BFI Annual Review2011/2012 ‘Underpinning the BFI’s vision is a renewed commitment to the future – future generations of audiences, future generations of filmmakers, new ideas and future opportunities that the digital revolution can bring.’ BFI Annual Review2011/2012

2 1 INTRODUCTION 04 (2012) Grabbers A CULTURAL, CREATIVE AND INDUSTRY ROLE 06

SUPPORTING THE FUTURE SUCCESS OF BRITISH FILM 08

BOOSTING AUDIENCE CHOICE ACROSS THE UK AND 12 EXPANDING EDUCATION OPPORTUNITIES

Supporting and growing audience choice with partnerships and funding 22

Lifelong learning for the understanding and enjoyment of fi lm 25

UNLOCKING FILM HERITAGE FOR EVERYONE IN THE UK TO ENJOY 26

OPENING OUR EYES: BFI RESEARCH PROVES THE POWER OF FILM 30

PARTNERSHIPS, SPONSORS, DONORS AND PHILANTHROPY: 32 SUPPORTING THE BFI’S CHARITABLE OBJECTIVES

BFI INCOME AND EXPENDITURE 2011-12 38

2 3 INTRODUCTION With funding for film from the National Lottery set to increase at the conclusion of the Olympics, this is a crucial moment to take the long view and put in place a bold vision that will really make a difference to education, audiences and filmmakers

2011–12 was a milestone year for the the year, could continue to flow and work across the UK, particularly works hard to achieve a fundraising Lottery distributors, with the BFI as we marked our first 12 months projects that were already underway outside London. Using Grant in Aid target which necessarily increases Broadcasters and Ofcom, the as the new lead organisation for film were not interrupted. and Lottery funds and working in year on year, as a crucial supplement national screen agencies, with the in the UK. We began the year with partnership with the newly formed to our Grant in Aid. Last year, like all film industry, and with Government seven new Governors joining the When we took on our new Creative England, and in the nations our fellow cultural organisations, our itself. The recommendations will have Board including, for continuity, responsibilities one of the first with Creative Scotland, Film Agency GIA was reduced significantly leading a considerable influence in helping two Board members of the former commitments we made was to reduce for Wales and Northern Ireland to a number of difficult decisions to us shape our plans for the future. UK Film Council. Each of the new the Lottery overhead and this enabled Screen, we were able to make sure reduce the work force, streamline Governors has added to the wealth us to immediately increase investment there was no break in support for our operations and reduce services. With funding for film from the of experience already on the Board in the BFI Film Fund from £15 million film right across the UK. So now, more than ever before, National Lottery set to increase after and this combined strength of insight to £18 million a year to support bold, we are reliant on private donations the Olympics, this is a crucial moment and strategic guidance has been creative projects from new and In spite of the huge scale of change at and sponsorship, and the continued to take a long view and put in place invaluable through what has been established filmmakers across a range every level it was gratifying and to the support of our Patrons, individuals, a bold vision that will really make a year of great change. of budgets and genres. At the same credit of staff and our Board that the trusts and foundations and corporate a difference to education, audiences time we increased the Prints and creativity and dynamism behind the partners to enable the BFI to fulfill and filmmakers. It must be a vision With our new status and Advertising (P&A) Fund by BFI’s core cultural charitable activities its pivotal cultural role. We remain that supports the UK’s agenda for responsibilities we have become a £1 million to help grow audiences for continued unabated. It was a very ever grateful to a large number of economic growth, sustains existing non-departmental public body as well British and specialised films in the UK. successful year across the charity individuals and organisations and jobs and helps to create new ones, as a Lottery distributor of funding to Many organisations, like the BFI, were from the formal opening of the salute their generosity – never taking stimulates inward investment and support film production, distribution, facing funding cuts so we swiftly new world-leading archive vault it for granted and recognising the exports, and capitalises on our great education, audience development, introduced a new one-off and greatly for film, the record-breaking year foresight they have in sharing our British creativity and talent. research and the gathering of market welcomed Transition Fund to support at BFI Southbank to the trail blazing cultural mission for film. Greg Dyke, Chair intelligence. Integrating the services, our education partners First Light and DVD releases, books and articles in We look forward to working with activities and teams ready to take on FILMCLUB, as well as many others Sight & Sound. A pioneering broadcast REVIEW OF FILM POLICY audiences, the industry and with the new role was very challenging, not focused on audience development partnership for a 20-part series Government to achieve our aims least because it all had to be achieved such as small exhibitors, film clubs attracted television audiences of Lord Smith’s independent Review and ambitions for film in the UK. at great speed and at the same time as and festivals. We also sustained more than 20 million and our YouTube of Film Policy – A Future for British Film, completing a structural reorganisation funding for Creative Skillset and other online platforms achieved commissioned by the Department in response to a significant reduction (formerly Skillset) to support its 3.8 million downloads of BFI content. for Culture, Media and Sport, in our core government funding. Bigger Future II Strategy for skills was published in January 2012. This action paid off and we were able and training. The funding for these activities is Our response to the Review warmly to move quickly at the start of the year entirely distinct from the Lottery welcomed the vast majority of the

to ensure that Lottery funding, which Another commitment we made at the funds we distribute. We remain a recommendations, in particular those Amanda Nevill, Chief Executive amounted to almost £42 million for beginning of the year was to prioritise charity and our Development team for partnership working with all the

4 INTRODUCTION INTRODUCTION 5 (2012) A CULTURAL, Fast Girls CREATIVE AND INDUSTRY ROLE Film is central to our cultural life

The BFI’s mission is to ensure that We are developing a future plan to film is central to our cultural life, bring clarity and focus to our widened in particular by supporting the remit. It will also be informed by next generation of filmmakers and the Film Policy Review undertaken audiences. We have a Royal Charter by Lord Smith, the Government and objectives governing our role as response to that Review, and our a registered Charity as well as new Royal Charter objectives. responsibilities as a non-departmental public body. Our new cultural, This five-year plan is to be shaped creative and industry role brings around three core strategic priorities: together all our activities including the BFI National Archive and distribution, • Supporting the future success cultural programmes, publishing of British film and festivals with Lottery investment • Boosting audience choice for film production, distribution, across the UK and expanding education, audience development education opportunities and market research and intelligence. • Unlocking film heritage for everyone in the UK to enjoy. We deliver this role: • As the UK-wide organisation May 2012 sees the launch of an for film, a charity core funded open consultation across the UK by Government on the detail of these priorities • By distributing Lottery and through a series of workshops, Government funds for film roadshows and online for public across the UK debate and comment. The findings • By working with partners will help set our future direction to advance the position for 2012–2017. of film in the UK.

6 A CULTURAL, CREATIVE AND INDUSTRY ROLE 7 SUPPORTING THE FUTURE SOME OF THE FILMS WHICH RECEIVED SUCCESS OF BRITISH FILM PRODUCTION Championing creative excellence and boldness of vision AND DEVELOPMENT FUNDING

360 (Fernando Meirelles, 2011) The Angel’s Share (Ken Loach, 2012) Critical to the success of British BFI FILM FUNDS: BFI FILM FUNDS: film is the UK’s capacity to nurture SKILLS INVESTMENT PRODUCTION AND DEVELOPMENT outstanding creative talent, the strength of our skills base and We made a number of investments The Production and Development Film infrastructure, and the richness to meet the priorities and challenges Funds champion creative excellence of our cinematic heritage which all of the sector including £3.6m of and boldness of vision, supporting play their part in enabling British Lottery funding in Creative Skillset, writers, directors and producers at films to win critical and cultural the UK skills and training industry every step of their journey in the acclaim and to succeed at the body for the creative industries. development, production and box office. The Bigger Future II Strategy has been completion of films. developed by Creative Skillset and is The BFI is the Lottery distributor an ambitious, long-term strategy for In 2011–2012 we awarded a total of Another Year (Mike Leigh, 2010) Berberian Sound Studio (Peter Strickland, 2012) Broken (Rufus Norris, 2012) for film and we use these funds the UK film industry which supports £21.8 million to 175 production and to develop creativity and talent and more than 2,700 beneficiaries. development projects. to support the production of a broad range of British films for the benefit QUALIFYING FILMS AS BRITISH Films supported by BFI Film Fund of audiences at home and abroad. (and through the former UK Film Council) We also support programmes that The BFI’s Certification Unit is include Phyllida Lloyd’s Academy nurture and develop emerging responsible for making recommendations Award® winning The Iron Lady; talent and that build skills to on the certification of films as British James Watkins’ box office hit create opportunity across the under the UK’s Cultural Test or as The Woman in Black; Steve McQueen’s whole of the UK. an official co-production under one BAFTA nominated Shame; Lynne of the UK’s nine bi-lateral treaties Ramsay’s We Need To Talk About Kevin, The Curse (Fyzal Boulifa, 2012) The Deep Blue Sea (Terence Davies, 2011) Dreams of a Life (Carol Morley, 2011) or the European Convention on shown In Competition at Cannes Cinematographic Co-production. and recipient of Best Film at the Qualifying films as British enables 55th BFI London Film Festival; production companies to access the UK’s Film Tax Relief.

Fast Girls (Regan Hall, 2012) Grabbers (Jon Wright, 2012) Great Expectations (Mike Newell, 2012)

8 SUPPORTING THE FUTURE SUCCESS OF BRITISH FILM 9 Terence Davies’ The Deep Blue Sea, FILM ON THE LOCAL, NATIONAL An International Strategy Group has Carol Morley’s Dreams of a Life; AND INTERNATIONAL AGENDA been established by the BFI to work on Andrea Arnold’s Wuthering Heights; increasing UK film exports and inward Mike Leigh’s Another Year; Peter Mullan’s Our key funded partners in the UK investment, enhancing cultural and Neds; Fernando Meirelles’s 360 written in 2011–12 were Creative England, commercial returns from an improved by Peter Morgan; Max Giwa and Film Agency for Wales, Northern co-production offer and realising a Dania Pasquini’s StreetDance 2; Ireland Screen (including the Irish workforce equipped to help the UK and Paddy Considine’s BAFTA Language Broadcast Fund and Ulster compete internationally. It will also award-winning Tyrannosaur. Many of Scots Broadcast Fund), the eight help enhance international access to these films screened at international regional screen agencies in England, the UK’s film culture and heritage. The Iron Lady (Phyllida Lloyd, 2011) Neds (Peter Mullan, 2010) Seven Psychopaths (Martin McDonagh, 2012) film festivals with 360 and The Deep Creative Skillset, Film London including Blue Sea also selected as the opening the British Film Commission and In April 2011 the British Film and closing gala premieres at the First Light. Commission, which works to promote 55th BFI London Film Festival. the UK as the best place to produce In October 2011 the transition was feature films, moved into the offices Recent and upcoming releases made from a network of eight regional of Film London. Overall, 2011 was include James Marsh’s Shadow Dancer, screen agencies to the establishment a successful year with a figure of Peter Strickland’s Berberian Sound of Creative England. On 1 October 2011 £1.04bn for inward investment into Studio, Ben Wheatley’s acclaimed Creative England launched two new the UK, with £193.8m coming from comedy Sightseers, Mike Newell’s schemes, delegated from the BFI, UK productions. There was an increase big-budget adaptation of Great to support the development of in productions, spurred on by the Shadow Dancer (James Marsh, 2012) Shame (Steve McQueen, 2011) Sightseers (Ben Wheatley, 2012) Expectations, Martin McDonagh’s filmmaking talent in the English advantageous exchange rate, the tax Seven Psychopaths and Eran Creevy’s regions. Working with Film London relief and the continuing support Welcome to the Punch. and Creative England and using of the UK infrastructure. both Grant in Aid and Lottery funds, Looking ahead, we continue to invest we have been able to champion a in the future of UK film and audiences range of initiatives across England can look forward to a diverse range of which support local film heritage films currently in production, including and ensure British films reach all Richard Ayoade’s The Double, Kevin communities as well as developing Macdonald’s How I Live Now, Cuban Fury talent and funding regional starring Nick Frost and Chris O’Dowd, film production. StreetDance 2 (Dania Pasquini, 2012) Tyrannosaur (Paddy Considine, 2011) Welcome to the Punch (Eran Creevy, 2013) Amma Assante’s Belle, John McDonagh’s Calvary, and Jonathan Glazer’s Under The Skin. Other films currently in production include Steve Dwoskin’s Age Is..., Nick Murphy’s Blood, Neil Jordan’s Byzantium, Ralph Fiennes’ The Invisible Woman, Omid Nooshin’s Last Passenger, Sophie Fiennes’ The Pervert’s Guide To Ideology, Scott Graham’s Shell, Mat Whitecross’ Spike Island, Ken Loach’s Spirit of ’45,

We Need to Talk About Kevin (Lynne Ramsay, 2011) The Woman in Black (James Watkins, 2012) Wuthering Heights (Andrea Arnold, 2011) Andrew Kötting’s Swandown and Julien Temple’s London: The Modern Babylon.

10 SUPPORTING THE FUTURE SUCCESS OF BRITISH FILM 11 BOOSTING AUDIENCE CHOICE (2000) ACROSS THE UK AND EXPANDING A One and a Two EDUCATION OPPORTUNITIES The ways in which we discover, share and learn about films are being transformed

We are committed to providing THE REEL HISTORY OF BRITAIN: Rich documentary and non-fiction the widest range of film culture A BROADCAST PARTNERSHIP footage was drawn from the to the widest range of audiences BFI National Archive, the Imperial to help deepen our knowledge Capital investments from the Screen War Museum, the nine regional and enjoyment of film. Heritage UK (SHUK) programme archives of England, the screen archives (see page 26) were used to support our at the National Libraries of Scotland We are passionate about finding role as a world leader in the care and and Wales and the BBC archive. ways for everyone, particularly young curation of one of the world’s most Audiences tuned in to see material as people, to develop a lifelong significant moving image collections varied as government information relationship with film. We see and helped to increase access to these films and social documentaries to education as fundamental to this resources through programming, home movies and family holiday aspiration as it helps to lay the partnerships and online. videos. We also made many of the foundation for a vibrant film culture featured films available online in and successful film industry. One of these significant partnerships their entirety, alongside expert was a landmark BFI and BBC TV series commentary from our archive In 2011–12 we worked to connect with that took archive film into the heart curators. On average there were larger and more diverse audiences of communities across the UK and 1.2 million viewers per episode with through activities based on our which was watched by more than episodes 1, 2 and 7 attracting between collections, cultural programmes 20 million viewers over the course 1.4 and 1.6 million per programme. and partnerships. The ways in which of its 20 programmes. we discover, share and learn about films are being transformed and this The idea for The Reel History of Britain is reflected in changes in viewing was simple: take a vintage mobile patterns, on both big and small cinema around the country and show screens, and via greater access to people films where they, their friends faster broadband, online distribution or family, or events they had a close and more powerful mobile networks. connection with, were featured. We can harness these changes to Each programme took a different theme offer more opportunities to access of common experience chosen from the

an even greater breadth of film era between just before the First World Housing Problems (1935) as never before. War to the Queen’s 1977 Silver Jubilee.

12 BOOSTING AUDIENCE CHOICE ACROSS THE UK AND EXPANDING EDUCATION OPPORTUNITIES 13 14

Great Expectations (1946) Les Enfants du Paradis Enfants Les Cuervos Cría L’Atalante (1934) (1976) (1945) BOOSTING AUDIENCE CHOICE ACROSS THE UK AND EXPANDING EDUCATION OPPORTUNITIES EDUCATION EXPANDING AND UK THE ACROSS CHOICE AUDIENCE BOOSTING from BFI Special Collections. BFI Special from material with a display curating of Mr Pickwick production Dickens-themed rare the from extract an posting UK; the across schools in majora for on Dickens use resource cinemas for introducing programming; BFI’s available to Collection Dickens of the range full the making from 1901 1901 from adaptation first-ever the including of Dickens’ stories spanning 1901–1922 adaptations earliest surviving of the Before Sound release of a BFI Distribution celebration included three-month Our made far. so series TV and films for and wellwith film TV over 400 world’sthe most-adapted novelist advent is the Dickens of cinema, before he died Although screens. for big and small the interpreted adapted been and has storytellers work ofthe one of Britain’s best-loved mostand complete of how exploration presented we of Dickens, Charles birth the Marking the 200th anniversary since TV AND FOR FILM NOVELIST ADAPTED MOST WORLD’S THE IS DICKENS Dickens on Screen Scrooge – or Marley’sScrooge Ghost Uneasy Dreams the – Life , a 2-disc DVD collection DVD 2-disc a , on BFI YouTube; and , the largest largest , the Dickens ; Bug (1934). Meanwhile, our popular strands Experiments (1945), including UK, the went play on to audiences to across and BFI Distribution with revived were runs extended events. Six live and other on-stage interviews previews, TV and alongside many film runs, film 31 extended 25 and seasons presented BFISouthbank year the Throughout visitors. 180,000 than more month ever with most successful our was and January year the during and Film Store, broke box office records BFIits fourMediatheque cinemas, with public venueOur Southbank, BFI PREVIEWS AND PERSONALITIES PROGRAMMING, AFRESH: DISCOVERED VOICES, ORIGINAL of a planned three year programme on part Sokurov, first and the Alexander work of of the and a retrospective films sci-fi rarely-seen cinema, season a of Soviet classic including on Russia, focus two-month a were highlights cultural other Among and Festival partners, theexternal London Comedy programmed in collaboration with performed well, as did two mini-festivals , Capital Tales Cría Cuervos Cría and onedotzero , Projecting the Archive the Flipside the Les EnfantsLes du Paradis (1976) and . , Essential L’Atalante

15 16 BOOSTING AUDIENCE CHOICE ACROSS THE UK AND EXPANDING EDUCATION OPPORTUNITIES EDUCATION EXPANDING AND UK THE ACROSS CHOICE AUDIENCE BOOSTING Deren Maya New Wave Yang. Edward cinema, and one leaders of the of Taiwanese star, as Kapoor producer and director, Raj great Mahamat Saleh-Haroun, the filmmaker Chadian prize-winning work multiple of the the we explored audiences, UK to cinema Asian and African bringing work in continuing on dancer,and Building Maya Deren. avant-garde theorist filmmaker, of plus complete a retrospective terms of average takings per in year of seasons the film performance)performing best the MGM musicals, comprised along whom latter(of two, with the directors Woody Allen and David Lynch American two as well as Resnais auteurs major work of of seasons European the the great MGM musicals. We presented look a at with began which Musicals Bernardo Bertolucci and Alain and Alain Bertolucci Bernardo with the Legacy Media Institute. Media Legacy the with partnership in run black filmmakers school for emerging film two-week of the Hawk of screening presented a producer, actor director, and My Whole Life documentary the introduced James, CLR writer Afro-Trinidadian of James, widow Selma Africa. andabout by people of the films Odysseys an to centerpiece the as Prakash Vishwa Pandit composer by score performed live evocative an with The Light of Asia silent classic film the Osten, Franz by directed and Pal Niranjan by Written ODYSSEYS AFRICAN A Screaming Man Man A Screaming programme of exceptional of exceptional programme (1957) a round to off (2010) (2007), while Tim Reid, Reid, Tim while (2007), (1926) was screened screened (1926) was African African The Mark In Prison In Prison Mulholland Drive Drive Mulholland (2001)

Burning an Illusion (1981) 17 RICH, VARIED, INTENSE Jury Chair John Madden praising the 360 AND UNPREDICTABLE: Scottish filmmaker for her ‘singular THE BFI FESTIVALS vision that links great directors across all the traditions of cinema.’ screening of BFI festivals provide a major engagement with contemporary BFI Fellowships were awarded to Red carpet arrivals for the filmmaking and this year’s 55th BFI David Cronenberg and Ralph Fiennes Gala Night Opening LFF BFI London Film Festival In Partnership (who made his directorial debut at With American Express showcased the festival with Coriolanus (2011)) 204 feature films and 110 shorts. for their unique and distinct Coriolanus (2011) It attracted a record-breaking audience contributions to film. of 133,000 (an increase of 1,000 from the previous year) over a BFI 26th LONDON LESBIAN packed 16 days – and was our most AND GAY FILM FESTIVAL successful yet in terms of attendance. Working with partners such as BAFTA, The ever-popular BFI London Lesbian Creative Skillset and Directors UK and Gay Film Festival had a packed we presented networking events programme of critically acclaimed and critical debates, and our Buyers international cinema that played and Sellers screenings provided to near capacity audiences at five days of bespoke screening BFI Southbank over ten days. and business opportunities, helping With almost 16,000 admissions it The Deep Blue Sea (2011) films to find distribution in the UK achieved well beyond its box office and increasing audience choice. target, accomplishing an impressive 89% occupancy rate. We were delighted UK productions took pride of place to welcome back our main sponsor in a highly competitive line up Accenture and the LGBT Interbank with Fernando Meirelles’ 360 (2011) Forum members who both continue opening the festival and Terence Davies’ to support the Festival. The Deep Blue Sea (2011) closing it. Nine of the festival’s 26 British The Festival opened with Tom Fitzgerald’s features were either directly developed Cloudburst (2011), with its star Brenda or production funded through the Fricker attending to introduce the Shame (2011) Lottery Film Funds. Other highlights screening. Other highlights included of the British line-up were Andrea appearances by Marc Almond, Arnold’s Wuthering Heights (2011), American Bishop Gene Robinson Steve McQueens’ second feature and a preview of Pratibha Parmar’s Shame (2011) and Carol Morley’s much-anticipated documentary Dreams of a Life (2011). on Nobel Prize winning author Alice Walker Beauty in Truth (2012). At the Festival’s Awards evening Lynne Ramsay’s We Need to Talk About Kevin (2011), starring Tilda Swinton,

was announced Best Film by judging Wuthering Heights (2011) panel member Gillian Anderson, with

18 BOOSTING AUDIENCE CHOICE ACROSS THE UK AND EXPANDING EDUCATION OPPORTUNITIES 19 MULTIPLE VOICES, We released 17 mainly classic and at 90, BBC Mixed/Reggae Britannia, (1971) MULTIPLE PLATFORMS newly restored titles through BFI the BBC’s Who Do You Think You Are?, Distribution to UK cinemas. Highlights Diamond Jubilee documentaries and Bringing films and choice to audiences included Pathé’s restoration of Marcel C4’s Dreams That Money Can Buy. The Devils is at the heart of what the BFI does. Carné’s Les Enfants du Paradis (1945) Making sure that those audiences and the BFI National Archive’s Despite tough conditions for have the opportunity to view films restoration of The Great White Silence book-publishing as the market that they might not otherwise see (1924), which was supported by the Eric adapts to ongoing digital developments drives our access strategy whether Anker-Petersen Charity. We produced we delivered 21 new titles in the year. through distribution and exhibition, 39 DVD or dual format releases with These included the GPO Film Unit targeted Lottery funding or UK over 273,000 units purchased, 5% more Reader by Scott Anthony and James partnerships. This year UK audiences than last year. Titles included the Mansell, the Film & Empire/End of Empire have once again demonstrated an previously unreleased Deep End (1970), titles by Lee Grieveson and Colin enduring enthusiasm for all types starring a young Jane Asher, Jan MacCabe which were long-listed for of film, underlining Britain’s diverse Svankmajer’s Alice (1988) in a widely the Kraszna-Krausz prize, The Servant population and broad cultural tastes. praised High Definition transfer, by Amy Sargeant and 100 Cult Films and the world premiere release of the by Xavier Mendik and Ernest Mathijs. Films from our collections attracted ‘X’ certificate version of Ken Russell’s more than 712,000 admissions at controversial The Devils (1971) on DVD Offering context and fresh perspective non-BFI venues in cinemas, community which fought off the competition to on contemporary cinema, the BFI’s centres, village halls and at festivals become our biggest seller for the year. monthly film magazine Sight & Sound and outdoor screenings this year. A had a good year in what continues to third of these were outside the UK. Commercial sales of film from the be a difficult market. Year-on-year BFI National Archive continued sales at the news stand and from Our YouTube and other online strongly providing additional channels subscriptions were up and so was platforms achieved 3.8m downloads to ensure archive footage and BFI online traffic and social media while bfi.org.uk saw almost distributed features get out into the activity. The magazine now has over 6.7m visits. world via inclusion on a range of 10,000 Facebook fans and Twitter media including mainstream features, followers and at the Telluride Film TV shows, and online platforms. Festival it was awarded a ‘Special Sales included content for Transformers Medallion’ for its quality and 3D, documentary footage for Prince Phillip intelligence in writing.

The Great White Silence (1924) Deep End (1970) Alice (1988)

20 BOOSTING AUDIENCE CHOICE ACROSS THE UK AND EXPANDING EDUCATION OPPORTUNITIES 21 22 BOOSTING AUDIENCE CHOICE ACROSS THE UK AND EXPANDING EDUCATION OPPORTUNITIES EDUCATION EXPANDING AND UK THE ACROSS CHOICE AUDIENCE BOOSTING Submarine local societies, Film term. medium to short the in providers exhibition for core specialised challenges poses environment The reduced funding Scheme. Pilot Cinema Rural the through such as ways, for audiencessupport practical in Venues offer funding network and to Art-Form Cross and the FindAnyFilm web venture anti-piracy the such as initiatives oversee continuedwe to clubs and festivals, film exhibitors, small support to year transition first for this fund Lottery time-limited and up one-off a setting as well As future. of the practitioners and develop audiences to and the films, choice of widest the audiences with engage and nurture to UK the across helps create to opportunities Aid) in andGrant Lottery (both BFI funding FUNDING PARTNERSHIPS AND CHOICE WITH GROWING AUDIENCE SUPPORTING AND (2010) High Society High Society film to audiences. to film delivering work in vital their continue to archives regional and centres arts societies, clubs and film festivals, film independentsuch as cinemas, one enable to year organisations for support financial transitional provided late fund in 2012, the effect take to planned priorities funding and strategy a new film With film. British and for specialised audience development activities delivering dedicated to UK the across organisations support to Fund Film Transitional Lottery million £2 early MayIn 2011, we set up a new FUND FILM LOTTERY TRANSITIONAL bodies. funding arts main and the authorities local such as of sources revenue other from cuts Many of these organisations also faced Fund. Festivals Film of the closure the such as factors other as well as film for Aid Grant in in reductions the agencies, screen regional of the loss of many the through funding faced reduced independent cinemas clubs and film schools festivals, film (1956) Looking for Eric Eric for Looking Festival, the Birmingham Black Film Black Film Birmingham the Festival, Film International Edinburgh the to Pixel and Power the to disabilities, learning work created by people with features which festival media digital and film International Bright Oska the UK, the in exhibition independent film for development the of and support Cinema Office, the national organisation Independent the from award ranging an received projects of 64 total A of £3.41 million to 31 P&A projects. 31 to P&A million of £3.41 2011–2012In awarded we total a each film. in by distributors made being already investment the add to value to It market. to aims may that difficult be films British commercially-focused and films of specialised strategy marketing and distribution the and support widen to designed is Fund) (P&A Fund and Advertising Prints Our FUND ADVERTISING AND PRINTS audience.local of the reflective of cinema range shows a diverse which Fife Andrews, Theatre St. The in Byre and makers, of black local film work promotes which the Festival (2009) for distributor. the records of were which – both week London’sin West eleventh its in End playing still and was £180,000 around took launch. film Ultimately the theatrical planned the by informed being activity media social but with analytics, media out social of the data coming the to reacting process, iterative an was The release strategy more efficiently. P&A limited their world, use and thereby online the via audiences, primarily existing mobilise new audiences to and identify them help to strategist media a social with work to enabledresponse Dogwoof The BFI’s strategies. swift distribution and marketing with distributors helps which Fund UK Advertising and BFI’s the award from an Prints applied for, Dogwoof given, andwas Totool. campaign, help this in promotional important an provide could media social that too confident 2011, December to 2012 April from release date the forward bring to decided Dogwoof film’sthe distributor and seeking to harness this momentum, at Festival the reception film’s positive the by Encouraged Fund. BFI Film the backed had by production been its and filmmaker promising this from Dreams of Life a Festival. BFI London Film at found, the created quite a stir before was her body years three for London bedsit her North in Joyce Vincent whosinger lay dead feature about 38-year-old former Carol Morley’s evocative documentary STUDY CASE P&A A LIFE: A OF DREAMS was the first feature first the was

Dreams of a Life (2011) 23 FILM EXPORT FUND LIFELONG LEARNING We want young people from all We successfully bid for European (2012) backgrounds, who are the next Commission funding to conduct a The Film Export Fund is a new FOR THE UNDER- generation of audiences and filmmakers, survey of film education provision £200,000 fund which we launched to have the opportunity to learn about, in 32 European countries. This was in November 2011 to help British films STANDING AND enjoy and fully appreciate the widest the first time such a study had been make sales abroad and maintain an possible range of film. We do this carried out and the BFI Education international profile for talent through My Brother the Devil ENJOYMENT OF FILM through our own education activities team led a consortium of 12 European marketing, publicity, technical and plus a range of joint initiatives with partners drawn from the education logistical support. The Film Export Expressing the very best of partners such as FILMCLUB, Film and film industry sectors and Fund has so far helped nine British what creative film education Education, First Light, BAFTA, and the including London University’s Institute films capitalise on their inclusion in and people of all ages can Higher and Further Education sectors. of Education and Film Education. high profile film festivals, including achieve together The results will inform Creative Europe, Jon Wright’s Grabbers and Sally El Additionally, the BFI funds First Light the EU’s signature programme to Hosaini’s My Brother the Devil (2012) who work with over 5,000 children and support the cultural and creative at the Sundance Film Festival in young people every year making films. sectors from 2014. January, and Carol Morley’s Dreams We also funded FILMCLUB (who now of a Life (2011) at SXSW in March. reach 220,000 children in 7,000 schools) As part of the BFI-wide celebration of to ensure continuity on a transitional Ken Loach (see also page 34), we ran RURAL CINEMA PILOT SCHEME basis following the end of their master classes in Belfast, Glasgow, funding from the Department Cardiff and London on scripting, The Rural Cinema Pilot Scheme was of Education from April 2012. writing, acting, cinematography and launched in 2010 and runs until 2013. film production, led by the director’s It has provided high quality digital This year we launched a number of regular collaborators. We also ran equipment to cinemas in rural innovative projects to build on the writing and filmmaking competitions Shropshire, Wiltshire and North BFI’s continuing engagement with for younger, and older, teenagers Yorkshire to help audiences enjoy young people in and out of formal with actor Gerry Kearns performing a modern cinema experience, education, with schools and teachers, the winning entries at BFI Southbank. including live satellite events families, minority communities and This inspirational event was a fitting and 3D films. the general cinema-going public. climax to Film: 21st Century Literacy, Some had strong international reach, a three-year collaboration between THE DIGITAL SCREEN NETWORK such as a partnership with DocNext the BFI, Film Education, FILMCLUB, where we work alongside sister Creative Skillset and First Light, The Digital Screen Network was a organisations in Turkey, Spain, bringing together young people UK Film Council initiative that Holland and Poland to encourage from England, Scotland, Wales and launched in 2007 to equip 240 screens young filmmakers to develop their Northern Ireland to express the very in 210 cinemas across the UK with craft by exchanging work and ideas. best of what creative film education digital projection technology to give Through a series of network meetings – and young people – can achieve audiences greater viewing choice. and festivals held across Europe we together. This activity was supported have established the BFI as a key by the Esmée Fairbairn Foundation. UK youth documentary hub.

24 BOOSTING AUDIENCE CHOICE ACROSS THE UK AND EXPANDING EDUCATION OPPORTUNITIES 25 archives and discovered a wealth of For the first time, anyone, anywhere UNLOCKING FILM HERITAGE material stored in universities, record can access 330,000 records from film offices and private collections that archives all via a single portal with amount to a staggering 480,000 items more material and moving image FOR EVERYONE IN THE UK TO ENJOY specifically relevant to local areas. regularly added. RTR has supported a programme of Archive collections are at the heart of a rich film culture and a creative film industry (Photo: Edmund Sumner) preservation and care of the newly During the year we also commissioned discovered material so that it can an innovative new Collections be used for innovative outreach and Information Database – CID – which The BFI Master Film Store Gaydon at The UK has one of the most SCREEN HERITAGE UK: allows films to be stored at the optimum screening programmes to bring these is the first internationally to use the magnificent collections of film PROTECTING OUR PAST temperature and humidity needed to discoveries to the attention of new new CEN (European Committee for and television in the world yet prevent deterioration, while keeping audiences. Screen Yorkshire’s Memory Standardisation) standard for only a relatively small percentage is Over the past four years, the BFI has energy consumption to a minimum. Project, for example, uses film footage filmographic records. For the first currently easily available to a public led the Screen Heritage UK project to to help older people in dementia care time we now have a single online keen to access it. In the digital world preserve the nation’s film collections, The Screen Heritage UK project also remember their lives. search facility for over 60,000 films. this is now possible; our challenge to provide a clear picture of what is set out to document and support film is to make it happen. Film heritage held where, and to make as much of collections held in the English Regions. A new online search tool – Search Your UNITED NATIONS LISTINGS collections are at the heart of a rich it as possible available to everyone. Overseen by Screen Yorkshire, the Film Archives – was created to record film culture and a creative film Film is an integral part of British Revitalising the Regions (RTR) project the films in collections around the UK. The BFI collections received industry. Alongside many significant culture and this major Government catalogued the nine regional film international recognition this year collections, the BFI holds in trust investment of £22.5m has helped to when two of the key collections in for the people of the UK one of the ensure that we not only safeguard our BFI National Archive were added most important collections of film our film heritage for future to the UNESCO Memory of the World and television in the world – the generations, but that everyone in register. They were the pioneering BFI National Archive. the UK has the opportunity to enjoy documentary films of the GPO Film and benefit from it. Unit (1933-1940) and the early films One of our major responsibilities of Mitchell & Kenyon (ca.1900-1912). is ensuring that we preserve, This year the fruits of these efforts research and interpret our collections were realised as we opened a £12m so that everyone today and all future state-of-the-art building at Gaydon generations can enjoy their film heritage. in Warwickshire to house the most fragile and at-risk nitrate and master Capital investments from the film material in our collection. Government-funded Screen Heritage UK project have helped to ensure our The BFI Master Film Store is the place as a world leader in the care and most sophisticated new film archive curation of one of the world’s most facility in the world and can store up significant moving image collections to 450,000 cans of film. All the master as well as to make major improvements material held by the BFI has been to film archives across the UK. relocated there, ranging from film from the turn of the last century to masterpieces by Hitchcock and Tom Hooper’s The King’s Speech. The leading-edge building design

26 UNLOCKING FILM HERITAGE FOR EVERYONE IN THE UK TO ENJOY 27 GIFT OF GOVERNMENT FILMS THE FIRST BORN: (1928) A GLORIOUS RESTORATION, The BFI National Archive acquired GENEROUSLY SUPPORTED the entire moving image archive of

The First Born the Central Office of Information The First Born is a fine example of (COI) when it formally wound up late British silent film and arguably on 31 March 2012. The outstanding the best record of the work of range of films made by government multi-talented actor and director departments over 66 years add up to a Miles Mander. This sophisticated rich and diverse history of British life. melodrama from 1928, now restored This was the largest single collection by the BFI, provides us with a ever to be acquired by the BFI and fascinating insight into the work of all rights to the material also passed Alma Reville, Alfred Hitchcock’s wife, to us. A large number of titles were who worked with Mander to adapt his already held by us and some have own novel and play for the screen. been released in a popular series of The newly restored film was presented BFI DVDs: The COI Collection volumes at this year’s BFI London Film Festival 1 – 6 since 2010. Volume Seven: The Queen Archive Gala to great acclaim and on Tour is the latest addition to this was accompanied by a specially series and its release as a BFI DVD commissioned live musical was timed to coincide with the accompaniment composed by Queen’s Diamond Jubilee in 2012. Stephen Horne. The First Born was released in cinemas in early 2012 A selection of COI films can be viewed and released on DVD and Blu-ray. at BFI Mediatheques in QUAD Derby, Wrexham Library, Newcastle The restoration work carried out Discovery Museum, Cambridge on The First Born could not have Central Library, and BFI Southbank. taken place without the generosity Some key titles are also available on and support of Simon W. Hessel, the BFI’s YouTube channel youtube. one of the valuable supporters com/bfifilms. Significant collections on whom the BFI relies. are also available to view by students and academics who can access moving image materials through the InView project and BFI Screenonline.

28 UNLOCKING FILM HERITAGE FOR EVERYONE IN THE UK TO ENJOY 29 OPENING OUR EYES: (1929) BFI RESEARCH PROVES

THE POWER OF FILM Man with Movie a Camera Film is indisputably at the heart of our cultural life and influences the shape of our lives

Opening our Eyes: How film contributes Available on the BFI website, the in the production and consumption to the culture of the UK is a landmark report was the second phase of work of feature films in the UK, with research report prepared for the BFI following on from an initial research each sector of the industry having by Northern Alliance and Ipsos Media project Stories We Tell Ourselves: The to respond to the transition from CT on the British public’s views on cultural impact of UK film 1946–2006 analogue to digital. With broadband film. It has clearly revealed how film which was commissioned by the speeds increasing, smartphone and moves and inspires the UK and how UK Film Council to investigate the tablet ownership on the rise and it is indisputably at the heart of our cultural impact British film has had internet-enabled television sets cultural life. Opening our Eyes provides both nationally and internationally becoming more commonplace the in-depth data on the films that over the last 60 years. period of digital transition is by no really matter to people, why people means complete. The ways in which watch them and the effect they have. BFI RESEARCH AND STATISTICS UNIT we choose and watch films has The research gives us a democratic undergone an enormous change in assessment of film in the UK outside The BFI’s own Research and Statistics the last decade and the next one is of expert, critical and industry polls Unit annually publishes the most likely to be no different. Our challenge, and demonstrates how film moves authoritative and complete snapshot forecasts the Yearbook, will be to and inspires the nation, how it excites of the film landscape in the UK in accurately measure those shifts and the emotions and the intellect and the BFI Statistical Yearbook, also to ensure the vast amounts of data how it influences the shape of our lives. available online. This year saw the generated in the new digital world are It clearly shows that film is one of the publication of the tenth edition of the accessible and analysed in a robust most powerful cultural mediums with Yearbook and the RSU has now built and effective way and made available an estimated five billion film viewings up a decade’s worth of trend analysis for the benefit of all film stakeholders. taking place each year and that 84% for most areas of the industry. In that of the population are interested in film. time there have been major shifts

30 OPENING OUR EYES: BFI RESEARCH PROVES THE POWER OF FILM 31 (2011) PARTNERSHIPS, SPONSORS, Shame Shame DONORS AND PHILANTHROPY:

Gala screening of SUPPORTING THE BFI’S Michael Fassbender the at 55th BFI LFF CHARITABLE OBJECTIVES The generous support we receive helps us to continue the essential and vital work we do – keeping film alive forever

This year has been an exceptional and media partners, gifts in wills, With record audience figures of over 12 months for BFI fundraising as, public sector grant-making bodies 133,000, the Festival also delivered despite the worsening economic and cultural partners. This generosity successful partnerships for other environment, we delivered an 18% allows us to achieve some of our most returning sponsors including: increase in our fundraised income enterprising and ambitious projects, Jameson, Swarovski, TV5Monde, and saw major partners and sponsors ensuring that the greatest variety Renault, The May Fair Hotel and, returning to support the BFI in a range of cultural film is available to the for their fifth consecutive year, of events and programmes. greatest amount of people, and helping American Airlines. to secure our national film heritage Funding for our charitable objectives for generations to come. In return, In addition to the Festival partnership, is entirely distinct from our role as a we build enriching relationships American Express continue to support Lottery distributor. In 2011, the BFI’s with our supporters, offering a diverse the BFI’s year-round cultural programme Grant in Aid from the Government and rewarding engagement with the with screenings at the BFI IMAX and was cut by 15% and fundraising is now best of the BFI, from screenings and sponsorship of the acclaimed BFI Screen even more important to fulfil our core special events to exclusive behind Epiphanies series at BFI Southbank in charitable objectives. The balance is the scenes access. which personalities from the world of made up from our trading, sponsorship stage and screen introduce and discuss and fundraising activities and every As our ambitions and achievements the films that inspired them. year the pressure on these targets grows. continue to grow while Government funding diminishes, our reliance on Thanks to the generous support we all our partners and friends becomes receive from our corporate sponsors, increasingly central to the BFI’s future. individual donors, Patrons and trusts The 2011 BFI London Film Festival and foundations, this year we have welcomed American Express back raised over £4 million. We also as Principal Sponsor in the second benefit significantly from in-kind of a landmark three year partnership.

32 PARTNERSHIPS, SPONSORS, DONORS AND PHILANTHROPY: SUPPORTING THE BFI’S CHARITABLE OBJECTIVES 33 34 Dr Richard Wolman Richard Dr Joyce Reuben Mill Beth Greig Kathryn Farsi Hani Michel Caroline Macpherson Isabella Tania Fares CBE Fellner Eric Elson Louis CBE (Chair) Josh Berger 2011–2012: MEMBERS COUNCIL DEVELOPMENT INTERNATIONAL support. for their individuals of committed group this acknowledge to and thank like Josh Berger. WeBFI Governor would by Development chaired Council, 2011 September of International our in creation the been has initiative new exciting and an capability strengthen and build our fundraising We have looked at to many ways COUNCIL DEVELOPMENT INTERNATIONAL PARTNERSHIPS, SPONSORS, DONORS AND PHILANTHROPY: SUPPORTING THE BFI’S CHARITABLE OBJECTIVES CHARITABLE BFI’S THE SUPPORTING PHILANTHROPY: AND DONORS SPONSORS, PARTNERSHIPS, 75th birthday. of year his the in Ken Loach to tribute fitting a was This collection. public access can such avaluable the that ensure to material this all and catalogue digitise preserve, to curator a dedicated archive able were we recruit to gift generous Foundation’s Through the designs. and production correspondence email to scripts shooting annotated from includes everything collection the television, and film in career entire his Spanning director. generously the by BFI donated the to collection private Ken Loach of the future the ensures also The grant Loach’s films. through politics and art explore to and a nationwide education programme UK, the across BFI Mediatheques content free in online, information contextual additional exhibition, an programme, the from of key titles UK-wide a at Southbank, BFI tour work director’s iconicof British the a majorsupported retrospective The project. BFI Ken Loach grant the towards of £200,000 BFI a grant Foundation awarded the Fairbairn year, Esmée the Anniversary 50th their year. over the ways this, In many different in us supported foundations and who have trusts the all to The deeply BFI is grateful LOACH OF KEN YEARS 50 AND FOUNDATION FAIRBAIRN ESMÉE

Land and Freedom (1995) 35 36 PARTNERSHIPS, SPONSORS, DONORS AND PHILANTHROPY: SUPPORTING THE BFI’S CHARITABLE OBJECTIVES CHARITABLE BFI’S THE SUPPORTING PHILANTHROPY: AND DONORS SPONSORS, PARTNERSHIPS, Needham Col Karen & W.Simon Hessel Getty Pia Friel Joanna & Daniel Farsi Hani DONORS MAJOR Foundation Toll Irene and The Philip Gage Foundation and TheresaThe Mortimer Dr Sackler The Foundation Rose Foundation Resnick M. The Ira for MusicPRS Foundation The Mercers’ Company Trust Christian The Marsh FoundationThe Lean David The Japan Foundation Association Press Foreign The Hollywood Foundation Charitable Family The Hintze FoundationSasakawa The Great Britain Foundation The Film The Foundation S. Farsi Mohamed Foundation Fairbairn Esmée The John Cohen S Foundation The Trust Chapman Charitable John Cass’sSir Foundation Classification of Film Board British Anker-Petersen Charity The Eric FOUNDATIONS AND TRUSTS Fund Lottery Heritage Cinemas Europa DCMS England Council Arts SUPPORTERS SECTOR PUBLIC 2011–2012: generous in support their for and organisations individuals following the thanks warmly BFI The Sarah & Philip Richards &Philip Sarah Joyce Reuben John Reiss Nevill Amanda Lonsdale Laura Larcombe Steven Stephen Kirk OBE Kenworthy Duncan Johnson Denise & Craig Hopper Duncan Greig Louis Claude Green Gordon Mike Paul Gambaccini Fuksman Larisa Foy Peter & Judith Fergus &Emily Jeff Elson Louis & Sarah Dalby Carl Cley Crouch Nick Blackburn Bennett Francis Allesch-TaylorStefan PATRONSCLASSIC Lewis M. Lynn Tanis Kawkabani &Sam Fox Foundation The Edwin Fellner Eric PATRONSEPIC Mill & Beth Ian W.Simon Hessel Friel Joanna & Daniel Eliasch Amanda Rausing & Lisbet Peter Baldwin Abraham Eric PATRONS CUT DIRECTORS ThompsonPeter & Nancy Matt Spick Scorsese Martin Soho House Renault Ltd UK Express Midnite The May Hotel Fair M.A.C. Konditor Cook & Glacial Icelandic The Club Hospital &Black’sGreen 142Deluxe Clinique Christie Aveda PARTNERS IN-KIND Simplon-Orient-Express Venice TV5Monde Swarovski International Shell HD Movies Sky Samsung Montblanc members Forum Interbank LGBT LLP &Watkins Latham Ichiban Kirin Jameson UK IBM PlcDiageo Christie BP Express American Airlines American Accenture PARTNERS CORPORATE Foundation Williams and Hilary The Stuart Scarfe Stone & Annabel Gregory Schliemann Joana Sandler Michael Sue Tony & Rosner Ricker Amy

Cloudburst (2011) 37 BFI INCOME AND EXPENDITURE 2011–12

INCOME

INCOME* „ Self-generated income – £22.6m 2011-12 8% „ Lottery income (restricted) – £45.4m 11% 22% „ Government Grants – £15.7m £104.2m 15% „ Government Grants – funding for awards – £11.7m

44% Government Grants – one-off projects: * Total reported income of £165.4m includes £50.9m of lottery assets „ transferred from UKFC and £10.3m of one-off income (with matching Screen Heritage UK (£6.6m) and expenditure). cost of change (£2.2m) – £8.8m

EXPENDITURE

SELF-GENERATED FUNDS AND „ Education, Learning 7% & Audiences – £31.7m GOVERNMENT GRANTS* 3% Expenditure 2011-12 11% „ Supporting British Film – £6.2m „ Film Heritage – £9.4m 53% 16% £59.6m „ Screen Heritage UK - capital expenditure – £6.3m 10% „ Cost of change - capital expenditure – £1.8m * Excluding one-off costs (with matching income), fi xed asset disposal, depreciation and amortisation. „ Cost of delivery – £4.1m

LOTTERY „ Education, Learning and Audiences – £5.5m Restricted Expenditure 2011-12 11% 14% 3% „ Supporting British Film – £23.3m 14% £40.4m „ Film Heritage – £0.2m 0% „ Olympic deduction – £5.9m 58% „ Cost of change – £1.2m „ Cost of delivery – £4.3m

These figures and graphs are unaudited analyses and extracts of the figures included in the audited financial statements for the year, copies of which are available from our website atbfi.org.uk or in writing from Board Secretary, BFI, 21 Stephen Street, London W1T 1LN.

38 21 Stephen Street London W1T 1LN @bfi bfi.org.uk