand; Hat year's total)included: preservation work(accountingfor20%ofthis according toaudiences’needs.Access-led Conservation Centre isnowprioritised Beyond thisrescue effort, workatthe (774 titles)beingduplicated. exceeded, withatotalof695,623feet safety materialwas500,000feet:this the duplicationofdecomposingnitrateand continued throughout theyear. Thetargetfor natural deteriorationoffilmsinthecollections Preservation worktokeepaheadofthe forthcoming tourof and urgentworksfinishedpriortouseinthe future conservationneedsmaybeassessed were examinedandreports made,sothat the museumstore inHertfordshire. Allobjects of collections,andacompletereorganisation of This required thecareful packingandrelocation of theexistingbuildingunderWaterloo Bridge. and relocating themaspartofthe‘take-down’ conditions forobjectsondisplayorinstorage, concentrated onimproving theenvironmental Museum collectionsactivitythisyear acid-free conditions. Conservation Centre, where theyare keptin provide increased accesstoit,through a • ensure thelong-termpreservation ofthe • 21st Century The HLFproject, AnArchive forthe enthusiastic audienceinNorwichApril2000. these titleshadtheirfirstscreening toan Forest Phonofilmsproject continued: several of NFT’s film, Lorentz’s film Pordenone festival;andnewprintsofPare The PassionateAdventure Stevens cataloguing technical examination, duplicationand process ofselection forformalacquisition, uncatalogued filmcollection (NFTVA’s) unacquired, unexaminedand National FilmandTelevision Archive’s (1967) and Flight forTomorrow In Fact , fortheNFT’s MichaelPowellseason; , aimsto: The River documentary strand.TheDe The Merry Wives ofWindsor Wives The Merry Movies ontheMove At theDropofAnother The MerchantofVenice (1938) andtheShell (1948), bothforthe (1922) forthe and The Farm Crown V . , footage ofEdithPiafinperformance. collection from Triangle Filmsincludingrare 1970s forteachertraining,andasmall collection ofeducationalfilmsmade inthe Inner LondonEducationAuthority, aunique 25,702 titles.Theseincludedmaterialfrom the catalogued, andindexedwhere appropriate, During theyear, theHLFcataloguers the MethodistMissionarySociety. alongside fascinatingnon-fictionmaterialfrom were alsoacquired asviewing copies, Over 600shortfilmsfrom theInstitutFrançais Bullitt including several hundred viewingcopieswere acquired, items, valuablepreservation materialand From thesubstantialbacklogsofunacquired Great film aboutIsambard KingdomBrunel, The Lover the original(1963)televisiontransmissionof Cavell copies were liberated,including As aresult, more than4,000newviewing unexamined materialintheNFTVA collection. Work continuedonthebacklogsof history feasibleforthefirsttime. easy research intothisperiodoftelevision process alsoyieldsviewingcopies,making ensure thehigheststandard throughout. The very high,withallrecordings monitored to quality beingobtainedthrough thetransferis has fourfullyfunctioningtransferbays.The machines, andtheConservationCentre now refurbishment ofanumberobsolete2” This exercise necessitatedtheacquisitionand funding fortheHLFproject. money sogeneratedbeingusedasmatch some oftheITVcompaniesaswego, producing copiesofselectedprogrammes for from IndependentTelevision, andweare format forvideotape.Thefocusisonmaterial videotape todigibeta,thecurrent preservation television collectionheldonobsolete2” three-year project totransferthesectionof got intofullswingduring1999-2000.Itisa videotape preservation, enabledbytheHLF, In parallel,the (1968) and (1975). (1939); Oliver! ; andBobGodfrey’s Oscar A HardDay’s Night bfi (1968), ’s first-everprogramme of The JolsonStory The Criminal Nurse Edith (1964); (1946). ® (1960), -winning Shot at Gainsborough Acquired this year: a new Studios, Hitchcock’s viewing copy of ’s The Lodger was digitally perennial favourite Oliver!, remastered for bfi Video listed in the bfi 100 Collections 30 Access tothe touring exhibition, locally andUK-wide.Preparations forthe collections andfurtherdeveloprelationships interim activitieswilloffer accesstothe Throughout themuseum’s redevelopment, in filmandaheadymixof‘Latinlovers’. as variedtherepresentation ofblack people around theUKhostingexhibitionsonsubjects cinemas, librariesandcommunityvenues small exhibitionswasalsopiloted,withlocal Gainsborough Studios.Atouringprogramme of of thedirector’s workontheSouthBankandat Hitchcock celebrations,aphotographicdisplay comedy, and,aspartofthe On a Carry The mainexhibitionsof1999were: study days. related children's trails,familyworkshopsand in thefourtemporaryexhibitionareas, with programme ofpopularexhibitionscontinued local, UKandoverseasvisitors.The education andspecialneedsgroups, plus school groups, film/mediastudents,adult audiences, includingfamiliesandchildren, A rangeofactivitieswasmountedformany collections, displaysandliveinterpretation. throughculture, amixof stimulatinglearning draw crowds totherichesofourmovingimage Early intheyear, themuseumcontinuedto continue atthe museum educationandexhibitionservices access andvisitorservices.Meanwhile, an innovativeattractionwithgreatly improved is beingplanned:thenewmuseumwillprovide forthcoming 31 August1999.Abrighterfuture aspartofthe sadly, temporarilyclosedforredevelopment on Museum oftheMovingImage visitors duringits11-yearexistence,the and televisiontolifeformore thanfourmillion Having successfullybrought thestoryoffilm museum building. Anewly-establishedActors cast ofactorswell beyondtheconfinesof interpretation, movingimage educationand strength tostrength, takingitsinnovativelive The ( updates are posted onthe education initiatives,are welladvanced; interactive displaysandassociatedlocal www.bfi.org.uk Museum ActorsCompany , celebrating40yearsofgreat British bfi ). bfi Film Centre ontheSouthBank bfi . Movies ontheMove ’s Collections bfi bfi website ’s Ultimate building was, went from Ooh! What , with bfi (1969-1999) atCardiff's ChapterCinema; Monty Python’s 30thanniversaryweekend such asSamuelBeckettattheBarbican; TV screening copies were suppliedforseasons Turin, HongKong,Tel Aviv and Tokyo. Toronto, Rotterdam, Venice, Bergamo, Verona, festivalsduringtheyear,international including Films from thecollectionswere loanedtoother films related toEdgarAllenPoeinPrague. (the FilmFestival), (San SebastianInternational an exhaustiveJohnStahlretrospective futuristic andsci-fithemes(BerlinFilmFestival), included arangeofmillennialprogrammes with retrospectivesContributions tointernational including thisyear’s BergamoFilmMeeting. American tour;andseveralSiodmakevents, were: theUKFritzLangtour;OphulsNorth Other contributionstotouringfilmpackages marketing andreleasing onavarietyofformats. demonstrating thebenefitsofimaginative over theUKandinmanyoverseasvenues, to besuccessful.Itplayedfullhousesall The promote theBritishSilentCinemaWeekend. with Hitchcocksilentsandaprogramme to 1999 The NFTVA collection featured heavilyatthe come underthewingof Animation Training Scheme.Allthesenow films, the world,includingourrestorations ofhissilent centenary bysupplyingnearly40titlesallover Archival bookingscontributedtotheHitchcock supplied by Bookings 1999-2000 wasarecord yearfor Projects DevelopmentUnit the 4 AnimationSchemeresidencies (nowsitedin key stages2/3packagesforschools;Channel favourites alsocontinue,suchasthepopular within bothformalandinformaleducation.Firm to offer anevengreater selectionofactivities The museumeducationprogramme expanded MuseumTheatre Alliance. International Company co-foundedtheEuropean armofthe centres UK-wide.Thisyear, the MuseumActors businesses, museums,theatres andarts successfully withcommunitygroups, Consultancy Servicebegantowork bfi bfi The Lodger Giornate delCinemaMuto ’s recent restoration of London IMAX , withUKadmissionstofilms bfi Collections totalling560,000. (1926) and Filmoteca Espanola ® Cinema); andtheBritish bfi . The Ring South Education (Pordenone) Film continued ), and (1927). and NFTseasonson Le Ballond’Or Jemima &Johnny venues, were: played atvariousOdeon,UCIand 100. Other (1969), whichwaslistedinthetoptenof autumn 1999re-release ofKenLoach’s on atourofchildren’s titles,centred around our bfi Entertainment. Oasis, Valley ArtsMarketingandReeltime bookings insitesoperatedbyCityScreen, developed withthefurtherexpansionof independent cinemasectorwasalso UK-wide. Ourstrong relationship withthe andCine-UK–playingmanytitles UGC/Virgin including Odeon/ABC,Warner UCI, Village, releases washelpedbythemajorcircuits – Our commitmenttobroaden audiencesforour Upon ATimeintheWest building uptoourre-release ofLeone’s distribution; andourholdingsofwesterns, Ideal Husband coincidingwithusacquiring Oscar Wilde, Other backcataloguepromotions included: and independentexhibitors. promotions onBritishcrimefilmstobothmajor gave ustheopportunitytorunbackcatalogue year. Thepairingofthesetwocrimethrillers one ofthemostheavilybookedrevivals ofthe for Hodges’popularclassic, released tofollowonfrom themaincampaign film byMikeHodgesstarringCliveOwen,was promotional work.Thisyear, it alsogivesafocustoourbackcatalogue bring newprintsofclassictitlesintocirculation, Theatrical releasing notonlyhelpsthe reopening oftheEverymanCinemainLondon. and introducing aspecialscreening tomarkthe Atwood, writingaboutthefilmfor resulted inCanadiannovelist,Margaret collaboration withtheLondonLiterature Festival good andevil, the revival ofCharlesLaughton’s polemicon In and NoelCoward. Screen the SeasonforFilmSocieties is The SpringViewing Film Distribution Collections collaboratedwithFilmEducation bfi ’s showcasefornew 16mmacquisitions; , JoeOrton,PeterCushing,NigelKneale bfi prints includedinthistour, which The RailwayChildren Night oftheHunter and (1998) for16mmsub- , Home Away fromHome Home Away Watership Down , theyearbeganwellwith Shakespeare ontheSmall (1968). Get Carter Croupier The Guardian bfi (1955). A , . The BFG -funded , anew bfi Once (1971), Kes to An , bfi , New bfi prints of classic films played in cinemas UK-wide (clockwise from top left): Nights of Cabiria starring Giulietta Masina, photographed on set with director, ; David Bradley learning about life in Ken Loach’s Kes; a menacing Robert Mitchum in Night of the Hunter; Sir Michael Caine shooting up north in the original Get Carter Collections 32 sections, for internal and external users. andexternal sections, forinternal introductions to range ofservicesweoffer, webeganaseriesof In anattempttoinformcustomers aboutthe on subject,personalityandgenre. available onlineisourextensivefilmography list Silent Comedyand Notions, BoerWar, SpanishCivilWar, British Hollywood Greats, Documentary, Ethnic company, genre andkeyword (insynopsis): browsable byyear, director, production catalogues online(at During theyear, wepublishedthefollowing current publication. culture intheUK,asmostrequested Ethnic Notions,ourcataloguereflecting black makers wantingclips,andranksalongside exhibitors, students,researchers andfilm- this catalogueisaninvaluableresource for basic chronology ofdocumentaryproduction, our BritishTransport Collection.Outliningthe Festival, alongsideasampleprogramme from was launchedattheSheffield Documentary Our extensiveDocumentaryFilmsCatalogue before 1930 together inthepublication, presentations from theweekendwere brought programming theevent.Papersand actively involvedinorganisingand Broadway Cinema: Comedy Weekend, heldatNottingham's films, waslaunchedatthesecondBritishSilent our viewingcopiesofsilentBritishcomedy The BritishSilentComedyCatalogue,detailing Prisoner Gadjo Dilo on 16mmin1999-2000: most ofthesevenues,includingtitlesnew 35mm and16mmsub-distributionprintsto Fishguard; andothers. Stornoway, IsleofLewis;Barrow inFurness; reaches: Shetland;Tobermory, IsleofMull; than 400filmsocieties,includingattheouter Throughout theUKandIreland, there are more Gods andMonsters filmswere the mostheavilybookedmodern recouped itscostmanytimesover. Among Bookings toacquire a16mmprintwhich enthusiastically received, prompting Fellini’s classic, this year’s proved tobeashecticever. , Hana-Bi , Dancing atLughnasa . Nights ofCabiria bfi and Collections, andits different bfi bfi and www.bfi.org.uk Collections staff were Pi Video titles.Also Video bfi . Festen Hilary andJackie Hilary Collections supplied British FilmComedy , was (both 1998). , The Spanish ), bfi , Productions ensured thataslateofearly films Our continuedpartnership withPhotoplay and photographerPaulStrand. biographies ofthearchitect FrankLloydWright Great Depression ofthe1930s,andvideo New DealCollection,aseriesdocumenting the much mediainterest, asdid therelease ofthe rarely seen,wasissuedonvideo,prompting two nationalarchives, intellectual property rights,transferred tothe British Railfilmcollection,completewith including torailwaystaff. InMay1999,the the tapeswere circulated aswidelypossible, Working withtherailindustry, weensured that materials ofthehigheststandard wonplaudits. in particular, ourcommitmenttomasteringfrom collection. Theresponse wasoverwhelming; bfi Transport FilmsCommissioninAugust1999, To celebratethe50thanniversaryofBritish imagination ofpublicandmediaalike. Shakespeare films,whichcaughtthe Silent Shakespeare A keyvideosuccessof1999-2000was plus largerandwidergeneralaudiences. and universities,specialistarthouseviewers, collections. Itsprincipalaudiencesare colleges increasingly onwhatisavailableinthe 30 filmstothesell-through market,drawing Each year, staged inJanuary2000. The firstofthese,forregional exhibitors,was whilst live attheNFT, openingitsHitchcockseason; jazzy soundtrackbyNeilBrand,wasperformed with newmusicalscores. The Ring Hitchcock’s twoearlyfilms, Imperial War Archive. MuseumFilmandVideo label. the educationalsector, totheAcademyvideo added furtherdocumentaries,aimedmainlyat already largecatalogueofforeign titles.We also Melville andFedericoFellini,addingtoan from CarlDreyer, KenjiMizoguchi,Jean-Pierre by makingavailableonvideomore classicfilms We continuedourcommitmenttoworldcinema The DivineComedy. score byJobyTalbot ofthepopgroup, Elizabeth HallontheSouthBank,withalive Video issuedthreeVideo volumesfrom this Nanook oftheNorth The Lodger , were alsoreleased on bfi Video Publishing Video premiered attheQueen , acompilationofearly bfi Collections andthe The Ring , oftenrequested but The Lodger bfi releases some , featuringa Video, both Video, bfi and ’s gay titles: Schoolboy Taiwanese director Tsai Ming-Liang;and short French films; Festival inApril1999, Marking theLondonLesbianandGayFilm and theoriginalinspirationfor Whispers Brecht-scripted with twoverydifferent 1930sfilms:theBertholt restored prints),were issuedthisyear, along be seen. many years,thefull versionofthefilmmay into thenegative.Now, forthefirsttimein of intertitleswasfound,translated andinserted colleagues inFranceandGermany, afullset without intertitles.Followingconsultation with film survivedintheNFTVA collectionbut The onlyremaining 35mmnitrate copyofthis of HenryRoussell’s continued withthecompletionofarestoration Our preservation workontintingandtoning version of of the subtlecoloursoforiginalnitrateprint– the traditionaldye-bathmethodtoreproduce Hitchcock titles:afinenewprint–madeusing Special restoration projects Philip Kemp’s educationalcommentary. praised theexceptionalqualityofprintand Seven Samurai Akira Kurosawa’s ever-popular classic, of our Another highlightoftheyearwassuccess Blockbuster chainexceededallexpectations. Stella DoesTricks maker GeraldL’Ecuyer, and The GraceofGod helped tobringwideraudiences The release oftwonewindependentfilmsalso titles forstudents,researchers andcollectors. American Avant-Garde through adiversityof aims totracetheEuropean, Britishand underground NewYork film-makers.Theseries of Transgression The yearsawthelaunchof since wontheChannel4Prize. whohas young Belgiandirector BavoDefurne film, was released onvideo.TheclassicClaraBow of theAvant-Garde The Ring It , andLoisWeber’s first DVDrelease , oneofthefirstwidescreen features Majorettes inSpace The Lodger , ; andadelicate,tintedtoned Sailor . Widespread mediacoverage . Widespread Kuhle Wampe , acompilationoffilmsby , . Salesofthelattertitleto Saint by first-timeCanadianfilm- , withtherelease of The River Violettes Impériales . bfi , three filmsfrom the : Video releasedVideo three The Blot bfi bfi bfi Fellow by acclaimed , acollectionof , and Batman included thetwo Video’s Production’s (both bfi The Bat . Video: History Cinema (1924). Eclectic viewing on bfi Video: (also main photograph); British Transport classic journeys; Hitchcock’s The Ring; Brecht’s exquisite Kuhle Wampe; Roland West’s glorious thriller The Bat Whispers Collections 34 Target: 450 Actual: 314 shot-listed Titles Target: n/a Actual: 3,936 TV programmes acquired Target: n/a Actual: 13,354 Film titlesacquired Target: 5,550 Actual: 5,381 Cataloguing enquiries Target: 0 Actual: 938 Related materials Target: 0 Actual: 1,996 Stills, PostersandDesigns Target: 0 Actual: 921 Donor accesses Target: 0 Actual: 898 Archive footagesales Target: 3,500 Actual: 2,066 Archive viewings Target: 17,110 Actual: 50,358 (5 months) Museum/book shopvisits Target: 150,000 Actual: 122,630 Image visits(5months) Museum oftheMoving Target: 84,000 Actual: 79,681 bfi Target: 450,000 Actual: 559,264 Film Bookings’audiences Indicators 1999-2000 Performance Summary ofKey bfi Video sales Video Collections held, expertise andknowledgeofwhere materialsare the newArchive SpecialsattheNFT. their With Our on-goingworkwith provided bytheEricAnker-Petersen Charity. financial supportforthisrestoration was (FIAF) Congress inLondonJune2000.Vital FederationofFilmArchives the International running to333minutes,willbepresented at restoration. Thenewtintedandtonedversion, and editedintothecuttingcopyof1980 brought totheConservationCentre, duplicated discovered inthe collaboration withPhotoplay. Extrafootage of AbelGance’s Work alsoneared completiononourrestoration new Rights team,whichwouldnolongerhandleany Salesof than twoyearsago.TheInternational successful yeartodate,withsales34%higher Archival FootageSalesenjoyeditsmost aggressive targets,whichwere exceeded. SalesofRightswere set International donors. BothArchival FootageSalesand non-commercial access,includingaccessfor that oneteamhandledbothcommercial and Collections Salesteam.Areorganisation meant 1999-2000 wasasuccessfulyearforthe Sales around theworld. other titlescontributedbyFIAFcolleaguesfrom A sparklingnewprintwasscreened, alongside masterpiece, 1999 LondonFilmFestivalwasDavidLean’s Treasures fromtheArchives bfi of Africa;andcricket. screening); theBloomsburyGroup; Images actress wasinterviewedonstageaftera seasons thisyearincluded:JeanKent(the assist witharchival programming. SuchNFT Degrees South several Americancities.DVDsof South existing audit andrestoration programme ofthe 400+ playing akeyrole inanambitious,five-year and of released intheUS.TheDVDsaleto theUS audiences inNewYork cinemas–were all The Draughtsman’s Contract Collections’ specialpresentation inthe Winstanley bfi bfi proved successful on thebigscreen in Production titlesafterApril2000,is bfi Collections staff are wellplacedto Production titles. , – whichalsofoundappreciative The Draughtsman’s Contract Napoleon Cinémathèque Française bfi (1927), in Education included strand ofthe and South (1946). Zedand A , Ninety bfi was Commandments behind thescenes filmingof movies ofearlyIsraelikibbutzimlife and digital masters. work onthesetwotitles,whichnowhave Two Noughts bfi additions tothesalescatalogueincluded The AdventuresofPrinceAchmed newly restored versionofher1926feature, animated filmsofLotteReiniger, includinga salesrightswere acquiredInternational tothe enquiry. order torelease itfortheBloodySunday TribunalWidgery materialwascompletedin overlooked classic.Importantworkonthe sell-out crowd, generatingfresh interest inan York’s Lincoln Centerwhere itplayedtoa World A newprintofMichaelPowell’s and Carlton. Sciences, Warner Bros., ColumbiaTriStar were theAcademyofMotionPicture Artsand materials fortheirownrestoration projects restoration work.Amongthosereceiving and archives foraccess,preservation and collaborations withbothmajorrightsholders Donor Accessstaff continuedtheirimportant centenary. backdrop projection celebratingtheParty’s 1999 LabourPartyConference foruseina Topical Budget bfi CBS SundayMorningNews History, withfootageon exhibition attheAmericanMuseumofNatural displayed atthehugelysuccessfulShackleton negotiated. stand-alone Green andPleasantLand work ontheChannel4documentaryseries, In Archival FootageSales,ahighlightwasthe television. video intheUSandsoldtoPortuguese Denmark. Devil Defurne, andthe1956TechnicolorDefurne, the shortfilmsofgayBelgiandirector Bavo film-making, wepickedupsalesrights to support ofaculturallydiverserange of Award forBestShortFilm.Continuingour which wasshortlistedforaBritishAnimation -funded shorts Production’s opened inSpain,Israel,Italyand was sentforaretrospective atNew Silent Shakespeare bfi bfi funded theneededre-mastering materials on credit intheendtitleswas newsreel wassuppliedtothe bfi Engineman . The Uninvited Production’s Dateline: NBCand , forwhicha South and the . Materialfrom The Ten was released on Edge ofthe Love isthe and . Other were ® bfi home La Luna -owned , The Documentation andResearch access toinformationaboutthe staff andresearchers. Almost200 transferred toanelectronic databaseforuseby were concluded.10,000manualrecords were catalogued, andfurthercataloguingprojects BBC TVproducer JohnSelwynGilbertwas In SpecialCollections,amajordonationby world directly usingthecollectionseachmonth. students andresearchers from alloverthe to beheavilybooked,withmore than200 Research access more accessibleonline. preparation formakingourcataloguerecords describing collectionsindatabases, was undertakentoexaminebestpracticein the numberandscopeofenquiries.Work (at Our enhancedpresence ontheInternet enquirer, from studentstotelevisionproducers. These tookinarangeofsubjectsandtypes through correspondence andpersonalvisits. More than5,000enquirieswere answered Notions catalogue. collections, andcontributedtotheEthnic copies ofBritishSilentComedyheldinthe newsreels, created acatalogueofviewing detailed shot-listingofthe collections. Thisyear, theunitundertook collection heldbythe continued ontheChaplinout-takes,aunique Smith cametoseesomeoftheirfilms.Work Relatives ofLouiseBeaudetandDAClarke- and students,film-makersTVproducers. Collections, includingacademicresearchers Library membersmadeuseofSpecial Museum of Modern Art. Museum ofModern Hitchcock retrospectives, notablyatNewYork’s Posters andDesignsalsocontributed to London; and to Hollywood two exhibitions: Material from SpecialCollections waslentto Loans research intopostersforuse inexhibitions. London aswellBerkhamsted,assistingtheir up toprovide electronic accessforstaff in incorporating somedigitalimages,waslinked The newdatabaseofourpostercollection, www.bfi.org.uk Cataloguing Unit Fritz Lang at theVestry HouseMuseum, Hitchcock, fromLeytonstone ) resulted inincreases inboth to thecollectionscontinued bfi records andgives at theNFT. Stills, . Topical Budget bfi bfi ’s National The late Sir Alec Guinness, appointed a Silent Shakespeare films, mastered bfi Fellow in 1991, strikes a classic pose from nitrate prints almost a century in Great Expectations, shown on a new old; and Topical Budget newsreel bfi print at LFF 1999 footage, available on bfi Video Production 36 Beautiful People at the Highlights ofthedepartment’s finalyear ‘into thelight’. bringing unknowntalentandfilmtechniques Sir MichaelBalcon,describeditsactivitiesas Fund oftheearly1950s,whenitsChair, the originalobjectivesofExperimentalFilm developmental approach isstillinharmonywith by providing adviceandguidance.This support newBritishfilm-makersandtheirfilms continued duringitsfinalyeartoassistand Headed byRogerShannon, emerging film-makers. continue tobeinvolvedinfosteringtalented, Here, therelocated transfer totheFilmCouncilfrom April2000. Media andSport,that Chris Smith,Secretary ofStateforCulture, in May1999attheCannesFilmFestivalby ground-breaking film-making,itwasconfirmed film production atthe 1999-2000 wasliterallytheendofanerafor films. support newBritishfilm-makersandtheir bfi co-financed bythe over £1millionsalesworldwide.Itwas successful filmsinrecent years,achieved 1999-2000. ACE LotteryFilm Advisorypanelduring Roger Shannonwasalsoamember ofthe Larraine Porter, AllonReich, Tessa Ross. Robin Gutch,ThaddeusO’Sullivan, Tariq Ali, Karin Bamborough, FrancesBarber, Members included: Film Councilboard). (until October1999whenshelefttojointhe Deputy Chair:SarahRadclyffe Chair: Tony Elliott 1999-2000 bfi BBC Films. slates, were setupwithFilmFourLaband No Limits Development Agency(MIDA). National LotteryFundandtheMovingImage Screen, theArtsCouncilofEngland(ACE)’s Production aimedtoassist,guideand Production Board bfi and InSight , oneofthe bfi bfi , Channel4,British bfi bfi , newdevelopment Production would . After51yearsof Production would bfi bfi Production ’s most People during theyear. Thelasttwofeatures, bfi In preparation foritsmovetotheFilmCouncil, Features Kate Iles–producer –writer/director I LoveMyDad Stella Nwimo/StephenPhilip–producers Alrick Riley–director Burnt Ben Gibson–producer Piero diPietro –writer/director Barnaby Burke were: film Projects selectedwithFilmFourLabforthe No Limits in theinitialphaseofmerger. and provide Production witha‘creative dowry’ projects havetransferred totheFilmCouncil opportunities forinnovativefilm-making.These up withFilmFourLabandBBCFilmstorenew feature films.Two developmentslateswere set tothedevelopmentoflow-budget could return Film Council,the As partofthedepartment’s ‘lead-intime’tothe Development Artificial EyeinOctober2000. The filmwasdueforrelease intheUKby nomination), Telluride andBerlinFilmFestivals. AwardEdinburgh, Rotterdam (Tiger played throughout theyearatToronto, Galway FilmFleadhinJuly1999andalso I CouldReadtheSky £1 million. worldwide salesofthefilminexcess the UKinautumn1999.Fortissimogained Beautiful People FilmFestival. Edinburgh International was chosenfortheClosingNightgalaof it alsoplayedattheToronto FilmFestivaland 1999 CannesFilmFestival.Duringthatyear, film inthe Beautiful People both delivered inearly1999. Read theSky Production wounddownitsfeature activities script developmentslateentitled (director, JasminDizdar)and Un CertainRegard (director, NicholaBruce),were was released byAlliancein won theGANPrizeforbest bfi ’s agreed thatit Governors had itsdebutatthe section ofthe No Limits I Could Beautiful in autumn1999. andshot franchises setupbytheGovernment, Consortium franchise,oneofthethree Lottery 1998-1999, wasfinancedthrough theFilm a scriptdevelopedby Room toRent Other development Sol Papadopolis–producer Eric Christiansen–director Wrecked Phil Lind–producer David Jackson–director Brilliant! Jonny Persey–producer Sarah Gavron –director Pastures New Carolynne SinclairKidd–producer Irvine Allen–director Daddy’s Girl strand. Thefourfilmswere: part-financed theBBC’s 10x10shortdrama Under itsdevelopmentinitiative, BBC –10x10 to theFilmCouncil. were beingshort-listedatthetimeoftransfer with theBBC,underbannerof Projects inthesecondslate,collaboration InSight Keith Griffiths –producer Steve McQueen–director Timbuktu –producer Ceri Barnes Dan Reed–writer/director Straightheads Chris Curling–producer Laurence Coriat–writer Simone Horrocks –director Panic Beach Carl Schoenfeld–producer Dom Rotheroe –writer/director My BrotherRob (director, KhaledElHaggar), bfi Production during bfi InSight Production , Beautiful People poster and leaflet at the 1999 Edinburgh International Film Festival Production 38 Target: 1,700 Actual: 2,000 Lottery assessments Target: 30 Actual: 31 Script Factoryinvolvement Target: 7 Actual: 7 New Directors produced Target: 10 Actual: 20 Scripts developed Indicators 1999-2000 Performance Summary ofKey bfi Production ( prize, whichthisyearwaswonbyLisaFlett process forthePathé/Orangefeature script administration, submissionandselection The ScriptFactoryalsosupervisedthe the year. of BritishScreen’s projects tookplaceduring Several readings withoutanaudienceforsome Theatreat theBristolOldVic inFebruary2000. (two readings) andaseriesofthree readings ( Bristol (two readings), Edinburgh(three readings), festivals were includedthisyear:London Gallery inLondon.Inaddition,three film September toDecember1999attheOctober The mainseasontookplaceweeklyfrom expanded andachievedindependentstatus. audiences. Duringtheyearcompany feature screenplays infront ofpublic/industry by professional actorsofyettobefinanced The ScriptFactoryinvolvesperformedreadings the ScriptFactorysinceitsinceptionin1996. bfi The ScriptFactory W.I.Z. –writer/director Baby Lucy Baldwin–writer/director 3 MinuteWonder Alrick Riley–director –writer The Elevator These were: two 3-minutefilmsandfive10-minutefilms. productions. Sevenshortswere commissioned, chosen directors toundertakeshortfilm distinctive film-makingtalentandtoenablethe The purposeofthisschemeistoidentity the bannerof this yearinpartnershipwithFilmFourLabunder The production ofshortfilmsalsocontinued New Directors department. submissions totheACEFilmLottery completed 112reports onthefilmproduction to evaluatenewscripts), ACE andthe theServiceLevelAgreement between Within Lottery The Wedding Gift The Alchemist Production hasprovided financialsupportto (10 mins) Brief Encounters bfi New Directors (3 mins) ); andEwenKilgour( (under whichACEfundsthe ); SimonRose (3 mins) Short FilmFestival bfi Production . Feet Up ). bfi supervising the The departmentassumedresponsibility for more emphaticregional role for came tofruitionthisyear, brought initswakea The 1998-1999re-structuring ofthe Regional Commissioning February 2000. across theUSAbetweenApril1999and Launched inNewYork, thefilmswere screened English regions. relationships between the yearsawpositivedevelopments inthe partners forproduction activities.Asaresult, British filmsentitled around theUnitedStatesinaprogramme of A selectionof FilmFestival. International the Rotterdam FestivalandtheMumbai Random ActsofIntimacy Debbie Isitt–director John MartinJohnson–writer Wasps Ian Cottage–writer/director Sleep –writer/directorClio Barnard Random ActsofIntimacy Fraser MacDonald–writer/director Lay oftheLand Sara Sugarman–writer/director Anthrakitis Sarah Miles–writer/director A BunnyGirl’s Tale Channel 4duringtheyearincluded: Previous delivery oftheslateanticipatedforMay2000. September 1999andFebruary2000with These filmswentintoproduction between John Hardwick –writer/director To HaveandTo Hold Chris Cooke–writer/director Shifting Units Krishnan–writer/director Tinge Shadowscan –directorMargaret Williams Emily Woof –writer Going New Directors (10 mins) bfi (10 mins) (10 mins) bfi Production shortsscreened ’s contributiontoregional Changing theGuard bfi (10 mins) titles broadcast on Production andthe was alsoscreened at bfi Production. bfi , which . development slates, regionally basedfilm-makerstothetwo success inthehealthylevelofapplicationsfrom Production department.Thisfounditsclearest set ofactivitiesandthecore initiativesofthe on achievingbetterco-ordination betweenthis projects ataregional level.Attentionfocused grants andfordevelopingawiderangeof administration andmanagementofregional Regional Production, responsible forthe of anewpostCommissioningExecutivefor in Wales. Partofthischangesawthecreation level ofsupportforSgrîn’s production activities and MediaDevelopmentAgencies,aswella activities oftheEnglishRegionalArtsBoards responsibility forfundingtheproduction At thestartofyear, thedepartmenttookon Regional CulturalConsortia. Regional DevelopmentAgenciesand thenew available through theEuropean Union, researching fundingandsupportmechanisms valuable groundwork wasdoneintermsof As wellasbuildingpracticalpartnerships, talent wasidentifiedearly, andsupported. personnel. Thishelpedtoensure thatrising regional production fundsand departmental close linkswere builtbetweenthevarious The departmentalsoworkedtoensure that film-making. or producers withexperienceofshort aspects offeature filmproduction fordirectors aimed toilluminatethefinancialandbusiness Lowdown ontheBusinessofFilm and lowbudgetfilmsapilotevent, included seminarsonLotteryFundingforshort Other informationandnetworkinginitiatives Supplement asdiversethe journals been acknowledgedasaseminalresource by especially atthestartoftheircareers andhas been aninvaluableaidtofilm-makers, the 1999EdinburghFilmFestival.Thishas produced bythisdepartmentandlaunchedat for film-makers,was,thefirsttime, Funding Guide general. only itsregional partnersbutalsofilm-makersin communication between Much attentionwaspaidtothelevelof Lowdown –theLowBudget and themagazine , thehighlyregarded publication No Limits bfi Guardian Education Production andnot and Total Film , which InSight . . bfi Production’s I Could A shift at the Script Factory The Lowdown for New Directors shorts commissioned in partnership with Read the Sky, directed film-makers from FilmFour Lab: The Elevator; Shadowscan; To Have and To Hold by Nichola Bruce, on UK bfi Production cinema release in 2000 Foreword to the financial Internal Controls In preparing these financial The Consolidated Statement of Employee Involvement analysis of the risk to which the 40 statements The Governors are responsible for statements, the bfi is required to: Financial Activities (SOFA) is set out The flow of information to staff is body is exposed, and annual keeping accounting records which on page 41 and shows a surplus for maintained by office notices and internal audit plans are based on disclose with reasonable accuracy • Observe the accounts directions the year of £3.340m (1999 regular departmental meetings, and this analysis. The analysis of risk bfi Status the financial position of the bfi and issued by the Secretary of State £8.733m) including designated and at general meetings of all staff held and the internal audit plans are The British Film Institute (bfi) is a which enable them to ascertain the for Culture Media and Sport restricted funds. The Consolidated from time to time where matters of endorsed by the bfi's Audit body incorporated by Royal Charter financial position of the charity and including the adoption of suitable Statement of Financial Activities current interest and concern to the Committee and approved by me. and also a registered charity, which enable them to ensure that accounting policies within the (SOFA) is set out on page 42 with bfi are discussed. A monthly At least annually, Deloitte & Touche number 287780. A copy of the the financial statements comply with framework outlined in the bfi's further detail provided in Note 19. newsletter is circulated to all staff. provide me with a report on internal Royal Charter is available on applicable regulations. They are also Royal Charter; The surplus arises from lottery Regular meetings are held with audit activity. The report includes request. responsible for safeguarding the income being utilised to purchase representatives of the recognised Deloitte & Touche's independent assets of the bfi and hence for • Make judgements and estimates fixed assets. The fixed asset base trade unions. opinion on the adequacy and The Governors are the trustees of taking reasonable steps for the that are reasonable and prudent; of the bfi has increased to £49.1m effectiveness of the body's system the charity. prevention and detection of fraud at 31 March 2000 (1999 £45.3m). Charitable Commitments of internal financial control. and other irregularities. • State whether applicable There were no material charitable Alan Parker CBE accounting standards and state- Divisional activities and performance commitments at the year-end. My review of the effectiveness of the (Chair resigned 3 August 1999) The Audit Committee examines the ments of recommended practice against targets agreed with the system of internal financial control is effectiveness of the systems of have been followed, subject to DCMS during the year are set out in Transactions with Governors informed by the work of the internal Joan Bakewell CBE internal financial control on behalf of any material departures the Annual Review, copies of which No Governors received remuner- auditors, the Audit Committee (Chair appointed 4 October 1999) the Governors and are satisfied that disclosed and explained in the are available on request. ation for their service as Governors. which oversees the work of the the systems in place comply in all financial statements; and In addition to the reimbursement of internal auditors, the executive Jenny Abramsky material aspects with Charity Reserves Policy travelling expenses during the year managers within the body who (appointed 1 February 2000) Commission and Department for • Prepare the financial statements The bfi plans financially on a rolling (see Note 8) the following Governor have responsibility for the Culture, Media and Sport (DCMS) on the going concern basis 3-year basis based on forecasts of received payments for professional development and maintenance of Ray Deahl guidance, and that: unless it is inappropriate to activity and anticipated levels of services: Brian Winston – the financial control framework, presume that the bfi will continue income from the DCMS and other Book Royalties £353, – and comments made by the Charles Denton • The bfi is operating effectively in operation. funders. The bfi funds both long Film Hire £100. All contracts with external auditors in their manage- (resigned 8 November 1999) and efficiently term developments and its on-going Governors for services are ment letter and other reports. The bfi is also responsible for programmes from grants and negotiated on an arms-length basis. Lord Dafydd Elis-Thomas • Its assets are safeguarded safeguarding its assets and taking donations received and income As Accounting Officer, I am aware (resigned 1 May 1999) against unauthorised use or reasonable steps for the prevention generated from its activities. Professional Advisors of the recommendations of the disposition and detection of fraud and other The bfi's principal advisors are: Turnbull Committee and I am taking Tony Elliott irregularities. All expenditure plans are phased to Binder Hamlyn – Auditors reasonable steps to comply with the • Proper records are maintained ensure adequate funding is available Hutchinson Morrison and Childs – Treasury's requirement for a Terry Gilliam and financial information used The Governors are regarded as as needed. It is the Board's Property statement of internal control to be within the bfi or for publication is trustees for investment purposes. intention to build up a liquidity Lloyds TSB – Bankers prepared for the year ended Alan Howden reliable; and reserve equivalent to one month's Nicholson Graham and Jones – 31 March 2002, in accordance with Review of Activities recurrent expenditure on general Solicitors the guidance to be issued by them. Terry Ilott • The bfi complies with relevant The objects of the bfi are to and designated activities, circa (appointed 1 February 2000) laws and regulations encourage the development of the £2.3m (1999 £2.4m). On behalf of the Board of Jon Teckman art of film in the United Kingdom, to Governors Director Nasreen Munni Kabir The systems of financial control are promote its use as a record of Cash at bank and in hand at 31 (appointed 1 February 2000) designed to provide reasonable, but contemporary life and manners, to March 2000 was £1.6m, principally Joan Bakewell CBE 28 June 2000 not absolute, assurance against foster study and appreciation of it from Restricted and Designated Ronnie Kells material misstatement or loss and from these points of view, to foster funding received in advance. Ray Deahl Auditors report to the British include regular consideration by the study and appreciation of film for Film Institute and accounting David Kustow Governors of actual results, television and television Projects funded from Restricted 28 June 2000 officer of the bfi (appointed 1 February 2000) including non-financial performance programmes generally and to Income, mainly grants and lottery targets, against budgets and encourage the best use of television awards, only proceed to Statement on the system of We have reviewed the Accounting Barry Norman forecasts. in the United Kingdom. The bfi is implementation after all necessary internal financial control Officer's statement relating to governed subject to the terms and funding has been secured. The internal financial control for Simon Olswang Deloitte & Touche provide the bfi conditions set out in its Royal balances of unspent grants and As Accounting Officer, I executive Non-Departmental Public (resigned 7 October 1999) with an internal audit function. The Charter. similar items held within the acknowledge my responsibility for Bodies in accordance with DAO Audit Committee considers all Restricted Fund are subject to ensuring that an effective system of (Gen) 13/97 ‘Corporate Statement Rodney Payne internal audit reports and The bfi cannot operate as effectively specific conditions imposed by the internal financial control is on the System of Internal Financial recommendations. as it does without the support of donors and not available to fund our maintained and operated by the bfi. Control’. Sarah Radclyffe sponsors and donors. The other activities. (resigned 29 October 1999) The Board of Governors has Governors wish to express their The system can provide only Basis of Opinion adopted the Code of Best Practice thanks to the bfi's benefactors, and Tangible Fixed Assets reasonable and not absolute We carried out our review on Eric Senat for board members of Public in particular to J Paul Getty KBE, for The movement in tangible fixed assurance that assets are safe- accordance with Bulletin 1995/1 Bodies, and maintains a register of his generosity over many years assets is disclosed in Note 11. guarded, transactions authorised ‘Disclosures relating to Corporate Brian Winston interests of board members. This is towards every aspect of our work, and properly recorded, and that Governance’ issued by the Auditing available for inspection, on request, in particular the preservation of the Year 2000 material errors or irregularities are Practices Board. The Bulletin does Jean Young at the bfi’s main administrative heritage of our national cinema. The bfi incurred costs totalling either prevented or would be not require us to perform the centre at 21 Stephen Street, £25,000 in ensuring that there detected within a timely period. additional work necessary to, and Governors of the bfi are appointed London W1T 1LN. On 1 May 1999 the bfi London would be no material disruption to we do not express an opinion on by the Secretary of State for Culture, Imax opened on the South Bank. its business as a result of the Year The system of internal financial the effectiveness of either the Media and Sport. Governors also The bfi’s Royal Charter requires the The Imax operation is administered 2000 date change. A number of control is based on a framework of system of internal financial control serve on the following committees: bfi to keep proper accounts and through bfi (Big Screen) Ltd, a minor IT systems were replaced regular management information, or the corporate governance other records and to prepare for wholly owned subsidiary of the bfi. prior to 31 December 1999. administrative procedures including procedures, nor on the ability of the Audit Sub-Committee each financial year statements of Income and expenditure during the the segregation of duties, and a Institute to continue in operational Budget Sub-Committee account in such form as the 11 months of this year are included As a result of the steps taken, there system of delegation and account- existence. Disability Committee Secretary of State for Culture, in these financial statements. were no disruptions to the bfi's ability. In particular, it includes: E-Commerce Advisory Committee Media and Sport with the consent business in January 2000. Opinion National Film and Video Forum of the Treasury may direct. The From 1 September 1999, the Comprehensive budgeting systems With respect to the Accounting Production Board Governors are required to ensure Museum of the Moving Image Equal Opportunities with an annual budget which is Officer's statement on internal Property Sub-Committee that a registered auditor audits the became a touring museum allowing The bfi has an agreement with the reviewed and agreed by Governors financial control, in our opinion: Remuneration Committee financial statements each year and redevelopment of the site on the recognised trade unions on Equal report on whether they show a true South Bank. Opportunities. This is reflected in Regular reviews by the Board of • The Accounting Officer has and fair view of the bfi’s state of the policies and practices of periodic and annual financial reports provided the disclosure required affairs at the year-end and of its On 1 April 2000, the bfi Production recruitment, promotion and training. which indicate financial performance by this circular; and income and expenditure and cash Department staff and ongoing against the forecasts flows for the financial year. The activities transferred to the Film Applications for employment by • The Accounting Officer's state Governors are also required as Council. disabled persons are always fully Setting targets to measure financial ment is not inconsistent with the soon as practical after the end of considered, bearing in mind the and other performance, as set out information of which we are the financial year to issue an Annual Financial Performance aptitudes of the applicant concern- in the annual bfi corporate plan aware from our audit work on Report containing the financial Total expenditure during the year ed. In the event of members of staff the financial statements. statements and a report on the including depreciation amounted to becoming disabled every effort is As appropriate, formal project affairs of the bfi. £28.763m (1999 £30.306m). The made to ensure that their employ- management disciplines. Binder Hamlyn Financial statements for year ended 31 March 2000 grant of £16.935m from the DCMS, ment with the bfi continues and that Chartered Accountants and interest received, activity and other appropriate training is arranged. It is Deloitte & Touche provide the bfi Registered Auditors income, gives total income of bfi policy that the training, career with an internal audit function, 20 Old Bailey £32.103m (1999 £39.039m). development and promotion of which operates to standards London disabled persons should, as far as defined in the Government Internal EC4M 7BH possible, be identical with that of Audit Manual. The work of the other employees. internal auditors is informed by an 28 June 2000 41 Report of the Auditors Income and Expenditure To the Governors of the bfi We have audited the financial statements on pages 41-52 which Fund Analysis have been prepared under the Notes General Designated Restricted Total 1999 historical cost accounting convention as modified for the £000 £000 £000 £000 £000 revaluation of fixed assets and on the basis of the accounting policies Incoming Resources set out on page 44. Grant-in-aid 3 16,910 – 25 16,935 15,100 Respective Responsibilities of Other grants – – 1,585 1,585 984 Governors and Auditors Lottery awards 4 – – 3,495 3,495 11,923 As described on page 40 the bfi is Investment income 5 – 183 – 183 338 responsible for the preparation of the financial statements in Activities including sponsorship 9,437 10 458 9,905 10,694 accordance with applicable United Kingdom law and accounting Sub-total 6 26,347 193 5,563 32,103 39,039 standards. Our responsibilities, as independent auditors, are Resources Expended established in the United Kingdom by statute, the Auditing Practices Direct charitable 25,219 747 1,335 27,301 27,933 Board and by our profession’s Fundraising and publicity 465 – – 465 698 ethical guidance. We have been Management and administration 997 – – 997 1,675 appointed as auditors by the Governors under the bfi’s Royal Sub-total 6,10 26,681 747 1,335 28,763 30,306 Charter and report in accordance with the requirements of that Charter and in accordance with Net (outgoing)/incoming resources regulations made under Section 44 before Notional costs (334) (554) 4,228 3,340 8,733 of the Charities Act 1993. Notional Costs Cost of capital 7 65 – – 65 74 Basis of Opinion We conducted our audit in accordance with Auditing Standards Net (outgoing)/incoming resources (399) (554) 4,228 3,275 8,659 issued by the Auditing Practices after Notional costs Board. An audit includes examination, on a test basis, of Realised gains/(losses) on investments 13 46 – – 46 (71) evidence relevant to the amounts and disclosures in the financial (353) (554) 4,228 3,321 8,588 statements. It also includes an Surplus on revaluation 11 ––––9,164 assessment of the significant Reversal of notional costs 7 65 – – 65 74 estimates and judgements made by the bfi in the preparation of the financial statements, and of whether Net incoming/(outgoing) resources (288) (554) 4,228 3,386 17,826 the accounting policies are appropriate to the bfi's Fund balances brought forward 1,227 29,899 14,885 46,011 28,185 circumstances, consistently applied and adequately disclosed. Fund balances carried forward 939 29,345 19,113 49,397 46,011 We planned and performed our audit so as to obtain all the information and explanations which we considered necessary in order There were no recognised gains and losses other than those shown in the statement above. to provide us with sufficient All the above results derive from continuing operations. evidence to give reasonable assurance that the financial statements are free from material misstatement, whether caused by fraud or other irregularity or error. In forming our opinion we also evaluated the overall adequacy of Summary Operating Statement the presentation of information in the financial statements.

Opinion 2000 1999 In our opinion the financial £000 £000 statements give a true and fair view of the state of the bfi’s affairs as at 31 March 2000 and of its incoming Income 32,103 39,039 resources and application of Less lottery monies for capital projects (3,495) (10,697) resources for the year, and have been properly prepared in 28,608 28,342 accordance with the requirements Operating expenditure (28,763) (30,306) of the Royal Charter of Incorporation and the Charities Act Operating deficit on revenue income and expenditure (155) (1,964) 1993.

Binder Hamlyn Chartered Accountants and Registered Auditors The Notes on pages 44-51 form an integral part of these financial statements. 20 Old Bailey London EC4M 7BH

28 June 2000 42 Consolidated Balance Sheet at 31 March 2000

Notes 2000 1999 £000 £000 £000 £000

Fixed Assets Collections: Films etc – – Tangible Fixed Assets 11 49,148 45,351 Investments 13 – – 49,148 45,351

Current Assets Stocks 14 161 452 Debtors 15 4,453 6,274 Cash at bank and in hand 16 1,612 640 6,226 7,366 Less creditors: amounts falling due within one year 17 4,329 5,072 Net current assets 1,897 2,294 Total assets less current liabilities 18 51,045 47,645 Less provision for liabilities and charges 19 1,648 1,634 49,397 46,011

Financed by: Unrestricted funds General 939 1,227 Designated 29,345 29,899 Restricted funds 19,113 14,885 49,397 46,011

The Governors and Director of the bfi approved these financial statements on 28 June 2000 Joan Bakewell CBE Ray Deahl Jon Teckman

The Notes on pages 44-51 form an integral part of these financial statements. Financial statements for year ended 31 March 2000 43 Consolidated Cash Flow Statement for the year ended 31 March 2000

2000 1999 £000 £000

Net cash Inflow from operating activities 6,560 7,355 Capital expenditure and financial investment (5,588) (10,296) Increase/(decrease) in cash in the year 972 (2,941)

Notes to the Cash Flow Statement

2000 1999 £000 £000

1 Reconciliation of changes in resources to net inflow from operating activities Net (outgoing) resources before lottery funding (155) (1,964) Assets funded by lottery 3,495 10,697 Net incoming/(outgoing) resources 3,340 8,733

Realised investment gains/(losses) 46 (71) Depreciation 1,791 1,246 Decrease in stocks 291 105 Decrease/(increase) in debtors 1,821 (2,345) Decrease in creditors (743) (383) Increase in provision for liabilities and charges 14 70 Net cash inflow from operating activities 6,560 7,355

2 Analysis of cash flows Capital expenditure and financial investments Capital expenditure in year 5,631 14,015 Proceeds from sale of assets (43) – Investment disposals at cost – (3,719) 5,588 10,296

3 Reconciliation of net cash flow to movement in net funds Increase/(decrease) in cash in the period Cash inflow (outflow) from increase in liquid resources 972 (2,941) Movement in net funds in the period 972 (2,941) Net funds at 1 April 1999 640 3,581 Net funds at 31 March 2000 1,612 640

1.4.1999 Cash flow 31.3.2000 £000 £000 £000

4 Analysis of net funds Cash at bank and in hand 640 972 1,612

The Notes on pages 44-51 form an integral part of these financial statements. 44 1 Accounting Policies 2 Presentation of Financial Statements

The financial statements of Collections: Films etc Investments Notional Costs The bfi’s Royal Charter the bfi are prepared under All expenditure on acquiring Investments in subsidiary In accordance with Treasury requires the bfi to keep the historical cost and improving the national undertakings are included at Guidance, notional costs of proper accounts and other convention as modified by collection of films, television cost less provision for a estimated capital are records and prepare for the revaluation of listed material, photographic stills, permanent diminution of charged in the SOFA in each financial year financial investments and in posters, books and other value if appropriate. arriving at a net income statements in such form as accordance with applicable related materials held by the (outgoing) resources figure. the Secretary of State for accounting standards and bfi is included in charitable Listed investments are Notional costs are not Culture, Media and Sport, the Statement of expenditure in the year included at market value at charged on donated or with the consent of the Recommended Practice incurred. The Collections the balance sheet date. lottery funded assets. Treasury, may direct. ‘Accounting for Charities’ also comprise donated (SORP). material and these items are Surplus or deficits on sales Operating Lease A copy of the Direction given not susceptible to formal of investments are credited Transactions by the Secretary of State for The following principal valuation. A nominal value of or charged in the SOFA. Payments made under Culture, Media and Sport accounting policies have £1 has been placed on operating leases are charged may be obtained from the been applied: these collections. Stocks to the SOFA as they are Director of the bfi, Stocks are valued at the incurred. 21 Stephen Street, London Basis of Consolidation Tangible Fixed Assets lower of cost and net W1T 1LN. The consolidated accounts The bfi’s accounting realisable value and Fund Accounting incorporate the financial presentation of expenditure comprise goods held for General funds are available statements of the bfi and all on tangible fixed assets is in resale. for use at the discretion of of its subsidiary undertakings accordance with the the Governors in the and include the results of the H.M.Treasury publication Direct Charitable furtherance of the general bfi itself together with those ‘Trading Accounts: Expenditure objectives of the bfi. of its subsidiary undertakings A guide for Government Expenditure includes direct to the date of these financial Departments and Non- costs of the activities and Designated funds comprise statements. Departmental Bodies’. depreciation on related funds which have been set Expenditure on tangible fixed assets. Where costs relate to aside at the discretion of the The consolidated financial assets is capitalised and more than one activity they Governors for fixed asset statements have been depreciation charged to the are allocated on an purchases and other prepared using the SOFA. appropriate basis. expenditure. The purpose acquisitions method. and use of the designated Costs in making applications Management and funds are set out in the A separate SOFA is not are charged to the SOFA in Administration notes to the financial included for the bfi itself; the year they are incurred These costs are incurred in statements. similarly a separate balance and matched with related the management of the bfi’s sheet is not presented for income from Lottery awards. assets, corporate admin- Restricted funds are funds the bfi as this would not be Expenditure on tangible fixed istration and compliance subject to specific restriction materially different from the assets is capitalised within with constitutional and imposed by donors. consolidated balance sheet. the Restricted and statutory requirements. Designated Funds. Income Staff Costs Income is accounted for on Depreciation Staff costs consist of wages the following basis: Depreciation is provided to and salaries, social security write-off the cost; less and pension costs (Note 8). Lottery Funding and estimated residual values, of Other Grants all fixed assets except Film Production Costs Lottery income and other freehold land, over their and Income grants are recognised when expected useful lives. It is Committed expenditure on the conditions for their calculated at the following film productions is charged receipt have been met. rates: in the income and expend- iture account in the year South Bank Freehold buildings production commenced. Sales of ticket and retail – 2% per annum items at the National Film Income from completed film Theatre and Museum of the Long leasehold property production is credited to the Moving Image are credited – 2% per annum income and expenditure to income on an accruals account in the year in which basis. Furniture, fittings and it is earned. equipment Other Income – 10-33% per annum Pension Costs Income from sales of Contributions to a defined publications, provision of Motor vehicles benefit pension scheme are services, member and – 20% per annum charged to the SOFA so as magazine subscriptions, and to spread the cost of miscellaneous items are pensions over employees’ Financial statements for year ended 31 March 2000 dealt with on the accruals working lives within the bfi, basis and represent amounts in accordance with the invoiced to clients excluding Statement of Standard VAT where appropriate. Accounting Practice 24. 45 3 Related Party Transactions

The bfi is an NDPB of the DCMS.The DCMS is regarded as a related party. During the year, the bfi has had material transactions with the DCMS, and with other entities for which the DCMS is regarded as the parent Department, viz: 2000 1999 £000 £000

a DCMS – Grant-in-aid General funds 16,420 14,837 Tangible fixed assets 490 263 Restricted funds 25 – 16,935 15,100

Grant-in-aid is spent in accordance with the funding agreement between the bfi and the DCMS and is apportioned between published DCMS objectives:

i) To create an efficient and competitive market by removing obstacles to growth and unnecessary regulation so as to promote Britain's success in the fields of culture, media, sport and tourism at home and abroad 32 –

ii) To broaden access for this and future generations to a rich and varied cultural and sporting life, and to our distinctive built environment 6,723 6,143

iii) To raise standards of cultural education and training 6,426 5,009

iv) To ensure that everyone has the opportunity to achieve excellence in the areas of culture, media and sport and to develop talent, innovation and good design 2,347 2,259

v) To maintain public support for the National Lottery and ensure that the objectives of the Lottery Fund supports DCMS’ and other national priorities; and 50 75

vi) To promote the role of the DCMS’ sectors in urban and rural regeneration, in pursuing sustainability and in combating social exclusion 1,357 1,614 16,935 15,100

The DCMS has passed its funding responsibility for the bfi to the Film Council from 1 April 2000.

b Film Council The bfi incurred expenditure totalling £135k during 1999-2000 on behalf of the Film Council. Of this sum £50k had been reimbursed by 31 March 2000. The balance of £85k is included in Debtors.

The bfi has entered into a funding agreement with the Film Council which becomes effective from 1 April 2000 and in 2000-01 the bfi will receive up to £16m to meet agreed Film Council goals. On 1 April 2000 the bfi transferred the Production Department staff and ongoing activities to the Film Council (Note 6). Production liabilities totalling £43k were also transferred to the Film Council on 1 April 2000 at book value (Note 17).

c Lottery Funding Bodies - see Note 4

4 Lottery Funding

Gross Less Costs Lottery Monies bfi Funding 1999-2000 Receivable Designated Restricted £000 £000 £000 £000

Arts Council of England Imax 2,917 1,827 1,090 – Heritage Lottery Fund Film preservation 2,224 1,668 – 556 Total 5,141 3,495 1,090 556 Fixed assets costs (5,141) (3,495) (1,090) (556) 46 5 Investment Income

2000 1999 £000 £000

Interest receivable 183 284 British government stocks – 9 UK equities – 45 183 338

6 Income and Resources Expended

Net Income Staff Other Overheads Total Support 1999 £000 £000 £000 £000 £000 £000 £000

Exhibition 4,922 2,168 6,481 1,980 10,629 5,707 5,615 Collections 4,278 5,104 2,753 2,633 10,490 6,212 5,681 Education 1,847 1,562 1,785 967 4,314 2,467 2,713 Production 386 260 1,402 150 1,812 1,426 1,230 Support services Accommodation – – 2,273 (2,273) – – – Central Services & Admin. 56 1,676 2,068 (3,688) 56 – – Sub-total 11,489 10,770 16,762 (231) 27,301 15,812 15,239 (Direct Charitable)

Fundraising & publicity – 178 287 – 465 465 698 Management & Administration 184 435 331 231 997 813 1,103 Grant-in-aid 16,935––––(16,935) (15,100) Lottery 3,495––––(3,495) (10,673) Total 32,103 11,383 17,380 – 28,763 (3,340) (8,733)

Production activities were transferred to the Film Council on 1 April 2000.

7 Notional cost of capital

Notional cost of capital is calculated as 6% of the average General Funds employed (1999 6%). No notional interest is calculated on donated or lottery-funded assets. Financial statements for year ended 31 March 2000 47 8 Staff

2000 1999 £000 £000

Staff costs consist of: Wages and salaries 10,219 9,821 Social security costs 787 783 Pension costs 377 377 11,383 10,981

The average number of full time equivalent employees of the bfi during the year was: 2000 1999 Number Number Funded by DCMS grant and operating income: Exhibition 84 68 Collections 183 234 Education 61 62 Production 6 5 Central Services 52 60

Fundraising and publicity 6 4 Management and administration 11 12 403 445 Employees funded by other grants or sponsorship monies 71 48 474 493

Age at 2000 1999 31.3.2000 £000 £000 Directors J.C.Woodward Resigned October 1999 39 80 110 (Including personal pension scheme contribution of £8K) (Including non-consolidated performance related bonus of £10K) J.S.P.Teckman Appointed November 1999 36 31 – (Including non-consolidated performance related bonus of £Nil) J.S.P.Teckman is an ordinary member of the LPFA. 2000 1999 Number Number Other senior staff (including employers' pension contributions) £60k - £70k 3 – £50k - £60k 6 4 £40k - £50k 12 14

The Governors neither received nor waived any emoluments during the year (1999 £Nil). Expenses reimbursed amounted to £3,765 (1999 £2,070). As disclosed in the Foreword payments totalling £453 were made in the year for services. There were no other material connected party transactions involving Governors in their personal capacity.

9 Pensions

The bfi is an admitted body to the London Pensions Fund Authority, which is a defined benefit scheme for its salaried employees. It is a funded scheme and the assets are administered by trustees and are independent of the bfi’s finances.

At 31 March 1998 the main actuarial assumptions for pension funding purposes were for annual rates of increase in salaries of 5.4% and returns on scheme investments of 7.2%. The market value of scheme assets was £1,165m representing 108% of estimated liabilities. The separate scheme for pensions in payment was £1,481m, representing 100% of the actuarial liability. After the fund was revalued at 31 March 1998 and found to be in surplus a revised employer's contribution rate of 3.4% was agreed for the 3 years commencing 1 April 1999.

The charge for pension costs for the year is in staff costs (Note 8): 2000 1999 £000 £000

Pension costs to salaried employees 233 168 Unfunded pensions to former staff (Note 18) 144 209 377 377 48 10 Resources before transfers are stated after charging:

2000 1999 £000 £000

Auditors' remuneration: Audit fee 29 31 Accountancy and other services 3 7

Depreciation 1,762 1,246 Loss on disposals 29 –

Charges for operating leases: Equipment 90 86 Property rents 107 158

11 Tangible Fixed Assets

Long Freehold Furniture Leasehold Land and Fittings and Motor Property Buildings Equipment Vehicles Total £000 £000 £000 £000 £000 Cost At 1 April 1999 22,887 20,800 9,282 84 53,053

Additions: Grant-in-aid – – 490 – 490 Lottery (Note 4) 2,648 1,805 671 17 5,141 Disposals at cost – – (200) – (200) At 31 March 2000 25,535 22,605 10,243 101 58,484

Depreciation At 1 April 1999 – – 7,618 84 7,702 Eliminated on disposals – – (128) – (128)

Charge for the year: General – – 353 – 353 Designated 168 369 338 – 875 Restricted 343 81 107 3 534 At 31 March 2000 511 450 8,288 87 9,336

Net Book Value at 31 March 2000 General – – 980 – 980 Designated 11,679 18,166 681 – 30,526 Restricted 13,345 3,989 294 14 17,642 25,024 22,155 1,955 14 49,148 Net Book Value at 31 March 1999 General – – 880 – 880 Designated 11,027 18,535 784 – 30,346 Restricted 11,860 2,265 – – 14,125 22,887 20,800 1,664 – 45,351

Long leasehold property represents buildings held on lease with more than 50 years unexpired.

Messrs. Jones Lang Wooton revalued Stephen Street, Berkhamsted properties and the South Bank leasehold property on an Existing Use Value basis in accordance with the RICS Appraisal and Valuation Manual at 31 March 1999. The Gaydon film vaults were valued on a depreciated replacement cost basis in view of the specialised design and construction. The Imax Theatre was under construction at 31 March 1999 and is valued at cost.

Furniture, fittings and motor vehicles fixed assets are included at net historic cost. These assets are not held for resale and Financial statements for year ended 31 March 2000 market value basis is therefore considered inappropriate. Depreciation is calculated to write-off the cost of these assets in full over their useful lives.

All tangible fixed assets are employed in charitable activities. 49 12 Subsidiaries

bfi Big Connoisseur MOMI Screen Ltd Video Ltd Ltd Total 1999 £000 £000 £000 £000 £000

Trading Account Income 222 641 5 868 509 Expenditure 158 585 – 743 483 Net profit 64 56 5 125 26

Balance Sheets Tangible fixed assets – 2 – 2 3

Current Assets/Liabilities Stocks – 20 – 20 23 Debtors 185 167 1 353 225 Cash at bank and in hand 183 – 4 187 189 Current liabilities (368) (55) (5) (428) (309) Total (bfi interest) – 134 – 134 131

bfi (Big Screen) Ltd operates the commercial activities of the bfi London Imax and the theatrical operations of the Imax on an agency basis.

Connoisseur Video Ltd is the bfi’s video publishing activity.

MOMI Ltd receives income generated by the bfi affinity ArtsCard.

Trading subsidiaries are involved in activities wholly consistent with the bfi’s charitable aims and objectives and remit taxable profits to the bfi under Gift Aid. Income and expenditure is included within these financial statements.

Shareholdings In Subsidiaries The bfi holds 100% of the issued share capital of the following undertakings which are registered in England and Wales:

bfi (Big Screen) Ltd Connoisseur Films Ltd (dormant) Connoisseur Video Ltd Glenbuck Films Ltd (dormant) MOMI Ltd Rosebud Project Ltd (e-commerce development)

13 Fixed Asset Investments

2000 1999 £000 £000

Market value at 1 April 1999 – 3,719 Additions in year – – Disposals in year (46) (3,648) Profit (loss) on disposals 46 (71) Market value at 31 March 2000 – – Historic Cost at 31 March 2000 Unquoted investments – –

As part of a funding arrangement, 100 shares were held at 31 March 1999 in City Screen Oxford Ltd and in City Screen Exeter Ltd. These represent 10% of the issued share capital of each company. The shares were sold to City Screen Ltd during the year. Financial statements for year ended 31 March 2000 50 All amountsshownunderdebtorsfalldueforpaymentwithinoneyear. An analysisofpaymentsduring1999-00showsthataveragecredit takenduringtheyearwas40days(1999:42days). Normal credit termsare 30daysafterreceipt ofinvoiceatthecentralFinanceDepartment,21StephenStreet London. The Book andvideopublishing P Lottery awa Film Council T Cash atbank T 15 Debtors South Bankgiftandbookshops 14 Stocks £130k isincludedwithincreditors, andthebalance of£1,648kisincludedinprovisions. £144k isincludedwithinpensioncosts fortheyear(Note9).At31March 2000theanticipatedcost fallingduein2000-01of of thisliabilityat31March 2000isestimated at£1,778k.Afteradjustingforpaymentsduring1999-00,theannualcost of The 18 Provision forLiabilitiesandCharges Accruals 17 Creditors fallingduewithinoneyear Cash inhand 16 Cashatbankandinhand Other debtors Other c Lottery awa Film CouncilP rade c rade debtors r epayments andaccruedincome bfi bfi r r aims topayallsuppliersonagreed credit termssubjecttosatisfactorysupplyofgoods orservices. also hasanunfundedliabilitytopay pensions to46formeremployeesandtheirspouses.Thetotalactuarial valuation editors editors includingtaxesandsocialsecuritycosts

r r

ds ds

r

oduction liabilities

4,453 4,329 1,612 2,314 1,338 1,590 2,263 £000 2000 £000 2000 £000 2000 £000 2000 672 161 161 676 706 457 228 85 43 22 –

6,274 5,072 3,165 1,960 1,370 1,884 1,144 £000 1999 £000 1999 £000 1999 £000 1999 452 171 281 785 640 364 674 621 19 – – 51 19 Statement of Funds

Balance Balance 1.4.1999 Transfer Income Expenditure 31.3.2000 £000 £000 £000 £000 £000

General 1,227 – 26,393 26,681 939 Designated Capital 28,454 1,038 – 744 28,748 Charitable activities 178 229 193 3 597 Major projects 1,267 (1,267) – – – Sub-total 29,899 – 193 747 29,345

Restricted Capital 14,124 – 4,051 533 17,642 Charitable activities 761 – 1,512 802 1,471 Sub-total 14,885 – 5,563 1,335 19,113

Total 46,011 – 32,149 28,763 49,397

Analysis of Fund Balances General Designated Restricted Total £000 £000 £000 £000

Tangible fixed assets 980 30,526 17,642 49,148

Current Assets Stocks 161 – – 161 Debtors 3,777 – 676 4,453 Cash at bank and in hand (237) 597 1,252 1,612

Current liabilities (3,742) (130) (457) (4,329) Provision for liabilities and charges – (1,648) – (1,648) Total 939 29,345 19,113 49,397

Note: The designated and restricted funds are currently fully committed. The Major Projects Fund provided matching funding for the Imax and other projects. Restricted funds are committed as directed by the donors. General funds are available to fund revenue initiatives identified during the year and to provide a reserve against unforeseen costs arising.

20 Lease Commitments

Annual commitments in respect of operating leases payable in the year ending 31 March 2000 are as follows: Land & Land & Buildings Buildings Other Other 2000 1999 2000 1999 £000 £000 £000 £000 Leases which expire: Within 2 to 5 years 65 37 90 86 Over 5 years 42 72 – – 107 109 90 86

21 Taxation Status

The bfi is a registered charity and its income falls within the exemptions to corporation tax. 52 Five Year Summary

2000 1999 1998 1997 1996 £000 £000 £000 £000 £000 Incoming Resources Grant-in-aid 16,935 15,100 16,000 16,473 16,973 Other grants 1,585 984 1,502 1,299 818 Lottery funding 3,495 11,923 3,260 475 356 Investment income 183 338 394 434 437 Activities including sponsorship 9,905 10,694 11,798 12,620 13,720 Total incoming resources 32,103 39,039 32,954 31,301 32,304

Resources Expended Direct charitable expenditure 27,301 27,933 31,164 30,210 30,745 Fundraising and publicity 465 698 410 466 37 Management and administration 997 1,675 3,049 1,341 1,400 Total resources expended 28,763 30,306 34,623 32,017 32,182

Net incoming/(outgoing) resources 3,340 8,733 (1,669) (716) 122

Staff Numbers Funded by DCMS 403 445 460 471 485 Other external grants 71 48 27 23 19 Financial statements for year ended 31 March 2000 ainley associates Design: marcus @ Untitled Cover photography: Nick Veasey British Film Institute bfi Fellows Fellowships at 31 March 2000

bfi Fellowships are Michelangelo Antonioni given to individuals Dame Peggy Ashcroft from around the world Lord Attenborough CBE in recognition of their Lord Bernstein outstanding contribution Bernardo Bertolucci to film or television Sir Dirk Bogarde culture. Lord Brabourne Sir Michael Caine A total of 50 bfi Marcel Carné Fellowships have been Bette Davis presented since this Gérard Depardieu award was initiated in Clint Eastwood 1983, the bfi’s silver David Francis OBE jubilee year; none was Sir J Paul Getty bestowed during 1999- Graham Greene 2000. New Fellowships Sir Alec Guinness will be awarded in Leslie Hardcastle OBE 2000-2001 and beyond. Sir Derek Jarman Deborah Kerr CBE Krzysztof Kieslowski Elem Klimov Akira Kurosawa Verity Lambert Lynda La Plante Sir David Lean Ken Loach Sir John Mills Jeanne Moreau Maureen O’Hara Lord Olivier Michael Parkinson CBE Dilys Powell CBE Michael Powell Emeric Pressburger Lord Puttnam CBE Satyajit Ray Vanessa Redgrave CBE Nicolas Roeg CBE Sir Sydney Samuelson CBE Thelma Schoonmaker Powell Martin Scorsese Jean Simmons Anthony Smith CBE Dame Maggie Smith Jeremy Thomas Orson Welles Robert Wise British Film Institute www.bfi.org.uk Alan Yentob 21 Stephen Street Telephone +44 (0)20 7255 1444 Fred Zinnemann London Fax +44 (0)20 7436 0439 W1T 1LN E-mail [email protected] UK 24-hour bfi events line 0870 240 40 50 British Film Institute Annual Review 1999-2000

www.bfi.org.uk

British Film Institute Film British Annual Review Review Annual 1999-2000