ICO Annual Report 2016 | 2 Introductions

Dorothy Wilson Chair of Trustees, Independent Cinema Office Independent consultant, coach and producer

As the very new Chair of ICO’s board it’s my privilege to introduce a report Catharine Des Forges that illustrates what an important Director, Independent Cinema Office and influential organisation the ICO is now, some thirteen years after its establishment. The Evening Standard in Welcome to our second annual report, We celebrated the talent of emerging its Progress 1000 list recently commented a celebration not only of the ICO’s work artists by taking five newly commissioned that the ICO is ‘not exactly a lone voice in the last 12 months but of the entire short films to 80,000 people across the UK but certainly one of the loudest when UK independent cinema scene. Our and a premiere at the Toronto International it comes to taking a pickaxe to our job is to advocate for the collective Film Festival and we brought some classic out-of-date film distribution system.’ experience of watching films in a cinema films not seen since their original releases The Standard added that our Director, setting, whatever and wherever that is, back to the big screen, ranging from an Catharine Des Forges ‘founded the ICO and to stimulate an open, thriving and auteur classic, Ran, to Ken Loach’s first to help change the way we see films and challenging film culture. This report gives feature, Poor Cow. ensure the ones we see aren’t all fast, just a glimpse of that work and of all the furious and computer-enhanced.’ fantastic organisations we work with We are delighted to welcome a new directly and indirectly across the UK. chair and 6 new board members, as well The ICO indeed champions extraordinary as bid farewell and thanks to Michael film work, inspires and supports film This year has seen some exciting firsts Kuhn, our outgoing Chair, and Ben Cook producers and programmers and plays a for us such as the launch of our Women’s who has stepped down from the board. critical role behind the scenes in helping Leadership scheme, which saw a cohort We are grateful for the generosity with to spread access to great film across the of eight of the UK’s most talented senior which they give their time to us and for country. Prioritising change through managers undertake a transformative all their contributions to the organisation. influence, the ICO's programming supports programme over six months. We’ve also cinemas in underserved parts of the established some new partnerships As always, we are grateful to our funders country and help spread access to films that have enabled us to deliver the best and partners without whom we could on big screens. ICO’s ambitious initiatives, of world cinema to fresh audiences, in not achieve anything – the British Film designed to increase and secure diversity particular distributing Power in Our Hands, Institute (BFI), Creative Skillset, Arts Council of film audiences, film programmers and a ground-breaking documentary on the England, Creative Europe, BFI Film Audience promoters, are flowering very effectively Deaf community's fight for civil rights Network (BFI FAN), distributors and, and we look forward to seeing ever more and principally, the right to be heard. most importantly, exhibitors everywhere. fruits of those initiatives in the year ahead.

Introductions ICO Annual Report 2016 | 3

Contents

Our Goals 7

Programming 10

Helping cinemas show the best films from around the world

Training 16

Making sure our sector has the best skills for a sustainable and diverse future

Screening Days 26

Sharing upcoming films with cinemas so they have the broadest choice for their audiences

Consultancy 34

Helping cinemas improve and grow, through strategic, impartial advice

Artists’ Moving Image 38

Bringing beautiful, unconventional films to cinemas from the world’s top artists

Distribution 44

Giving UK audiences the chance to see films they wouldn’t otherwise see

Advice & Information 50

Helping make sure everyone can screen films

About Us 53

ICO Annual Report 2016 | 5 6 | ICO Annual Report 2016 Contents Our Goals

Our mission is to stimulate an open, thriving and challenging film culture. How do we do that? Overleaf are our six overarching goals. To increase To enable a diverse range To make the admissions for of films to be seen by exhibition industry independent cinemas diverse audiences more inclusive

Cinemas are only as strong as their Cinema is the most democratic art form, The easiest way to make sure audiences, and we want to make sure but to live up to that democratic vision, everyone in your community wants they are as large and diverse as possible. we need a rich diversity to be shown to be an audience member is to ensure The ICO exists because we know the on screen. The films that matter are all groups are reflected in the cinema's UK has a curious, engaged and spirited not always those with huge marketing workforce. We strive towards an filmgoing audience. We want to make budgets or big names. That’s why we equality of opportunity. In our training, sure they’re best served by our cinemas make sure there’s equality of access to our focus is on ensuring all kinds of and film festivals. Our programming the best of world cinema in distribution people can enter the film workforce, as services lead the way in showing how at our Screening Days events, attended this yields long-term change (see our commercial and cultural goals can be by over 900 programmers and venue FEDS scheme, p20) and on diversifying combined. At its heart, our training staff each year (see p26). When great people in key creative decision making is aimed at helping cinemas and film films aren’t in distribution, we intervene roles as this has wide-reaching impact festivals stay sustainable, and that can directly by distributing them ourselves. (see our Women’s Leadership scheme, only happen with thriving audiences. Our distribution projects have grown p19). We democratise access to by 400% in the last decade, supporting information about our sector and how to uncompromising and innovative work succeed in it, via our advice service and that makes an impact on communities. online information, as well as our free We work with distributors big and small jobs service. to make sure the films that matter for audiences can be found across the country.

910,000 988 80%

ADMISSIONS FROM THE NUMBER OF DIFFERENT FILMS PERCENTAGE OF OUR FEDS TRAINEES WHO CINEMAS IN OUR NETWORK. SHOWN IN OUR PROGRAMMING GRADUATED TO FULL TIME ROLES IN THE FILM NETWORK IN 2015/2016. AND TV INDUSTRY AFTER THE TRAINEESHIP.

8 | ICO Annual Report 2016 To provide formal To inform positive policy To support new venues so that training routes into changes and increase funding people can access independent exhibition careers for independent film exhibition films wherever they live

Exhibition can only thrive when the Our industry needs a strong voice to Our sector is growing, but to continue people working in it have the best skills. make sure our needs are served by those to do so, we need not just more films but We want exhibition to be seen not just as a in power. The ICO works with funders exemplary places to see them. In the job, but a career. For that to happen, there and policy makers to advocate for our last year alone, the ICO added 100 new has to be a clear path to follow to rise to sector and champion the film culture venues (or spaces showing independent the top. With this approach, we can attract we want to see. We share our successful film) to its database. Taking an talent and ensure that the best candidates models with partners nationally and adventurous, ambitious approach to progress on a fair basis. Our training internationally so that our sector is programming and operations needs a courses provide that structure, from known as a world leader. long-term vision and the ICO is here people starting their careers (such as to support venues as they grow. With Practical Programming, p24) or at the our consultancy service, we help local very top (such as Women’s Leadership, authorities and private enterprises make p19). We also deliver organisational informed decisions about starting a new change as well as personal development. cinema. Our training and advice services Our consultancy service gives businesses are tailored for every experience level, access to key advice so they can develop especially those entering or developing vision and strategy. in their cinema careers.

303 £700,000 130,000

THE NUMBER OF PEOPLE WE HAVE TRAINED THE FUNDING RECEIVED BY THE ICO IN 2015/16 THE NUMBER OF TIMES OUR ‘HOW FROM MORE THAN 235 ORGANISATIONS TO DELIVER PROJECTS THAT BENEFITED TO START A CINEMA’ GUIDE WAS IN 32 COUNTRIES, IN 2015-16. THE WHOLE OF THE EXHIBITION INDUSTRY. ACCESSED IN 2015/2016.

ICO Annual Report 2016 | 9 Programming

Programming is at the heart of the Independent Cinema Office. We have a network of over twenty venues across the country. We help them show diverse film programmes, so that audiences, wherever they live, can see films from around the world. Our approach is to develop appropriate, bespoke programmes for each venue, with the understanding that each venue has its own identity.

We help cinemas to build new audiences will bring the specifics of the venue and to become economically sustainable. and local audiences into the discussion. Our approach to programming is to It’s only through such a partnership, balance the latest blockbusters and combining national opportunity with crossover arthouse hits with the type of an understanding of local settings and films that we are strong advocates for: audiences, that the cinemas can deliver world cinema, archive films, documentary successful programmes that bring titles and artists’ moving image work. the widest possible range of films to Building an audience for these types of local audiences. films is a long-term process. We act as programme advisors to a The ICO works in partnership with 21 broad range of independent cinemas in cinemas and festivals around the UK, different settings, from the multi-screen offering programme advice and film urban media centres of Broadway in booking services to ensure that cinemas Nottingham and Watershed in Bristol, to have the best possible tools with which stand alone single-screen cinemas like to put together their programmes. Hebden Bridge Picture House and The Barn, Dartington to community cinemas Cinemas choose to work with the ICO like Saffron Screen and mixed arts trusting in the knowledge that as a cultural venues like Ludlow Assembly Rooms. charity, we are in a unique position to QUAD, Derby and mac, Birmingham and work impartially for the benefit of cinemas, the country’s biggest rural film festival, audiences, distributors and UK film culture Borderlines. Our approach is to develop as a whole. appropriate, bespoke programmes for venues, with the understanding that each In practical terms, the programming has its own identity. partnership involves a series of conversations between the cinema and The ICO team has collectively over the ICO to hone each programme. It’s 75 years’ experience in programming a peer-to-peer conversation, with ICO cinemas, film festivals and events across 910,000 providing intelligence around each film, the UK and has become a trusted source IN 2015-16, ICO CINEMAS HAD A TOTAL on national campaigns, audiences and of advice, knowledge and passion for a OF OVER 910,000 ADMISSIONS AND A the wider UK market, whilst the cinema wide range of independent cinemas. TOTAL BOX OFFICE OF £5.4 MILLION.

Programming ICO Annual Report 2016 | 11 It’s a distinctly human activity, requiring critical judgement and a strong feel for films and the way they can work with particular venues and their audiences.

The Year in Cinema 2015/2016

During 2015, blockbusters aside, cinema begins with the act of programming, of programmes have been dominated by a creatively selecting the most interesting list of British films which have left deep possible programme for a venue and impressions on audiences and found its audiences, editing down from the relative box office success. With releases vast array of films now available to such as The Lady in the Van, The Lobster, cinemas. In a year in which there were Suffragette, High-Rise, Macbeth and The nearly 800 films released in the UK, Danish Girl, the year’s most notable films offering cinemas greater choice than in independent cinemas have managed to any other time in recent memory, the combine critical and commercial success. act of programming becomes even more important in ensuring that independent In the wider world of film exhibition, cinemas continue to serve audiences these two elements do not always come well and maximise their box office. together. Commercial film releases often arrive supported by such well-funded It’s a distinctly human activity, Top Ten Grossing Foreign-Language and robust promotional campaigns that requiring critical judgement and a Titles in ICO Programming Network the critical response to the film has little strong feel for films and the way they bearing on its eventual success. can work with particular venues 1 Victoria and their audiences. So just as the 2 Rams The success of these films, in particular commercial cinema world begins 3 Mustang High-Rise and The Lobster, all of to adopt an algorithmic approach to 4 Julieta which would have been referred to choosing the films that are shown in 5 Dheepan as ‘specialised’ films a few years ago, multiplex cinemas, so independent 6 When Marnie Was There gives evidence to the idea that in cinemas and the ICO will continue 7 The Assassin independent cinemas at least, critical to develop excellence in film 8 Embrace of the Serpent approval still plays a big part in attracting programming in order to support 9 audiences to the film. In independent our client cinemas to achieve their Taxi Tehran cinemas, the critical appraisal of films cultural and economic aims. 10 Marguerite

12 | ICO Annual Report 2016 Programming Case Study The Barn Cinema

Jim Whittle Cinema Manager/Film Programmer, The Barn Cinema, Dartington Hall

‘The Barn Cinema has been a client We also offer a regular summer season of reactions, which is vital in enabling us to cinema of the ICO for over 12 years. We successful outdoor screenings curated in programme and market films effectively have come to think of the ICO staff as an partnership with the ICO, which helps to to maximise audience admissions, and important part of our cinema team who reach different audience groups and offers also address our desire to feature films offer far more than just a film booking something different for our core audience. which come from underrepresented service. Our cinema is a challenging one groups within the film industry. We look to programme and to operate as The Barn In the last 4 years we have seen forward to continuing to work with ICO is located in a very rural area in what is significant growth in audience numbers to develop our audience and ensure the a stunning location but also in a Grade 1 and box office income for the cinema. The Barn Cinema continues to thrive. listed building with high operating costs Barn is a single screen cinema, so always as a result. Our core audience segment limited in its development potential, but Some of the added benefits of our ICO is currently 55+ but we are working we have grown our audience to 47,000 relationship are the excellent training towards diversifying the audience with admissions per year. This has been courses and also the Screening Days help and advice from ICO. Recently, achieved by closely working with the ICO events all of which enable the cinema we promoted a team member to a new team who take the time to understand team members to gain new skills and position of Audience Development the nature of our venue, its financial become fully engaged within the industry. Officer with the support of ICO through requirements and our creative purpose. The value of these events and training their REACH training programme. As a Between us, we curate an interesting and opportunities cannot be overstated and direct result, we are starting to introduce vibrant film programme, and the specific it comes as no surprise that in the last relaxed screenings and an expanded industry advice the ICO provides ensures five years, our cinema team has seen children’s film programme which is The Barn does not miss out on screening little turnover of staff with team members steadily growing, and we are beginning key independent titles, such as Amy or 45 progressing to different areas of the to form a much better understanding of Years, early in the film’s run. These films are business and choosing to remain working our audience and their viewing choices. recommended to us in advance of critical in the independent cinema sector.’

Programming ICO Annual Report 2016 | 13 Case Studies In a year where much has been written about the decline in box office for foreign language films in the UK, many of our client cinemas went about quietly disproving this theory by achieving fantastic admissions for the following titles...

Sculpting Time – Andrei Tarkovsky

Curzon Artificial Eye’s Sculpting Time The ICO’s support for the Sculpting Time– season gave UK cinemas the rare Andrei Tarkovsky touring programme opportunity to present a complete was exemplary. Ranging from week-long retrospective of the works of one of the runs of all seven titles at the Watershed in most important directors of all time. It was Bristol, including a packed Q&A with artist the first time Andrei Tarkovsky’s films had filmmaker John Akomfrah who hosted a been made available in digital form, and screening of Mirror, to preview screenings the first time they had all been available to as part of the Borderlines Film Festival in screen together in a great number of years. February/March, to farther flung regional bookings such as Saffron Screen and The Tarkovsky’s works have entered Barn Dartington that crucially assisted the into the history of cinema, and so the project in realising its ambition of bringing retrospective offered cinemas the these restorations to a wider and more chance to build audiences for visionary, diverse audience than ever before. As with art-house film, without some of the risk releases such as 45 Years, the ICO used of showing a challenging, contemporary its wealth of experience to identify both a film. This was one reason we previewed commercial and cultural opportunity with the titles at Borderlines Film Festival, these titles, booked them in early and saw offering rural audiences the first fantastic admissions as a result. opportunity to see the new restorations in the UK, and the films achieved huge James King audiences including a sell-out show of Theatrical Sales Manager the 3 hour plus Andrei Rublev! Curzon Artificial Eye

14 | ICO Annual Report 2016 Programming Embrace of the Serpent

The ICO first saw this film at Cannes film festival in 2015, and knew we were onto something very special. Director Ciro Guerra's Embrace of the Serpent presents a breathtaking journey through the Colombian Amazon following the The Assassin interwoven stories of two European explorers; one in the early 1900s, the Another title sought out by our other 40 years later. Shot in mesmerising programmers at Cannes 2015, where The Assassin was released in January monochrome, the film’s rich visual Taiwanese master Hou Hsaio-Hsien’s film amidst a busy awards season, despite texture captures the devastating effect of went on to pick up the Best Director prize, which, it received fantastic support colonialism on the Amazon’s indigenous The Assassin is a work of astonishing beauty. across the ICO circuit. Showroom peoples. We were delighted when its Hou’s foray into the Wuxia genre, set during Sheffield and Watershed Bristol both Foreign Language Oscar® nomination saw the Tang Dynasty, is based on a 9th century opened the film on release date, with it picked up for distribution in the UK by legend and tells the story of Nie Yinniang the latter performing in the top five Peccadillo Pictures. Despite the film’s high (Shu Qi), a young girl abducted by a nun for week of release, with a further 14 quality, it is an unconventional narrative, and initiated into the world of martial arts. ICO venues playing in March and the shot in black and white widescreen and following months. The film started its with no star names, but our programmers Whilst the narrative is somewhat life at the ICO Screening Days several felt assured that given the right challenging, we were confident the months prior, and the exposure and programming roll out, it could achieve reputation of Hou’s previous work, and a enthusiasm offered by the ICO from that strong grosses (and favourable reception) combination of the stunning visuals and point onwards helped with the longevity in our client cinemas. the Wuxia genre, would resonate with of the film through a crowded market our sites’ audiences. place. The ICO sites currently account We screened the film in our Screening for a tenth of the total UK box office Days back in April 2016, where Released in January 2016 by Studiocanal, grossed with this film. exhibitors from across the UK gave an The Assassin played across 16 ICO sites overwhelmingly positive response, and over its run where it achieved 3,607 total Natalie Ralph we recommended our venues screen admissions. The performance of this film UK Theatrical Sales Executive, the film for longer runs than they would in our client cinemas showed there is Studiocanal usually consider, as word of mouth would still an appetite amongst UK audiences be key on this title. To date, ICO venues for challenging foreign language cinema, account for a tenth of the UK box office even those released amongst the big for Embrace of the Serpent. awards contenders.

Programming ICO Annual Report 2016 | 15 Training

Building the skills and capacity of the UK’s film exhibition sector is integral to the ICO’s work and has been since we were founded in 2003. Since 2003, we have trained over 1,750 people from more than 1000 organisations in 53 countries.

As well as the valuable new skills and lasting impact in years to come to ensure inspiring ideas participants gain from we have a workforce that truly represents these development opportunities, time our society. We believe the sector will and again people comment on the be strengthened by inviting new voices invaluable networking opportunity to to the decision-making tables. We also meet other like-minded individuals facing believe in the importance of celebrating similar challenges, build their network and sharing examples of excellence to of contacts and feel more connected to bolster and inspire the work of others others in the sector. In order to better and to offer real examples everyone can serve audiences across the UK the learn from, alongside the current industry sector needs to share best practice, rhetoric around diversification. think more strategically and develop key business skills in how to remain viable We always strive to raise funding to in consistently challenging times. The support training schemes in order to ICO endeavours to create opportunities make fees as low as possible, as well as for development for all in the sector, to provide additional bursaries for those regardless of job level, geographical most in need. We do everything we can location and economic situation. One day to help ensure these opportunities are as we'd like to see a more structured career inclusive as possible by offering additional path for film exhibition, a clear move bursaries for fees, travel, accommodation, away from long-term unpaid internships, childcare costs, and additional support to and to make sure our workforce help with access needs. represents the UK general public we are all striving to attract to cinemas. We also work hard to deliver national training across the UK, as film exhibition Our recent training activities have is the only part of the film industry encompassed the new entrants' training not entirely concentrated in London, scheme FEDS, which helps people at and we believe the training locations the beginning of their career get a solid we use should represent that reality. grounding of skills and knowledge, We continue to be grateful to the BFI, through to developing imperative Creative Skillset, BFI FAN, Arts Council leadership skills for senior women in England, Creative Europe and the exhibition. The ICO takes an active role British Council for funding our training in helping to diversify the film exhibition activities in 2015/16 and helping keep sector, and we hope this work will have a fees low for participants.

Training ICO Annual Report 2016 | 17 Our Training Activity SEP 2015 – OCT 2016

ICO Training Locations ICO Training Participants

Regional Breakdown of UK Participants

London 21% Scotland 19% South West & West Midlands 14% South East 11% North 10% Central East 9% Wales 8% North West Central 5% Northern Ireland 3%

Courses Speakers & Participants for Developing Your Film Festival Elevate 2015 & the Film Festival Symposium 2010-2016 Women’s Leadership 2015

Film Festival Symposium - Venice

FEDS 2016

British Deaf Association Exhibitor Training

PARALLEL Parallel ICO Art + Cinema Training Day

Developing Your Film Festival 2016

Practical Programming 2015

Technical Skills for Digital Exhibition

18 | ICO Annual Report 2016 Training Everyone should do it. I’ve told friends and some colleagues about what we’re doing and there’s a tangible jealousy. The mix of personal awareness building and professional development is genius. Sally Griffith Chapter Arts Cardiff

Women’s Leadership Programme

Only 4% of CEOs working in film looking to make a significant change in their exhibition are women. When women career towards a prominent leadership role. are excluded from these roles, it has wide-reaching effects on creative and As well as taught management and business decisions. Changing who leads confidence building techniques, film organisations is the single most participants were given the opportunity effective means of addressing failures of to network with industry experts such as representation. Our Women’s Leadership Amanda Nevill CBE (CEO, BFI), Amanda Programme was designed to address Berry OBE (CEO, BAFTA) and Lyn Goleby this current lack of opportunity for (Managing Director, Picturehouse 100% talented and capable women to gain Cinemas). Participants were also sent on SAID THE COURSE HAD MADE access to higher managerial positions in work shadowing placements with leading A DIFFERENCE TO HOW THEY the industry, by providing a structured industry professionals. Participants have THINK ABOUT THEIR CAREER. opportunity to develop leadership skills. since become board members, taken on The programme was aimed at women advisory roles for the wider sector and working in senior roles in exhibition across been in demand for high-profile public the UK with over 10 years' experience, speaking engagements.

Training ICO Annual Report 2016 | 19 It's great when all the trainees are able to come together. I've found the training sessions really useful and learnt a lot from them ... they've opened my eyes to new sections of the industry. 2016 FEDS Trainee

FEDS Film Exhibition, Distribution & International Sales Trainee Scheme

Currently only 4.5% of the creative a nine month long office-based placement industry’s workforce, and just 3% of in independent cinemas and film festivals employees in the film exhibition sector, across the UK, including Encounters Short come from Black, Asian and Minority Film and Animation Festival (Bristol), Ethnic (BAME) backgrounds. The film Genesis Cinema (London), The Errol Flynn industry needs to reflect the diversity of Filmhouse (Northampton), Glasgow Film our communities if it is continue to thrive, Theatre and Film Africa (London). creatively and economically. So in January 2015 we launched FEDS to address this Each trainee received a training long-term problem with a long-term allowance equivalent to London Living solution: ensuring equality of access to Wage, and were given access to a bespoke new entrant jobs. Now in its second year, career coach who helped them write the scheme aims to address this lack of a personal development plan, with an representation by providing paid work emphasis on the trainee’s continued placement opportunities to ambitious employment after the scheme ended. trainees from underrepresented groups, with little or no experience in the film A schedule of monthly industry training industry. Building on the success of sessions led by a broad selection of film the previous year, from which 80% of professionals, aimed to equip the trainees participants secured further employment with a well-rounded understanding of in the film and TV industry, the scheme the film value chain, alongside discussing offers a structured traineeship that their career goals, ambitions and skills to encompasses on-the-job experience, complement their future employability. monthly training sessions led by senior Topics included learning about sales and industry practitioners, and the opportunity distribution from organisations such as to broaden their professional networks. Lionsgate and Curzon; marketing from MUBI and Twentieth Century Fox; film After receiving 194 applications from festivals from the British Council and the across the UK, the ICO recruited five state of criticism from critics from The talented trainees, with each undertaking Guardian, Metro and Associated Press.

20 | ICO Annual Report 2016 Training 80% OF TRAINEES FROM THE 2015 SCHEME HAD SECURED EMPLOYMENT IN THE FILM AND TV INDUSTRY WHEN SURVEYED ONE YEAR AFTER THE END OF THEIR PLACEMENTS.

Training ICO Annual Report 2016 | 21 The help, support and information given by the Technical Ambassador has enabled our project to continue and grow. Tech Skills participant

Technical Skills for Digital Exhibition

The cinema, now competing with all Ambassadors compile detailed reports manner of screens in the home, must be of their findings and recommendations, a space that celebrates showmanship which serve to both guide organisations and the big screen experience. We set up in the implementation of their technical Technical Skills for Digital Exhibition to improvements, as well as forming make sure that wherever films are shown a comprehensive resource of case in the UK (from libraries in Scotland studies that be viewed online. to maritime museums in Cornwall), it’s a special, transformative experience. The scheme has offered impartial, low cost, expert advice on a wide range of technical skills since July 2014, to ensure the highest possible standards in cinematic presentation. As cinema equipment becomes ever more affordable and Topics Covered by accessible thanks to digital technology, and Technical Skills Visits in order to assist in the expansion of cinema provision outside of traditional settings, our Technical Skills for Digital Exhibition scheme provides bespoke, hands-on, site specific training to the broadest range of independent and community cinemas, film festivals, mixed arts venues, non-traditional Improving Sound Quality 27% exhibitors and film societies. Advice on Upgrading Kit & Maintenance 20% Projection 15% Drawing upon a cohort of 16 skilled technicians and projectionists from Upgrading to DCP 7% across the UK, our Technical Ambassadors Accessibility 5% carry out site visits, provide assessments, Complete System Installation 5% advice, training and expertise for cinema Room Layout/Equipment Placement 5% managers, events managers, technicians, projectionists and volunteers, and produce Satellite Link-up for Live Events 5% practical follow-up reports that enable Training Staff 5% them to implement improvements and Induction Loop Installation 2% upgrades. In the past year there have been Lighting 2% 41 visits, focusing on a range of topics (see the infographic on the right). Technical Outdoor Screenings 2%

22 | ICO Annual Report 2016 Training It was inspiring and reinvigorating to spend quality time with a group of passionate festival professionals from different countries and cultures. Alan Black Hot Docs, Canada

An incredible opportunity for film festivals that no one is offering. Olga Birzul Docudays, Ukraine

100% OF OUR 164 ALUMNI WOULD RECOMMEND THE DEVELOPING YOUR FILM FESTIVAL COURSE TO OTHERS.

Developing Your Film Festival 2016

Film festivals play a key part in helping festival’s profile and develop international audiences access films outside of the partnerships and collaborations. mainstream system, as well as a role in the wider film value chain. Ultimately Guest speakers have joined us from vibrant film festivals are good news for international festivals such as Berlin, Hot both audiences and the film industry alike. Docs, Toronto, Transylvania, Sheffield Doc/ However, given that many film festivals Fest, Tribeca and Rotterdam and publications function on a temporary basis and rely on like Screen International and Cineuropa. freelancers, strategic development can Speakers deliver case studies and contribute suffer. To help film festivals across Europe to panel discussions on topics like working with this, we devised the Developing Your with volunteers, how to attract new Film Festival course, which has been funded audiences, improving your communication by Creative Europe for the last six years. strategy, working with the press, building your sponsorship strategy, staff and Developing Your Film Festival (DYFF) audience retention and strategic planning. has run annually during that time in partnership with Motovun Film Festival In 2016 DYFF brought 25 participants in Croatia. The course is open to film and 11 speakers together from 20 festival professionals from across Europe different countries including our and beyond. The aim of this six-day first ever participants from Ukraine, retreat is to enable participants to make Russia, Cyprus, Serbia and Australia. their festival economically sustainable Bringing participants from far and wide while retaining its cultural and artistic contributes to the positive international programme; produce innovative film reach of the course, breaking down programmes; reach wider audiences; barriers of communication and diversify revenue streams; raise their highlighting common struggles.

Training ICO Annual Report 2016 | 23 A brilliant course! Great venue, great speakers, great organisation ahead of time/during the course and really friendly folk. Thank you. Joann Rae Theatr Colwyn

We couldn’t have achieved a fraction of what we did if we hadn’t attended this course. Catherine O’Sullivan Dreamland Cinema

Practical Programming

Programming drives change in cinemas. the film value chain and explore how to Far more than simply selecting films, work with distributors; inspire and inform programming skills are at the centre programmers by showcasing examples of healthy, culturally rich cinemas. of unique programming ideas, events and We want to build skills in this sector best practice; share up to date knowledge for the future of film in the UK. With on analysing audiences and capturing that in mind, we developed Practical data and encourage film programmers Programming, a three part course aimed to become part of a strong, supportive at new and emerging independent film professional cohort. programmers from across the UK. The aim was to equip film programmers with Participants were also closely advised the necessary tools to develop successful on how to develop their projects by programmes; help them understand industry experts.

24 | ICO Annual Report 2016 Training Practical Programming Case Studies

Two Practical Programming participants share their experiences of developing a film programming project during the course.

Catherine Mugonyi Oriana Franceschi Aunty Social An Lanntair

Catherine Mugonyi is based at Aunty Oriana Franceschi of An Lanntair on the Social, a community-focused organisation Isle of Lewis developed a new strand which provides inclusive arts activities in of programming, named Party at the an area of Blackpool that has historically Pictures, that successfully brought a new low rates of arts engagement. In January audience and experience to the island's 2016, they partnered with the Winter mixed arts venue. ‘At An Lanntair we’re Gardens Trust in Blackpool to organise lucky enough to have a large reliable the first Winter Gardens Film Festival: a audience for our mainstream cinema weekend of classic and contemporary programme, made up of young people black and white film in a multi-screen aged 18–35. What we weren’t seeing, heritage venue. The main events, though, was this crowd showing an including a screening of 42nd Street with interest in our wider programme. We live Wulitzer organ introduction, took wanted to alter young people’s perception place in the magnificent Winter Gardens of An Lanntair as a venue rather than just Opera House. Opened in 1939, it is one as the island’s only cinema. It wasn’t until I of the most luxurious and sophisticated had met the other programmers attending combination theatres and super cinemas [the course] and been inspired by their of the pre-war period. creativity and ambition that I had the confidence to suggest trying something "The film festival attracted a number of completely new to my colleagues.’ Oriana partners, both for sponsorship and in kind programmed screenings of Arcade Fire: support, including Blackpool Council," The Reflektor Tapes and Pretty in Pink Catherine explains, "We were also very followed by themed disco nights. The fortunate to receive valuable partnership team got very creative with the marketing and sponsorship advice from Practical and event planning – making flyers in the Programming mentor Gráinne Humphreys shape of records, pom poms and being of Dublin International Film Festival. We featured in online blogs and the local had a very limited marketing budget so paper. The events were such a hit that had to come up with cost-effective ways the CEO requested more! to reach our target markets. Given that a significant proportion of Blackpool residents are in low-income households, it was especially important to ensure festival events remained affordable where possible." The programme, which was carefully chosen to highlight the wealth and diversity of black and white film, proved very popular with audiences, including the local Polish community.

Training ICO Annual Report 2016 | 25 Screening Days

If you want to show the best films, you need to see the best films. Screening Days gives independent exhibitors a chance to do that and create incredible programmes. Year-on-year our Screening Days events grow in scope and size and have become a key date in film exhibitors’ calendars.

Part of the ICO’s vision for the future informed programming choices, and to is to see a local cinema in every town broaden and enhance their offer to local offering a plethora of film choices – from audiences. By watching films months repertory classics to new documentaries, before their release date, exhibitors are from world cinema to British film – so that in a stronger position to negotiate with wherever you are in the UK, you have film distributors on when they can play access to a rich and diverse film culture. new titles and how much they will pay for We want to encourage a thriving, varied them; they also get a longer window to and sustainable environment for cinemas plan marketing and audience development and audiences alike, and as part of our campaigns to attract new audiences. strategy to achieve this vision, we hold Screening Days events to showcase the This year we held four general Screening best upcoming film titles from across the Days events (one per quarter in July, world to independent cinemas. November, January and April), along with two specialised events focusing on At these events we give exhibitors the archive film and diverse programming. opportunity to watch a wide range of new 97% releases they might not have been aware We had 622 delegates (943 in total across SAW FILMS AT SCREENING DAYS of, or that they wouldn’t otherwise be able all events) attend the Screening Days THEY WOULD CONSIDER FOR to preview, enabling them to make more from 266 organisations. THEIR PROGRAMME

Screening Days ICO Annual Report 2016 | 27 1 2 3 4 5

6 7 8 9 10

Screening Days Who Attended

Our general Screening Days events were held in Sheffield, Nottingham, Bristol and London and were attended by 531 delegates (805 in total across Delegates It helped me assess which films might be the events) from 218 organisations. Visited From suitable for our particular audience. We screened 96 films from 41 countries, Screening Days attendee and the top ten highest rated films by delegates across the events were: Excellent opportunity to see films 1 Red Army | Gabe Polsky 92% not on release. Enormous help with programming. 2 Tangerines | Zaza Urushadze 92% South West & West Midlands 22% Screening Days attendee 3 Mustang | Deniz Gamze Ergüven 87% London 18%

4 Room | Lenny Abrahamson 87% South East 15%

5 Spotlight | Tom McCarthy 86% North 13%

6 Trumbo | Jay Roach 85% Central East 12%

7 Dheepan | Jacques Audiard 84% North West Central 9% 8 Our Little Sister | Hirokazu Koreeda 79% Wales 7.5% 83% 9 45 Years | Andrew Haigh 78% Scotland 3% OF DELEGATES RATED THE RANGE OF FILMS SCREENED AS VERY 10 Youth | Paolo Sorrentino 78% Northern Ireland 0.5% GOOD OR EXCELLENT

28 | ICO Annual Report 2016 Screening Days Venues

The breakdown of types of venues that attended across the events were: Being able to watch the films before taking a plunge and booking them ... it allows us to gain confidence in our programming ability and have better knowledge to share with our audience. Screening Days attendee

We love the ICO Screening Days! Venue Types For programming, for marketing, for networking. And they’re so well organised. Thank you. Screening Days attendee

It’s so much better to write copy based on firsthand knowledge rather than other Theatrical 49% people’s reviews.

Non-Theatrical 40% Screening Days attendee

Other 10%

Theatrical

Cinema 28%

Mixed Arts Venue 14%

Film Festival 6%

Museum 1%

Gallery 1%

Non-Theatrical

Film Society 32% 99% OF DELEGATES SAID THE EVENTS Community Cinema 8% ACHIEVED THEIR AIMS FOR ATTENDING

Screening Days ICO Annual Report 2016 | 29 ‘D’ Word Screening Day 2015 Sept 2015, Rich Mix, London

One of the ICO’s key aims is to increase ideas to ensure their core programme a exploration of transgender identity; and diversity within the film industry and in reflected the complexity of all their 3 ½ Minutes, Ten Bullets, a documentary autumn 2015, we held our first specialised possible audiences. exploring the circumstances surrounding Screening Day themed around the the death of a young African-American topic. We wanted to give exhibitors This specialised Screening Day combined man to stimulate conversation around the chance to see films showcasing screenings and panel discussions to offer the Black Lives Matter movement. We BAME talent and to engage in complex context, support and a forum for debate to also screened shorts and archive content debates about diversifying UK cinema the exhibitors in attendance, all of whom with a view to offering programmers audiences, by offering carefully-curated were keen to learn how to diversify their ideas for ways of supplementing their screenings, debates and lectures from programme, watch films for programming cinema programmes when the upcoming cultural experts and case studies from inspiration and explore contemporary slate isn’t diverse enough, and new pioneers to empower exhibitors with thinking around representation on screen. directions for film education. All films practical examples of how the principles were contextualised with introductions of diversity could be applied to their We screened previews of several upcoming by distributor guests. venues. We wanted exhibitors to leave releases depicting BAME voices and the day feeling inspired about changes talent– Davis Guggenheim’s documentary Our keynotes for the day were given they could make to attract diverse portrait of Malala Yousafzai, He Named by three speakers: Gaylene Gould audiences, and equipped with practical Me Malala; the critically adored Tangerine, (writer, coach and presenter);

30 | ICO Annual Report 2016 Screening Days I would just like to thank everyone from the ICO for making the ‘D’ Word Screening Day such a worthwhile and inspiring event. It gave me an opportunity to quietly consider how I could apply what I was hearing to my film society and I am now equipped with a possible strategy to diversify our film programme which I can put to my fellow committee members. Thank you. Attendee

Deborah Williams (then Diversity with speakers Jennifer Byrne (Dazed); Manager, BFI); and Sudha Bhuchar (Co- Simran Hans (freelance journalist founder, Tamasha Theatre Company) and film programmer); and acclaimed all offering a context for the day, a filmmaker Cecile Emeke. background to diversity in the arts and findings from their extensive work in Following the event, the ICO felt the field. We held panels on ‘Audience encouraged to distribute a key piece Development: The Grassroots Collective of neglected black cinema: Losing v. The Institution’ with case studies Ground, the first feature directed by an offered by Karen Alexander (Come the African-American woman. Kathleen Revolution), Jana Asante (Black Cultural Collins’ film was all but unseen since Archives Film Festival) and George Clark its completion in 1982. Now restored by (Tate Film); a ‘Beginner’s Guide to Diverse Milestone Films, the ICO was pleased Programming’ with Gaylene Gould to work with ‘D Word’ attendees to and chaired by David Sin (ICO Head of screen the film in ten locations across 95% Cinemas) and Jemma Desai (then ICO the UK, a major achievement given the OF DELEGATES SAID THE EVENT HAD programmer and I Am Dora curator); film would have been unseen by UK ENCOURAGED THEM THINK ABOUT and ‘The Future: Form and Intervention’, audiences otherwise. DIVERSIFYING THEIR FILM PROGRAMME.

Screening Days ICO Annual Report 2016 | 31 Archive Screening Day 2016 July 2016, Watershed, Bristol

In July 2016 we held our second can be used to expose areas of our past programme of short films from 1898 to specialised Archive Screening Day, in under-represented on-screen. We hoped 1970 charting the history of the UK’s rail partnership with the inaugural Cinema exhibitors would be inspired to use network; Black Britain, a programme of Rediscovered. Held at Watershed, we archive film to engage new audiences shorts documenting black cultural life in hoped delegates would get programming and communities and to offer specific Birmingham from 1960 to 1987 supplied tips from our film selection and learn educative opportunities. by the Media Archive for Central England from our training sessions and talks, (MACE); Highlights from Women Amateur before getting the chance to enjoy a We screened three archive features: Filmmakers in Britain, one of several new public celebration of archive film in Losing Ground (1982) by Kathleen shorts programmes made available by action in Cinema Rediscovered. Collins, The Proud Valley (1940), the Paul the East Anglian Film Archive (EAFA) Robeson classic in a new DCP version and showcasing previously unseen Expanding on our 2014 Archive made available as part of BFI’s Black Star British female filmmakers working from Screening Day, we shone a light on season; and Rapsodia Satanica (1917), a 1953 to 1988; and ‘Victorian Film as New lesser seen areas of the UK’s national gorgeous new restoration introduced by Media’, specially curated for the event by film archives as well as the possibilities Guy Borlée of Il Cinema Ritrovato. Our Bryony Dixon, Curator of Silent Film, BFI of screening international material, and shorts programmes included a taster of National Archive and soundtracked by showed exhibitors how archive film holds our forthcoming Britain on Film on Tour leading silent film pianist John Sweeney. a mirror up to our cultural history and series with Britain on Film: Railways, a All films were introduced by curators

32 | ICO Annual Report 2016 Screening Days [I found the most useful] screenings aimed at showing films made by groups traditionally under-represented in the archive, the innovations in engaging people with archive sessions, and the opportunity to talk to people in the industry – all so important

Attendee

Inspiring – there were some great ideas around connecting young people with film and heritage. Attendee

92% OF DELEGATES SAID THEIR AIMS FOR ATTENDING THE EVENT WERE MET; 96% OF DELEGATES WOULD ATTEND AN EVENT LIKE THIS AGAIN. TWO THIRDS WILL SCREEN ARCHIVE MATERIAL IN THEIR VENUES AFTER THE EVENT.

with representatives from organisations in Amsterdam, who explored ‘Film including the BFI National Archive, MACE archives and the next generation’ with a and EAFA as well as independent speakers, discussion of her work in peer education to offer as much insight and context as and engaging young people via innovative possible to the exhibitors in attendance. learning strategies. Jemma Buckley, Project Manager for our ground-breaking Our keynote for the day was delivered archive film documentary Power in Our by Robin Baker (Head Curator, BFI Hands about the D/deaf community, National Archive) who spoke about delivered a presentation on the release for ‘New audiences for old films’ and ways exhibitors interested in creative ways to of redefining archive material for new use archive film to engage new audiences, generations. Our other speakers were with advice on accessing funding; and ICO Guy Borlée, Festival Coordinator at Il Head of Cinemas David Sin led a ‘How to Cinema Ritrovato in Bologna, who spoke programme archive film’ session, detailing about the festival’s recent work on new all things exhibitors should consider restorations in ‘Discovering the festival Il before screening archive material for Cinema Ritrovato’; and Florine Wiebenga, the first time including rights, materials, Head of Education at EYE Film museum costs and technical requirements.

Screening Days ICO Annual Report 2016 | 33 Consultancy

Our consultancy service has helped create, stimulate and save venues for over ten years. In a year, we respond to over 300 consultancy enquiries

Perhaps more than at any time in its authorities, other interested parties and history, the cinema is now perceived stakeholders to help with some of the many by many communities as a key local aspects of establishing and successfully asset, providing a set of benefits in operating an independent cinema. entertainment and quality of life, for the local economy, community cohesion ICO Consultancy is a fee-based service and access to culture, which places it at highly affordable rates that can alongside other essential facilities like provide research and reporting on the libraries and sports centres. At the same widest possible range of cinema related time, there are large swathes of the matters. In a year, the ICO fields over country that are under-populated for a 300 enquiries and we have developed new cinema development, leaving many a repertoire of consultancy formats to towns and villages with a need for cinema respond to the variety of our enquiries in provision that cannot be met by the the most effective way – from one hour commercial cinema sector. one-to-one advice sessions, to working closely with clients to develop business In these cases, the first step for those or audience development plans, to full interested in developing a new cinema, options analyses or feasibility studies. or extending or improving an existing one, is to take advice, in the form of a The consultancy service is impartial cinema consultancy. Consultancy enables and advice is delivered by successful independent cinema operators to attain and experienced practitioners in the best practice at all stages of the cinema independent cinema sector. There are no operation process, from feasibility study, other agencies that can offer independent through business planning and into exhibitors the same breadth of informed cinema management, programming, advice and information as the ICO. audience development, fundraising, technical presentation and sustainability. In recent years we have helped cinemas: achieve financial sustainability by With our central role in establishing best streamlining their operation; raise practices in independent film exhibition funds to upgrade their facilities and and our extensive knowledge and unique improve their business operation; as database of independent film exhibitors, well as establishing the feasibility of a we are frequently called upon by local proposed new cinema.

Consultancy ICO Annual Report 2016 | 35 Case Study Warwickshire Town Centres Cinema Research

In February 2016, the ICO was 4. Assess the appetite for investment in through the research whether any of commissioned by Warwickshire these locations by potential investors these towns could feasibly accommodate County Council to evaluate existing – operator or developer-led a new cinema, how much any new and potential cinema provision in 15 cinemas would contribute to the local market towns across the county. 5. Provide case studies, of relevance economy and whether any of these towns to the area, of where cinema has led would be potentially attractive to cinema The research set out with five aims: or significantly contributed to the operators. The ICO’s work combined visits regeneration of a town centre. and meetings in each town with extensive 1. Identify towns which could research into current levels of cinema- accommodate a cinema ‘Warwickshire is a predominantly rural going and cinema consumer spend which including size and capacity county without any major conurbations together gave us an invaluable profile of and rather uneven cinema provision the cinema-related economics of each 2. Identify possible locations concentrated in the larger towns. Rugby, town. Since the research was completed, within these areas for cinemas Nuneaton and Leamington Spa all have some of the County’s councils have been (including both existing multiplex cinemas and Stratford Upon able to advance discussions with cinema buildings and new developments) Avon has a two-screen independent operators with a view to bringing new arthouse, whilst there is no full time cinema development into the county; 3. Assess the economic impact or permanent cinema in any of the and we have recognised the need to on the identified towns of having eleven other main towns in the county. strengthen existing mobile provision in a cinema developed in the town At Warwickshire County Council we rural areas where this is more effective (with or without associated understand that the local cinema has than traditional cinema.’ offer) – evidence of how they become an increasingly important facility can impact upon footfall, dwell for the county’s residents, as well as a Catherine Marks time and spend within the potential driver for regenerating town Project Manager, town centre centres, and so we wanted to find out Warwickshire County Council

36 | ICO Annual Report 2016 Consultancy Case Study The Birks Cinema, Aberfeldy

The ICO worked with The Birks Cinema Two years later, and with the cinema catchment area. Now, we continually in Aberfeldy as a consultancy client in attracting 25% higher admissions than tweak our film and live event programme 2015 and 2016. forecast in the original business case, and front of house offer to align with our the Birks was not profit making, but vision. In addition, the Birks is actively: ‘It took a huge team effort to raise the was sustainable thanks to the planned funds, redevelop and reopen the Birks revenue support funding from the -- Developing a paying membership Cinema in 2013; operating the cinema Big Lottery Fund. In 2015, the Birks scheme, and since has been an equally immense Board decided to obtain input from challenge for the Birks team. the industry specialists at ICO in order -- Improving engagement with customers to compare the features of the Birks by adopting a more inclusive and With no cinema in Aberfeldy since and its catchment area with other vigorous communication with potential 1982 when the original Birks Cinema independent cinemas in the UK, and customers through our Facebook page closed its doors, reopening as a cinema to obtain guidance on how to identify (www.facebook.com/birkscinema) and was clearly a leap of faith, especially and communicate with the potential other internet-based platforms, as Aberfeldy is a small town of 2,000, audiences for film and live events in and Highland Perthshire, the natural Highland Perthshire. -- Developing partnerships with local catchment area, has a population of destination businesses to attract more only 13,000. Highland Perthshire has The ICO specialist team encouraged of the visitor population.’ a very large visitor influx throughout us to establish our unique vision for much of the year, mainly long-stay, the Birks Cinema, and ensure our film Douglas Swan staying for a week or more in time- programme and many community Trustee, The Birks Cinema Trust share or holiday let accommodation. activities are consistent with this vision. www.birkscinema.co.uk After a 31 year period without cinema, The ICO consultancy has enabled us how big an audience would the new to think afresh about the strengths and Birks attract? weaknesses of the Birks Cinema and its

Consultancy ICO Annual Report 2016 | 37 Artists’ Moving Image

Artists’ film has long been confined to the gallery but our goal is to help this rich, radical strand of filmmaking explode onto big screens. While the cities often offer the chance to see this work in galleries or cinemas, its appeal is not limited to urbanites.

Our goal with our two year artists’ moving with four venues as programming image project has been to stimulate an partners (The Maltings in Berwick-on- understanding of what artists' moving Tweed, kinokulture in Oswestry, The image is and how to develop an audience Barn, Dartington and Strode Film Theatre for it in traditional cinema venues. This in Street) offering them marketing work is often intensely cinematic and ripe support and programming advice so that for debate with a broad public who might they could eventually develop their own never attend an art gallery, but who are projects, and use this astonishing material regular cinema goers. We wanted to spread to reflect local tastes and interests, as this material outside of the metropolitan well as working with local schools to centres. While the cities often offer demonstrate artist moving image practice. the chance to see this work in galleries or cinemas, its appeal is not limited to Our distribution projects took in a urbanites and our programming network breadth of different works and different has proved that these films – with their approaches to releasing them. We pursued rich sense of place and often beguiling both traditional releases like Letters to beauty – can be played anywhere with a Max (Eric Baudelaire’s documentary sensitive and committed approach. about the contested country of Abkhazia) as well as touring programmes of artists’ Our approach was broad ranging, short films (a survey of artists Beatrice from interventions into distribution, Gibson and Louis Henderson, alongside developing a programming network work that relates to or has inspired their to formal training for venues and a practice). This work would not have been Screening Days event. We worked seen without our intervention.

Artists’ Moving Image ICO Annual Report 2016 | 39 One of the best training sessions I've ever been to. Speakers were genuine and obviously very passionate about the subject, and engaged with all aspects of exhibition... Very inspiring. PARALLEL Participant

PARALLEL Training Event & Screening Days

One of the biggest challenges to growing of ‘sensory cinema’) and Peter Todd and artists' moving image work in the cinema Ute Aurand (about the artists’ ongoing is that there are very few opportunities to collaborative inspirational film screenings). see this material and to learn about who the These curated programmes sat alongside audience is and how it can be developed. previews of forthcoming ICO artists' moving We created PARALLEL as one-part public image touring programmes (one of which screening programme (including open was also introduced by the curator, Beatrice calls from curators and artists to originate Gibson); a collaborative programme of programmes) and one-part training so archival natural history shorts from the that programmers and other venue staff BFI alongside excerpts of a forthcoming could understand the history of artists' long-form film by Margaret Salmon; and film and how to develop audiences for it. an open forum discussion, First Person Plural, chaired by Bristol Experimental and Featuring programmes by curators Expanded Film. We also previewed Corin Herb Shellenberger (on the history of Sworn's new long-form film La Giubba self-reflexive artist film before and after and, at Watershed, the first instalment of ‘selfie’ culture), Amy Budd (a retrospective Miguel Gomes' Arabian Nights trilogy.

40 | ICO Annual Report 2016 Artists’ Moving Image Artists’ Moving Image ICO Annual Report 2016 | 41 Challenging audience perception is a key part of our goal with our interventions into artists' moving image

The Artists Cinema

Ask the average person what ‘artists’ (Turner Prize nominees Bonnie Camplin film’ is like and you might get a variety and Phil Collins, as well as Palme d’Or of answers: dry, cerebral, abstract, hard winner Apitchatpong Weerasethakul). to follow, drawn out. While curators The third edition of this scheme was no and programmers know that this is far different, shown to over 80,000 cinema from the truth, challenging audience attendees and launching with a sell-out perception is a key part of our goal with showcase at Tate Britain. The five films our interventions into artist moving (which played in front of mainstream image. The Artists Cinema was born to films including Eddie the Eagle, Dad’s change people’s view of artists' cinema. Army and Triple 9) reflect the diversity But how to do so when the people willing and excitement of this strand of to attend a screening of these films are filmmaking, whether that was Margaret already ‘converted’? We took a ‘guerilla’ Salmon’s natural symphony Bird, approach to programming, inserting Gabriel Abrantes, puckish but insightful one of five newly commissioned films excavation of Brancusi’s sculpture A Brief (partnering with LUX Moving Image) History of Princess X, Corin Sworn’s tale ahead of mainstream and arthouse of refugees and Comeddia del Arte The feature films, in space usually reserved Coat, Naeem Mohaiemen’s Abu Ammar is for advertising or trailers. The scheme Coming about the intersection between had proved a success in the past, war and photography, or Dora García’s 80,000 changing perceptions on a mass scale recreation of a ‘happening’ featuring a NUMBER OF PEOPLE WHO SAW and supporting now established artists helicopter and a film star, El helicóptero. THE ARTISTS CINEMA 2016

42 | ICO Annual Report 2016 Artists’ Moving Image The Host

The Host is a timely and probing film about families, power of photographs and the real price of oil. Made up only of still photographs (many of them from British Petroleum’s archive) and sound design and narration, it is exactly the The Sky Trembles and the Earth is Afraid kind of boundary defying, thought- provoking work that we seek to bring And The Two Eyes Are Not Brothers to audiences. The Host investigates the activities of BP in Iran; a tale of power, imperial hubris and catastrophe. While As well as supporting emerging artist the tectonic plates of geopolitical filmmakers, with this project we were conspiracy shift in the background, the also keen to work with established artists film asks us to look, and look again, at producing work that navigates new One of the country’s greatest images produced by the oil company. ground. We worked with Artangel, one of living directors. the UK’s biggest and best artists' agencies Little White Lies Our approach with the film was to with a track record for producing large develop a new model that would make scale work favouring mass participation, the film stand out in a crowded release on this title. Having previously existed as environment that offers little space for an installation at the former BBC Drama this kind of unconventional work: event- block at Television Centre, we released based screenings with director Q&As that the narrative version of the material. would allow us to probe different aspects Ben Rivers, the film’s director, previously of the film. We worked with Greenpeace, known for Two Years at Sea and A Spell independent curators, photographic to Ward Off the Darkness, produced a outlets and more to provide themed work epic in scale. At the heart of the events on the many facets of the film. film’s layered narratives is an adaptation of ‘A Distant Episode’, the savage short story set in Morocco by American author Paul Bowles, first published in 1947. We facilitated a nationwide tour of the film with Rivers, including a round table on the Like the Iranian oil workers who haunt future of artists’ cinema with some of the Pennell, this is a film that refuses to get field’s leading lights. We also produced back in its box. a definitive edition of the film for DVD, collating the many interpretations and Sukhdev Sandhu short film work associated with the project. Sight & Sound

Artists’ Moving Image ICO Annual Report 2016 | 43 Distribution

The cinema is defined by what is available to be shown on screen, and we want to help cinemas show the broadest diversity of films possible by directly releasing them. From September 2015-August 2016 our distribution titles were shown at 3,331 screenings

While the number of films in distribution (our release of Britain on Film on Tour will reaches a new high every year, the be the largest archive event for a decade), opportunity to see a true diversity of artists' moving image (see p42–43 work is limited in the UK. Programmers for examples), supporting our future who travel to international festivals filmmakers (our tour of BAFTA-nominated are given the chance to see fantastic short films and animations continues to work from around the globe, but the grow year on year) or British film heritage opportunities to share this work in an (our ongoing relationship with Studiocanal increasingly commercial and competitive to release new restorations of classics exhibition environment are decreasing. such as Alex Cox’s Sid & Nancy). We are Our distribution work is an act of advocacy delighted to see this work supported so on behalf of types of work that are not fulsomely: since we started distribution, well-represented in the UK marketplace. our average site numbers have increased This includes work by people of colour by 400% (from 20 to 80) and 2015 saw (Losing Ground, the first feature by an our largest ever tour, of Peppa Pig makers African American woman, unseen since Astley Baker Davie's The Big Knights to its completion in 1982), archive material over 175 venues.

Distribution ICO Annual Report 2016 | 45 ‘It’s completely making me rethink our cinema provision. Next season I will be putting on more Deaf- friendly screenings.’ Orange Box, Halifax

Power in Our Hands

The Deaf community is traditionally documentary will give people a glimpse underserved by the cinema. We were into Deaf culture that is mostly hidden delighted to partner with the British from the hearing world. Deaf Association to bring this landmark documentary to a wider audience. Power While there would have been a strong in Our Hands chronicles the history of audience for this film in Deaf clubs the Deaf community in the UK and, more across the UK, this release offered specifically, the civil rights battle for an opportunity both for cinemas to British Sign Language to be recognised as embrace Deaf customers, and for an official language of the UK. Combining Deaf people to see themselves on social history and archive film with screen. This powerful piece of self- contemporary interviews, and released in representation proved irresistible, the 125th anniversary year of the British with many of the film’s eighty Deaf Association, Power in Our Hands screenings selling out. We also used the is the first time much of this archive opportunity of this release to deliver five material has ever been seen in public, regional training seminars, attended by having been saved from destruction representatives from over 50 venues in thanks to a Heritage Lottery Grant. From the UK. This helped cement improved the social scenes of the 1930s, to the 2000 relations between venues and the march supporting BSL recognition, this Deaf community for the future.

46 | ICO Annual Report 2016 Distribution It has an extraordinary freshness and openness. This has to be seen on the big screen. êêêêê The Guardian

Poor Cow

2016 was ‘the year of Loach’ with the there from the first, and it received a filmmaker celebrating his eightieth year and brace of five star reviews. But it also showing no sign of softening his powerful proved an opportunity to reignite messages. Winning his second Palme interest in Loach’s collaborators on the d’Or for I, Daniel Blake as well as becoming film, redressing the auteurist, masculine the subject of retrospective documentary narrative. In our release, we worked with Versus: The Life and Work of Ken Loach, film’s scriptwriter (and author of the original the ICO (working with Studiocanal) was novel) Nell Dunn, as well as celebrating the delighted to release his first feature film life and work of Carol White, who gives Poor Cow in a stunning new restoration a moving and notably modern portrayal overseen by the man himself. of a woman liberated but still trapped by external forces. As ICO director Catharine Full of '60s colour and music – including Des Forges wrote in her retrospective songs by Donovan – it's also stylistically of Carol White for Sight & Sound, ‘What innovative, with an improvised spontaneity comes to the fore is that female working- and Loach's protagonist, young single class perspective, a perspective not mother Joy (Carol White) providing first- proscribed by a male voice. This was rare person narration over the soundtrack. then and still is now. Even now as I write this Critics were happy to rediscover that – 49 years later – that singular fact seems the quality of Loach’s filmmaking was somewhat revolutionary.’

Distribution ICO Annual Report 2016 | 47 Ran

There is an inherent paradox in the digital era: never before has such a A magisterial achievement [...] visually breadth of film culture been available for and dramatically breathtaking. us to stream, download or own on disc, êêêêê The Observer yet opportunities to see the classic works of world cinema as they were intended – on the big screen – are ever dwindling. The days of full time repertory houses are nearly behind us, yet the experience of discovering (and rediscovering) film classics is as vital and necessary as ever. This is why we release the great works of cinema. 2016 saw us partner with Studiocanal to unleash Kurosawa’s late masterpiece Ran in a stunning new 4K restoration overseen by the film’s original cinematographer. ‘Ran’ stands for chaos, turmoil or fury in Japanese 10,000 and this churning, vast scale adaptation RAN PLAYED AT OVER 85 VENUES of Shakespeare’s King Lear is as visually ACROSS THE COUNTRY, WITH jaw-dropping as it is philosophically dense. NEARLY 10,000 ADMISSIONS.

48 | ICO Annual Report 2016 Distribution Distribution ICO Annual Report 2016 | 49 Advice & Information

One of the ICO’s key areas of activity is answering enquiries. We offer impartial, expert advice to people from all levels of the film industry on a wide variety of topics.

50 | ICO Annual Report 2016 Advice & Information Our 'How to Start a Cinema' resource was accessed over 130,000 times in 2015-2016.

Whether you’re a complete beginner or cinemas – but also from a vast array of a seasoned professional, our advisory individuals and organisations. We’re often service is known as an invaluable source approached by people wanting to screen of information and support both within the little-seen films such as rare repertory titles film industry and outside it (we receive a or world cinema not in current distribution, large number of preliminary enquiries via and offer critical help in mobilising people link referrals from the Gov.UK website). to screen films to audiences who might not otherwise have the chance to see them, such We answer enquiries via telephone and as residents within care homes or disability email and publish web resources which groups in a local town hall. Because of the we’re constantly updating and adding to. breadth of ICO activities, we can also point If you don’t know where to start, or even them towards other helpful services such quite what you’re looking for, the ICO as one-to-one sessions for exhibitors almost always has the answer. seeking more in-depth advice; consultancy for larger venues; or visits from a Technical We serve people who make up a picture Skills ambassador for venues with a specific of the broader film industry beyond technical glitch. And of course, all of our traditional cinemas, and it’s clear that our advice benefits from our wider industry advice helps activate and enable smaller intelligence and years of expertise. scale film exhibition across the UK. The majority of enquiries we receive pertain The explosion in community exhibition to non-theatrical film licensing – usually over the past few years shows no signs of from members of the public planning to put abating, and a great many of our enquiries in on film screenings and hoping potentially to 2015-16 have come from people keen to start start their own film societies or community showing films but unsure where to begin.

Advice & Information ICO Annual Report 2016 | 51 We provide an antidote to that with funding’, a write-up of key points from Frequently Asked Questions clear and practical film licensing guides speakers at our symposium at Vilnius (the subject we receive most queries International Film Festival; ‘Maximising about) for non-theatrical exhibitors and access for D/deaf audiences in your our ‘How to start a cinema’ resource, venue’ by Julie Ryder of D/deaf training both in our website’s ‘Advice & Info’ consultancy HearFirst; ‘Abbas Kiarostami: I work in a community day centre and we section. We also list contact details saint of cinema’ by David Sin, ICO Head are looking to hold dementia-friendly film here for theatrical and non-theatrical of Cinemas on the late, great Iranian screenings, do you have any tips? distributors, alongside detailed guides auteur; and ‘Five things to avoid if you on audience development, film want your LGBTQ film screening to I’m looking for rights on some rare artists’ education, thematic programming, reach the queer community’ by Johan moving image films and also have some marketing, accessibility, careers in film Palme of Wotever DIY Film Festival. technical queries. Can you help? exhibition and, for the filmmakers who regularly visit our site, on getting films Last but not least, our ‘Jobs’ page is an I am a volunteer at a sports and leisure into distribution. invaluable resource for both jobseekers club for the disabled and want to start a and job providers. In 2015-16 we posted film club. What licences do we need? On the ICO blog we publish content 640 jobs from 239 organisations across every Thursday to support exhibitors, 115 UK locations. One of the most such as reports from international visited sections on our website, it’s Feedback film festivals and conferences and free to post and free to view and we on a wide range of programming and share all opportunities available we audience development topics, as well see in UK film exhibition, from cinema as regular industry news round-ups. directorships to festival volunteers, from Posts are written by ICO staff or by guest education officers to projectionists. I contacted you last year about contributors to offer our readers as many setting up a pop-up cinema. I just sources of intelligence and inspiration as In 2015-2016 (Sept 15 – Aug 16) our wanted to let you know that we have we can. For example, our FEDS trainees Advice & Info webpages received secured the funding we needed and a have written blogs documenting what 266,687 unique page views, while fantastic venue and will be launching they’ve learnt in their placements, which our ‘How to start a cinema’ resource in September this year; thank you so are an immensely valuable resource for received 130,286. Our pages on non- much for your help. other future entrants to the industry. theatrical film licensing received 19,644 unique page views; and we received over Thanks so much for your thorough In 2015-16 some of our most widely 1000 enquiries on non-theatrical film response. I now feel a lot more comfortable read and shared posts were: ‘Five tips licensing and programming via email and with the situation and have figured out for building strong rural audiences’ phone. Currently, the volume of enquiries how to make my screening happen. by Jo Comino, Marketing Manager, we receive is in the region of 20-25 Borderlines Film Festival; ‘How your enquiries each week, 100+enquiries I always think of the ICO as being film festival can build sponsorship and each month. the font of all knowledge

52 | ICO Annual Report 2016 Advice & Information We exist to build a About Us challenging, thriving and open film culture.

The Independent Cinema Office was supporting European film festivals) and founded in 2003 with a vision of equality Arts Council England (who support a of access to transformative and nourishing range of activities developing audiences film experiences wherever you are. Our for artists’ moving image). Approximately core work began with programming 30% of our income is self-generated. regional film theatres, helping them share incredible film work beyond London Our Board of Trustees and the major urban centres. Our other work developed from there: training, Dorothy Wilson (Chair) distribution, consultancy and advice and Independent Consultant, Coach & Producer information. In 2003, we started with three members of staff and £120,000 Sudha Bhuchar budget; today we have fifteen members of Actress, playwright and Co-Founder of staff and over £1.5 million turnover. Tamasha Theatre Company

Our funders & partners Miles Ketley COO, Bad Wolf The ICO is proud to partner with a variety of national and international Susan Lovell agencies and funders to deliver Head of Television our ambitious programmes. The BBC Northern Ireland BFI has supported the ICO since its inception and is now a major funder of Trevor Mawby programming, information and training Director of Finances & Resources, services to the independent exhibition BFI (retired) sector through a range of activities. We are a national strategic partner of Laura Mulvey BFI FAN. FAN is the BFI’s network of Professor of Film and Media Studies nine agencies tasked with supporting Birkbeck College, University of London audience development across the UK. Julia Short Our other major partners are Creative Industry consultant Skillset (who support our training and professional development projects), Simon Ward Creative Europe and the British Council Owner, Palace Cinema, Broadstairs (who support our portfolio of activities

About Us ICO Annual Report 2016 | 53 Image Credits p3: Catharine Des Forges, credit: Donovan p22: Tech Skills visit at The Void Cinema, p36: Nuneaton Town Centre, courtesy Synmoie; Dorothy Wilson, courtesy Sheffield Hallam University, credit Warwickshire County Council Hugo Glendinning Symon Culpan p37: The Birks Cinema, Aberfeldy, p4: (from top) The Sky Trembles and the p23: Developing Your Film Festival, courtesy The Birks Cinema Trust Earth is Afraid and the Two Eyes Are Motovun Croatia Not Brothers; Ran; Embrace of the p39: Lettres du Voyant, credit Louis Serpent, courtesy Peccadillo Pictures p24: Practical Programming participants, Henderson and Le Fresnoy–studio credit Chris Payne national des arts contemporains p6: (Clockwise from top left): Poor Cow; Ran; Rapsodia Satanica, courtesy p25: Winter Gardens Film Festival, p40: My Flash Trash Interview, Cineteca di Bologna; Lettres du courtesy of the Winter Gardens courtesy Juno Calpyso, part of Voyant, credit Louis Henderson Film Festival; (bottom image) An Herb Shellenberger's PARALLEL and Le Fresnoy–studio national des Lanntair’s Party at the Pictures programme arts contemporains; Losing Ground; screening of Chasing Zero, credit Prologue (featured in BAFTA Shorts Arpita Shah, courtesy Oriana p41: A Brief History of Princess X 2016); A Brief History of Princess X; Franceschi (1 & 2), Bird The Sky Trembles and the Earth is Afraid and The Two Eyes Are Not Brothers p27: (from top): Winter Screening Days p42: The Coat 2016, Watershed, Bristol, credit Paul p11: Outdoor screening of A Dartmoor Blakemore; Autumn Screening Days p43: The Host; The Sky Trembles and the Killing, with projection by The Barn 2015, Broadway, Nottingham, credit Earth is Afraid and The Two Eyes Are Cinema, Dartington, credit Gifford Geoff Kirby Not Brothers Hooper and Dartmoor Killing Ltd p28: (top row) Red Army, courtesy Curzon p45: Sid & Nancy; The Big Knights p12: High-Rise, courtesy STUDIOCANAL Artificial Eye; Tangerines, courtesy Axiom; Mustang, courtesy Curzon p46: (clockwise from top): Power in Our p13: The Barn Cinema, Dartington, Artificial Eye; Room, courtesy Hands; Visible Cinema at Glasgow courtesy of the Dartington Hall Trust STUDIOCANAL; Spotlight, courtesy Film Theatre screening of Power in Entertainment One UK; (bottom row) Our Hands, credit Geraldine Heaney; p14: Ivan’s Childhood, courtesy Curzon Trumbo, courtesy Entertainment Power in Our Hands screening at Artificial Eye One UK; Dheepan, courtesy Bradford National Media Museum, STUDIOCANAL; Our Little Sister, courtesy British Deaf Association p15: Embrace of the Serpent, courtesy courtesy Curzon Artificial Eye; 45 Peccadillo Pictures; The Assassin, Years, courtesy Curzon Artificial Eye; p47: Poor Cow courtesy STUDIOCANAL Youth, courtesy STUDIOCANAL p48: Ran p17: REACH: Strategic Audience p30: Tangerine, courtesy Sean Baker Development for Independent p49: Edmond (featured in BAFTA Shorts Exhibitors, credit George Torode p.31: China Today (1936), courtesy BFI 2016); L'Eclisse; Poor Cow p19: Women’s Leadership 2015 cohort, p32: The Proud Valley, courtesy Park Circus p51: ICO, credit George Torode credit George Torode p33: Losing Ground p52: ICO, credit George Torode p20-21: FEDS 2016 cohort, credit: George Torode p35: Winter Screening Days, Watershed, p53: ICO team photo, credit George Torode Bristol, credit Paul Blakemore

54 | ICO Annual Report 2016 Kenilworth House 79-80 Margaret St London W1W 8TA

020 7636 7120 [email protected] www.independentcinemaoffice.org.uk