A Future For British Film It begins with the audience... A UK film policy review Contents The Panel and the Brief 1 Introduction 2 What We Know 4 Executive Summary 6 1. Growing the Audience of Today and Tomorrow: Education. Access. Choice. 10 2. Digital and Future Readiness 17 3. Films on the Big Screen 28 4. Development, Production, Distribution and Joint Venture Funding 36 5. Television Broadcasters and British Film 51 6. International Strategy 59 7. Skills and Talent Development 66 8. Screen Heritage 74 9. Research and Knowledge 80 10. BFI: The New Lead Agency for Film 85 Full List of Recommendations 90 Annexes – Summary of the Report on the Film Policy Review Online Survey 97 – Master Evidence List 98 – List of Panel and Stakeholder Meetings 104 An independent report commissioned by the Department for Culture, Media and Sport A UK film policy review 1 The Panel and the Brief The panel: In selecting the Panel, the chairman Lord Smith wanted A Future For people with industry experience and expertise who could provide a credible voice to represent each respective link in the value chain for UK film, whilst having a good British Film understanding of the overall complexities of the industry. The Panel first met on 1 June and issued an online call for It begins with evidence on 24 June. The members were: the audience... Rt Hon Lord Smith of Finsbury, former Secretary of State for Culture, Media and Sport (Chairman) Will Clarke, Independent film distributor, founder and former CEO, Optimum Releasing Lord Julian Fellowes, Oscar® winning writer and actor Matthew Justice, UK film producer and Managing Director, Big Talk This is the Report to Government Michael Lynton, Chairman & Chief Executive Officer, by the Film Policy Review Panel Sony Pictures Entertainment Tim Richards, Chief Executive, Vue Entertainment The brief: Tessa Ross, CBE, Controller of Film and Drama, Channel 4 The Minister for Culture, Communications and the Creative Industries, the Hon Ed Vaizey MP, announced Libby Savill, Head of Film and Television, Olswang LLP on 24 May 2011 that former Secretary of State Rt Hon Iain Smith, OBE, film producer and Chair, the British Film Lord Smith of Finsbury would be leading an eight-strong Commission Advisory Board independent panel of film industry experts, reviewing the Government’s film policy. The project team: The Panel is indebted to Hugh Muckian, James Butler, The Panel was asked to identify barriers to growth in the Rob Cheek and David Gookey for their hard work and British film industry. The principal objectives of the Review support to the Review; along with Neil Watson, David were to: Steele, Tim Scott and Mary McKevett, they have provided ■■ Provide greater coherence and consistency project controls, research and drafting expertise, as well in the UK film industry as the Secretariat for this Report. Their assistance has been invaluable. ■■ Determine how best to set policy directions for the increased Lottery funding ■■ Identify ways to develop and retain UK talent ■■ Increase audience demand for film, including independent British film. A UK film policy review 2 Introduction At the same time as British independent production has Introduction been enjoying a run of success, Britain has also continued to be the destination of choice for many foreign studios British film is going through something to make their movies, with well over £1bn of production investment in 2010 alone. The conditions in the UK are of a golden period. A run of really good, well placed to encourage all kinds of film production, from successful, British-made and British-based the micro-budget to the blockbuster. These conditions movies has been taking not just British need to be nurtured and sustained. And we need to cinema audiences but many others around ensure a synergy – in the development of a growing the world by storm. world-class talent and skills base – between the strong inward investment trends and the potential for a more The astonishing success of The King’s Speech, of course, consistently successful British film sector. heads the list; but add to that the finalHarry Potter, The The prize, if we succeed, is of course not only a vibrant Inbetweeners, Tinker Tailor Soldier Spy, Shame, Wuthering choice of British movies for us all to watch and enjoy. It’s Heights, We Need to Talk about Kevin, Johnny English the chance to make a major contribution to the growth of Reborn, and quite a few others, and it’s an impressive the UK’s economy, to the development of attractive and picture. We’ve had golden years before, of course, but this fulfilling careers for young people, and to the creation of has been exceptional. The key question, though, is how do job opportunities across the country. we make this something that lasts for more than just an In setting out to resolve some of these questions, all-too-brief year? How do we secure greater consistency our Report starts where any sensible film policy should: in the quality and success of British film? Are there things with the audience. If British films are going to be holding back independent British production, in particular, successful, filmmakers need to think from the outset that Government can help to tackle? The answer to about the audience. We know from consumer research these questions is important not just for the enjoyment that there is a strong appetite for British-made movies available to cinema audiences, but is also important for amongst the cinema-going audience in the UK. People Britain’s opportunities for economic growth. want to see British movies, and like it when they do. But the percentage of movies actually seen by the overall audience in UK cinemas that could be described as British remains far too low. If we’re ever going to crack this conundrum we have to ensure that filmmakers understand and think about their audience, at the same time as they Below: strive to express their creativity. That’s why, later in the The King’s Speech (2011) Report, one of our proposals aims to encourage producers to come together with distributors in the very first pitch they make for finance and support. Understanding and respecting the audience is the key to making that audience bigger. It’s important, though, not only to understand the audience, but to provide that audience with the opportunity to see a broader range of film and to learn more about film generally. How can young people begin to discover the history of film, the excitement of filmmaking, and the riches of British cinema? How can audiences across the UK have access to the whole range of movies, and not just a handful at any one time? How can those not living in towns and cities have better access? How can we help audiences who wish to develop a deeper taste A UK film policy review 3 Introduction for British-made movies, and then how can we ensure different funding sources, negotiating through a maze we supply films to meet that taste? of investors, production partners and distributors – and putting together movies in ways that single-studio Fifteen years ago, the then incoming Government approaches find far more difficult. Both the international established a Film Policy Review – ably led by Stewart independent distribution market and the large studios will Till – which posed many of these questions and produced increasingly be looking for good independently produced A Bigger Picture to help find some solutions. Over the material. Britain can be the place where this comes from. intervening period, however, the world of film has changed almost beyond recognition. The advent of digital One other major change has happened in the course of filmmaking has made unimaginable things possible, the last eighteen months: the disappearance of the UK from micro-budget movies to the use of astonishing Film Council, and the bringing of its functions and support visual effects. The arrival of digital projection has raised for the film industry in to the British Film Institute (BFI). the prospect of enormously increased access to movies The Film Council had accomplished a lot during its decade around the country. There has been an explosion in home or more of existence, and The King’s Speech stands as entertainment and multi-platform-viewing possibilities. a rather fitting tribute to its achievements. But there is The widespread use of the internet has made both now a real opportunity for the sole, focused leadership of legitimate and illegitimate activity manifestly easier. There British film – cultural, creative, commercial, educational has been a growing appreciation of the importance of and representative – to be brought together in the single copyright and intellectual property protection, in helping entity of the BFI. The challenge is for the BFI to use its to stimulate growth in the creative sector. And around the new-found clout to inspire and nurture and strengthen world, a new and growing cinema audience in countries British film, and we set out some ideas in our Report like China, India and Brazil is coming to an appreciation of which we hope will help in this. international film. Here in Britain, we tell stories well, and Over the past few months we have been exploring all stories are the stuff of movies that will have long-lasting of these issues, and more. We have received over 300 success. The opportunity to seize the changes that have submissions of evidence. We have met with hundreds of been happening, and turn them to the advantage of British people from all parts of the industry, up and down the filmmaking, cannot be missed.