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Annual Report 2017-2018 FILM FORWARD FILM FORWARD FILM FORWARD Introduction

Contents

Introduction 3

Programming 4

Training 12

Screening Days 20

Film Hub South East 24 Dorothy Wilson Catharine Des Forges Chair of Trustees, Independent Cinema Office Director, Independent Cinema Office Advice & Information 28 Independent Consultant, Coach and Producer

Consultancy 30 Every so often, you meet someone who This year the ICO was fifteen years old In training, 81% of participants on our tells you cinemas will be dead in the next – for us a great cause for celebration as Women’s Leadership course have been Distribution 32 ten years, that streaming services are we have grown substantially over that promoted to a more senior role either in going to kill off the big screen experience time and yet are still working to the their original organisation (a number of The Future of Cinema 38 just as TV, VHS and more threatened to. same end: to bring the widest possible them becoming CEOs) or in a new post But ask anyone who has a world class range of films to the widest possible since completing the programme. Lifetime Statistics 42 local cinema in their village, town or city range of audiences. what they think about the death of cinema It was also fabulous to see new voices About the Independent Cinema Office 46 and you’ll hear the ultimate rebuttal. We chose to celebrate in a number in the room at our recent I.D. Screening Cinema will never die, as long as people of ways, one of which was to survey Day, an event partly generated by the want to come together to share work our sector to produce a report on legacy of our FEDS trainee scheme. In that is beautiful and thought provoking. ‘The Future of Cinema’, anticipating particular, it was wonderful to see so and reflecting on how the wider many of our former trainees bringing Film is an art form for everyone, industry will change over the next energy and passion to the conversation and cinemas at their best live up to 15 years. The report gives a snapshot about inclusivity in the industry. that. They include everyone in their of the challenges and concerns that community, are spaces for invention, exhibitors face today as well as a We are very much looking forward discussion and debate, and push the glimpse of the passion, enthusiasm to the next fifteen years and as ever, boundaries of what is ‘allowed’ on and diversity that have developed in are immensely grateful to all our screen. Of course, cinema is not the the sector in recent years; and we’ve funders, partners and friends for their only place to see great stories and have included some of its key findings here. continued support and collaboration. nourishing cultural experiences. But it never has been. As with every other Speaking of diversity, this year the supposedly existential crisis they’ve faced, ICO has continued to champion cinemas that are going to survive for women in film – both with our national the next fifteen years and beyond need tour ‘Revolt, She Said’, a partnership to have a clear vision of the experience with Club des Femmes celebrating they are offering and whom they exist to female filmmakers inspired by ‘May serve, as well as who gets to make those 68; and our release of a new 25th decisions. I’m proud to work with the ICO anniversary restoration of Jane to help cinemas answer those questions Campion’s The Piano in partnership and I’m delighted that so many people with StudioCanal; this last one of are energised by the debate, as you’ll a number of key titles we brought read in our Future of Cinema report. back into distribution.

2 — CONTENTS INTRODUCTION — 3 Our ambition for ICO programming is to encourage audiences to be more adventurous.

Programming

Ambition in programming is what sets truly independent cinemas apart. We help cinemas everywhere in the UK – from major cities to rural communities Introduction – to access the best of cultural cinema through our unique network. The ICO runs one of the UK’s largest independent cinema networks. Working in collaboration with venues’ in-house staff we programme 22 cinemas, film festivals and community screens across the country; using ICO programmers’ industry expertise to help select the best films for local audiences.

Our overarching goal with ICO programming is to drive audiences to be OUR NETWORK more adventurous. We are focussed on PROGRAMMED 922 FILMS long-term audience development and FOR OVER 1 MILLION PEOPLE; on building a meaningful relationship GENERATING NEARLY £6.5 with audiences, so that when they visit MILLION IN BOX OFFICE one of our client cinemas, they trust we REVENUE are showing them the very best films on offer. We are able to offer our services at a very affordable level for clients thanks to our funding support from the BFI.

We act as a true network and pool knowledge across our sites. We are always working in partnership with our clients, relying on local knowledge and expertise, as well as feeding back insights from the heart of the UK film industry.

PROGRAMMING — 5 The year in cinema The wider diversity conversation

While onscreen representation is still far from ideal, this year more and more Hollywood films put marginalised voices centre stage. Films such as Black Panther and Love, Simon placed people of colour and LGBTQIA people respectively at the forefront of their narratives, with both titles proving hugely successful.

Having been long-time champions of films that celebrate and explore inclusion, we are thrilled to see more diverse representation within mainstream as well as independent cinema.

Spike Lee’s BlacKkKlansman is just one such title. A significant film that performed exceptionally well in independent cinemas all across the UK, it passed the £5 million box office mark after three weeks of play with two ICO client venues, Watershed and Depot, among its top sites; due to their having steadily built audiences for this type of film year on year.

Healthy admissions for Streaming services Female representation on screen foreign language cinema Streaming services created more exclusively available through their In 2018, we saw the #MeToo and performance of many female-directed The last 12 months have seen a number controversy than ever before in 2018 platforms, it's still disappointing #TimesUp movements in Hollywood releases at UK independent cinemas of encouraging developments in thanks to their divisive release strategies. that audiences are being given rise up against sexual misconduct after including Sally Potter’s The Party, Lynne admissions for independent cinemas. This year, Cannes Film Festival banned limited opportunities to see films the Weinstein scandal; galvanising Ramsay’s You Were Never Really Here, Pleasingly, we've seen some very films without theatrical distribution such as Paul Greengrass’s 22 July the wider industry as well as society Rungano Nyoni’s I Am Not a Witch and positive results for foreign language from playing in Competition, despite the and Alfonso Cuarón's Roma on the at large. With a renewed commitment Greta Gerwig’s Lady Bird, which saw cinema, with Cold War grossing over fact that Netflix titles like Okja and The big screen, especially when many to push female representation and its director justly nominated by the £1.1 million at the UK box office to Meyerowitz Stories had been included independent cinemas have previously filmmakers to the forefront of the Academy for Best Director. date. Many other foreign language in the previous year's official line-up. built audiences for this kind of conversation, strong female voices films thrived this year too with a In contrast, other festivals such as the work. While Netflix takes a different have been seen on screen in films as The work of Agnés Varda was also diverse range of titles including Venice and BFI London Film Festivals approach, other platforms such as different as Jeune Femme; I,Tonya; celebrated with a 'Directorspective' Loveless, A Fantastic Woman and have continued to feature films produced MUBI or Amazon Studios continue to Funny Cow and Ocean’s 8. at the BFI and ahead of the release Mary and the Witch's Flower gaining by and primarily for streaming platforms. give their content a theatrical release of her latest film, Faces Places, her strong reviews, good word of prior to its becoming available on their Having always supported and back catalogue was re-issued (by mouth and screening in considered While it's clear that companies like VOD platforms, which suggests that highlighted films showcasing women Curzon Artificial Eye) and screened programmes to reach as wide an Netflix can win more subscribers there's still a great deal to be gained behind and in front of the camera, across a number of UK sites including audience as possible. by keeping their premium content by granting films a cinema outing. we were delighted by the exceptional many of our client cinemas.

6 — PROGRAMMING PROGRAMMING — 7 Success across the CASE STUDY ICO Programming Network

Over the past 12 months, our client cinemas have made fantastic contributions to the success of numerous independent films – from achieving strong grosses on indie hits such as Call Me By Your Name, The Florida Project and God’s Own Country through to giving more specialist titles such as Zama, The Breadwinner and Apostasy the greater exposure they deserved.

We’ve worked with many UK distributors to arrange select Q&A previews of films such as A Ciambra, Yardie and Dogman at our client cinemas; which helped raise the profile, build word of mouth and extend the theatrical life of these films. The following titles offer just two examples of the difference ICO programming has made in the UK independent sector.

Loving Vincent ICO Programming Clients 2017-18 Barn Cinema, Totnes Borderlines Film Festival Broadway Cinema, Nottingham The ICO programming team identified appeal to an older, art-house audience. Buxton Opera House & Pavilion Arts Centre, Buxton Loving Vincent – a stunning animation This proved correct; as it scored Chapter, Cardiff and a historic cinematic achievement highly at Screenings Days and went The support of the ICO played a huge Depot, Lewes billed as ‘the first fully painted feature on to have fantastic runs in many of role in the box office success of Loving QUAD, Derby film in the world’ – as a title that would our client venues, with audiences Vincent. It was the mass of holdovers and Forum Cinema, Northampton have particular interest for many client continuing to grow even in weeks six follow on bookings that really contributed Galeri, Caernarfon cinemas some months before its UK to eight after release. As many of our to an unexpectedly long theatrical run, Hebden Bridge Picture House, Hebden Bridge release. We worked very closely with client cinemas are mixed arts venues, capturing the imagination of audiences JW3, London Altitude Film Entertainment, its UK this title also had particular crossover all over the UK. Ludlow Assembly Rooms, Ludlow distributor, to not only support the film appeal with audiences interested in mac, Birmingham with bookings in our client cinemas, the visual arts more widely. Delphine Lievens, Altitude Film Entertainment Malvern Theatres, Malvern but also to build awareness with other Phoenix, Leicester UK exhibitors via preview screenings Overall there were five ICO client Pomegranate Theatre, Chesterfield at our Screening Days in July 2017. cinemas in the top 20 highest Rhodes Cinema, Bishop's Stortford grossing sites for the film, and ICO Saffron Screen, Saffron Walden While it could be seen as a niche client cinemas represented nearly Showroom Workstation, Sheffield Stoke Film Theatre, Stoke proposition, we recognised that the 10% market share of the film’s box Ultimate Picture Palace, Oxford appeal of the film’s subject (Vincent office. The box office total for the Van Gogh), in conjunction with the film now stands at £1,015,372, which 10% Watershed, Bristol OF TOTAL BOX OFFICE REPRESENTED visually innovative way in which the far surpassed Altitude’s original BY ICO CLIENT CINEMAS narrative unfolds, would have great predictions for the film.

8 — PROGRAMMING PROGRAMMING — 9 CASE STUDY CASE STUDY

Malvern Theatres

Malvern Theatres, an independent arts programme that appeals to the widest complex situated in Great Malvern in possible range of local audiences. Worcestershire, has now been an ICO During this partnership, we have Three years have passed since we client cinema for three years. Set against seen the cinema programme become started working with ICO. The focus the dramatic backdrop of the Malvern increasingly ambitious and, pleasingly, of our collaboration has always Hills, as the only cinema in the town it increasingly successful; which has been to increase the diversity of film has proved an invaluable asset to the supported it in becoming one of the screenings and with it audiences, community, attracting both theatre venues for Borderlines Film Festival without dramatically increasing levels acts and the latest films t0 the area. over the last two years. of scheduling. In 2017-18, the overall Pin Cushion number of screenings here showed A mixed arts venue, Malvern Theatres Co-programmed by the ICO, just a 10% increase compared with Pin Cushion was another title the director that centres on the relationship houses a full-time cinema screen, a Borderlines is the largest rural 2014-15, whilst the number of individual programming team predicted would of two women. state of the art theatre and a flexible film festival in the UK, taking place films shown had increased by 31%, perform well at our client cinemas. The ICO’s support in both programming space that can function as both. The in a number of venues across with admissions showing 41% growth. A debut feature from emerging British As Pin Cushion is set in the Midlands, the film in their client venues for theatrical ICO partners with a range of mixed arts seventeen days in Herefordshire, The challenge for independent cinemas writer-director Deborah Haywood, we also recognised the appeal the runs, as well as their extra support with venues and we believe that having a Shropshire, Worcestershire and is to strive to match the levels of choice Pin Cushion tells the story of a wickedly film would have for audiences at our a Q&A tour, has been really beneficial cinema in this type of setting allows the the Marches each year. Partnering offered by multi-screen venues. An unique mother-daughter duo. client cinemas in the region including for both myself and the film, as well as venue to engage with a wider audience with a festival has enabled Malvern understanding of audience behaviour, Broadway, Nottingham and QUAD, seeming very valuable for audiences. who are also invested in different art Theatres to engage with a broader coupled with the sort of effective With a young girl (played by Lily Derby, where we gave the film extra forms. Consequently, we also encourage demographic as well as offering their communication and liaison offered by Newmark) as its central protagonist support in the form of director Q&As. — Deborah Haywood, all mixed arts venues like Malvern existing audiences a diverse festival ICO can help realise this aspiration. and a narrative that explores bullying Writer-director of Pin Cushion Theatres to promote film as an art programme. We are really encouraged and teen sexuality, we saw a clear As a result of these factors, the film form in its own right, affording it the by Malvern Theatres’ returning loyal — Nic Lloyd, CEO Malvern Theatres appeal for younger audiences in this went on to play long runs in our same programme space and curatorial audience as well as the demand to film and previewed it to exhibitors early client cinemas. Our opening weekend and marketing resource as the others see a wide range of films within the at our Young Audiences Screening Day figures were well above the national they showcase. venue; and look forward to seeing its in May 2018. Specifically, we identified average in many places, with QUAD OVER 20% continued growth in years to come, 41% OF TOTAL BOX OFFICE REPRESENTED its potential to reach a younger female in particular grossing over four times We work closely with the team cultivating an ever broader appetite GROWTH IN ADMISSIONS BY ICO CLIENT CINEMAS audience, as a story told by a female the national average. at Malvern Theatres to develop a for film in the area.

10 — PROGRAMMING PROGRAMMING — 11 We run courses all over the UK and in Europe, helping broaden skills bases around the world.

Training

Our training and professional development schemes exist to create a fairer, more inclusive industry, founded on a skills base built for growth and ambition. We want to create a professional framework for film exhibition so that anyone can join the sector, progress within it and reach the top. Introduction

Cinemas and film festivals can only We also seek to democratise access to We'd like to thank our funders thrive when they are driven by the the film industry. Everyone deserves best skills. ICO training delivers real the chance to take part in the sector, change for organisations and staff, but there is not currently an equality BFI FILM AUDIENCE NETWORK both in terms of financial success of opportunity. Our schemes address and creative achievement. this by changing who gets a foot in the IN 2017-18 WE TRAINED door, and who shapes key creative NEARLY 100 FILM EXHIBITION Cinemas and film festivals are not like and organisational decisions, with a PROFESSIONALS FROM MORE other organisations, so we create bespoke view to creating long-term, systemic THAN 70 ORGANISATIONS AND training opportunities that address the change. Training can be expensive, OVER 20 COUNTRIES particular challenges of our sector and especially for small organisations bring in industry experts to offer practical looking to grow, so whenever guidance on how to overcome them. possible we secure funding to ensure our courses are as inclusive There is also no formalised career path as possible; providing bursaries so in film exhibition; subsequently moving that travel, accommodation and up in your career can be a genuine care expenses don’t stop people challenge. We have worked hard to taking part. Finally, all our courses create industry-recognised programmes are designed to be immensely (like our Cultural Cinema Exhibition practical, so participants can start course) that help define and build a core delivering value to their organisations set of skills for exhibition professionals. immediately after they attend.

TRAINING — 13 Our schemes & courses 86% of our trainees are still employed in the film and television industries.

Since 2014 our FEDS trainees have been based at:

MACROBERT ARTS CENTRE GLASGOW FILM THEATRE STIRLING GLASGOW

CENTRE FOR THE MOVING IMAGE EDINBURGH

QUEEN’S FILM THEATRE BELFAST

AESTHETICA SHORT FILM FESTIVAL YORK The FEDS placement demystified an industry that is notoriously difficult SHEFFIELD DOC/FEST FEDS: Film Exhibition, Distribution & Sales Trainee Scheme SHEFFIELD to get into, providing me with a

SHOWROOM WORKSTATION broad understanding of not only film How do you get a job in the film industry succession of volunteer roles or unpaid SHEFFIELD exhibition (my chosen sector), but without knowing anyone? internships. The host organisations of how exhibition interacts with film benefit from an enthusiastic trainee, I felt like a valued member of my team development, distribution and sales. BROADWAY Film exhibition has a significant the majority of whom are retained at during my FEDS placement, I was NOTTINGHAM The monthly classroom sessions FLATPACK FILM FESTIVAL underrepresentation of people of colour the end of the scheme. given opportunities to share my views, BIRMINGHAM vastly deepened my knowledge and and people with disabilities. If we want shape and contribute to a national film ERROL FLYNN FILMHOUSE experience within the industry and put NORTHAMPTON cinema as a business to thrive, we need As well as on-the-job experience giving exhibition project and build professional me in a fantastic position for securing

LUX MOVING IMAGE to make use of everyone’s skills and FEDS trainees relevant knowledge and relationships; all while being supported LONDON work after the placement was finished. experience. Our FEDS scheme gives skills, we bring in experts to deliver to develop the skills and knowledge that GENESIS CINEMA Following the placement, the ICO LONDON BFI LONDON FILM FESTIVAL trainees from underrepresented groups regular training, networking and career have given me the confidence to pursue CHAPTER LONDON have continued to provide fantastic CARDIFF BARBICAN a meaningful route into the sector and coaching sessions to maximise their FILM AFRICA FESTIVAL LONDON guidance and have worked towards a career in this industry. LONDON ENCOUNTERS FILM FESTIVAL is part of our contribution to positive, potential and support their personal BRISTOL building a network of peer to peer long-term change. and professional development. — Umulkhayr Mohamed, support with other alumni. This wider Anim18 Project Co-ordinator, group has not only been continuously Our trainees get eight months of paid In 2018, we worked with five host Film Hub Wales, FEDS trainee 2018 supportive, but makes the industry experience at a film festival or cinema. organisations: Sheffield Doc / Fest, feel more inclusive for everyone. This is an incredibly useful opportunity: Aesthetica Short Film Festival in York, exhibition roles usually require Macrobert Arts Centre in Stirling, Glasgow — Mikaela Smith, experience, which can be impossible Film Theatre and Chapter in Cardiff. Audience Engagement Coordinator, to gain unless you are able to take on a Sheffield Showroom, FEDS trainee 2017

14 — TRAINING TRAINING — 15 H

S In eight years of A I E L U D A

A K M R Developing Your Film L R T U U G I A C S IA I S S N G It's been really brilliant, hugely I T L W N T A A L A B

A U S Festival, we have trained I U E E U T U B O U Z R B P informative and inspiring. It's been E K K R R E R E C P R L Y 8 Y H over 200 participants A 201 C C so great to take some time to really focus SW N 2017 E K D Z AR ED C M on the nuts and bolts of festival planning E 201 N from 44 countries. N 6 A S DE NI and delivery. PA 15 O IN 20 ST SLO 013 20 E V 2 1 D EN 2012 4 LAN IA FIN — DYFF 2018 participant S 011 LOVA 2 CE KIA FRAN SERBIA GEORGIA RUSSIA 200 GERMANY G ROMANIA PARTICIPANTS REECE L H UGA UNGA PORT RY I ND CEL OLA AN P I D U RE ER LA P I N N T D A AL ST J Y I Y A K A P A K A P W S O N R D L S O A A O N N L V L T A O M I V T V L U O C A O R I A C H I T D X A E L X U E

H E E O AL A T M M D O N I N E M M B N I O A

U A R

G

Developing Your Film Festival

The world’s foremost film festival in the field and create a clear pathway training programme, helping festivals to bigger audiences, better profiles across the globe create change in and more ambitious programmes. their organisations. This year we were hosted by Vilnius Film Film festivals make a major contribution Festival in Lithuania. Our participants not only to the film industry, but to heard from speakers from Vilnius as the economic and cultural capital well as from Toronto International Film of their host cities. They support Festival, the British Council, Screen the expansion of film culture and International, New Horizons Film Festival help forge innovation within it. and Rotterdam International Film Festival. But despite their powerful cultural leadership role, there are hardly any Year after year, DYFF participants professional training opportunities leave with a defined strategic vision to enable festivals to develop internal and clear plans to improve their strategies for growth and change. income and sponsorship building; communications, press relations and Developing Your Film Festival PR; and programming and audience (DYFF) is the answer. Over the last development. In addition, they become eight years, we have given film part of a strong alumni network sharing festivals around the world the chance programming, expertise and personnel to come together, learn from experts across festivals around the world.

16 — TRAINING TRAINING — 17 100% of participants Since 2014 Tech Skills has recommend this course supported over 130 site to their peers. visits across the UK.

Tech Skills

We want cinemas to put on the best show imaginable. Whether they're planning a surround sound IMAX screening or a community event in a village hall, Tech Skills connects them with the experts who make the magic of cinema happen. REACH: Strategic Audience Development As much as cinema is an art, it’s A cinema is nothing without an audience. development from cinemas and powered by technology. We want This scheme gives cinemas everything film festivals across the UK and ask audiences to have a truly amazing they need to get one. them to identify their dream project. big screen experience. But it’s Then we gather them together and REACH gave me the contacts, hard for venues without dedicated We want cinemas to create culturally give them essential information and confidence and tools needed to technicians to upgrade their systems ambitious programmes and expand inspiration on how to build audiences. overcome a very challenging period and be sure they’re getting the best tastes beyond the mainstream. They go back to their venues and in my cinema’s development. Not only guidance. Tech Skills is designed to But it’s not just the case that if you work on their projects, with guidance did the training put me on track towards take the guesswork out of the often show an interesting film, people will from a dedicated expert advisor, and achieving my goal of doubling BAME bewildering technical options out there. automatically turn up. So how can finally the group meets again to share attendance at our events, but I also cinemas and festivals build a robust learnings and outcomes. came away with an audience We selected a key group of technical plan to grow audiences for all types of development toolkit, which I’ll experts who have faced every screening cinema? REACH is how people get there. This scheme is all about creating be able to use again and again. challenge out there and are based long-term strategies, so we pair across the UK. We then match them First, we seek representatives in participants with experts who — Katie Brandwood, Creative Director with venues facing technical issues to programming, marketing and audience can guide them to a great result. Screen25, London give them impartial advice at a low cost.

18 — TRAINING TRAINING — 19 The highest rated films at ICO Screening Days events in 2017-18: 1. BlacKkKlansman 2. Human Flow 3. Lady Bird 4. The Miseducation of Cameron Post 5. Utøya: July 22

Screening Days

The UK’s largest events for exhibitors, ICO Screening Days help cinemas Introduction make informed choices about the films that matter. Most preview exhibitor screenings As an organisation, we know there take place weekly in London, so what are audiences currently underserved are you left with if you’re based far by UK cinemas so in addition to our I really enjoyed watching films we’d from the capital? You may be able to major events, we also run one-day normally not be able to view, and view films online – but miss the big specialised events to offer more meeting other exhibitors and seeing how screen experience and the collective detailed inspiration, film choices our experiences varied in the industry! response of the audience around you. and capacity building sessions on a You may travel to London occasionally particular theme. These events are an — Screening Days participant or to international film festivals, but important part of our offer; inviting incur hefty travel costs on a limited exhibitors to reflect on their existing budget, plus time away from the office. work in a specific area and consider Or, you can programme films without ways to improve or expand it, inspired the benefit of viewing them and really by expert speakers from both within understanding their content, audience and outside the film industry. IN 2017-18 WE HAD 652 and whether they’ll work for your venue. PEOPLE FROM 355 DIFFERENT This year we held three national VENUES ATTEND AN ICO Screening Days is our response to Screening Days events (at HOME, SCREENING DAY EVENT this. We programme key independent, Manchester in November 2017; BFI crossover and world cinema releases and Southbank, London in April 2018; screen them over three days in venues and Phoenix, Leicester in July 2018) across the UK to hundreds of cinemas, as well as an Archive Screening Day festivals, mixed arts venues, film societies in December 2017 (at BFI Southbank, and clubs. Not only can attendees see London) and a Young Audiences event multiple films per day, but we also foster in May 2018 (at Showroom, Sheffield). networking, enabling them to meet their We hosted 652 unique delegates peers, compare notes on particular (943 in total across all events) from films and gain insight on which titles 355 unique organisations; an overall will connect with their audiences attendance figure up 16.6% from the and how to market them. preceding year.

SCREENING DAYS — 21 As always, having the opportunity to Do more! I loved it, I'd come again in a see films in advance allows us to better heartbeat ... I think there's a real appetite gauge what our audiences will have for archive out there and an increasing an interest in. understanding of the value of this work– anything that can be done to make the — Young Audiences Screening Day participant archives feel accessible is fantastic

— Archive Screening Day participant

Young Audiences Screening Day Archive Screening Day

We all know the importance of those of their UK-wide release. All directed by (formerly Head of Production for BBC Archive film is an essential part of the and re-contextualise it, offering a the BFI National Archive presenting first few mind-expanding trips to see female filmmakers, they brought 16-30 Radio 1, 1Xtra and Asian Network) shared cinema landscape. By accessing works contemporary perspective and ideas exquisite early colour films in the Colour a film: they’re what made us fall in love year olds from different backgrounds her tips on how to get people under 30 that have shaped the medium and for new modes of presentation. Programme and discussing the brilliant, with film, realise there was more out and their experiences into the spotlight. to care about your venue in the face of inspired previous generations, we can tell little-known work of pioneering British there than we imagined, and set up a Titles included Sadaf Foroughi’s coming- major competition for their attention. stories from our past while considering Danny Leigh, Senior Curator of Fiction female 20th century animators in Women life-long relationship with the cinema. of-age story Ava, following a teenage the future. However, there are obvious Film and Television at the BFI National and Animation. The ICO has long championed films for girl constrained by repressive society in We were joined by Into Film’s Flora challenges around showing this kind of Archive (and familiar to audiences from children and young audiences and we Tehran; and Desiree Akhavan’s acclaimed Menzies and Simon Fathers, giving an work that we want to break down. the BBC’s long-running film programme Experts on our Silent Cinema panel want to make it easier for independent The Miseducation of Cameron Post, overview of their rich body of research Film 2017) kicked off the event with a explored the practical considerations exhibitors across the UK to do so too. exploring a US teen gay conversion into the barriers and motivators for In December 2017 we welcomed keynote on his personal love of archive and cultural opportunities afforded therapy retreat. young audience cinema-going; as well over 100 participants from 60 plus film and what it can offer today’s by silent film, while our 35mm In May 2018, we returned to Showroom, as Anim18, who delivered a sneak peek organisations to our third Archive audiences; while Cecilia Cenciarelli, panel discussed how to draw Sheffield for our third specialised The panels and training sessions were at Film Hub Wales’ UK-wide celebration Screening Day event. This annual Head of Research & Special Projects at audiences to screenings of celluloid Young Audiences Screening Day. likewise designed to cover a wide range of British animation and the shorts celebration of screen heritage Cineteca di Bologna presented a historic classics. Finally, our Accessing the We’re delighted this proved as much of areas and encourage attendees to packages newly available from BFI showcases films from both UK restoration (in partnership with Martin Archives session brought together a priority for independent cinemas think beyond specific titles and be Distribution. The day ended with and international archives, giving Scorsese’s World Cinema Project) of representatives from a range of archives as it is for us, with over 50% more creative about ways to engage young Grosvenor Cinema’s Megan Mitchell, cinemas an opportunity to discover Med Hondo’s bold, witty indictment – regional, national and commercial – delegates attending than in 2017. audiences under all circumstances. This who delivered a hands-on workshop newly restored features and shorts of colonialism, Soleil Ô. to discuss how best to source archive was perfectly captured in our keynote exploring how to address the practical to share with their audiences. As footage to highlight cinematic heritage Our film programme for the day for the day, in which youth specialist and issues affecting young people going to the well as the chance to see a wealth Our programme highlighted the hidden and generate new conversations, consisted of five titles screened ahead marketing consultant Rebecca Frank cinema, from ticket pricing to advertising. of rarely-seen content, we position and the marginalised with curators from both on and off screen.

22 — SCREENING DAYS SCREENING DAYS — 23 MapFilm ofHub the South South East East Hub and projects supported Our initial vision supported projects 2018 for the South East

Open Project support Researching exhibition in the region, Film Festivals and Touring Network support we found it has a low provision of Outdoor Screenings Scheme screens but despite this, people Programming Group across the region watch more films than the national average. Strategic partners - young audience programmes Training and professional development bursaries Our plans involve boosting this NORWICH existing natural appetite for cinema while mitigating some of the specific challenges faced by exhibitors in the South East.

CAMBRIDGE Film Hub IPSWICH

South East OXFORD CHELMSFORD

In January 2018, the ICO began managing Film Hub South East, part of BFI’s Film Audience Network. CANTERBURY GUILFORD

CHICHESTER HASTINGS

BRIGHTON

The BFI Film Audience Network the richest and most diverse range (or FAN) was originally set up in of great British and international 2012, using National Lottery funds filmmaking, past, present and future. to support a stronger and more connected approach to growing FAN’s BFI2022 priorities include: audiences for British and international increasing access to a wide range of film on the big screen. It divided UK independent British and international film exhibition activity into regions, film for audiences, especially those each led by a regional hub, of which outside London; extending engagement Film Hub §South East is one. with BFI supported activities across the UK and enhancing the quality and From 2017, FAN is part of the BFI’s cultural depth of audience experience; five-year plan BFI2022 and central increasing access to the UK’s screen to BFI2022’s commitment to give heritage; and increasing both audience everyone, everywhere in the UK the diversity and the number of 16-30 year opportunity to enjoy and learn from olds engaging with film activity.

FILM HUB SOUTH EAST — 25 What have we done so far?

We have:

Implemented a new Hub administrative Young Programmers’ Groups in cinemas Launched a call for our 'Developing an BFI NETWORK infrastructure and created a Hub-specific across the south east. We have: inclusive approach to film audiences' section on the ICO website. initiative, which will support venues in ›› Audited existing cinema-and-young attracting specific audiences that exist As well as supporting exhibitors We have: Supported film festivals, touring programmers’ activity across locally but do not yet engage with them. across the region, one of our new networks and outdoor screenings, the region and researched other responsibilities as the Hub is BFI ›› Set up six regional groups for The BFI NETWORK support means a lot including: Cambridge, Chichester, Young Film Programmers' groups Raised £66,500 additional funding NETWORK, the BFI’s scheme to help networking for filmmakers from to me. It gave me confidence in knowing CINECITY and Southend on Sea around the country from the Heritage Lottery Fund to build support new and emerging filmmakers. Slough to Suffolk that the kind of stories I want to tell are film festivals, Creative Arts East and extra activity into our Screen Heritage interesting enough to others to inspire Folkestone Harbour Screen. ›› Delivered training days for facilitators programme. This funding will enable us The South East has given us some of ›› Held talent meet-ups across the region support. It's given me a better insight in Kent, East Sussex and Berkshire to utilise our screen heritage to engage the world’s greatest filmmakers: from into the process of taking a story from Via our Open Project Proposals scheme with more people across the region. Michael Powell to Joy Batchelor, from ›› Established partnerships with Write brief idea and expanding it through we have awarded over £32,000 (60%) ›› Delivered comprehensive resource We have recruited a Project Coordinator Paul Greengrass to Andrea Arnold. Our 2 Screen in Norwich, Screen Suffolk, different stages. This has been greatly to 13 projects across the region. pack(s) for venues and facilitators and are also recruiting Project Talent Executive Thomas Wightman Film Wave Margate, Screen South in helpful as before the whole process of Volunteers with the first public-facing is working hard to find more of that Folkestone, Film Oxford, Carousel, getting a film made or started was very Created a Programming Group of 10 ›› Started Young Programmers’ groups activity taking place this December. talent across the South East, identifying Marlborough Theatre and Other daunting to me as I had no knowledge. regional cinemas, supporting them at three venues to date (The Curve/ emerging regional filmmakers and Screen in Brighton. It has validated my dreams of making to programme a wider and more YES Shop Slough, Newbury Corn Awarded a total of 17 Training supporting their first productions, films and given me the needed edge and diverse range of cultural cinema; with Exchange, Palace Cinema) with and Professional Development especially as they make applications to ›› Produced South East Stories, a support network to start working hard regular meetings and bespoke training two additional venues (Electric bursaries from April to September BFI production funds. touring programme of the best of toward that goal. opportunities to help develop their skills. Palace, South Hill Park Arts) to 2018; supporting recipients from the year’s short films from South start in November organisations including cinemas, Currently, the vast majority of talent East filmmakers to show in cinemas. — Michael Manté, Filmmaker Facilitated young programmers' groups mixed arts venues, film festivals and is sourced and developed in London. and young audience development at ›› Worked with Electric Palace in touring networks to attend events This must change – reducing the ›› Supported regional filmmakers to regional cinemas. In particular, we Hastings to remove financial including This Way Up, the Arts centralisation of the film industry write a feature length treatment have created positions for two young barriers to setting up Young Marketing Conference, the Cinema to London is part of NETWORK’s with development support. audience coordinators at Saffron Screen Programmers' groups by securing For All Conference, the Community goal – so we are specifically looking (Saffron Walden) and Depot (Lewes) funding and recruitment support Cinema Conference, ICO Screening for talent where it may previously ›› Arranged Writers Labs in Cambridge, and are working with them to institute from the local authority Days and the BFI London Film Festival. have been ignored. Brighton, Norwich and Margate.

26 — FILM HUB SOUTH EAST FILM HUB SOUTH EAST — 27 Most visited online resources

Screening films in community cinemas 21% How to start a cinema–Building design 19% What licences do I need? 17% Film copyright licensing 14% List of distributors 6% 17% 14% 6% 6% 5% 4% 4% 4% 21% 19% How do I get my film in distribution? 6% Cinemas in the UK & Ireland 5% How to start a cinema–Understanding Audiences 4% Premises licensing 4% How to start a cinema–Strategic Choices 4% Advice & Information

Cinema should be for everyone, so via our advice and support services we democratise access to the information you need to start showing films. Whether you’re a major cinema researching Introduction a season of obscure prints or a first-timer who wants to understand film licensing, One of the ICO’s key areas of activity industry opportunities – from cinema the ICO is here to help. is answering enquiries. We offer free, and festival directorships down to expert, impartial advice on a range entry level positions and traineeships – Thank you – this is a really helpful of topics; whether you’re a complete on our website’s free-to-use jobs board, response. It’s very confusing for beginner or a professional programmer, one of its most popular pages. newcomers and this is just what hoping to hold a one-off screening we needed! from DVD or start a full-time theatrical We also continue to post every week on cinema. We’re known throughout the the ICO blog, giving users free access to Brilliant, thank you! I’d almost given industry as an invaluable source of ‘how to’ best practice case studies, film up hope of finding that film – so glad information and support, both via our festival/conference reports and articles we can screen it. telephone and email enquiries service on topics including increasing diversity and our online resources. and accessibility in your venue. Showing Thank you so much for this – you’ve made IN 2017-18 WE that we’re a key reference point for the process a lot more straightforward HAVE ANSWERED OVER To that end, in 2017 we launched a new newcomers to the industry, our top five than I expected. I’ll let you know when 1,250 ENQUIRIES website. Redeveloped to offer better visited blog posts this year included we start our screenings! functionality, greater accessibility and a ‘How to build a community cinema from cleaner design aesthetic, it’s now easier scratch in the 21st century’ and ‘10 tips for than ever for users to find guidance and curating a film festival despite having no support across the site on a range of idea what you are doing!’ topics – including widely interrogated resources such as our webpages on All in all, our advisory offer continues to film licensing, the entry point for most promote equality of access and to bolster people hoping to screen a film. the ICO’s key objectives as a cultural organisation – to develop an open, As part of our wider remit to challenging and thriving film sector and democratise access to the industry, to support independent film exhibitors we continue to publish jobs and other of all kinds in achieving their goals.

ADVICE & INFORMATION — 29 The last fifteen years has seen major transformations in film exhibition, and the possibilities of digital projection mean that opening a cinema is within the realms of opportunity for more and more entrepreneurs.

Consultancy

Building a new cinema or transforming an existing one isn’t like any other job. It requires expert insights. With over 30 years' experience in the business, ICO consultancy can help you with any problem your organisation is facing. Introduction

Whenever the public is consulted on the ICO consultancy has decades of most desired local amenities, a cinema experience helping cinemas in just is always near the top of the suggestions. these situations. From evaluating But in a confusing marketplace, how the best location for a cinema and can you make sure you choose the right identifying key local demographics to path? The last fifteen years has seen engaging architects, modelling financial major transformations in film exhibition, viability, developing a programming and the possibilities of digital projection offer and seeing the cinema through mean that opening a cinema is within to launch, we are here to help new the realms of opportunity for more sites. In 2017-18 we have undertaken and more entrepreneurs. options appraisals for the Rio Cinema in Dalston and the Silver Screen However, there are simultaneously Cinema in Dover, provided advice on many more threats to the success of strategic planning for the Rich Mix in independent cinemas, and venues Shoreditch and the Lexi Cinema in must be adaptable to thrive in Kensal Rise, worked with the British financially straitened times. So how Council to deliver expertise on do you cope with and prepare for developing Deaf audiences in these potential problems? How should Azerbaijan and audience development you set up a new cinema to stand the in the Ukraine, and provided bespoke best chance of success, or evaluate one-to-one consultancy sessions on and change a struggling cinema cinema development, programming, from the ground up? marketing and business planning.

CONSULTANCY — 31 Watching a film made for a different audience broadens my outlook and makes me think more deeply about different cultures and people.

— Audience member of India on Film on Tour

Distribution

Our distribution projects are a direct intervention towards broadening what gets shown in UK cinemas, ensuring that the Introduction widest possible range of voices is heard, new talent celebrated and the full range At the ICO, our main criteria for the films We also worked with the BFI on our of film history is seen. we distribute are that they will make a Thriller tour, a programme of the best of meaningful contribution to UK cultural the genre including classic Hollywood life and would otherwise not appear and world cinema titles. In particular, we on UK screens. The films we distribute were delighted to show audiences Ida are excluded by purely commercial Lupino’s gritty 1953 noir The Hitch-hiker, distribution and fulfil subsequent gaps Dutch filmmaker George Sluizer’s chilling in the release calendar. We intervene masterpiece of suspense, The Vanishing when we see a chance to champion (1988) and – also a wider standalone ICO new or unconventional voices; to bring re-release – the Coen Brothers’ trailblazing under-seen stories or histories to light; debut, Blood Simple (1984); a stylish, to increase diversity in representation innovative neo-noir ripe for revisiting. on-screen and to engage with key works of cinematic heritage. We always think about the challenges facing independent cinemas as we In the last year, our India on Film put together our tours. For example, programme toured rarely seen classics both India on Film and Thriller of Indian cinema across the UK. featured subsidised terms on specific Created in partnership with the BFI, titles, funding for speakers and other this wide-ranging programme was part exhibitor marketing and audience of the broader national recognition of development support to maximise the the seventieth anniversary of Indian impact of screenings. Finally, in July Independence and spanned over a half- this year we launched another re-issue: century of tumultuous cultural change; Jacques Rivette’s The Nun (1966) in with titles ranging in chronology from a glorious new 4K digital restoration, Guru Dutt’s masterwork Pyaasa (1957) enabling audiences to revisit or discover to Shubhashish Bhutiani’s acclaimed one of the most breath-taking works of debut Hotel Salvation (2016). French cinema for the first time in 2018.

DISTRIBUTION — 33 Screened to audiences The Piano screened to of over 15,000 people, audiences of over 5,000 at 300 locations. people, grossing nearly £36,000 at the box office.

It’s worth saying that our audiences have truly embraced these ICO Full of extraordinary images and historical packages. enigmas […] Hunter’s performance is outstanding. So is the film The time of day enabled more families to come, with children aged from around The Guardian 4-10yrs old. One or two of them were completely enthralled and came out telling train jokes!

— Britain on Film venues

Britain on Film The Piano

This year has seen the continuation in terms of archive material already We also saw a growing number In 2018 we were honoured to be an integral George Baines (Harvey Keitel). of Britain on Film on Tour, the ICO’s available and in distribution. The result of smaller museums and libraries part of the 25th anniversary celebrations Attracted to Ada, Baines agrees to return ground-breaking distribution project was our Railways, Rural Life, Black creating similar activities around of a truly trailblazing work. The only the piano in exchange for lessons that designed to engage and develop Britain, Coast and Sea, LGBT Britain, and their screenings, as well as community female-directed film to have won the gradually become a series of erotically audiences for the UK’s rich and broad South Asian Britain packages, which groups and local branches of Action Cannes Palme d’Or, Jane Campion’s The charged encounters. screen heritage. This project started were released every two months from with Communities in Rural England Piano remains as urgent as ever, a tale of when BFI, national and regional November 2016 to September 2017. (ACRE), Universities of the Third Age tremendous expressive power by one of Bringing important films such as this archives worked together to deliver This year we were very pleased to be (U3A), Women’s Institutes (WI) and the most compelling and unconventional back into the spotlight for is a crucial one of the largest and most complex awarded funding from the BFI to extend the Historical Association. filmmakers at work today. We were part of the ICO’s distribution strategy. archive film digitisation programmes this tour in order to further reach out thrilled to re-release the film’s digital By re-releasing The Piano, we gave ever undertaken. Thousands of film to audiences that would not normally Britain on Film on Tour has already restoration (approved by Campion herself) cinemas across the UK a chance to titles were newly digitised and made interact with archive film. been one of the ICO’s most successful in cinemas across the UK in partnership screen a beloved recent classic and a available to view via the BFI’s online distribution projects. With the with StudioCanal. new generation of cinemagoers with video platform, BFI Player. These have included larger cultural extension of these films and the the opportunity to see it in its full organisations that we were delighted planned development of two new The Piano sees Holly Hunter give a glory on the big screen. Although having the films on the to see both book the films and programmes in 2019, we look forward majestic silent performance as Ada BFI Player is a fantastic and much- develop activities around them, such to future audiences for archive film, McGrath, a mute Scotswoman and In line with this, the film’s release needed resource, the ICO saw an as The National Archives (Kew) – and continuing to demonstrate talented pianist who arrives with her was preceded by a special preview opportunity to bring a selection of the who programmed a series of events the power, appeal and importance young daughter Flora (Anna Paquin) organised by Birds Eye View’s Reclaim films together in curated packages to around screenings, including speaker of our national screen heritage in in the 19th century New Zealand the Frame initiative; as well as an enable audiences to enjoy this material presentations and curated displays of enabling people to see their own wilderness. Set to marry frontiersman extensive press and social media together collectively in cinemas. In related documents – and The National lives reflected on the big screen. Alisdair Stewart (Sam Neill), she takes campaign. Released UK-wide in June, particular we wanted to focus on rural Maritime Museum (Falmouth) who an immediate dislike to him after he the film was screened at 82 sites, audiences and diverse communities, also created an in-house screening refuses to carry her beloved piano consisting of key independent cinemas, both of whom we felt were underserved programme around the tour. home, instead selling it to his overseer mixed arts centres and film societies.

34 — DISTRIBUTION DISTRIBUTION — 35 Excellent film – why haven't I seen it before?

It's great that such important and interesting films have been brought to Dundee – thank you!

Great to see LGBT history preserved and presented for others to see

— Audience members of Revolt, She Said

Revolt, She Said: Women & Film After ‘68

2018 saw the fiftieth anniversary of everywhere. We included eight the uprisings of May 1968. We wanted features in the programme, pairing to create a tour that fully explored the them with short films in dialogue with multiple revolutions in play, including their theme. Part of the challenge those ignored by the standard narrative of screening these works was that but which remain inspiring and many of them hadn't been previously disquieting to this day. available to cinemas, and were being shown on new restorations that we Revolt, She Said reflects on the volcanic either funded or brought into UK social changes of the time and in the distribution for the first time. years afterward, sharing intersectional, queer and feminist stories of revolution We worked across the country and asking the question: one hundred to create screenings with local years since the first women got the activists, women’s film scholars and vote in the UK and fifty years since curators to create special events. We the protests of May ’68, where is the commissioned new writing in order to feminist revolution now? add to the limited critical conversation on some of these titles. And, in true We partnered with queer feminist revolutionary fashion, we produced a collective Club des Femmes to curate zine that was distributed to cinemas the tour, making key, rarely seen works across the country, highlighting the available for screening by cinemas upheavals of the last fifty years.

36 — DISTRIBUTION DISTRIBUTION — 37 Cinema has gone through many periods of rising and falling fortunes. What Will the Future of Cinema Be? Streaming services From the nickelodeon on, even in times The biggest challenges to cinema identified Reaching new audiences of economic stability, there has always by survey respondents were: Diversity of content on screen been a narrative that cinema is under Price imminent cultural threat. So far these Lack of funding Competition from multiplexes ‘extinction level events’ (including Piracy television, VHS and more recently, online streaming) have only proved a spur for exhibition to renew itself and find new focus. But how will we face the challenges of the future?

This year we conducted our widest ever survey of film professionals, collecting responses from over 250 individuals to gauge what their outlook is now and how they want to see the sector change 49% 34% 12% 10% 7% 3% 3% The Future for cinema to survive another 120 years. of Cinema

The ICO turned fifteen this year, but as well as What Will the Future of Cinema Be? Greater programming ambition and diversity celebrating our past, we want to shape the future The changes respondents most wanted Accessible pricing/membership schemes of cinema and make a major contribution to the to see over the next fifteen years were: Greater commitment to audience experience next fifteen years and beyond. A major survey Improved venue inclusivity More community outreach we undertook this year helped us delineate More innovation how we want to see the industry change. Better distributor terms More funding support More independent venues Increased diversity of the workforce

34% 13% 12% 10% 9% 6% 5% 5% 4% 2%

The full Future of Cinema report will be available to download in early 2019.

THE FUTURE OF CINEMA — 39 Seven key themes emerged Responses from responses suggesting ways forward… The start is for representation of women on screen and behind the scenes with all stories being told for all ages. This isn’t diversity: women are half the world, half the audience.

— Rebecca del Tufo, Saffron Screen

We need a reconsideration of how cinemas choose to price and position themselves so as to prevent cinema- going becoming the sole province of the moneyed and the wealthy.

— Jason Wood, HOME

If we genuinely want to grow an audience for cultural cinema beyond the usual suspects, we need to think about who our potential audiences really are, listen to what’s Greater diversity and a A new approach Refocusing on what important to them and speak to them How the ICO is looking ahead change in who gets to to pricing cinema does best in their language, not ours. If we participate expect audiences to change their While box office revenue is trending Everything changes, but everything behaviour we need to change ours Over the past fifteen years, the Looking ahead to the next fifteen years, The last ten years has seen a much upward, admissions are in decline. stays the same. The fundamentals of the first. We are the ones that are hard ICO has worked to address a wide we will work to address the issues closer scrutiny of how cinemas control Many respondents worry that cinema attraction of cinema aren’t going away, to reach, not our audiences. range of issues across the sector. and concerns raised in this survey. whose stories get shown on screen. is moving from a truly affordable art said many respondents, but we must We have helped set the agenda for Despite our (and other) interventions, Many respondents feel that the only form – wherein audiences are more ensure they’re at the heart of what we’re — Sarah Boiling, what independent cinemas can be; the statistics for the gender split and way to ensure cinema will thrive in empowered to take risks with their doing and complement the expanded Independent Cultural Consultant raising ambitions for their cultural ethnic diversity in the workforce the future is to broaden who gets viewing – to a financially exclusive one. range of options open to modern viewers. and community offer both locally are still far from representative and the opportunity to take part. Curiosity (also known as cinephilia) and nationally and enabling them to we must lobby for policy provisions is our sharpest tool in keeping develop skills to meet these needs. and work energetically to achieve Keeping the cinema A greater commitment to cinema alive. The worst thing we true parity. As recognised within our experience special independent programming could do is become passive and say When the ICO began in 2003, there survey (as well as recently by the BFI), we know what cinema is. That’s not were very few women in leadership we must also work towards greater With more and more options for In times of austerity, it’s tempting to follow a conversation, it’s gatekeeping and roles in exhibition; a lack of diversity socioeconomic representation to help where to see films, many feel strictly commercial ends. But our survey no one likes gatekeepers. in the workforce, particularly in full- cinemas ensure they are financially that cinema needs to focus on its respondents feel that we shouldn’t dilute time programming positions; hardly accessible to everyone no matter fundamental power: an unparalleled our expectations of what audiences want — Tara Judah, Watershed any opportunities for exhibitors what their background, and that the collective space where you can be to watch, and that programming is the based outside London to see pre- stories shown on screen do not speak enveloped in the big screen. unique independent cinema selling point. The future of cinemas should look release films prior to programming only to middle and upper class lives. much more community-driven. them; no recognised exhibitor training We will work to inculcate a greater We’re already seeing passionate courses; and fewer opportunities for awareness of true community and Attracting younger Put community community-minded entrepreneurs audiences across the UK to see a true social responsibility within cinemas; to audiences at its heart look for ways to rejuvenate their high diversity of content and the broadest involve younger audiences to ensure streets, re-purpose buildings and possible range of world cinema. We sector sustainability; and to lead in One of our respondents’ biggest concerns Cinema has always been about inspire local residents to come together. are incredibly proud of the breadth programming openness and innovation. is the decline in youth audiences. people and audiences, but many Regardless of programme, the key to and variety of our activities, that we Although many feel that younger people’s people feel that community should be bringing in audiences will be to make have instigated meaningful change Through our policy work and public interest will return in later years, others more central to the cinema experience; them feel included and part of the very in all these areas and have helped programmes, we will continue to suggest there is urgent work to be done to with cinemas directly responding to fabric of the venue and its purpose. professionalise the sector and advocate for the sector nationally and ensure that young audiences develop an local community needs and ensuring transform individual careers as create a vision of truly independent appetite for cinema while they’re young. their staff are well cared for. — Ben Luxford, BFI well as the wider industry picture. cinema that is for everyone.

40 — THE FUTURE OF CINEMA THE FUTURE OF CINEMA — 41 Programming

Attendance We have programmed over 8,000 films 8,00 screened to over 12 million people, £63M 12M FILMS generating over £63 million in box BOX OFFICE REVENUE PEOPLE office revenue.

Lifetime Statistics Training

We have trained over 2,000 film exhibition professionals from more than 2,000 Since the creation of the ICO in 2003 we’ve 1,200 organisations in 62 countries. FILM EXHIBITION 1,200 62 ORGANISATIONS COUNTRIES recorded data across all our activities. Read PROFESSIONALS on for key statistics from our first fifteen years – including total box office revenue, audience figures and film exhibition professionals trained.

Advice & Information

Over the lifetime of the ICO* our website Our most visited pages are: Jobs has had over 7 million page views. Homepage We have answered over 11,000 enquiries. Seating capacity (Cinema building design) 200,000 Training FEDS Film programming Community cinemas 150,000 How to start a cinema Film copyright licensing Screening Days

100,000

50,000

0 * 2007 onwards when we started recording web statistics 193,039 147,228 55,543 51,014 27,529 24,340 23,297 21,129 13,406 13,103

LIFETIME STATISTICS — 43 Screening Days Distribution

Attendance Attendance Since 2005, ICO Screening Days have The ICO has distributed 545 films to 1,152 been attended by 2,188 people from 2,188 709 £2,262,607 729,979 1,152 venues across the UK and which VENUES 709 different venues. PEOPLE VENUES screened to 727,979 people; generating BOX OFFICE REVENUE PEOPLE £2,262,607 in box office revenue.

Top five highest-rated films of all time at Screening Days Our most successful films

1 2 3 4 5 1 2 3 4 5

I Am Not Your Negro The Lives of Others The Artist Salt of the Earth Far from the Apocalypse Now Mother The Princess of Bombs at Teatime Mulholland Drive Madding Crowd Montpensier Restored re-issue of Taut Hitchcockian Part of our BFI Re-issue of Francis Ford Coppola's thriller from Romantic period drama Mediatheque on Tour: David Lynch’s hallucinatory masterpiece Joon-ho Bong by French filmmaker a portrait of British life quintessential Bertrand Tavernier during WWII neo-noir

Foreign language film Countries Our most successful touring programmes 42% of films screened were foreign Films were screened from language, and 22% of films were British. 60 different countries

US U N A U A N A UA K A N I I I R T R M TURK T E E AI ED T 29,674 RALI IU T S A 15,764 11,552 8,295 T 9,475 N G HA U N K L E S ELIZ T E A L I E I AI I RGEN U B Y NG ADMISSIONS LA B Z S WA A A A ADMISSIONS ADMISSIONS ADMISSIONS W ND A ADMISSIONS DO RI N AFGHANISTA BR SP ED ZEGOVI A EN R G IA AI M E D S N H UL OUTH B BO ON & AM SO K IA C A UT OR N AD H AF E S CAMERON SIN R A O CA ILE 42% GAP ICA B CH SA ORE A UDI A CHIN RABIA th RUSSIA COLOMBIA BFI Mediatheque Britain on Film Astley Baker ¡Viva! 10 Spanish ICO ROMANIA 60 DENMARK on Tour on Tour Davies Film Festival 2004 Essentials QATAR EGYPT ESTON PORTUGAL COUNTRIES IA ND ETHI Curated archive An innovative, diverse A retrospective Collating exciting Ground-breaking, POLA AY OPIA GU FINA A NE PAR TI FR LND programmes of series of archive celebrating the eclectic new cinema from influential works of LES Y ND G ANC A HO ERM PA ALA E th RW NG GREE A social history on film O ZE A HUNG NY programmes taken and charming work of across the Spanish- 20 century artists' N I A L I K EW A IN I O C N P OL N C NG E O A D EL drawn from the BFI from films newly the BAFTA-winning, speaking world. cinema in curated E T N A N C I I ON R 22% R I AN N Y ISRAEL MONG NO EL UR E DI I D R Mediatheque. AN digitised by the BFI. British animators. programmes. MEXI S BA Y A A AN P L I MA N A LE A D J TA

I

44 — LIFETIME STATISTICS LIFETIME STATISTICS — 45 Image credits P3: Dorothy Wilson, courtesy Hugo Glendinning; P26: Cambridge Film Festival, courtesy Catharine Des Forges, credit George Cambridge Film Trust Torode P27: 4C, credit The Kool Kids P5: From top to bottom: A Fantastic Woman, P31: The Lexi Cinema, courtesy of The Lexi courtesy of Curzon Artificial Eye; Cinema BlacKkKlansman, courtesy of Universal Pictures UK: The Florida Project, courtesy P33: Pyaasa , courtesy of Ultra Media & of Altitude Film Entertainment Entertainment Pvt. Ltd., Mumbai, India. Website: www.ultraindia.com P6: Cold War, courtesy of Curzon Artificial Our Board of Trustees Eye P34: Gay Life, part of Britain on Film: LGBT Britain, courtesy of ITV P7: Jeune Femme, courtesy of Curzon About the Independent Cinema Office Dorothy Wilson (Chair) Artificial Eye P35: The Piano, courtesy of STUDIOCANAL UK Independent Consultant, Coach & Producer P8: Call Me by Your Name, courtesy of Sony P36: Hair Piece: A Film for Nappy-Headed Pictures Releasing People–Ayoka Chenzira (1984). The Independent Cinema Office (ICO) Courtesy of the filmmaker and Cinenova Our Funders & Partners Sudha Bhuchar P9: Loving Vincent, courtesy of Altitude Film was founded in 2003 with a vision of Actor/Playwright, Co-founder of Tamasha Entertainment P37: Clockwise from top left: One Sings, the giving everyone the opportunity to see The ICO is proud to partner with a Theatre Company & Artistic Director of Other Doesn’t, courtesy of Curzon Artificial P10: Pin Cushion, courtesy of Pinpoint Eye; Carry Greenham Home, courtesy of life-changing cinema on the big screen. variety of national and international Bhuchar Boulevard P11: Malvern Theatres, courtesy of Malvern Contemporary Films, London; Maeve, agencies and funders to deliver Theatres courtesy of The British Film Institute We are a registered charity and a our ambitious programmes. The Miles Ketley P13: Data-Driven Marketing, credit Pamela P40: Folkestone Harbour Outdoor Screening, company limited by guarantee. We BFI has supported the ICO since its Partner, Stone Story Media Raith courtesy of Folkestone Fringe, credit are based in London, but our work is inception and is now a major funder P14: Clockwise from left: FEDS, courtesy of Bartle Halpin Photography national with a goal to help create an of programming, information and Susan Lovell Sheffield Doc/Fest, credit Helena Dolby; P41: Autumn Screening Days 2018, credit open, thriving and challenging film training services to the independent Head of Television Commissioning, FEDS, credit George Torode; FEDS, Colin Davison culture everywhere in the UK. The ICO exhibition sector through a range BBC Northern Ireland courtesy of Sheffield Doc/Fest, credit P44: From left to right: Far from the Madding can only do our work thanks to the help of activities. Helena Dolby Crowd, courtesy of 20th Century Fox; and support of our partners (including Trevor Mawby P17: Developing Your Film Festival, courtesy Salt of the Earth, courtesy of Curzon distributors, cultural organisations, our We are one of eight national hubs in the Former Director of Finances & Resources, BFI of Kino Pavasaris – Vilnius International Artificial Eye; The Artist, courtesy of clients, and most especially cinemas) BFI Film Audience Network (FAN), tasked Film Festival Entertainment Film Distributors; The and funders. with supporting audience development Julia Short P18: Screen25, courtesy of Screen25, credit Lives of Others, courtesy of Lionsgate UK; I Am Not Your Negro, courtesy of across the UK. Our other major Industry Consultant Alex Mitchell Photography Altitude Film Entertainment Launched with three members of staff partners are ScreenSkills (who have P19: Autumn Screening Days 2017, credit P45: From left to right: Mulholland Drive, and £120,000, the ICO now employs supported our training and professional Simon Ward Chris Payne Images courtesy of STUDIOCANAL UK; Bombs sixteen members of staff with an development projects), Creative Europe Owner, Palace Cinema, Broadstairs P21: Lady Bird, courtesy of at Teatime, courtesy of the British annual turnover of £1.5 million. and the British Council (who support Universal Pictures UK Film Institute; The Princess of our portfolio of activities supporting George Sawtell P22: Freak Show, courtesy of Miracle Montpensier, courtesy of STUDIOCANAL The ICO is committed to working European film festivals), and the Heritage Treasurer SFF GPO, Capita plc Communications UK; Mother, courtesy of STUDIOCANAL towards a film industry that reflects Lottery Fund (who support our film P23: I Am Not Your Negro, courtesy UK; Apocalypse Now, courtesy of the national population. We aim to heritage projects). Approximately 30% Julian Connerty of Altitude Film Entertainment STUDIOCANAL UK reflect this in our own staff. of our income is self-generated. Partner, Signature Litigation LLP P46: ICO team photo, credit David Smith

46 — LIFETIME STATISTICS LIFETIME STATISTICS — 47 FIFTEEN

FILM FORWARD FILM FORWARD FILM FORWARD