BFI Statistical Yearbook 2016 1

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PRELIMS BFI Statistical Yearbook 2016 1

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courtesy of Eros International Image: Bajirao Mastani courtesy of Eros EXHIBITION Image: Brooklyn courtesy of Lionsgate Films SCREEN SECTORSCREEN PRODUCTIONS AS CERTIFIED BRITISH, 2006-2015

Image: Mr Holmes THE UK FILM MARKET AS A WHOLE

Pathé Productions Limited, Channel Four Television Corporation and The British Film Institute 2015. All rights reserved. Limited, Channel Four Television Image: Suffragette © Pathé Productions EMPLOYMENT IN THE FILM INDUSTRY

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ECONOMY IN 2015 THE UK FILM T O P F I L M S Avengers: Age of Ultron © 2015 Marvel Image: Avengers: UK FILMS AT AT FILMS UK THE WORLDWIDE BOX OFFICE © 2015 Universal Pictures. Photograph Scott Garfield Image: Fast & Furious 7 © 2015 Universal Pictures. FILM ON DIGITAL VIDEO DIGITAL Image: Quartet UK TELEVISION FILM ON BFI RESEARCH AND STATISTICS PUBLISHED APRIL 2016 BFI RESEARCH AND STATISTICS PUBLISHED JUNE 2016

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Image: Swallows and Amazons courtesy of StudioCanal PUBLIC PUBLIC INVESTMENT IN FILM IN THE UK ©2015 Universal City Studios Productions LLLP. Courtesy of Universal Studios Licensing LLC LLLP. Image: The Danish Girl ©2015 Universal City Studios Productions FILM INDUSTRY INDUSTRY FILM COMPANIES Image: A United Kingdom courtesy of Pathé UK SCREEN SECTORSCREEN PRODUCTION IN 2015

2015

courtesy of Eros International Image: Bajrangi Bhaijaan courtesy of Eros STATISTICAL YEARBOOK 2016 STATISTICAL SPECIALISED FILMS

Image: Paddington courtesy of StudioCanal

PHYSICAL VIDEO FILM ON

SPECTRE2015 Metro-Goldwyn-Mayer Studios Inc., Danjaq, LLC and Columbia Pictures Industries, Inc. All rights reserved. Industries, Inc. All rights reserved. Studios Inc., Danjaq, LLC and Columbia Pictures Image: SPECTRE © SPECTRE2015 Metro-Goldwyn-Mayer

OFFICE THE BOX BOX THE

CLASSIFICATION Image: Shaun the Sheep the Movie courtesy of StudioCanal GENRE AND AND GENRE

Credit: The Imitation Game courtesy of StudioCanal Credit: THEATRICAL RELEASE HISTORY 2 BFI Statistical Yearbook 2016 this Yearbook and find it useful. policy for film. We hope you enjoy commitment to evidence-based of the ways the BFI delivers on its during 2015. This publication is one performance of British films aboard picture of film in the UK and the presents the most comprehensive and Statistics Unit, this Yearbook Yearbook. Compiled by the Research Welcome to the 2016 BFI Statistical BFI Statistical Yearbook 2016 3

Research and Statistics Unit Statistics and Research We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, know, you someone or you, If publications. our accessing to barriers no are there that ensure to want We would like a large print version this of report, please contact: British Film Institute 21 Stephen Street London Email:[email protected] T: +44 (0)20 7173 3248 address: Registered 21 Stephen Street London W1T 1LN W1T The British Film Institute is registered in England as a charity, number 287780. 1LN W1T www.bfi.org.uk/statistics The BFI Board of Governors is chaired by Josh Berger. The BFI now combines a cultural, creative and industrial role. The role brings together activities activities together brings role The role. industrial and creative cultural, a with combines now festivals BFI and The publishing programming, cultural distribution, Archive, market and National BFI the development including audience education, distribution, production, film for investment Lottery research. and intelligence The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by by governed charity registered a is it 1933, in Founded UK. the in film for length organisation arm’s lead the Government is a BFI The becoming responsibilities, additional given was it 2011, In Charter. Royal focus. strategic its film,widening for funds Lottery of distributor and body 4 BFI Statistical Yearbook 2016 CONTENTS 5: SPECIALISEDFILMS 4: GENREANDCLASSIFICATION 3: TOPFILMSOFALLTIMEAT THEUKBOXOFFICE 2: TOPFILMSIN2015 1: THEBOXOFFICE CONTENTS Re-releases Documentaries Non-English language films 2015 in office box UK atthe films Specialised About specialised films BBFC classification BBFC Genre 1988-2015 Inflation-adjusted topoffice, 20 independent at the films boxUK UK box office, 1979-2015 UK the at films UK 1989-2015 independent 20 office, Top box UK the at films qualifying UK 20 Top Highest grossing films of the year at the UK box office, 2001-2015 Inflation-adjusted topat 20 the films boxUK office, 1975-2015 1989-2015 office, box UK the at films 20 Top Best weekend of films UK performances films 3D top The films independent UK 20 top The films qualifying UK 20 top The films 20 top The Length of release releases of offilm Country origin Film releases and box office revenues in the UK and Republic of Ireland UK box office earnings UK cinema admissions Top films by classification by films Top Releases and box office by classification Genre of UK and UK independent film releases Genre of all film releases 70 68 64 61 61 59 55 50 50 46 44 44 42 41 40 39 38 36 35 33 32 29 28 27 26 24 23 19 16 16 12 10 CONTENTS BFI Statistical Yearbook 2016 5 72 74 77 79 81 81 82 83 85 87 88 90 91 95 97 97 98 99 99 100 102 106 108 112 113 115 Distributors release of Width Weekend box office costs Release Theatrical release of independent domestic UK films Ireland of Republic UKfilms UKand the in domestic independent of rate Release and UK the in released films UK domestic independent of performance office Box Ireland of Republic Worldwide release globally released ratesfilms UK domestic of independentindependent of performance office Box domestic UK filmsfilms UK domestic independent of office box of share overseas and Local theatrically released not were which Films UK story material story UK actors UK directors UK Writers and directors of UK independent films released in the UK, 2003-2015 Awards for UK films and talent UK films worldwide films UK America North in films UK Europe in films UK America Latin in films UK Asia in films UK Australasia in films UK INDEPENDENT DOMESTIC UK FILMS INDEPENDENT DOMESTIC UK 9: DISTRIBUTION 8: THEATRICAL RELEASE HISTORY AND COMPARATIVE PERFORMANCE OF PERFORMANCE AND COMPARATIVE RELEASE HISTORY THEATRICAL 8: 7: UK TALENT AND AWARDS 7: UK TALENT 6: UK FILMS AT THE WORLDWIDE BOX OFFICE BOX THE WORLDWIDE AT FILMS 6: UK 6 BFI Statistical Yearbook 2016 CONTENTS 14: THEUKFILMMARKETASAWHOLE 13: FILMONUKTELEVISION 12: FILMONDIGITAL VIDEO 11: FILMONPHYSICALVIDEO UK cinema sites 10: EXHIBITION The UK film market in the global context 2006-2015 revenues, film UK of evolution The whole a as market entertainment filmed UK The broadcasters to film feature of value The 2006-2015 channels, television all on film for audience The Films on multi-channel television television terrestrial on films Top Films on peak time terrestrial television, 2006-2015 Programming on the terrestrial channels The online audience Film catalogues across different digital video providers Popularity of on-demand film andservices television programmevideo services digital of providers Top video video digital on digital film on of Value film on data comprehensive of Availability Film in the video rental market Film in the retail video market Community cinema UK the in Digital projection Exhibitor revenues ion Exhibitors reg and nation by and South specialised programming Asian Mainstream, screens cinema of Type Screen density and admissions per person in the UK Screen density and admissions per person – international comparisons Screen location UK screens 3D and event cinema event and 3D Accessible cinema Digital screens 172 171 170 168 167 166 163 162 161 157 155 153 150 150 149 148 148 146 145 139 137 134 130 130 129 129 128 127 125 125 123 122 121 121 120 118 CONTENTS BFI Statistical Yearbook 2016 7 175 177 178 179 182 183 184 188 189 190 192 192 200 201 202 204 205 207 209 210 211 211 212 213 214 215 215 216 216 The value of UK film production production film UK of value The production film UK of volume The 2013-2015 genre, by productions Film Budget trends Size distribution of budgets Big budget productions, 2009-2015 budget production total of percentage as spend UK shoot territory by of productions UK Domestic territoryby shoot Co-productions of levels activity company Production production television high-end of value The productions television high-end of Genre production animation of value The The value of video games production Learning about and through film through and about Learning settings education formal in education Film route progression a as education Film activity film education Other Audiences for film in the UK age by audience Cinema age by preferences Film gender by preferences Film group social by preferences Film region or nation by preferences Film ethnicity by audience Film disability by audiences Film 17: SCREEN SECTOR PRODUCTION IN 2015 17: SCREEN SECTOR PRODUCTION 16: FILM EDUCATION 15: AUDIENCES 15: 8 BFI Statistical Yearbook 2016 CONTENTS 21: THEUKFILMECONOMY 20: FILMINDUSTRY COMPANIES 19: PUBLICINVESTMENTINFILMTHEUK 18: SCREENSECTORPRODUCTIONSCERTIFIED ASBRITISH,2006-2015 The geographical distribution of the UK’s film trade surplus trade film UK’s the of distribution geographical The UK film exports compared with the global market for filmed entertainment Film export markets 2005-2014 balance, trade film The Film imports, 2005-2014 Film exports, 2005-2014 Film industry contribution to GDP, 2005-2014 Film industry turnover, 2005-2014 Leading film production companies in the UK UK the in companies film of distribution National/regional companies film of distribution Size industry film the in companies of Number Leading public investors in British film production, 2013-2015 2015 awards, Lottery BFI Creative Europe investment in the UK nations UK the across Spend publicby supported spending on film Activities agency by Spend Public funding for film in the UK by source Video game certifications, 2015 Children’s television programme certifications, 2015 Animation television programme certifications, 2014 and 2015 High-end television programme certifications, 2014 and 20152006-2015 certification, final with films of distribution Budget Films with final certification, 2006-2015 Film co-production certifications, 2014 and 2015 Film cultural test certifications, 2014 and 2015 Qualifying as an official British production Video game High-end television, animation television and children’s television programme Film 261 260 259 259 258 257 254 251 249 248 246 245 243 241 239 238 237 236 235 234 231 229 228 228 227 226 224 220 220 220 219 219 219 219 217 CONTENTS BFI Statistical Yearbook 2016 9 262 264 266 267 268 271 277 278 The workforce The gender of writers and directors of UK films location workplace The The scale of the workplace SOURCES ACKNOWLEDGEMENTS GLOSSARY 22: EMPLOYMENT IN THE FILM INDUSTRY IN THE EMPLOYMENT 22: 1. THE BOX OFFICE 2015

UK box office revenues for 2015 exceeded £1.2 billion, the highest total ever recorded, while annual admissions reached 171.9 million, the third highest total of the past decade.

FACTS IN FOCUS UK box office receipts in 2015 were £1,236 million, up 17% on 2014. UK cinema admissions reached 171.9 million, up 9% on 2014. A total of 759 films were released in the UK and Republic of Ireland. UK films, including co-productions, accounted for 28% of releases and around 45% of the market by value.

The box office share of UK independent films was 10.5%, down from 16% in 2014. The top 100 films earned almost 93% of the gross box office, the highest share since 2008. A total of 34 3D films were released in 2015, down from 57 in 2014; their 3D takings accounted for 11% of UK and Republic of Ireland box office revenues, down from 12% in 2014.

Sixteen films were released in the 3D IMAX format, grossing £31 million, 2% of total box office.

UK films made with the backing of major US studios spent longer than other films, on average, in UK cinemas in 2015.

11 BFI Statistical Yearbook 2016

1. THE BOX OFFICE 2015 12 in in

, which which , The . The with with which held held which in 2014 and and 2014 in Mad Max: Fury Fury Max: Mad and and 6 Big Hero and the top earning earning top the and TheWolf ofStreetWall . May admissions, which which admissions, May . . The latter was. The still The Hobbit: The Battle of the the of Battle The Hobbit: The Jurassic World, The Lego Movie Fifty Shades of Grey Avengers: Age of Ultron , the year’s top top year’s the , Amy which was to become the the become to was which Into the Woods Sniper andAmerican Into the . The prequel to the Despicable Despicable the to prequel The Minions. Fast & Furious 7 and Paddington , which had the biggest UK opening opening UK biggest the had which Home, while other strong performers included included performers strong other while had the biggest opening of the year thus far and and far thus year the of opening biggest the had box UK the at ever opening April highest the office, and held the top spot at at spot top the held Second Best Exotic Marigold Hotel the saw also March weeks. three for office box the of release for an animation since a feature to film animated 3D first-ever the was lead. black the on increase greater even an saw April up attendances with 2014, in month equivalent of releases earning top The (19%). fifth one nearly included month that 2014 (£22.7 million). Overall, the month’s month’s the Overall, million). (£22.7 2014 2014. February on 6% up were admissions margin greater a by up were attendances March office box month’s The (11%). 2014 with compared older at aimed film another by dominated was the from drawn perhaps not although audiences, as demographic same compared year the of rise smallest the recorded boosted were 2014, in month equivalent the with Marvel latest the of success continued the by outing alongside strong results from Good, Greater The Spooks: Road, 2. Perfect Pitch the year, of comedy major from competition added the Without the in Cup World FIFA the as such events sporting 2015 July and June in admissions year, previous over 20% and 28% of increases respective recorded office box June The 2014. in months equivalent the the of success surprising the by dominated was legacy franchise outing weeks consecutive three for spot one number the release animation top the by replaced being before of the year, three for spot top the held also series Me earner highest the it making weeks, consecutive included month that releases notable Other July. of foreign performing top year’s the , Bhaijaan Bajrangi film,language and Hawking biopic, TheTheory biopic, Hawking of Everything, top month’s the was million, £16.5 over of takings title all-action the beating narrowly earner, Taken 3, new releases and continuing 2014 hits hits 2014 continuing and FiveArmies February into office box considerable generating other alongside period, holiday half-term the and film family releases, 2015 popular of end opposite the At Movie. Shaun the Sheep the of opening the saw also February scale, ratings the Fifty Shades of Grey, box UK the at film 18-certificate ever biggest well million, £35.1 of gross final a with office, by set record the of ahead 15141312111009080706 156.6 162.4 164.2 173.5 169.2 171.6 172.5 165.5 157.5 171.9 (million) Total admissions admissions Total 0 80 60 40 20 2006 Year 2007 2008 2009 2010 2011 2012 2013 2014 2015 200 180 160 140 120 100 With a mixture of big holiday titles and awards awards and titles holiday big mixture a of With the of one remains January release, on contenders Admissions months. cinema-going popular most year the of highest third the were 2015 January in Stephen The 2014. on (1%) slightly very up and Source: CAA, comScore Source: 2015 in admissions in rise annual overall The increased in reflected was 2014 with compared monthly attendances throughout the year with 1). (Table August of exception sole the Figure 1 Annual UK cinema admissions, 2006-2015 1 Figure Million UK CINEMA ADMISSIONS CINEMA UK in UK the in sold tickets cinema million 171.9 The of number the on increase 9% a represented 2015 cinema UK Overall, 2014. in admissions since stable relatively remained have attendances mixed more were results The 1). (Figure 2006 some with territories, worldwide other across were Admissions decreases. and increases large Hong and (39.5%) Argentina (46.6%), China in up (-36.1%), Russia in decreased but (20.5%) Kong Brazil and (-18.1%) France (-16.5%). 13 BFI Statistical Yearbook 2016 1. THE BOX OFFICE 2015 the year and 8% up on December 2014. Overall, December admissions were the highest of biggest-ever Friday-Sunday gross (£24.2 million). three-day opening weekend generated the UK’s at the UK box office (£9.7 million) and its opening generated the biggest ever one-day take widest-ever release (676 sites), its Thursdaythe sci-fi saga replaced all-time highest earning film at the UK box office, release of December, which saw the eagerly anticipated UK box office records were smashed again in same month in 2014. with an increase of over one fifth (21%) on the the second biggest rise in admissions of the year, BridgeofSpies,Dinosaur and November recorded from other strong performers such as an independent distributor. Thanks to the boost Games: Mockingjay –Part year’s top by release 2,the to month the of remainder the for two weeks in November before losing the top spot SPECTRE continued to head the weekend charts for by women. films of the year to be both written and directed independent UK film, October also saw the release of the award-winning release following the year to break the record for widest ever UK the UK. Its release, on 651 sites, was the second of seven days), the largest ever opening for a film in with an opening take of £41.3 million (albeit over James Bond outing broke UK box office records ranking for three out of four weekends. The latest SPECTRE Martian and with films, qualifying UK by dominated The top spot at the box office in October was also £18.4 million. independent film with a final box office gross of Everest. Legend was to become the year’s top UK to strong releasesby performances UK were up 9% on the same month in 2014 in part due the fourth year in a row. However, attendances September had the lowest monthly admissions for the Apes. Inbetweeners 2and top August titles, the performance of the previous year’s Impossibl films earning top whose compared to its equivalent in 2014 was August, The only month to record a drop in attendances box office. highest grossing factual feature at the UK documentary and currently the all-time fourth Pixels e –RogueNationand failed to match Star Wars: The Force Awakens. Jurassic World Jurassic Guardians of the Galaxy, The Dawn of the Planet of holding the number one Suffragette, one of the few SPECTRE as the UK’s Fantastic Four, Mission: (619) in June. The Hunger Now the The Good Legend and The and 2015 Table 1MonthlyUKcinemaadmissions,2014 Note: Figures maynotsumtototalsduerounding Source: CAA,comScore down from 3.9 million to 3.2 million. 3.2 to million 3.9 from down while August saw the only year-on-year decrease, occurred in June, up from 2.4 million to 3.1 million, Cup, the largest increase in weekly admissions attendances in June 2014 due to the FIFA World December (Table 2). Because of the low cinema 2.2 million in September to 4.2 million in Average weekly admissions in 2015 ranged from Month Total December November October September August July June May April March February January (million) 5. 7. 9.2 171.9 157.5 2014 711. 8.0 18.5 17.1 271. 21.4 16.1 15.4 -15.8 15.4 19.5 12.7 27.5 14.4 0.5 13.3 15.9 19.3 13.3 17.1 11.4 12.7 5.8 13.3 15.1 1.3 10.4 11.5 12.6 15.2 12.7 15.4 10.4 14.3 15.2 . . 8.5 9.2 8.5 (million) 2015 % +/- on 2014 BFI Statistical Yearbook 2016

1. THE BOX OFFICE 2015 14 % 9.7 9.4 8.0 7.2 7.2 6.5 3.8 3.4 2.6 2.2 0.8 6.6 5.8 4.5 3.7 1.3 43.1 25.1 24.3 14.2 16.6 16.2 13.7 12.4 12.4 11.2 171.9 100.0 (million) Admissions Admissions Region London Midlands Lancashire Southern Yorkshire East of England Wales and West Central Scotland North East Northern Ireland South West Northern Scotland Border Total Figure 2 puts UK admissions in a longer term term longer a in admissions UK puts 2 Figure other and USA the with Along perspective. the in cinema-going countries, European western as era post-war the in sharply declined UK became activities leisure new and rose incomes the from came competition largest The available. to audiences allowed which television of growth in entertainment screen for appetite their satisfy cinema As homes. own their of comfort the which screens, of supply the did so fell admissions cinema more and demand falling further to led of quality and number the 1980s the By closures. low. time all an at were cinemas remaining the decade same the in VCR the of introduction The and admissions on impact negative further a had cinema-going with 1984 in reached was nadir the per person per visit one of average an to down multiplex of introduction the However, year. reversed onwards 1985 from UK the to cinemas growth of period new a in ushered and trend the last levels to returning admissions saw which 1970s. early the in seen the of highest third the were 2015 in Admissions has trend the 2000s early the since but decade last being admissions years’ most with flat, fairly been million. 165-170 range the in Source: CAA, comScore CAA, comScore Source: may not sum to totals due to rounding. Note: Figures/percentages Table 3 Cinema admissions by ISBA TV region, 2015 TV region, by ISBA admissions 3 Cinema Table

3.5 3.8 2.6 3.5 2.9 3.1 3.6 3.2 2.2 3.5 3.6 4.2 2015 (million)

3.6 2.3 3.0 2.9 2.4 3.0 3.9 2.0 3.0 3.0 3.9 3.4 2014 (million) February March April May June July August September October November December January Month Source: CAA, comScore Source: break admissions 2015 the how shows 3 Table by used regions advertising television the by down Advertisers British of Society Incorporated the UK of 25% for accounting London with (ISBA), 14%. for accounting Midlands the and admissions of number lowest the had region Border The of 1% under just for accounting admissions, regional and national of pattern The attendances. over unchanged largely remained has admissions decade. last the Table 2 Average weekly admissions, 2014 and 2015 2014 and admissions, weekly 2 Average Table 15 BFI Statistical Yearbook 2016 1. THE BOX OFFICE 2015 1,000 1,200 1,400 1,600 1,800 Million Figure 2AnnualUKadmissions,1935-2015 Source: BFI,CAA,comScore Year 1935 1936 1937 1938 1939 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 200 400 600 800 0 1935 1940 1945 Admissions 1950 (million) ,2. 1967 1,027.0 ,0. 1968 1,309.0 ,9. 1969 1,494.0 ,4. 1970 1,541.0 ,7. 1971 1,575.0 ,8. 1972 1,585.0 ,3. 1973 1,635.0 ,6. 1974 1,462.0 ,1. 1975 1,514.0 ,3. 1976 1,430.0 ,9. 1977 1,395.8 ,6. 1978 1,365.0 ,1. 1979 1,312.1 ,8. 1980 1,284.5 ,7. 1981 1,275.8 ,8. 1982 1,181.8 ,0. 1983 1,100.8 912.3 1. 1963 917.0 4. 1964 946.0 8. 1965 987.0 9. 1966 990.0 1. 1984 915.2 5. 1985 754.7 8. 1986 581.0 0. 1987 500.8 4. 1988 449.1 1955 1960 Year 1962 1965 1970 1975 Admissions 1980 (million) 395.0 357.2 342.8 326.6 288.8 264.8 237.3 214.9 193.0 176.0 156.6 134.2 138.5 116.3 103.9 103.5 126.1 111.9 101.0 86.0 64.0 65.7 54.0 72.0 75.5 78.5 84.0 1985 1990 Year 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 1995 2000 2005 Admissions 2010 (million) 171.9 100.3 103.6 114.4 123.5 114.6 123.5 138.9 135.2 139.1 142.5 155.9 175.9 167.3 171.3 164.7 156.6 162.4 164.2 173.5 169.2 171.6 172.5 165.5 157.5 94.5 97.4 2015 BFI Statistical Yearbook 2016

1. THE BOX OFFICE 2015 16 759 93.0 In 2015, 759 films (an average of almost 15 per per 15 almost of average (an films 759 2015, In UK the in more or week a for released were week) 2014. in than more 47 Ireland, of Republic and million £1,298 generated 2015 in releases 759 The 2014. on 20% of increase an revenues, office box in This figure differs from theit £1,236because millionearnings office in thebox UK on section films by 2016 in generated revenues includes Ireland of Republic the covers and 2015 in released treat usually distributors which UK, the as well as subsequent The territory. distribution single a as released titles all includes chapter this in analysis to up generated revenues includes and 2015 in 21 February 2016. took films 100 top the 5, Table in seen be can As the of share highest the office, box the of 93% films 659 remaining The 2008-2015. period gross of 7% just for accounted releases) all of (87% thein 34films released of total were A revenues. 2014. in 57 from down substantially format, 3D million) (£137 releases these from takings 3D The 2015 in office box total the of 11% for accounted Sixteen 2014. in million) (£133 12% with compared 2015, in IMAX 3D in released were films of 2% over (just million £31 of gross a generating overalloffice). box FILM RELEASES AND BOX OFFICE BOX OFFICE AND RELEASES FILM UK AND REPUBLIC IN THE REVENUES OF IRELAND 2010 2011 2012 2013 2014 2015 – since since 2006 % 2006 Change Change – 527 503 557 558 647 698 712 49.6 48.6 48.2 47.5 54.8 47.8 47.4 57.4 72.4 72.9 71.9 73.7 77.3 73.7 74.1 81.4 90.3 91.1 89.7 90.7 92.1 91.0 90.4 2008 2009 % +/- 762 821850944 7.7988 3.5 11.1 7.7 4.7 11.5 23.9 29.7 1,0401,0991,083 5.31,058 5.71,236 -1.0 36.5 -2.3 44.2 16.8 42.1 38.8 62.1 gross gross (£ million) (£ Box office office Box Releases Year 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 Combined gross (£ million)Combined gross 934.5 1,126.7 1,023.6 1,134.5 1,182.4 1,153.7 1,077.8 1,298.4 Top 20 films (% of box office) Top 50 films (% of box office) Top 100 films (% of box office) Source: Rentrak, BFI RSU analysis Source: the territorial reflects in 2015. The combined gross 5 and all subsequent analysis of the theatrical market includes all titles released Note: Table into 2016, up to and including revenue in 2015 but also generating and includes those titles released (ie including the Republic of Ireland), gross 21 February 2016. Source: CAA, Rentrak Source: box ofce, 2008–2015 of Ireland at the UK and Republic 5 Summary of results Table Table 4 UK box ofce trends, 2006-2015 4 UK box ofce trends, Table UK BOX OFFICE EARNINGS BOX OFFICE UK for office box UK total the comScore, to According since figure highest the million, £1,236 was 2015 4). (Table 2014 on 17% up and began, records our during earnings office box all covers figure This the in exhibited films for 2015 year calendar the by tracked were takings office box whose UK upward an been has there 2006 Since comScore. gross overall the earnings; office box UK in trend for 2015 was 62% higher than in 2006. 17 BFI Statistical Yearbook 2016 1. THE BOX OFFICE 2015 100 % the lowest. the share of films outside the top 100, at 7%, was films in 2015 was the highest of the period, while in 2015. At 57%, the box office share of the top 20 Awakens (£56 million) in 2012 and and million) Skyfall (£103 such as years those in films earning high very respectively, mainly due to the success of some share of the top 50 films reached 77% and 81% revenues. However, in 2012 and 2015 the box office since 2006, taking on average 74% of box office highest grossing films has been relatively stable As Figure 3 shows, the market share of the top 50 figure as 2008. In that year, the £91 million taken top 100 was £91 million in 2015, the same low The combined box office of all films outside the preceding year and the lowest figure since 2007. 51-100 earned £150 million, a decrease on the total and up 59% since 2006, while those ranked earned £312 million in 2015, an increase on 2014’s and up 83% on 2006. The films ranked 21-50 £746 million, were up 46% compared with 2014, film releases, also the highest of the period at compared with 2006. The takings of the top 20 recorded over the period, and was up 52% box office generated in 2015 was the highest Republic of Ireland over the last 10 years. The total Figure 4 shows box office revenue in the UK and Note: Percentages maynotsumto100duerounding. Source: comScore, BFIRSUanalysis rest offlms,2006-2015 Figure 3Marketshare oftop20,21-50,51-100and 10 20 30 40 50 60 70 80 90 % share % share % share %share of rest of 51-100 of 21-50 of top20 0 (£122 million) and and million) (£122 159297881. . . . . 7.0 9.6 9.0 7.9 9.3 10.3 8.8 11.6 16.3 9.7 17.0 14.8 9.2 17.0 24.0 17.7 26.7 11.5 26.0 18.1 22.5 17.9 26.2 15.2 57.4 23.7 47.4 17.6 48.0 24.0 54.8 22.7 47.5 24.5 48.2 23.0 49.1 49.6 51.1 47.9 Star Wars: The Force The Dark Knight Rises Knight Dark The SPECTRE (£95 million)

15141312111009080706 1,000 1,200 1,400 £ million rest offlms,2006-2015 Figure 4Gross boxofceoftop20,21-50,51-100and fewer than 100 sites. films released in the UK in 2015 were shown at fewer than 10 sites (37%). Three quarters of all all films released), while 279 films were shown at releases were shown at 100 sites or more (25% of widest point of release (WPR). A total of 192 the UK in 2015 by the number of sites at the Table 6 outlines the number of films released in Source: comScore, BFIRSUanalysis seemingly smaller share of the box office. 100, the majority of releases are competing for a and box office share for all films outside the top while there are variations in the actual takings than in recent years. As Figures 3 and 4 show, theatrical releases for more independent films share but also shows their success in achieving distributors who are competing for a small market increasing difficulties faced by independent a median box office of £19,743. This highlights the outside the top 100 was shared by 659 titles, giving £39,017. In 2015, the £91 million taken by films individual titles, giving a median box office of by films outside the top 100 was shared by 427 200 400 600 800 Gross box Gross box Gross box Gross box office ofrest 100 office of51- 21-50 office of top 20 office of 0 5 4 6 0 8 9 7 9 7 150 176 199 175 193 312 182 288 206 299 168 267 142 297 150 746 243 511 274 551 213 648 230 539 196 495 559 465 480 408 88 11116169 0 0 91 103 104 93 106 106 101 91 86 98 15141312111009080706 BFI Statistical Yearbook 2016

1. THE BOX OFFICE 2015 18 <10 office(£) 10-99 Maximum box box Maximum 100-199 office(£) 200-299 1.24 0.60 0.19 0.05 <0.01 Minimum box box Minimum 300-399 400 6.20 9.22 1.07 1.39 0.11 0.04 <0.01 3.28 1.10 1.39 0.11 0.04 <0.01 ≥ 3,756 <1,000 113,155 office(£) Median box box Median films UK films UK independent All films 9 8 7 6 5 4 3 2 1 0 Source: BFI, RSU Source: Figure 5 Median box ofce gross by number of sites gross 5 Median box ofce Figure for all flms, UK flms and at widest point of release UK independent flms, 2015 £ million 10 6.9 157,821 12,670 1,518,570 5.4 186,359 16,190 2,661,974 2.9 596,389 48,806 3,763,752 4.3 1,238,153 434,773 6,050,537 6.6 2,845,078 437,122 17,198,987 6.1 15,410,951 2,631,045 122,326,526 36.8 31.1 38,140 <1,000 593,432 % of of % 100.0 33,875 <1,000 122,326,526 releases

52 41 22 33 50 46 759 279 236 Star Wars: The Force Force The Wars: Star releases Number of of Number vengers: Agevengers: of Ultron.

, SPECTRE and A Total <10 10 - 49 50 - 99 100 - 199 200 - 299 300 - 399 400 - 499 ≥500 Number of sites sites of Number at WPR at Figure 5 shows the median box office gross by by gross office box median the shows 5 Figure all for release of point widest at sites of number 2015. in films independent UK and films UK films, was million, £9.2 at films, UK for median The titles for categories two other the for than higher median the whereas sites, more or 400 at released categories other the than higher was films all for sites 100-199 sites, 300-399 at released titles for the achieve which films UK The sites. 10-99 and titles budget higher usually are releases widest US major the with cooperation in or by made studios, such as the 2015 titles, Source: comScore, BFI RSU analysis comScore, Source: may not sum to totals due to rounding. Note: Percentages Awakens Table 6 Number of releases and median box ofce gross by number of sites at widest point of release, 2015 release, point of widest of sites at number by ofce gross box and median releases of 6 Number Table box median the band, WPR highest the but all For films independent UK and UK for grosses office 300-399 the of exception the with same the were films independent UK for median the where band, (1.10) was slightly higher than for UK films (1.07). 19 BFI Statistical Yearbook 2016 1. THE BOX OFFICE 2015 * ‘Studio-backed’meansbackedbyoneofthemajorUSfilmstudios. Figures/percentages maynotsumtototals/subtotals duetorounding. Box office gross =cumulativetotalupto21 February2016. Notes: Source: comScore, BFIRSUanalysis 2015 Ireland, of Republic and UK the in released films of origin of Country 7 Table 2014. 1.1% in from down releases, of 13% from office, box the of 0.5% from 15% of releases, compared with 1.5% in 2014, and films from the2014 rest ofto 2.4%the world in 2015 accounted (from 16% forof all releases). Films from India accountedand non-USA for films1.3% came of mainlythe total from boxother office European films whose box office 46%share in 2014) fell frombut 4.9% just in over 4% of earnings (down from 7% in 2014). TheFilms decrease whose in countries box office of for origin lienon-UK outside the UK and USA accounted for 44% of releases (down from of which UK independent films earned 10.5% and UK studio-backed titlesproductions, earned 34.2%. representedco- 28%including of films, releases UK earnings. (up office frombox 51%for accounted total of 22% in films 2014)these and andproductions) shared around 45% of the box office, As Table 7 shows, 29% of all films released in the UK in 2015 were of USA origin (excluding UK co- COUNTRY OFORIGINFILMRELEASES including UK studio-backed titles was the highest, at 34%. In 2015, seven of theagain top to 1585%, howeverhighest earningthe share films, for USA films was the lowest in the period, filmsat reached 51%, awhile new thehigh share of for16%. In 2015, the combined share for USAstudio-backed and UK studio-backed was at itsfilms rose lowest over the period at 76%, but in this yearincreased the to 88% inshare 2013, fora level UK comparable independent to the years up to 2010. In 2014, the share of USA andfor UK the period. Similar shares for USA and UK studio-backed films were seenin in2011 2012, this before share dropped this share to 83%, with the share for USA films (just under 61%)Figure 6.being The the sharesecond of lowestUSA-only and UK studio-backed films had remainedThe at changesaround in90% up market to 2010, share forbut films by country of origin between 2006 and 2015 are shown in Total Rest oftheworld India Other Europe All UK UK independent UK studio-backed* USA of origin Country Stars Wars: The Force Awakens Number of , were UK studio-backed films. studio-backed UK SPECTRE,were and releases 759 115 119 209 182 218 98 27 all releases 100.0 % of 12.9 15.2 15.7 27.5 24.0 28.7 3.6 Box office gross (£ million) 1,298.4 579.8 136.0 663.5 443.9 17.2 30.9 7.0 Box office share Box share office 100.0 44.7 10.5 51.1 34.2 (%) 1.3 2.4 0.5

BFI Statistical Yearbook 2016

1. THE BOX OFFICE 2015 20 2015 2014 2013 2012 2011 2010 2009 2008 2007 0.71.8 0.51.2 1.64.7 0.3 1.8 1.4 6.8 0.2 2.3 1.0 5.7 0.8 1.2 1.3 8.2 1.0 2.1 1.0 5.4 0.6 1.7 1.2 13.1 0.7 4.8 1.4 9.3 1.1 3.0 1.5 6.6 0.5 4.9 16.1 1.3 2.4 10.5 14.477.1 21.8 67.7 25.4 65.2 8.5 81.0 18.6 71.8 22.6 60.6 22.8 61.3 15.5 72.7 10.7 65.8 34.2 51.1 2006 0 UK studio-backed* USA Other Europe Other Europe UK independent Rest of the world India 10 20 30 40 50 60 70 80 90 The fluctuating pattern of UK market share is underlined in Figure 7 with the annual figure dependent dependent figure annual the with 7 Figure in underlined is share 10-year market the UK for of share pattern market fluctuating The independent UK average The titles. grossing high the of 10.5%, At number 2006. in small a 5% on below just of low a from trend upward a an with from 9% down under but just period, was the period of highest third the was 2015 in films UK our since independent highest for the was share 2015 market in share market studio-backed UK 34%,the over At year. 2014. in previous 16% the of on peak points percentage 20 over of increase substantial a and began records Source: BFI, RSU Source: major US film studios. * ‘Studio-backed’ means backed by one of the Figure 6 Market share by country of origin, 2006-2015 of origin, by country share 6 Market Figure % 100 21 BFI Statistical Yearbook 2016 1. THE BOX OFFICE 2015 10 15 20 25 30 35 40 % Figure 7UKflms’share oftheUKtheatricalmarket,2006-2015 58% in 2014. 20% seen in 2014. The proportion of UK films in the lowest box office bandOverall, wasUK films 66%, comparedmade up with 45% of all releases earning over £10 million in 2015, more than double the compared with 14 non-UK titles. were eight UK films comparedSPECTRE with nine non-UK titles, and in the third bandAwakens, to nine non-UK (including there films were seven UK films Force The Wars: releases as releases,UK 550 compared There to 209(including films. were films seven qualifying UK across several gross box office bands. Overall, there are over two and half timesTable as many 8 compares non-UK the number of UK and non-UK films released in the UK and Republic of Ireland in 2015 * ‘Studio-backed’meansbackedbyoneofthemajorUSfilmstudios. Source: BFI,RSU 0 5 UK independent UK studio-backedfilms* films 2006 442. 54851. 262. 551. 34.2 10.7 15.5 22.8 22.6 18.6 8.5 25.4 21.8 14.4 . . . . . 3193661. 10.5 16.1 6.6 9.3 13.1 5.4 8.2 5.7 6.8 4.7 Jurassic World, Minions World, Jurassic and 2007 Avengers: Age of Ultron of Age Avengers: 2008 2009 and InsideOut). and In the second box office band there ) in the over £20 million gross band compared 2010 2011 2012 2013 2014 Star 2015 BFI Statistical Yearbook 2016

1. THE BOX OFFICE 2015 22 % 3.3 3.8 3.3 3.3 3.8 3.3 9.6 13.4 66.5 100.0 7 8 7 No % releases % 5.8 1.9 1.9 9 3 3 7 8 7 No. 20 28 139 209 % 5.8 2.2 2.8 Number UK releases 8 3 4 No. % 4.3 1.9 3.1 1.6 1.6 2.5 9.3 7 3 5 19.6 65.3 100.0 No. % 4.7 3.1 5.5 % releases 6 4 7 No. 9 9 % 14 51 2.5 5.0 2.5 108 359 550 2010 2011 2012 2013 2014 2015 3 3 Number No. % Non-UK releases 5.3 2.7 6 0–6 3 No. 114 100.0 119 100.0 127 100.0 162 100.0 139 100.0 154 100.0 209 100.0 % 5.4 1.8 2.7 100.0 2008 2009 6 2 3 60 54.1 70 61.4 77 64.7 70 55.1 102 63.0 89 64.0 90 58.4 139 66.5 No. Total 111 <0.1 0.1 - 0.99 23 20.7 21 18.4 20 16.8 24 18.9 32 19.8 21 15.1 28 18.2 28 13.4 1 - 4.99 17 15.3 14 12.3 10 8.4 16 12.6 13 8.0 14 10.1 21 13.6 20 9.6 5 - 9.99 10 - 19.99 Box office gross (£ million) office(£ gross Box ≥20 10 - 19.99 5 - 9.99 1 - 4.99 0.1 - 0.99 <0.1 Total ≥20 Box office Box gross million) (£ Source: comScore, BFI RSU analysis comScore, Source: Notes: for 2014 updated since publication of the 2015 Statistical Yearbook. Figures may not sum to 100 due to rounding. Percentages Table 9 UK releases by box ofce band, 2008–2015 by box ofce 9 UK releases Table Table 9 shows the percentages of UK film releases by box office band from 2008 to 2015. In 2015, 80% of of 80% 2015, In 2015. to 2008 from band office box by releases film UK of percentages the period. time shows the 9 of Table percentage highest third the office, box the at that million in £1 than releases less UK all earned films of UK 3% to equate 2015 in more or million earning £20 films UK earned of which films UK percentage seven The The period. eight-year the of proportion band highest this in second the releases is of this year; percentage highest second the 4%,was at 2015, in million £20 lowest and third £10 the was between million £5 and £1 between earning 2015 in films UK of 10% the while period, the of (8%). 2012 and 8%) over (just 2010 after period the in Table 8 UK and non-UK releases by box ofce band, 2015 band, box ofce by releases and non-UK 8 UK Table Source: comScore, BFI RSU analysis BFI RSU analysis comScore, Source: may not sum to 100 due to rounding. Note: Percentages 23 BFI Statistical Yearbook 2016 1. THE BOX OFFICE 2015 run of all UK independent films, with 46 weeks. releases. independent films did receive much longer studio-backed films and USA films, but some UK UK independent films was lower than for both UK At eight weeks, the median length of release for 21 February 2016. Awakens Force 2015, of film grossing highest The weeks (the longest release of any film in 2015). BigHero 6 atwas 50 film USA-only running longest Everything of Theory The were longest running UK studio-backed films in 2015 median of three weeks (Table 10). At 38 weeks, the had the shortest releases, on average, with a films produced in the USA (11 weeks). Indian films median length of release of 17 weeks) followed by collaboration with the major US studios (with a those produced in the UK but made in stayed in cinemas the longest, on average, were Looking at country of origin, the films which two weeks. for onlyone UK or the onwere in release the UK in 2015 was seven weeks but over 100 films on release. Overall, the median length of release in but also of interest is the length of time a film is We have previously looked at width of release, LENGTH OFRELEASE Shaun theSheepMovie had the longest , had been on release for 11 weeks to and and Cinderella, and the Star Wars: the

country oforigin,2015 Table 10Mediannumberofweeksonrelease by * ‘Studio-backed’meansbackedbyoneofthemajorUSfilmstudios. 21 February2016. Number ofweeks=thenumberonrelease upto Notes: Source: comScore, BFIRSUanalysis Total Rest oftheworld India Other Europe All UK UK independent UK studio-backed* USA of origin Country Number of films 759 115 119 209 182 218 98 27 Median number of weeks on release 10 17 11 4 7 3 9 8

24 2. TOP FILMS IN 2015 2015

Image: Legend courtesy of StudioCanal IN TOP FILMS FILMS TOP CHAPTER 2 TOP FILMS IN 2015

Three of the top four films released at the UK box office in 2015 were UK qualifying productions. The year’s top title, Star Wars: The Force Awakens, became the highest earning film of all time in the UK with gross receipts of more than £122 million.

FACTS IN FOCUS The biggest film of the year was Star Wars: The Force Awakens with takings of over £122 million, a new UK box office record.

Sixteen films earned £20 million or over at the UK box office in 2015, two more than in 2014. Eight UK qualifying films featured in the top 20 films of the year, one of which was an independent UK film.

Legend, with takings of £18 million, was the highest earning independent UK film of the year. The top 20 UK films grossed £511 million, 41% of the total UK box office. Independent UK films accounted for 16% of the total box office for the top 20 UK films, compared with 54% in 2014.

Eleven UK qualifying films spent a total of 20 weeks at the top of the UK weekend box office charts.

The box office revenue generated from 3D film screenings was £137 million. This was 11% of the overall box office, down from 12% in 2014.

25 BFI Statistical Yearbook 2016

2. TOP FILMS IN 2015 26 made made Universal Universal Universal Universal Universal Universal Lionsgate Paramount Walt Disney Disney Walt Walt Disney StudioCanal Distributor Warner Bros Sony Pictures Sony Pictures Star Wars: The The Wars: Star 20th Century Fox 20th Century Fox 20th Century Fox + + + + + + + + + + + + + + The Martian 5.2 5.2 5.0 5.0 6.6 6.6 3.7 6.3 6.3 4.3 4.3 Disney Walt 6.7 6.7 4.5 4.5 6.0 6.0 3.8 Disney Walt 7.4 7.4 Disney Walt 18.0 18.0 12.7 12.7 13.6 11.3 41.3 41.3 11.7 34.0 34.0 Avengers: Age of of Age and Avengers: gross gross Opening Opening weekend weekend (£ million) (£ World

opening opening cinemas weekend weekend Number of of Number , which earned £95 million, the the million, £95 earned which SPECTRE, Box Box 18.4 522 gross gross office office (£ million) (£ # together with the takings from Fra 17.8 483 USA 17.4 497 USA 64.5 619 19.4 USA 20.4 563 USA 20.7 501 USA 25.4 531 USAUSA 38.6 35.1 537 585 USA 39.3 608 origin UK/USAUK/USA 23.5 21.7 582 532 UK/USA 48.3 585 UK/USA UK/USA 21.3 21.2 556 572 5.4 UK/USA 95.2 651 UK/USA 122.3 676 USA/Fra 47.7 601 USA/Aus 17.4 546 UK/Fra/USA Country of of Country Star Wars: The Force Awakens Force The Wars: Star , with earnings (to 21 February 2016) of over £122 million. Currently the all-time highest highest all-time the Currently million. £122 over of 2016) February 21 (to earnings with , Title The Theory of Everything Everything of Theory The Jurassic World* Taken 3 Avengers: Age of Ultron Fast & Furious 7 Fifty Shades of Grey The Hunger Games: Mockingjay – Part 2 USA/Ger 29.2 579 SPECTRE* Minions* Inside Out* Star Wars: The Force Awakens* The Force Star Wars: 3 4 7 8 9 2 5 6 1 19 Pitch Perfect 2 11 The Martian* 12 17 Legend 16 2 Hotel Transylvania 15 6 Big Hero 18 20 Mad Max: Fury Road 13 Cinderella 14 Mission: Impossible – Rogue Nation 10 Home Source: comScore, BFI RSU analysis comScore, Source: Notes: = cumulative total up to 21 February 2016. gross Box office on 21 February 2016. * Film still on release studio. # Film made with independent (non-studio) US support or with the independent arm of a US SPECTRE). + Film had an extended opening weekend (the largest of which was a seven-day opening for Table 1 Box office results for the top 20 films released in the UK and Republic of Ireland, 2015 in the UK and Republic of Ireland, films released for the top 20 results 1 Box office Table The top performing release at the box office in the UK and Republic of Ireland in 2015 was THE TOP 20 FILMS THE TOP releases of number both of terms in films, 20 top of list 2015 the in genre popular most the was Action SPECTRE, Jurassicincluding titles, six for accounted It takings. office box and Sixteen films earned £20 million or over at the UK box office in 2015, an increase from 14 in 2014 (Table (Table 2014 in 14 from increase an 2015, in office box UK the at over or million £20 2014. in earned films as same Sixteen the films, 20 top the of 12 for accounted franchises and Sequels 1). earning film at the UK box office, the latest instalment from the Star Wars franchise grossed more in its its in more grossed franchise ForceWars Awakens Star the from instalment latest the office, The box chart. UK 20 the top at film year’s earning the in titles the of 12 of tallies final the than (£34million) alone days four first top it seen have outing, Bond James was the latest popularwould release most second ordinarily the which figure in a and featured office, films box UK the at qualifying UK time all of other gross six highest third earners, two leading the to addition In chart. annual the three films 20 2014, five UK top titlestheinwere of There title. independent an was which of one 20, top of which were independent films. both of terms in again place, second in was Animation million. £285 earned them between which , Ultron number of releases and total box office takings,breaking grossgrossing earned by £153 million from five releases. thesci-fi third Theearning highest with 20 genre in therecord- million.£146top 27 BFI Statistical Yearbook 2016 2. TOP FILMS IN 2015 # Filmmadewithindependent(non-studio) USsupportorwiththeindependentarmofastudio. * Filmstillonrelease on21February2016. Box office gross =cumulativetotalupto21February2016. Notes: Source: Rentrak,BFIRSUanalysis Table 2Boxoffice results forthetop20UKqualifyingfilmsreleased intheUKandRepublicofIreland, 2015 releases, was the highest earning genre in the chart. animation, biopic and comedy. Action, with a combined box officerelease gross of of nearly 2015 £193was milliona sci-fi from film fiveand eight other genres were represented,The range includingof genres inadventure, the top 20 illustrates the variety of UK film production. The top UK qualifying two highest earning UK films where independentaccounted fortitles. 16% of the total box office for the top 20 UK films, backeda large decreaseproductions. on 2014’s Six of the top 54% 20when titles the were UK independentnine films, more four than lessin 2014. than in The2014, list isand dominated they by UK/USA collaborations, most UKof films whichof any were year studio- since our records began. Fifteen UK films grossed more than released£10 million inin 20142015, (22% of the total box office) and is the highest combinedthe total box UK officebox office.gross for This the was top more 20 than double the £239 million earned Theby the toptop 2020 UKUK filmsfilms of 2015, shown in Table 2, had a combined gross of £511 million, which was 41% of THE TOP20UKQUALIFYINGFILMS

0Farfrom theMaddingCrowd 20 TheManfrom U.N.C.L.E. 19 Pan* 18 Suffragette* 17 IntotheWoods 16 Everest 15 14 TheLadyintheVan* 13 ShauntheSheepMovie 12 TheSecondBestExoticMarigoldHotel 11 Ant-Man 10 1 2 3 4 6 5 8 7 9 Star Wars: TheForce Awakens* SPECTRE* Avengers: Age of Ultron of Age Avengers: The Martian* Cinderella The TheoryofEverything Legend Mission: Impossible–RogueNation Kingsman: TheSecret Service Terminator Genisys Terminator Title KUACn9.9 UK/USA/Can UK/Fra/USA KUAIe10.7 UK/USA/Ice Country of KUA122.3 UK/USA KUA9. SonyPictures 95.2 UK/USA KUA48.3 UK/USA KUA2. 20thCenturyFox 23.5 UK/USA KUA21.3 21.7 UK/USA UK/USA KUA21.2 UK/USA KUA1. 20thCenturyFox 16.6 UK/USA KUA6.5 9.2 UK/USA UK/USA UK/USA 11.1 UK/USA UK/USA 16.3 UK/USA UK/USA KFa13.8 UK/Fra origin K9.9 UK # # # # (£ million) office gross 30SonyPictures 13.0 20thCenturyFox 16.0 18.4 Box . 20thCenturyFox 6.2 Warner Bros Bros Warner Distributor StudioCanal StudioCanal Walt Disney Walt Walt Disney Walt Disney Walt Disney Walt Walt Disney Walt Paramount Paramount Universal Universal Pathé BFI Statistical Yearbook 2016

2. TOP FILMS IN 2015 28 Pathé

Altitude Universal Lionsgate Lionsgate Lionsgate Lionsgate eOne Films eOne Films StudioCanal StudioCanal StudioCanal Distributor Sony Pictures Entertainment Entertainment The Inbetweeners 2) 6.25.0 Fox 20th Century 2.9 2.9 2.7 Box Box 18.4 16.013.0 20th Century Fox gross gross office (£ million) (£ # # # # # # # # UK 3.8 UK 9.9 UK 2.2 UK 3.3 20th Century Fox UK 2.0 UK 1.8 Curzon Artificial Eye UK 1.6 UK 1.5 (Paddington and (Paddington origin UK/Fra 13.8 UK/Fra 2.9 UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/Can/Ire 5.6 UK/Fra/Gre 1.5 Picturehouse/Element Country of of Country UK/Fra/USA UK/Can/USA and one documentary Movie andShaun the Sheep the one . – Amy Title Amy Woman in Gold Testament of Youth The Second Best Exotic Marigold Hotel Shaun the Sheep the Movie Suffragette* Brooklyn* Legend Far from the Madding Crowd Far from The Lady in the Van* in Black: Angel of Death The Woman 9 2 3 5 7 1 6 4 8 12 13 Macbeth 15 10 Good Spooks: The Greater 14 Mr Holmes 16 The Bad Education Movie 11 Ex Machina 17 45 Years 18 A Little Chaos 19 The Lobster 20 A Royal Night Out

Source: comScore, BFI RSU analysis comScore, Source: Notes: = cumulative total up to 21 February 2016. gross Box office on 21 February 2016. * Film still on release studio. # Film made with independent (non-studio) US support or with the independent arm of a US Table 3 Box ofﬁce results for the top 20 UK independent ﬁlms released in the UK and Republic of Ireland, 2015 THE TOP 20 UK INDEPENDENT FILMS INDEPENDENT 20 UK TOP THE which million, £117 of gross combined a had 3, Table in shown 2015, of was films total this of half independent UK over 20 top Just The 2014. in seen 14% the on decrease three a office, 2014, box In UK million. total the £10 of 9% over was grossed which of each releases, independent four top the by earned which of two million, £10 over earned releases UK independent As in previous years the top 20 UK independent films had the widest variety of genres of all three top 20 20 top three all of genres of variety widest the had films from independent UK million 20 £36.5 top the Generating years thriller. previous in and As sci-fi romance, mystery, horror, comedy, including charts, four releases, biopic was the biggest earner followed by drama – with £22.4animation millionone from five includes releases. list The grossed over £30 million. £30 over grossed 29 BFI Statistical Yearbook 2016 2. TOP FILMS IN 2015 The 3Dgrosses donotincludetakingsfrom IMAXscreenings, butIMAXrevenues contributetothetotal gross. * Filmstillonrelease on21February2016. Box office gross =cumulativetotalupto21February2016. Notes: Source: comScore Table 4Top 203Dreleases intheUKandRepublicofIreland, 2015(rankedby3Dgross) format is waning. takings has fallen from 71% in 2010 to 25% in 2015. This suggests thatExcluding overall filmsenthusiasm which were for shown the only 3D on 3D screens, the median 3D takingsthe aspercentage a percentage of films’of totaltotal box office taken in 3D screenings has decreasedfrom 3Dfrom screens.a high point (The in 2010. 3D grosses in the table do nottakings include whilst takings from 4. IMAX screenings.)Table in listed Onare average2015 in releases 3D 20 top The box office, down from 12% in 2014. screenings. This aggregate gross from 3D screenings represents 11% of theThirty-four UK and Republic 3D films were of releasedIreland in 2015, generating £137 million (to 21 February 2016) from their 3D THE TOP3DFILMS

0TheDivergentSeries:Insurgent 20 9Pan* 19 8JupiterAscending 18 7Poltergeist 17 6HotelTransylvania 2 16 5ParanormalActivity:GhostDimension3D 15 14 3Ant-Man 13 2Home 12 1BigHero 6 11 0SanAndreas 10 9 8 7 6 5 4 3 2 1 Terminator: Genisys Terminator: Everest The HungerGames:Mockingjay–Part2 Mad Max:FuryRoad Inside Out* Minions* The Martian* Avengers: Age of Ultron of Age Avengers: Jurassic World* Star Wars: TheForce Awakens* Title Paranormal Activity: Ghost Dimension 3D Dimension Ghost Activity: Paranormal Total gross (£ million) 2. 462 546 28 34.6 122.3 Star Wars: The Force Awakens 041.8 20.4 11292 4 Paramount 441 26 2.9 11.1 63311 446 19 3.1 16.3 54321 402 13 3.2 25.4 07361 432 18 3.6 20.7 15383 424 33 3.8 11.5 07393 8 Universal 488 36 3.9 10.7 92391 7 Lionsgate 472 14 3.9 29.2 74482 450 28 4.8 17.4 93491 490 13 4.9 39.3 77771 7 Universal 476 16 7.7 47.7 35803 462 34 8.0 23.5 831. 7504 27 13.2 48.3 452. 251Universal 511 32 20.6 64.5 , at had68%, the highest proportion of total gross . . 038eOneFilms 388 20 1.6 8.0 . . 7413 17 1.6 9.2 . . 7355 37 1.6 4.4 . . 6369 46 1.8 4.0 . . 832Paramount 362 68 2.7 4.0 (£ million) 3D gross % of total gross 3D as 9 had the highest 3D Number of 3D sites 7 SonyPictures 373 20th Century 20th Century 20th Century Warner Bros Warner Warner Bros Warner Warner Bros Warner Warner Bros Warner Distributor Walt Disney Walt Walt Disney Walt Walt Disney Walt Walt Disney Walt Walt Disney Walt Fox Fox Fox BFI Statistical Yearbook 2016

2. TOP FILMS IN 2015 30 – Fox Walt Disney Walt Disney Walt Disney Walt Disney Walt Disney Distributor Warner Bros Warner Bros Warner Bros Sony Pictures 36 Universal 33 32 35 Paramount 35 33 32 31 eOne Films 35 Pictures Sony Star Wars: The Force Force The Wars: Star of IMAX of 3D sites 3D Number Number as % of of % as IMAX 3D IMAX total grosstotal Paranormal Activity: Ghost Dimension 3D gross gross IMAX 3D IMAX (£ million) (£ 4.4 4.4 0.6 13 31 1.4 1.4 0.4 30 38 8.0 8.0 0.3 4 8.4 8.4 0.2 3 0.9 0.9 0.1 10 32 Universal 64.5 64.5 5.4 8 48.3 48.3 3.5 7 10.7 10.7 1.5 15 39 Universal 17.4 17.4 1.5 9 11.1 11.1 0.9 8 16.3 16.3 0.9 6 11.5 11.5 0.5 4 20.7 20.7 0.3 1 39.3 39.3 0.1 <1 1 23.5 23.5 <0.1 <1 18 Century 20th 122.3 122.3 14.5 12 41 (£ million) (£ Total gross gross Total (51%), whereas one film one whereas (51%), (75%) and Everest – TheWalk (£15 million). million). (£15 Title Star Wars: The Force Awakens* The Force Star Wars: Jurassic World* Avengers: Age of Ultron Everest Mad Max: Fury Road Terminator: Genisys Ant-Man Jupiter Ascending San Andreas The Walk Walk The 1 2 3 4 5 6 7 8 9 10 11 6 Big Hero 12 The Divergent Series: Insurgent 13 Pixels 14 Seventh Son 15 Inside Out* 16 The Martian*

The recent growth of the IMAX market in the UK means we are now able to extend our coverage to to coverage our extend to able now are we on means UK the releases in 3D 20 market IMAX top the the of growth lists 5 recent Table The time. first the for results office box 3D format was large 2015 on in data screenings IMAX 3D include by generated gross office box total The in 2015. in achieved million screens £16 of IMAX-enabled total the double is (This office. box overall the of 2% was which million, £31 Almost IMAX3D 2014.) half 2015’s of earnings were generated by the topyear’s film, Awakens these from office box total their of half over took films two revenues, IMAX 3D and 3D combining When screenings, Source: comScore comScore Source: Notes: = cumulative total up to 21 February 2016. gross Box office on 21 February 2016. * Film still on release contribute to the total gross. but IMAX revenues IMAX screenings, do not include takings from The 3D grosses Table 5 3D IMAX releases in the UK and Republic of Ireland, 2015 (ranked by IMAX 3D gross) 2015 (ranked of Ireland, in the UK and Republic 5 3D IMAX releases Table earned more than half its final box office total from non-IMAX 3D screenings alone. The figures suggest suggest figures The alone. screenings 3D non-IMAX from total office box 3D final the its in half than watch to more choose earned they films which about selective increasingly enhanced are an offer audiences to while perceived that are that technologies new for prices premium pay still will they format, experience. film-going 31 BFI Statistical Yearbook 2016 2. TOP FILMS IN 2015 Data updatedsincepublicationof the 2015StatisticalYearbook. The 3Dgrosses donotincludetakingsfrom IMAXscreenings. unrounded data. The 3Dand2Dboxoffice grosses are shownrounded tothenearest £1,000,butsiteaveragesandratiosofare calculatedfrom Includes filmsthatwere shownataminimumoffive3Dand2Dsites. Box office gross =cumulativetotalupto21February2016. Notes: Source: Rentrak Table 6Top 203Dfilmsrankedbyratioofsiteaverageboxoffice to2Dsiteaverageboxoffice, 2012-2015 releases in The the list. again suggests that chart enthusiasm for the 3D format is diminishing. list are 2012 releases, seven are 2013 releases and three are 20142015 releases. which Tellinglywere shown there at area minimumno 2015 of five sites in both 3D and 2Doffice formats. per site. Ten Theof thelist films includesin the the top films by this ranking from 3D filmsTable released 6 shows between the 2012 top and20 films ranked by this ratio of 3D average box office per site to 2D average box 3D viewings compared with its 2D viewings. the ratio of 3D site averages to 2D site averages, the higher thea measurevalue theof more the relative popular werepopularity the offilm’s 3D viewings compared with 2D viewingsaverage for that takings film. perLooking site at for 3D sites with the average takings for 2DAgain, sites looking for ata particular box film,office it earningsprovides for 3D screenings excluding IMAX revenues, if we compare the

0Prometheus 20 17 2012 16 I,Frankenstein 15 BeautyandtheBeast3D 14 9Raaz3D 19 JohnCarter 18 2013 KacWawa 13 Hunters Hansel&Gretel: Witch 12 SilentHill:Revelation3D 11 TheDarkestHour 10 2 1 5 4 3 7 6 9 8 Ti Gravity Cathedrals ofCulture Dredd Wrath of the Titans the of Wrath Doctor Doctor Who: The Day of the Kochadaiiyaan Monsters, Inc.3D Life ofPi Finding Nemo3D Texas Chainsaw 3D Chainsaw Texas iqed oel olsAa 2013 Cirque duSoleil:Worlds Away tle release Year of 2013 2014 2012 2012 2012 2013 2014 2014 2013 2012 2013 2012 2012 2012 2012 2012 2013 25,733 15,610 23,981 (£ 000) 4,238 5,202 1,777 1,170 2,648 2,247 1,118 3,316 2,939 1,602 1,188 1,922 gross 132 148 13 6 5 354 89 13,584 5 68 54 3D 3D sites 506 383 401 407 359 365 365 441 330 186 439 418 376 318 340 270 3D 3D 11 16 42 average 5,5 2,581 50,856 1,6 127 11,066 1,7 2,240 12,973 3,9 7,372 35,398 5,2 5,894 54,626 112 < 5 23.6 50 5 <1 1,182 829 70 8,269 58 4,366 222 3393,260 16 7,253 1,282 208 6,157 338 128 3,388 792 927 7,932 468 2477,817 1365,038 74 3,495 7,117 73 8 793 site 3D (£) (£ 000) gross 2D 2D sites 189 137 180 430 171 270 400 195 169 137 462 454 2D 2D 19 33 40 33 52 40 40 average 1,5 2.2 15,957 1,8 4.2 12,983 364 2.3 3,674 2.5 1,764 5.0 2,705 115 2.8 2.9 1,175 2,472 5.3 1,155 603 8.5 6,003 245 4.5 2,435 181 3.9 1,841 342 2.3 2.3 3,432 5,600 3.3 3.4 2,402 1,464 42 3.2 402 79 4.5 749 21 3.9 201 99 3.5 989 site 2D (£) site average Ratio of 3D to 2D site average BFI Statistical Yearbook 2016

2. TOP FILMS IN 2015 32 3 2 2 1 1 1 3 1 3 1 2 weeks at at weeks The The number one number , topped the the topped , Fox Fox Walt Disney Walt Disney Walt Disney Walt Disney Distributor of Number 20th Century Century 20th 20th Century Century 20th 95.2 Sony Pictures 23.5 10.7 Universal 18.4 StudioCanal 21.2 Paramount 16.3 48.3 21.3 16.0 21.7 Universal gross gross (£ million) (£ Box office office Box 6.6 3.2 5.2 5.4 4.0 3.8 3.8 3.7 41.3 18.0 34.0 122.3 The Second Best Exotic Marigold Hotel gross gross Opening Opening weekend weekend , was to continue as the number one film in the the in film one number the as continue to was , (£ million) (£ top were the only two UK independent films to hold the the hold to films independent UK two only the were and Legend 30/10/2015 02/10/2015 18/09/2015 11/09/2015 31/07/2015 17/07/2015 24/04/2015 27/03/2015 27/02/2015 02/01/2015 18/12/2015 First week at at week First which both held the top spot for two weeks. weeks. two for spot top the held both which + Star Wars: The Force Awakens Force The Wars: Star Star Wars: The Force Awakens* The Force Star Wars: SPECTRE* The Martian* Everest Legend Mission: Impossible – Rogue Rogue – Impossible Mission: Nation Ant-Man Avengers: Age of Ultron Cinderella The Second Best Exotic Exotic Best Second The Marigold Hotel The Theory of Everything Title Star Wars: The Force Awakens continued at number one for a further two weeks in January 2016. Star Wars: + Source: comScore, BFI RSU analysis comScore, Source: Notes: = cumulative total up to 21 February 2016. gross Box office on 21 February 2016. * Film still on release Table 7 UK films at number one in the weekend box office charts, 2015 charts, box office 7 UK films at number one in the weekend Table Three of the UK films, including the independent title BEST WEEKEND PERFORMANCES OF UK FILMS OF UK PERFORMANCES WEEKEND BEST were these of Eleven 2015. of course the over charts office box the weekend UK achieved the films UK six topped films 29 2014, of In 7). total A (Table one number at weeks 20 of total a spent which titles, UK weeks. nine of total a for charts weekend the in slot one number weekend charts for three consecutive weeks while a further three topped the charts for two weeks, weeks, two for charts the topped three further a while weeks consecutive three for charts weekend these, of one although The Second Best Exotic Marigold Hotel weekend charts for a further two weeks in January 2016. 2016. January in weeks two further a for charts weekend number one spot in 2015. Their combined four-week run matched 2 and PaddingtonInbetweeners the total achieved in 2014 by 3. TOP FILMS OF ALL TIME AT THE UK BOX OFFICE 33

Star Wars: The Force Awakens ©2015 Lucasfilm Ltd. & TM. All Rights Reserved. Image: Star Wars: UK BOX OFFICE ALL TIME AT THE THE AT TIME ALL TOP FILMS OFTOP FILMS CHAPTER 3 TOP FILMS OF ALL TIME AT THE UK BOX OFFICE

In 2015, Star Wars: The Force Awakens became the top earning film of all time at the UK box office, while titles based on UK characters and stories continue to dominate the chart with 12 of the top 20 highest grossing films.

FACTS IN FOCUS Star Wars: The Force Awakens has become the highest grossing film of all time in the UK, with box office earnings of over £122 million.

Two other films released in 2015, SPECTRE and Jurassic World, also entered the top 20 list. The box office gross of Star Wars: The Force Awakens is enough to overtake Titanic for the top spot in the inflation-adjusted box office chart.

Sequels and franchise films make up 17 of the all-time top 20 chart, whilst 10 are UK/USA collaborations.

Four 2015 releases – Legend, The Second Best Exotic Marigold Hotel, Shaun the Sheep the Movie and The Lady in the Van – appear in the chart of all-time top independent UK films.

34 BFI Statistical Yearbook 2016

3. TOP FILMS OF ALL TIME AT THE UK BOX OFFICE 35 . Ten of the the of Ten . , is third in in third is , , which out- SPECTRE and Titanic Mamma Mamma Mia! Star Wars: The Force Awakens The Force Star Wars: is 10th with £64 million. £64million. with 10th is Jurassic World was overtaken by the release 2015 Skyfall (although three to this sequels film remain in pre-production), In the absence of admissions data on individual films, top films can only be measured in terms of of terms in measured be only can films top films, individual on data admissions in of borne be absence to the needs In this and earnings affecting factor key a is Inflation for office. box the adjusted at are earnings figures some (however, report this in quoted figures the of (although some against onwards mind 1989 from receipts office box actual to relates report this categorised be of can Most so inflation). 1975), to back goes films grossing high some for figures more office earned box of have will 1989 coverage before produced anything that unlikely is it since films top all-time as terms. nominal in RANKING ALL-TIME TOP FILMS RANKING ALL-TIME TOP The list is dominated by franchise movies, including four of the eight Harry Potter titles and all three three all and titles Potter Harry eight the of four including movies, franchise by dominated is list The namely titles, franchise nor sequels neither are films 20 top the of three Only films. Rings the of Lord Avatar the list with earnings of £95 million and and million £95 of earnings with list the grossed the most successful James Bond outing to date by almost one fifth with a take of over £122 £122 over of take a with fifth one almost by date to outing Bond James successful adventure, most 007 the latest grossed The 20. top the entered 2015 from releases other Two million. Table 1 shows the top 20 highest earning films of all time at the UK box office. After three years at the the at years three After office. box UK the at time all of films earning highest 20 top the shows 1 Table chart,the of top TOP 20 FILMS AT THE UK BOX OFFICE, 1989-2015 UK BOX THE FILMS AT TOP 20 top 20 films are UK/USA collaborations and 12 of the top 20 are based on stories and characters created created characters and stories on based are 20 top the of 12 and Johnson, collaborations UK/USA are films Catherine 20 top playwright the and Tolkien JRR and Rowling JK Fleming, Ian as such audiences. writers UK by British amongst material home-grown for appetite sustained the shows which 36 BFI Statistical Yearbook 2016 3. TOP FILMS OF ALL TIME AT THE UK BOX OFFICE

grosses from their3Dre-releases in2012. # Theboxoffice grosses forTitanic andStarWars EpisodeI:ThePhantomMenaceincludethegrosses from theiroriginalreleases plusthe * Filmstillonrelease on21February2016. Box office gross =cumulativetotalupto21 February2016. Figures havenotbeeninflationadjusted. Notes: Source: comScore, BFIRSUanalysis completed trilogies make the inflation-adjusted top inflation-adjusted 40. the make completed trilogies Hope with 1999’s the Star Wars franchise, as the first instalment of both the original and prequelinflation trilogiesadjustment are top 20 factoredtitles in. Its addition by toearned the top million 20 chart£122 continuesThe a trend from previous films in the UK since 1975 (when coverage of leading titles begins). Table 2 shows an inflation-adjusted box office chart based on the top 20 highest grossing films released in INFLATION-ADJUSTED TOP20FILMSAT THEUKBOXOFFICE,1975-2015 Table 1Top 20ﬁlmsattheUKboxofﬁce, 1989-2015 14 3Lord oftheRings:TheTwo Towers 13 2Lr fteRns h euno h igN/S 11Entertainment 61.1 NZ/USA LordoftheKing oftheRings:TheReturn 12 11 Lord of the Rings: The Fellowship of the Lord oftheRings: TheFellowshipofthe 11 0JurassicWorld 10 0TheHobbit:AnUnexpectedJourney 20 19 7HryPte n h hme fScesU/S 54.8 UK/USA PiratesoftheCaribbean:DeadMan's 18 HarryPotterandtheChamberofSecrets 17 CasinoRoyale 16 5TheDarkKnightRises 15

5 9 4 8 3 Harry Potter and the Deathly Hallows: 7 2 6 1 (£76 million) in 11th and 17th places respectively. None of the subsequent instalments in the already Menace Star Wars Episode I: The Phantom Ring Titanic ar otradtePioohrsSoeU/S 66.1 UK/USA Harry PotterandthePhilosopher'sStone Avatar Mamma Mia! SPECTRE* Part 1 Harry Potter and the Deathly Hallows: Part 2 Chest Skyfall Toy Story 3 Story Toy Star Wars: TheForce Awakens* Title # Star Wars Episode I: The Phantom The Menace Wars Star I: Episode # Star Wars: Star Force The Awakens Country of UK/USA/ KUA68.6 UK/USA KUA9. SonyPictures 95.2 UK/USA KUA52.5 UK/USA 73.1 UK/USA KUA132SonyPictures 103.2 UK/USA KUA56.3 UK/USA KUA122.3 UK/USA ZUA5. Entertainment 57.6 NZ/USA ZUA6. Entertainment 63.0 NZ/USA ZUA52.3 NZ/USA (£80 million) and 1977’s and now million) re-titled (£80 origin Czech S 64.5 USA S 4020thCenturyFox 94.0 USA S 52.5 USA S 74.0 USA S 642t etr o 1999/2012 20thCenturyFox 56.4 USA 1998/2012 20thCenturyFox 80.3 USA is enough to retain its new top ranking even with

office total (£ million) UK box 56SonyPictures 55.6 Warner Bros Warner Warner Bros Warner Warner Bros Warner Warner Bros Warner Warner Bros Warner Warner Bros Warner Walt Disney Walt Distributor Walt Disney Walt Walt Disney Walt Universal Universal Star Wars: A New release Year of 2012 2010 2006 2002 2006 2002 2003 2001 2015 2001 2009 2008 2015 2011 2012 2010 2012 2015 BFI Statistical Yearbook 2016

3. TOP FILMS OF ALL TIME AT THE UK BOX OFFICE 37 2015 2008 2012 2011 2009 1993 2015 2001 2001 1975 2010 2003 2002 1997 1977 1978 2006 Year of of Year release 1999/2012 1998/2012 UIP UIP UIP ) 1 (1975), the oldest oldest the (1975), Universal Walt Disney Distributor Jaws is fourth with £105 million. million. £105 with fourth is Entertainment 2002 Entertainment Entertainment Avatar , seventh, with earnings of £87 of earnings with seventh, , (1978) is 19th with £70 million. million. £70 with 19th is (1978) 78.9 78.9 77.7 77.7 Bros Warner 77.5 77.5 95.2 95.2 Pictures Sony 91.1 91.1 Bros Warner 69.6 69.6 86.8 86.8 66.7 66.7 Pictures Sony 81.7 81.7 79.9 79.9 Disney Walt 79.8 79.8 111.2 111.2 Fox Century 20th 107.2 107.2 Pictures Sony UK box box UK , which is now in second place with adjusted adjusted with place second in now is which , Grease (£ million) (£ office total total office

Titanic USA USA 79.7 Fox Century 20th USA USA 104.5 20th Century Fox USA USA USA USA 76.0 Fox Century 20th USA USA Czech origin which takes fifth place with £95 million. Three of the the of Three million. £95 with place fifth takes which USA/NZ USA/NZ UK/USA 122.3 UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA 76.4 Fox Century 20th UK/USA/ Country of of Country SPECTRE is the highest placed of the three Harry Potter films in the list at at list the in films Potter Harry three the of placed highest the is is in third withplace million £107 and , with £65 million, falls just short of the top 20 whilst 1993’s original original 1993’s whilst 20 top the of short just falls million, £65 with , The Lord of the Rings: ofThe theFellowship Ring is at number 14 with gross 14 an number adjusted is at £78 million. of Jurassic World # # Jurassic Park Title Star Wars: The Force Awakens* The Force Star Wars: Skyfall Titanic Harry Potter and the Deathly Hallows: Hallows: Deathly the and Potter Harry Part 2 Avatar SPECTRE* The Lord of the Rings: The Two Towers Towers Two The Rings: the of Lord The USA/NZ 77.1 Harry Potter and the Philosopher's Stone UK/USA Grease The Full Monty Monty Full The Hope New A Wars: Star Secrets of Chamber the and Potter Harry UK/USA 73.6 Bros Warner the Ring Jaws Toy Story 3 The Lord of the Rings: The Return of the the of Return The Rings: the of Lord The King Star Wars Episode I: The Phantom Phantom The I: Episode Wars Star Menace 1 3 2 4 5 6 7 of Fellowship The Rings: the of Lord The 8 9

12 Mamma Mia! 13 14 Jurassic Park 15 19 16 17 18 20 Casino Royale 10 11 The 2015 £ is calculated using the HMT UK GDP deflator which can be found at https://www.gov.uk/government/statistics/gdp-deflators-at-market-prices-and-money-gdp-december-2015-quarterly-national-accounts. https://www.gov.uk/government/statistics/gdp-deflators-at-market-prices-and-money-gdp-december-2015-quarterly-national-accounts. = cumulative total up to 21 February 2016. gross Box office on 21 February 2016. * Film still on release plus the their original releases from Episode I: The Phantom Menace include the grosses and Star Wars for Titanic grosses # The box office in 2012. their 3D re-releases from grosses 1 Source: comScore, BFI RSU analysis comScore, Source: Notes: Table 2 Top 20 highest grossing films at the UK box office, 1975-2015 (inflation adjusted 1975-2015 (inflation films at the UK box office, 20 highest grossing 2 Top Table The previous inflation-adjusted top earning film was earnings million. of £111 Skyfall release in the list, is in eighth place with £82 place million whilst eighth inlist, theis in release The 2015 release million. million. instalment Harry Potter and the Philosopher’s Stone four Daniel Craig era Bond films are in the inflation-adjusted top 20. the make films Rings the of Lord three All million. £91 of earnings inflation-adjusted with six, number placed, charttop withthe Another new entry in the chart is 2015’s 2015’s is chart the in entry new Another 38 BFI Statistical Yearbook 2016 3. TOP FILMS OF ALL TIME AT THE UK BOX OFFICE

15 titles are based on stories and characters created by UK writers. Nine of the 15 top earning films of the year listed in the chart are UK/USA collaborations and 10 of the over £73 million, over £73 million, 1 Notes: Source: comScore, BFIRSUanalysis Table 3Highestgrossing ﬁlmsoftheyearatUKboxofﬁce, 2001-2015 £103 million in 2012, both film: earning for top a takings office box breaking however,record and 2012 saw high instalment to the £50 million earned by the fifth film in the series. The half-decadebetween between 2001 and2008 and 2007 when the top gross fell from the £66 million taken by theoffice first Harry totals.)Potter There was another downward trend in box office earnings by(The a top years film of2013 the and year 2014 were two of only four in the period whichDespicable saw a Medecrease 2 in year-on-year box earners, highest 2014whose and 2013 in seen trend downward record generated gross of by the top2015, film earning Wars: Star Force The Awakens Table 3 lists the highest grossing films of the year at the UK box office for the period 2001-2015. The 2001-2015 HIGHEST GROSSINGFILMSOFTHEYEARAT THEUKBOXOFFICE, * Filmstillonrelease on21February2016. Box office gross =cumulativetotalupto21February2016. SeenotetoTable 2. 05StarWars: TheForce Awakens* 2015 04TheHobbit:BattleoftheFiveArmies 2014 03DespicableMe2 2013 02Skyfall 2012 2011 2010 09Avatar 2009 2008 07HarryPotterandtheOrder ofthePhoenix 2007 06CasinoRoyale 2006 05HarryPotterandtheGobletofFire 2005 2004 2003 02HarryPotterandtheChamberofSecrets 2002 Year 2001 Part 2 Harry Potter and the Deathly Hallows: Toy Story 3 Story Toy Mamma Mia! Shrek 2 King The Lord of the Rings: The Return of the Highest grossing film Harry Potter and the Philosopher’s Stone , had the two lowest takings for a top film of the year in the 15 years covered in the table. Avatar (2009) grossed £94 million and and million £94 grossed (2009) Harry Potter and the Deathly Hallows: Part 2 Part Hallows: Deathly the and Potter Harry MammaMia! UK/USA/Cze Country of UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA USA/NZ USA/NZ origin The Hobbit: The Battle of the Five Armies Five the of Battle The Hobbit: The USA USA USA USA Toy Story 3 3 Story (2011) Toy and (2008) took £69 million.

office total (£ million) UK box 122.3 103.2 41.2 47.5 73.1 74.0 94.0 68.6 49.9 55.6 49.2 48.2 61.1 54.8 66.1 , reverses the Skyfall (2010) earned (2015 £ million grossed office total UK box 122.3 106.9 104.4 41.2 48.4 77.2 79.7 77.7 58.2 66.7 60.8 61.3 79.9 73.7 91.1 and 1 )

BFI Statistical Yearbook 2016

3. TOP FILMS OF ALL TIME AT THE UK BOX OFFICE 39 2015 2011 2001 2012 2002 2010 2009 2007 2005 2008 2015 2004 2015 Harry Harry Year of of Year release Universal 2008 Walt Disney Walt Disney Distributor in the number one spot spot one number the in Warner Bros Warner Bros Warner Bros Warner Bros Warner Bros Warner Bros Warner Bros Warner Bros Warner Bros Warner Bros 73.1 68.6 66.1 56.3 55.654.8 Sony Pictures52.5 52.2 2006 51.2 20th Century Fox50.7 49.9 Sony Pictures 1997 49.2 49.1 2008 48.3 46.1 45.745.0 Momentum Entertainment 2011 2011 95.2 95.2 Pictures Sony UK box box UK (£ million) million) (£ office total total office UK UK Star Wars: The Force Awakens The Force Star Wars: Czech origin , are at numbers 19 and 20 in the list (Table 4). There There 4). (Table list the in 20 and 19 numbers at are , UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USAUK/USAUK/USA 122.3 103.2 Sony Pictures 2012 UK/USA/ Country of of Country , appears in the list at number 17. The top 20 is dominated dominated is 20 top The 17. number at list the in appears , , is the highest ranked four. number at Avengers: Age of Ultron and The Inbetweeners Movie at number three. The addition of the most recent James Bond film means all of the films to to films the of all means film Bond James recent most the of addition The three. number at The King’s TheSpeech King’s Title Part 2 Mamma Mia! Harry Potter and the Philosopher's StoneThe Dark Knight Rises UK/USA Casino Royale Harry Potter and the Chamber of Secrets UK/USA Harry Potter and the Deathly Hallows: Hallows: Deathly the and Potter Harry 1 Part Avengers: Age of Ultron Star Wars: The Force Awakens* The Force Star Wars: Skyfall SPECTRE* SPECTRE 4 Hallows: Deathly the and Potter Harry 5 6 7 8 9 1 2 3 10 11 The Full Monty 12 Quantum of Solace 13 Harry Potter and the Half-Blood Prince14 of the Phoenix Harry Potter and the Order 15 Harry Potter and the Goblet of Fire 16 UK/USA UK/USA The Dark Knight 17 18 Harry Potter and the Prisoner of Azkaban19 The King's Speech 20 UK/USA The Inbetweeners Movie

Source: comScore, BFI RSU analysis comScore, Source: Notes: have not been inflation adjusted. Figures = cumulative total up to 21 February 2016. gross Box office on 21 February 2016. * Film still on release star Daniel Craig appear in the top 20. With takings of £48 million the third highest earning UK earning and highest third the million £48 of takings With 20. top the in appear Craig Daniel star qualifying film of 2015, series, finalthe film in The list. the in films appearing eight all with franchise Harry the Potter by Potter and the Deathly Hallows: Part 2 Table 4 Top 20 UK qualifying films at the UK box office, 1989-2015 films at the UK box office, 20 UK qualifying 4 Top Table TOP 20 UK QUALIFYING FILMS AT THE UK BOX OFFICE, 1989-2015 OFFICE, UK BOX THE AT FILMS QUALIFYING 20 UK TOP independent two but features studio-backed US by dominated is films UK 20 top all-time the of list The films, were three entries new to the list including in 2015, 40 BFI Statistical Yearbook 2016 3. TOP FILMS OF ALL TIME AT THE UK BOX OFFICE

# Filmmadewithindependent(non-studio)USsupportorthe armofaUSstudio. * Filmstillonrelease on21February2016. Box office gross =cumulativetotalupto21February2016. Figures havenotbeeninflationadjusted. Notes: Source: Source: comScore, BFIRSUanalysis Table 5Top 20independentUKﬁlmsattheboxofﬁce, 1988-2015 £13.8 million and Hotel Marigold Exotic Best Second The list. the in appear 2015 from releases Four from 2009 films with grosses of more than £30 million,King’s Speech The two from 2014 studio involvement) at the UK box office between 1988-2015. TheTable top two5 titleslists the are top both 20 2011 all-time releases: highest earning independent UK films (that is, made without US major TOP 20INDEPENDENTUKFILMSAT THEUKBOXOFFICE,1988-2015 1 2 12 8 9StreetDance 3D 19 StTrinian’s 17 Trainspotting 15 UK/USA TheSecondBestExoticMarigoldHotel 11 9 3 3ShauntheSheepMovie 13 0Kick-Ass 20 Gosford Park 16 8AFishCalledWanda 18 TheImitationGame 10 4 4TheLadyintheVan* 14 5 6 7 Title The King'sSpeech The InbetweenersMovie Tinker, Tailor, Soldier, Spy The BestExoticMarigoldHotel Legend Paddington The Inbetweeners2 Slumdog Millionaire Four Weddings andaFuneral The Woman inBlack (Slumdog Millionaire) The Inbetweeners Movie Inbetweeners The and The Lady in the Van the in Lady The . is 11th with £16 million, million, 11th£16 is with is 14th with £13 million. £13 14th is with is in ninth place with takings of £18.4 million, of million, £18.4 takings place with ninth in Legend is each earned more than £45 million. There are three other UK/USA/Swe UK/Fra/USA UK/USA/Ind Country of UK/Fra/Ger UK/Ger/Ita UK/USA UK/USA UK/USA UK/USA UK/USA UK/Fra UK/Fra origin UK UK UK UK UK UK UK # # # # # # # # Shaun the Sheep the Movie the Sheep Shaun the (Paddington office total (£ million) UK box 45.7 21.3 11.8 12.0 12.3 Sony Pictures 13.0 16.4 20th Century Fox 20.4 45.0 14.2 1. Vertigo Films 11.8 12.3 12.4 18.4 37.9 13.8 33.4 31.7 27.8 602t etr o 2015 20thCenturyFox 16.0

and The Inbetweeners 2) netimn 2002 Entertainment netimn 2011 Entertainment netimn 2007 Entertainment netimn 2014 Entertainment Distributor tdoaa 2014 StudioCanal tdoaa 2011 StudioCanal tdoaa 2015 StudioCanal tdoaa 2014 StudioCanal tdoaa 2015 StudioCanal oetm2011 Momentum oetm2012 Momentum oyrm1996 PolyGram nvra 2010 Universal is 13th with alo 1994 Carlton ah 2009 Pathé I 1988 UIP and one

release Year of Year 2015 2012 2010

BFI Statistical Yearbook 2016

3. TOP FILMS OF ALL TIME AT THE UK BOX OFFICE 41

) 1 Year of of Year release UIP 1988 UIP 1979 UIP 1989 EMI 1980 Pathé 2009 The Second Best Best Second The Carlton 1994 Lionsgate 2002 PolyGram 1996 Distributor The Inbetweeners Inbetweeners and The (1988) leading the pack in in pack the leading (1988) Monty Python’s Life of BrianMonty Life Python’s 21.2 20th Century Fox18.416.6 2012 16.4 StudioCanal16.0 Entertainment 20th Century Fox StudioCanal 2015 2002 2015 2014 22.2 Momentum 2012 25.6 18.6 15.5 21.7 23.9 48.3 Momentum 2011 15.0 StudioCanal 2011 22.8 47.5 Entertainment 2011 22.3 Sony Pictures 1982 44.3 37.9 StudioCanal 2014 35.2 33.4 Entertainment 2014 (2009) is fifth with £35.2 million. (1989) is in ninth place with £22.8 £22.8 with place ninth in is (1989) UK box box UK The King’s TheSpeech King’s (1980) is 12th with £21.7 million. (£ million) million) (£ office total total office (1994) is in third place with £44.3 million, A Fish Called Wanda Called A Fish # # # # # # # Flash Gordon UK UK UK UK UK UK UK UK UK Slumdog Millionaire Slumdog origin UK/Ind UK/Fra UK/Ger is with in place 15th £18.4 million and UK/USA UK/USA UK/USA UK/Fra/Ger Country of of Country UK/Fra/USA UK/USA/Swe Legend Four Weddings and a Funeral is 18th with £16 million. (1982) is 10th with £22.3 million and (2014) is fourth million with and £37.9 Gandhi Title Monty Python's Life of Brian The King's Speech Tinker, Tailor, Soldier, Spy Soldier, Tailor, Tinker, Shirley Valentine The Inbetweeners Movie Four Weddings and a Funeral Four Weddings Paddington Slumdog Millionaire The Inbetweeners 2 A Fish Called Wanda , retain their first and second places in the inflation-adjusted chart with grosses of £48.3 million million £48.3 of grosses with chart inflation-adjusted the in places second and first their retain , 8 1 9 2 3 4 5 6 7 14 Trainspotting 16 Park Gosford 17 The Imitation Game 18 The Second Best Exotic Marigold Hotel19 Bend it Like Beckham UK/USA 12 Flash Gordon 15 Legend 20 13 The Best Exotic Marigold Hotel UK/USA/Ind 10 Gandhi 11 in Black The Woman

The 2015 £ is calculated using the HMT UK GDP deflator which can be found at https://www.gov.uk/government/statistics/gdp-deflators-at-market-prices-and-money-gdp-december-2015-quarterly-national-accounts. https://www.gov.uk/government/statistics/gdp-deflators-at-market-prices-and-money-gdp-december-2015-quarterly-national-accounts. studio. # Film made with independent (non-studio) US support or with the independent arm of a US 1 Source: comScore, BFI RSU analysis comScore, Source: Notes: seventh place with an inflation-adjusted £25.6 million. The oldest release is release with £25.6 oldest million. aninflation-adjusted place seventh The (1979) which is in eighth place with £23.9 million. Shirley Valentine million, Table 6 Top 20 highest grossing independent UK films at the UK box office, 1979-2015 (inflation adjusted independent UK films at the UK box office, 20 highest grossing 6 Top Table Five films released before 1990 appear in the top 20, with with 20, top the in appear 1990 before released films Five The two leading titles from the previous table, the 2011 releases Table 6 shows an inflation-adjusted box office chart based on the top 20 highest grossing independent independent grossing highest 20 top the on based chart office box inflation-adjusted begins). an titles shows 6 leading Table of coverage (when 1979 since office box UK the at released films UK INFLATION-ADJUSTED TOP 20 INDEPENDENT UK FILMS AT THE UK BOX UK THE AT FILMS UK INDEPENDENT 20 TOP INFLATION-ADJUSTED 1979-2015 OFFICE, Movie respectively. million £47.5 and Paddington Exotic Marigold Hotel Marigold Exotic Two releases from 2015 make the chart. 4. GENRE AND CLASSIFICATION 42

Image: Shaun the Sheep the Movie courtesy of StudioCanal CLASSIFICATION GENRE AND AND GENRE CHAPTER 4 GENRE AND CLASSIFICATION

Action was the most popular genre among UK cinema-goers in 2015, with animation second and drama third. As in previous years, there were more ‘15’ releases than any other classification, but ‘12A’ films generated the largest single share of the box office.

FACTS IN FOCUS Action was the highest earning genre of 2015, taking 30% of the box office from 9% of releases. The top earning action title was SPECTRE.

Drama accounted for the highest proportion of releases (26%) but shared only 10% of the box office. The top earning drama was Fifty Shades of Grey.

Sci-fi took more money per cinema on average than other genres due mainly to the record-breaking success of the top film of the year, Star Wars: The Force Awakens.

Ten of the top performing films by genre were UK qualifying films, including the top biopic, top fantasy and top documentary releases.

Action was also the highest earning genre for UK qualifying films (39% of total box office from 9% of releases).

Drama was the highest earning genre for UK independent films (27% of total box office from 23% of releases).

43 BFI Statistical Yearbook 2016 4. GENRE AND CLASSIFICATION 44 title Amy Minions Taken 3 Brooklyn Cinderella SPECTRE Slow West The Gambler Pitch Perfect 2 , was the top top the was , Into the Woods Star Wars: TheStar Wars: A Christmas Star Top performing performing Top Fifty Shades of Grey The Theory of Everything SPECTRE % of of % office total box box total

0.2 <0.1 0.6 <0.1 1.4 0.1 8.3 0.6 office (£ million) million) (£ Gross box box Gross 0.4 0.3 1.2 12.0 0.9 0.1 21.3 1.6 % of all all of % releases 3 2 9 1 11 1.4 12 1.6 12.8 1.0 44 5.8 34.9 2.7 in Black: Angel of Death The Woman 101252 1.3 1.6 6.9 83.4 75.9 37.1 6.4 5.8 Games: Mockingjay – Part 2 The Hunger 2.9 18 2.4 141.0 10.9 Awakens The Force Star Wars: 29 3.8 210.0 16.2 72 9.5 393.9 30.3 117 15.4 201 26.5 130.2 10.0 166 21.9 135.1 10.4 759 100.0 1,298.4 100.0 releases Number of of Number , was third with £141 million. Drama films had the highest proportion of releases (26%) but but (26%) releases of proportion highest the had films Drama million. £141 with third was , Total Family Western Crime Documentary Music/dance Romance Horror Fantasy Biopic Adventure Thriller Drama Comedy Sci-fi Animation Genre Genre Action Source: comScore, BBFC, IMDb, BFI RSU analysis comScore, Source: Notes: may not sum to totals due to rounding. Figures/percentages as at 21 February 2016. Figures Table 1 Films released in the UK and Republic of Ireland by genre, 2015 ranked by gross box ofce 2015 ranked by gross by genre, Ireland in the UK and Republic of 1 Films released Table All but six of the top performing titles by genre illustrated in the Table are UK films, which highlights highlights which films, UK are Table the in illustrated genre by titles performing top the of six but All films. British successful of types story of variety the Table 1 shows the relative popularity of different genres at the box office in the UK and Republic of of Republic and UK the in office box the at genres different of of popularity number small relative a the by shows 1 determined Table usually is year each genre by office box of pattern The 2015. in Ireland year, the of film biggest second the included which Action, releases. grossing high earning genre with a combined gross of £394 million. Animation was the second highest earner with a gross combined £210 of million film,mainly top sci-fi, and the due the to year’s success of Force Awakens gross. office box total the of 10% only earned GENRE OF ALL FILM RELEASES GENRE OF ALL For statistical purposes, the BFI Research and Statistics Unit assigns a primary genre to every film every to genre primary a assigns Unit Statistics and Research of BFI the popularity purposes, relative the statistical gauge For helps but prescriptive be to meant conventions not on is This based UK. is the in genres of list released The year. to year from basis consistent a Information on genres Collections different BFI’s the as such sources published by and industry the and within (IMDb) used Database commonly Movie Internet the (BBFC), Classification Film of Board British the Database, websites. distributors’ GENRE GENRE 45 BFI Statistical Yearbook 2016 4. GENRE AND CLASSIFICATION Figures asat21February2016. Figures maynotsumtototalsduerounding. Notes: Source: comScore, BBFC,IMDb,BFIRSU analysis of release Table 2Filmsreleased intheUKandRepublicofIreland bygenre, 2015(rankedbyaveragewidestpoint WPRs in 2015 were third highest number of releases, at 117 films. The documentary releasesAt the withopposite the highest end individual of the scale, the average WPR for the documentary genre was 27, although it had the the highest individual WPR (684) of all 2015 releases. titles included (WPRs of 559, 565 and 483 respectively). The third placed genre by averagewas based on a low numberWPR was of releases animation, (10), including whose title, studio-backed US promoted highly one only shown in Table 2. The top genre by average WPR in 2015 was fantasyThe but pattern this is of based genres on rankedthe release by the average of number of sites at the widest point of release (WPR) is The Force Awakens. Force The market while controlling for due largely of size list the successrelease. to ofthe tops Sci-fi this Table 3 shows box office revenues per site by genre, which gives a good indication of performance in the respectively). per site is taken into account, indicating a long tail of less twoable genres performers with the greatestin each year, numbergenre.the of offilm releases,earning werehighest muchsecond the lowerincludes placedwhich when the average box office Total Music/dance Horror Romance Sci-fi Action Adventure Animation Biopic Fantasy Genre Western Comedy Documentary Family Crime Drama Thriller Minions The fantasy genre is second due solely to the performance of Cinderella, second due is solelyperformance genre The the to fantasy Amy, Roger Waters , Inside Out Inside , at widest point of release Average number of sites (WPRs of 632 609, 561). and Star Wars: Home(WPRs and The Force Awakens

The WallThe and Cobain:MontageofHeck and (WPRs of 280, 432 and 85 106 180 191 279 283 403 585 114 122 148 Cinderella (WPR of 585). Biopic was next but again this 27 76 86 89 93 52 61 The Theory of Everything, Legend Everything, of Theory The SPECTRE, of releases is third. Drama and comedy, the Number 759 117 201 166 18 72 12 29 10 44 12 52 11 1 2 9 3 and American and Sniper Gross box office

and action, Star Wars: (£ million) 1,298.4 had had 141.0 393.9 210.0 130.2 135.1 75.9 83.4 21.3 34.9 12.8 37.1 12.0 8.3 0.6 0.2 1.4

BFI Statistical Yearbook 2016

4. GENRE AND CLASSIFICATION 46 585 177 671 156 3,245 8,202 3,346 4,030 1,030 4,475 1,770 5,375 3,187 13,722 15,411 15,295 80,677 Total sites Star Wars: The Force Force The Wars: Star

0.6 8.3 0.2 1.4 21.3 75.9 83.4 12.0 37.1 12.8 34.9 SPECTRE, Avengers: Age of of Age Avengers: SPECTRE, 141.0 393.9 210.0 135.1 130.2 1,298.4 (£ million) million) (£ Gross box office office box Gross 8,767 8,514 8,301 7,241 6,493 3,452 2,618 1,049 2,159 43,461 36,413 28,708 25,608 22,697 20,692 11,687 16,094 (Table 4). This genre took £223 million at the box office from from office box the at million £223 took genre This 4). (Table per site (£) site per , earned the of total 65% box office all for UK documentaries. Average box office office box Average Amy Mission: Impossible – Rogue Nation

and and All genres Thriller Comedy Drama Biopic Music/dance Animation Adventure Sci-fi Fantasy Action Genre Romance Horror Crime Western Documentary Family Table Films released in the UK and Republic of Ireland by genre, 2015 ranked by aerage box ofce gross gross box ofce aerage by 2015 ranked by genre, of Ireland Republic UK and in the released Films Table per site 19 releases, while sci-fi, which is second in the list, took £125 million from eight releases. However, the the However, releases. eight from Ultron million £125 took list, the in second is which sci-fi, while releases, 19 majority(just 98%)title, thesci-fi was office earnedtotal under one box of byfor just Awakens. office box overall of 1% just took but genres, other the of any than (54) releases more had Documentary documentary, top The receipts. Action topped the box office by genre chart for all UK qualifying films released in 2015 mainly due to to due mainly 2015 in released films qualifying UK all for chart genre by office including box the films, topped Action studio-backed US earning high of number a of success the GENRE OF UK AND UK INDEPENDENT FILM RELEASES GENRE OF UK AND UK INDEPENDENT Source: comScore, BBFC, IMDb, BFI RSU analysis comScore, Source: Notes: of sites at widest point of release. multiplied by average number = number of releases sites Total may not sum to totals due to rounding. Figures as at 21 February 2016. Figures 47 BFI Statistical Yearbook 2016 4. GENRE AND CLASSIFICATION , accounted for 66% of this genre’s gross. Exotic MarigoldHotel,accounted of total for this 66% comedy, earning top the while genre, this for office box total the of 58% for accounted releases, and comedy from million 25£24 with releases. was third Madding Crowd andMacbeth. Biopic – wasreleases the seconddrama independent highestUK earningthree top genreyear’s withthe by £32 million earned fromwas three office 27% of the total box office for all UK independent films. Over half (53%)majority of the of drama UK filmgenre’s releases (87%).total The box £36 million earned by drama films (41 releases)As Table represented 5 shows, drama was the most popular genre for independent UK films, which made up the Figures asat21February2016. Percentages maynotsumto100duerounding. Notes: Source: comScore, BBFC,IMDb,BFIRSU analysis ofce Table 4UKualifyingflmsreleased intheUKandRepublicofIreland bygenre, 2015rankedbygross box Total Crime Family Western Thriller Documentary Romance Horror Music/dance Animation Fantasy Comedy Drama Adventure Biopic Sci-fi Action Genre Number of releases 0 0. 7. 100.0 579.8 100.0 209 886380.7 1.0 3.8 5.8 8.6 25.8 18 54 153601.0 6.0 5.3 11 51. 4342TheSecondBestExoticMarigoldHotel 4.2 6.7 24.3 39.1 12.0 21.1 25 44 99123238.5 223.2 9.1 19 . 01<0.1 <0.1 2.9 6 1 2 4 4 4 1 4 4 8 releases % of all . . <0.1 0.1 0.1 0.6 1.0 0.5 1.0 6.0 1.9 . 031.8 10.3 1.9 . 672.9 3.7 16.7 21.3 1.9 0.5 . 367.5 43.6 1.9 . 359.2 21.6 53.5 125.3 1.9 3.8 Gross box (£ million) office box office % of total , the top earning biopic, top earning Legend, the The Woman in Black: Angel of Death Suffragette, Far from the Star Wars: TheForce Awakens Shaun theSheepMovie Spooks: TheGreater Good The TheoryofEverything The LongGoodFriday The Second Best Top performing A Christmas Star Into theWoods The Martian Suffragette Slow West SPECTRE Cinderella Brooklyn Amy title BFI Statistical Yearbook 2016

4. GENRE AND CLASSIFICATION 48 title Amy Legend Brooklyn Big Game Slow West Suffragette Ex Machina London Road A Christmas Star Top performing performing Top The Long Good Friday Spooks: The Greater Good Spooks: The Greater Shaun the Sheep the Movie Shaun the Sheep the 0.1 0.3 4.3 4.2 3.82.8 in Black: Angel of Death The Woman 2.2 2.1 0.4 11.8 23.4 26.7 17.8 Exotic Marigold Hotel The Second Best <0.1 % of total total of % box office office box 0.1 0.5 5.8 5.7 5.1 3.8 3.0 2.8 0.6 16.1 31.8 36.4 24.3 <0.1 office office (£ million) (£ Gross box box Gross 1.6 0.5 3.3 1.6 1.6 3.8 3.3 1.1 1.6 % of all all of % releases 3 1 6 3 3 7 6 2 3 5410 29.7 5.5 18 9.9 25 13.7 41 22.5 182 100.0 136.0 100.0 releases Number of of Number Animation Family Crime Total Genre Documentary Horror Music/dance Romance Thriller Sci-fi Action Western Biopic Comedy Drama However, when looking at box office by genre, there are some differences between the three categories categories three the between differences some are there genre, by office box at looking and when 30% taking genre However, earning highest the was action films, UK and films all For 5). and independent 4 UK 1, for genre (Tables earning highest the was drama while respectively, the office was box total animation of films, all 39% for genres: earning highest next the for of (22% differ films UK for categories place The (27%). second films in was sci-fi office, box total the of third 16% The with office). earner box highest total of (23% second second was biopic films, UKindependent UK for for and (11%), office) sci-fi box was total it films all for categories: three the across differed also genre earning (18%). highest comedy was it films independent UK for and (9%), biopic was it films Looking at UK films and UK independent films released in 2015, we see mainly similar rankings to those those to rankings similar mainly see we 2015, in released films by office box independent UK of and films share UK the in at Looking differences but genre, by releases of percentages of of terms terms in in films all genres for popular most the were documentary and drama higher Comedy, 2). had and films 1 (Figures genre independent UK and films UK but categories, three all for both of releases of proportion numbers higher a had films all and films, all with compared documentaries of proportions drama and films comedy with compared the two other categories. Source: comScore, BBFC, IMDb, BFI RSU analysis comScore, Source: Notes: may not sum to totals due to rounding. Percentages/figures as at 21 February 2016. Figures Table 5 UK independent flms released in the UK and Republic of Ireland by genre, 2015 ranked by gross box box gross by 2015 ranked by genre, of Ireland Republic UK and in the released flms independent 5 UK Table ofce 49 BFI Statistical Yearbook 2016 4. GENRE AND CLASSIFICATION 10 15 20 25 30 35 40 45 10 15 20 25 30 % ofboxoffice Figure 2roportion ofboxofcebygenre forallflms,UKflmsandindependent2015 Source: comScore, BBFC,IMDb,BFIRSU analysis Figure 1roportion ofreleases bygenre forallflms,UKflmsandindependent2015 Source: comScore, BBFC,IMDb,BFIRSUanalysis % ofreleases 0 5 0 5 UK UKfilms All films UKfilms All films UK independent films independent films

Action Action 8575299242<. . . 01371018102. . 0.1 0.7 <0.1 21.6 2.9 1.0 10.9 1.8 1.0 1.0 0.9 3.7 2.7 <0.1 1.6 6.7 <0.1 1.0 10.0 <0.1 0.6 4.2 0.1 9.2 10.4 2.9 6.4 7.5 16.2 5.8 38.5 30.3 2.1 . . . . 20292. 11050553191938861.0 0.3 8.6 6.9 3.8 2.4 1.9 1.6 1.9 1.2 5.3 5.8 0.5 0.1 0.5 0.4 21.1 25.8 26.5 2.9 15.4 1.4 12.0 21.9 1.9 1.9 1.3 3.8 1.9 9.1 1.6 9.5 3.3 Adventure Adventure - Animation - Animation 182. 78<. . 670.1 26.7 4.3 <0.1 17.8 23.4 11.8 . . 37332. 250.5 22.5 29.7 3.3 13.7 1.6 1.6

Biopic Biopic

Comedy Comedy

Crime Crime Documentary Documentary

Drama Drama

Family Family

Fantasy Fantasy - -

Horror Horror Music / dance Music / dance . . . . . 1.1 9.9 3.8 1.6 1.6 5.5 . . . . . 0.4 2.8 2.2 4.2 0.3 3.8

Romance Romance

Sci-fi Sci-fi

Thriller Thriller

Western Western BFI Statistical Yearbook 2016

4. GENRE AND CLASSIFICATION 50 Top Top Minions Big Hero 6 Big Hero Get Up and Go performing title performing Fifty Shades of Grey Mad Max: Fury Road 6.3 4.3 15.1 55.718.7 Awakens The Force Star Wars: <0.1 box office box % of gross gross of % 0.1 Gross Gross (£ million) (£ box office office box % of of % releases 4081 5.3 10.7 195.4 81.4 52 6.9 55.2 10 1.3 236 31.1 723.7 340 44.8 242.6 759 100.0 1,298.4 100.0 Suitable for all for Suitable by an adult film in a cinema unless accompanied 12 may see a ‘12A’ No-one younger than 15 may see a ‘15’ film in a cinema No-one younger than film in a cinema No-one younger than 18 may see an ‘18’ releases Number of of Number U PG 12A 15 18 No classification Total BBFC BBFC classification U (Universal) PG (Parental Guidance)PG (Parental unsuitable for young children viewing, but some scenes may be General 12A 15 18 Table 8 shows the breakdown of classifications for UK films released in 2015, and Table 9 shows the the shows 9 Table and 2015, in released films UK for classifications of were breakdown the classification shows 8 BBFC by Table released films of proportions The films. independent UK for independent UK and breakdown films UK for that (except films UK independent and films a UK was films, all there films for all similar for and films, all for than films ‘15’ of there but proportion categories), greater two a was other there the films with compared releases ‘12A’ of proportion higher compensating were differences in box office takings by classification between the three categories (Figure 3). Source: comScore, BBFC, BFI RSU analysis comScore, Source: Notes: have a classification for video release. Some of these films ‘No classification’ means no classification issued for theatrical release. as at 21 February 2016. Figures may not sum to totals due to rounding. Percentages Table 7 ll releases in the UK and Republic of Ireland by F flm classifcation, 2015 in the UK and Republic of Ireland 7 ll releases Table Table 7 provides a picture of how 2015 releases were classified. It shows that, as in previous years, more more years, previous in as that, shows It classified. were releases 2015 how was of gross office picture a box of provides 7 share largest Table the but category, other any than of released proportion were The (45%) films began. our ‘15’ records since share largest the was 56% Films at which, films respectively). 30% and ‘12A’ (43% by 2014 earned in than higher was (31%) films ‘12A’ and ‘15’ both for releases 2014. in 27% from gross,down office box overall the 19%of for accounted 2015 in ‘15’ as classified RELEASES AND BOX OFFICE BY CLASSIFICATION RELEASES AND BOX OFFICE Source: BBFC website Source: 6 F cinema flm classifcations Table The symbols used by the BBFC, and their meanings, are given in Table 6. BBFC CLASSIFICATION BBFC premises in exhibition for suitability their indicating (BBFC) classification a carry Classification must UK Film the of in films Board All British The authorities. local by may exhibition authorities local cinematic for although licensed release, theatrical at aimed films of majority the for ratings age provides so. do to decide they if classification own their grant 51 BFI Statistical Yearbook 2016 4. GENRE AND CLASSIFICATION animated titles from the US majors including films and UK independent films. ‘U’ rated releases included a significantThe number‘U’ classification of high earning generated a larger proportion of total box office for all films compared with UK 73% of the category’s total box office for ‘18’ rated releases. and of grosses combined the films, UK independent rated ‘PG’ for office Table 9ReleasesofUKindependentflmsintheandRepublic Ireland byFflmclassifcation,2015 Note: Figures asat21February2016. Source: comScore, BBFC,BFIRSUanalysis. Table 8ReleasesofUKflmsintheandRepublicIreland byFflmclassifcation,2015 small number of high grossing releases. releases. grossing high of number small these classifications shows how the pattern of box office by rating eachclassifications year is usually than thedetermined other twoby categoriesa in 2015. The top earning UKindependent independent UK filmsfilms earnedin each a larger of proportion of their overall box office from the ‘PG’, ‘15’ and ‘18’ film with a ‘12A’ rating was Awakens Force year, ofthe films grossing two top the including ‘12A’ were 2015 titles, in films earning films, 75% of the total box office for UK films and 37% for UKwas independent ‘12A’ followed films. Eleven by ‘15’. of the 20 Filmshighest with a ‘12A’Figure classification 3 shows that for generatedall films, UK films and UK independent 56% of the films,total the highest box earning office classification for all Figures/percentages maynotsumtototals duetorounding. Figures asat21February2016. Notes: Source: comScore, BBFC,BFIRSUanalysis Total 18 Total 18 15 12A PG 15 12A PG U classification BBFC U classification BBFC made up 28% of the total box office for and ‘15’ office box ratedindependent total Amy of films, madethe up UK 28% SPECTRE, and both of which were UK qualifying films. The top earning UK independent Number of Number of releases releases 0 0. 7. 100.0 579.8 100.0 209 21. 18.9 10.5 22 92. 3. 52StarWars: TheForce Awakens 75.2 47.8 435.9 39.1 45.5 28.2 11.5 95 59 24 8 0. 3. 100.0 136.0 100.0 182 The Lady in the Vanthe in Lady The 9 21. 8913.9 22.8 TheSecondBestExotic 36.7 18.9 14.6 31.0 49.9 12.1 19.9 50.5 23.6 22 10.4 92 43 19 6 releases releases The Second Best Exotic Marigold Hotel Marigold Exotic Best Second The % of % of . 38.1 4.3 . 621. ShauntheSheepMovie 11.9 16.2 3.3 , which was among the year’s top 30 highest grossing films. Minions, I box office box office (£ million) (£ million) Gross Gross and Home.nside Outand % of gross % of gross box office box office The Woman in Black: Angel of Death of Angel Black: in Woman The 3.3 . Kingsman:TheSecret Service 8.2 6.7 6.6 earned 80% of the total box The Second Best Exotic Legend earned The Woman in Black: Star Wars: The The LadyintheVan performing title performing title MarigoldHotel Angel ofDeath Marigold Hotel Cinderella Legend Legend Top Top

BFI Statistical Yearbook 2016

4. GENRE AND CLASSIFICATION 52 4.3 3.3 18 13.9 15 8.2 22.8 18.7 36.7 55.7 75.2 12A 6.3 6.7 PG 14.6 U 6.6 15.1 11.9 UK independent films All films UK films 0 10 20 30 40 50 60 70 80 There has been some gradual change in the proportions of releases by classification over the last 10 10 last the over classification by releases of proportions the mainly in has change gradual ‘15’, some been has classification, There common most the for releases of share The 4. Figure in classifications shown as common years, most third and second The time, 2015. in that During 45% as period. high the as of was 40%, most but for around been releases of 40% over for accounted together have compensated being ‘12A’ and ‘PG’ classification ‘PG’ the in decline the slow for the with accounted diverged have consistently have classifications these classifications ‘18’ and ‘U’ The released rating. films ‘U’ ‘12A’ more the in slightly trend were rising a there by 2014 and 2011 In 2006. since released. been releases of have films ‘U’ percentages than smallest films ‘18’ more years other all in but films, ‘18’ than Source: comScore, BBFC, BFI RSU analysis comScore, Source: as at 21 February 2016. Figures Figure ercentage of gross box ofce by F flm classifcation for all flms, UK flms and UK independent independent and UK UK flms all flms, for classifcation flm by F box ofce of gross ercentage Figure flms, 2015 box office % of gross 53 BFI Statistical Yearbook 2016 4. GENRE AND CLASSIFICATION 10 15 20 25 30 35 40 45 50 6%, was6%, the lowest of the period, while the share for ‘12A’ films, at was56%, the highest. films has been compensated by a rising trend in share for ‘12A’ films.half In of2015, the period the sharethey werefor inPG competitionfilms, at with ‘U’ films for third and fourththese place. films were Thevying for decline second in ‘PG’ and third place with ‘15’ films, but as theoverall chart downwardshows, intrend the secondfor box office share for the ‘PG’ classification:earner in thebeing first half‘12A’, of the period with ‘U’ and ’18’ typically being the lowestHowever, earners. However, the box office there ranking has of been the an classifications has remained fairlyThe constantshares of over box officetime; the by top film classification vary from year to year as demonstrated in Figure 5. Source: comScore, BBFC,BFIRSUanalysis % Figure 4ercentage ofreleases intheUKandRepublicofIreland byflmclassifcation,2006-2015 0 5 18 15 12A PG U 2006 884. 664. 733. 283. 2744.8 31.1 42.7 10.7 29.5 38.4 13.3 32.2 42.8 11.3 28.7 38.0 13.3 30.1 37.3 13.1 26.4 44.3 14.4 24.3 36.6 14.3 28.5 40.1 14.6 25.4 38.8 15.9 27.5 14.9 . . . . 0681741. . 6.9 6.3 5.3 10.5 7.0 7.4 6.4 8.1 5.4 10.6 9.7 8.8 9.7 6.8 9.1 4.8 9.1 5.9 5.2 5.7 2007 2008 2009 2010 2011 2012 2013 2014 2015 BFI Statistical Yearbook 2016

4. GENRE AND CLASSIFICATION 54 2015 2014 2013 1.9 3.0 4.7 4.3 2012 2011 2010 2009 20 22.1 22.7 27.8 22.3 24.4 27.2 18.7 2008 2007 5.7 5.5 5.4 6.5 3.4 1.8 13.9 11.8 8.4 11.6 17.8 15.4 10.3 16.3 11.8 15.1 15.243.9 24.221.2 34.7 21.4 23.7 44.8 18.1 41.6 18.3 37.7 10.3 44.7 13.7 51.8 10.7 45.5 11.9 44.3 6.3 55.7 2006 U PG 12A 15 18 0 5 Figure 5 ercentage of gross box ofce of releases in the UK and Republic of Ireland by flm classifcation, classifcation, by flm of Ireland and Republic the UK in of releases box ofce of gross 5 ercentage Figure 2006-2015 box office % of gross Source: comScore, BBFC, BFI RSU analysis comScore, Source: Notes 4. See note to Figure as at 21 February 2016. Figures 10 15 20 25 30 35 40 45 50 55 60 55 BFI Statistical Yearbook 2016 4. GENRE AND CLASSIFICATION from 3D screenings. Five UK qualifying films appear in the list, up from three in 2014. earned at 3D screenings. at screenings. 3D earned Four of the films in the list were shown in both 3D and 2D, and 15% theof listthe includesbox office forfour these other films wasgenres (Table 11). Comedy was the mostThe popularhighest genreearning withrelease four releases.in the top 10 ‘PG’ classified films in 2015 was another animated feature, but * Filmstillonrelease on21February2016. Figures asat21February2016. Notes: Source: comScore, BBFC,IMDb,BFIRSU analysis Table 10Top 10U’classifedflms,2015 are three UK qualifying films in the list, up from two in 2014. The top five ‘U’ classified titles also feature in the list of top 20 best performing films of the year. There box office for these was films earned from 3D screenings. with nine of the top 10 titles. Six of the animations were released inAnimation, both 3D whichand 2D is and traditionally 15% of aimedthe total at the youngest audiences, Tableis the most 10 popularshows genrethe top in the10 list ‘U’ classified films at the box office in the UK and Republic of Ireland in 2015. TOP FILMSBYCLASSIFICATION 10 1 2 4 3 5 6 The SpongeBob Movie: Sponge 8 Snoopy and Charlie Brown: 7 9 Title Minions* Inside Out* Cinderella Home Hotel Transylvania 2 Shaun theSheepMovie out of Water The PeanutsMovie Two by Two by Two Legend oftheLostTreasure Thomas & Friends: Sodor’s The WalkThe , at 45%, generated the highest percentage of its total box office gross Ger/Bel/Lux/Ire/USA of origin Country UK/USA UK/Fra USA USA USA USA USA USA UK box office (£ million) Gross 47.7 39.3 21.3 542t etr o Animation 20thCenturyFox 25.4 04Sn itrsAnimation SonyPictures 20.4 13.8 . 0hCnuyFxAnimation 20thCenturyFox 8.6 9.9 3.2 . ainlAueet Animation NationalAmusements 0.6 Distributor tdoaa Animation StudioCanal Walt Disney Walt Walt Disney Walt OeFlsAnimation eOne Films aaon Animation Paramount nvra Animation Universal Animation Fantasy Genre BFI Statistical Yearbook 2016

4. GENRE AND CLASSIFICATION 56 Sci-fi Action Genre Genre Comedy Animation Animation Adventure Music/dance Vertigo Comedy Universal Action Universal Action Universal Biopic Lionsgate Adventure Paramount Action eOne Films Drama Walt Disney Walt Disney Walt Disney Walt Disney Walt Disney Distributor Distributor Warner Bros UTV Motion Pictures Pictures Motion UTV , and all of the films in the list appear appear list the in films the of all and , 9.9 9.2 2.7 1.6 Sony Pictures Comedy 1.4 Sony Pictures Drama 0.6 0.5 95.2 Sony Pictures Action 20.7 16.0 20th Century Fox Comedy 64.5 48.3 38.6 29.2 23.5 20th Century Fox Adventure 14.8 21.7 21.2 17.8 20th Century Fox Thriller 122.3 Gross Gross Gross Gross (£ million) (£ (£ million) (£ box office office box box office office box Ind UK UK UK Fra USA USA USA USA USA USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA USA/Ger Country Country Country Country of origin of of origin of UK/USA/Aus UK/USA/Can Star Wars: the Force Awakens the Force Wars: Star Star Wars: The Force Awakens* The Force Star Wars: SPECTRE* Jurassic World Big Hero 6 Big Hero Fast & Furious 7 Marigold Hotel Hotel Marigold The Good Dinosaur Avengers: Age of Ultron Title Title Mockingjay – Part 2 The Martian* The Theory of Everything Into the Woods Pan* Mr Holmes Rogue Nation Taken 3 Paul Blart: Mall Cop 2 Paul Blart: Mall Cop The Walk Bill Tamasha 1 2 3 1 5 2 Exotic Best Second The 3 4 6 Games: Hunger The 7 8 4 5 6 9 – Impossible Mission: 7 8 9 10 10 in the top 20 highest grossing films of the year. Six UK qualifying films feature in the list, compared compared list, the in feature films qualifying UK Six year. the of films grossing highest 20 top the in 2014. in one with Source: comScore, BBFC, IMDb, BFI RSU analysis comScore, Source: Notes: as at 21 February 2016. Figures on 21 February 2016. * Film still on release Table 12 Top 10 12’ classifed flms, 2015 10 12’ 12 Top Table Half of the releases in the top 10 ‘12A’ classified films list are action titles (Table 12). The top film in the the in film top The 12). (Table titles action are list films classified ‘12A’ 10 top the in releases the of Half 2015, of film earning highest the is list Source: comScore, BBFC, IMDb, BFI RSU analysis comScore, Source: Notes: as at 21 February 2016. Figures on 21 February 2016. * Film still on release 2015 flms, G’ classifed 10 11 Top Table 57 BFI Statistical Yearbook 2016 4. GENRE AND CLASSIFICATION Table 1Top 1015’classifedflms,2015 2014. in three from down 10, also appear in the top 20 highest grossing films of the year. One UK qualifyingMax: Fury Roadand film appears in the top including four titles, common with genre use of stronger language and violence. This is reflected in the top 10audiences. for 2015, Depending where oncomedy the type ofis thefilm they most are likely to involve moreBy definition,adult-oriented ‘15’ classified themes filmsand contain the stronger material than those deemed suitable for younger were two UK films in the top 10 ‘18’ films in 2014. category to gross more than £1 million and was one of three UK qualifying films in independent topUK the earning top title of the year 10.was an ‘18’ film. There become the highest earning ‘18’ certified film of allGrey timeof at theShades UK 2015, In Fifty box million. office £22 more than (TableGirl each earned 14). Unusually, the but 2013 in strong content. In recent years, it has been rare for an ‘18’Films classified classified film toas ‘18’break generallythe £10 million appeal barrier, to a narrower audience than other classifications due to their Note: Figures asat21February2016. Source: comScore, BBFC,IMDb,BFIRSU analysis 10 9 8 7 6 5 4 3 2 1 Birdman Magic MikeXXL Focus Straight OuttaCompton Southpaw Ted 2 Ted Spy Title American Sniper Kingsman: TheSecret Service Mad Max:FuryRoad DjangoUnchained grossed more than £15 million and in 2014 Kingsman: The Secret Service Ted 2 Spy Ted and of origin USA/Aus Country USA/Arg UK/USA (Table 13). MadMax:Fury Road is (Table 13). the only title in the list to USA USA USA USA USA USA USA , and action is the top earning genre with with genre top earning the is action , and box office (£ million) Legend was the only other release in this Gross 10.0 012t etr o Comedy 20thCenturyFox 10.1 13.7 662t etr o Action 20thCenturyFox 16.6 17.4 . 0hCnuyFxComedy 20thCenturyFox 6.1 6.9 8.2 7.4 . netimn Drama Entertainment 8.7 grossed just over £35 million to The Wolf of WallStreet of Wolf The Warner Bros Warner Warner Bros Warner Warner Bros Warner Warner Bros Warner Distributor nvra Biopic Universal nvra Comedy Universal and Gone and Mad Comedy Genre Drama Action Biopic BFI Statistical Yearbook 2016

4. GENRE AND CLASSIFICATION 58 Genre Vertigo Drama Universal Drama Universal Documentary Lionsgate Thriller Park Circus Drama StudioCanal Biopic Distributor StudioCanal Comedy 0.5 Entertainment Thriller 0.3 0.2 0.2 Curzon Artificial Eye Drama 35.1 18.4 <0.1 <0.1 Artificial Eye Curzon Drama <0.1 <0.1 Gross Gross (£ million) (£ box office office box Ire UK UK Fra USA USA USA USA UK/Fra UK/Hun Country Country of origin of Fifty Shades of Grey Legend Knock Knock Title The Diary of a Teenage Girl The Diary of a Teenage Kill Your Friends Kill Your The Duke of Burgundy The Queen Of Ireland Love Good People True Romance 1 2 3 4 5 6 7 8 9 10 Source: comScore, BBFC, IMDb, BFI RSU analysis comScore, Source: as at 21 February 2016. Note: Figures Table 14 Top 10 18’ classifed flms, 2015 flms, 18’ classifed 10 14 Top Table 5. SPECIALISED FILMS 59

courtesy of Eros International Image: Bajrangi Bhaijaan courtesy of Eros FILMS SPECIALISED CHAPTER 5 SPECIALISED FILMS

Specialised films are a vital part of our film culture and offer audiences an experience of cinema that is very different from mainstream commercial fare. In 2015, they made up six in 10 films released in the UK and grossed £48 million.

FACTS IN FOCUS A total of 456 specialised films were released in the UK in 2015 (60% of all films released) earning £48 million (3.7% of the total box office).

Films in 38 different languages (including English and Welsh) were released in the UK in 2015. There were three releases with no spoken dialogue.

The 277 foreign language films released in the year accounted for 37% of all releases, but shared just 2% of the UK box office.

Hindi was the top earning non-English language at the UK box office; the highest earning foreign language film was Bajrangi Bhaijaan (in Hindi) which grossed £2.7 million.

A total of 117 documentary films were released, accounting for 15% of releases but just 0.6% of the total box office. Amy became the highest grossing non-concert UK documentary of all time at the UK box office with takings of £3.8 million.

There were 38 re-releases (5% of the total), accounting for 0.2% of the overall box office.

60 BFI Statistical Yearbook 2016

5. SPECIALISED FILMS 61

27 56 40 19 27 106 point widest widest Average Toy Story of release of Share of of Share office(%) gross box box gross

office office (£ million) (£ Gross box Gross (%) 6.7 6.7 13.1 1.0 5.0 5.0 2.0 0.2 36.8 36.8 25.6 2.0 15.4 15.4 8.3 0.6 100.0 100.0 1,298.4 100.0 Share of of Share releases releases

52 38 759 456 60.1 48.0 3.7 277 117 Number of releases

Star Wars: Episode 1 – The Phantom Phantom The – 1 Episode Wars: and, Star Beauty and the Beast (2011) The Lion King (all released in 3D in 2012). These ‘re-releases’ are not considered as specialised films films specialised as considered not are ‘re-releases’ These 2012). in 3D in released (all All films All specialised films* Other specialised specialised Other Re-release Type Foreign language Foreign Documentary An analysis of specialised film releases and market share from 2006 to 2015 is shown in Figure 1. 1. Figure in shown is 2015 2006to from share market and film releases specialised of analysis An the while period the over 70% 60% and between been has film releases specialised of proportion The 2009, in years peak three 8%-9% from apart around at remained films has these for share market At audiences. mainstream to over crossed titles specialised of number small a when 2012 and 2011 can which period, entire the for lowest the was films2015 in specialised for share market the 3.7%, grossing high of number small a from takingsderived office box record the by explained be partly year. filmsthat in mainstream Source: comScore, BFI RSU analysis comScore, Source: and a documentary) this * Due to some overlap of categories (eg a film such as Man with a Movie Camera can be categorised as a re-release to the number of specialised films, not the sum total of the categories in the table. total refers Table 1 Specialised flms in the UK and Republic of Ireland, 2015 1 Specialised flms in the UK and Republic of Ireland, Table In total, 456 specialised films were released in 2015, representing 60% of all UK theatrical releases in the the in releases theatrical UK all of 60% representing 2015, in released were films specialised However, 456 earnings. total, In office box total of share 3.7% a million, £48 grossed films These 1). of shares (Table small year very took (0.2%) re-releases and (2%) films language foreign (0.6%), documentaries overalloffice box revenues. SPECIALISED FILMS AT THE UK BOX OFFICE IN 2015 THE UK BOX SPECIALISED FILMS AT ABOUT SPECIALISED FILMS SPECIALISED ABOUT The BFI considers most feature documentaries, subtitled foreign language films and re-releases of of re-releases and films language foreign subtitled documentaries, feature most considers BFI The originally were which films, mainstream some years recent In specialised. be filmsto archive/classic the original include Examples format. in the 3D been‘re-released’ have inshown 2D, and made (released in 3D in 2009), in 3D in (released Other films that do not fall into the above categories may also be considered as specialised. Generally Generally specialised. as considered be also may categories above the into fall not do that films Other of majority the than matter describedsubject as films challenging with and a distinctive complex genre, hook or style,more thesewith by releasesdeal handled may bemay be less easyor may to definegenre they as aparticular (although sector production independent the a from with are Many (compared films. budget mainstream production low a with made are or names distributor) star and studio-based effects than mainstream, a rather character and script on more focus may They (Non-feature films. production). studio mainstream than segment audience narrower a to appeal are to they expected be specialised; be may to and considered not are performances, live recorded as such releases, film categorised as cinema. event information,more For see the Exhibition report.) Menace and Titanic analyses. present the in 62 BFI Statistical Yearbook 2016 5. SPECIALISED FILMS 10 20 30 40 50 60 70 80 from 117 in 2009 to a low of 52 releases in 2015.category of films with an innovative or unconventional approach, genresince or 2011 style sawmay numberspartly be explained decline by the expansion of digital distribution.one-off Finally, screenings the moreoften subjectiveshown in independent cinemas. The increasefalling in theback numbers slightly of in re-releases 2015. However, the numbers do not includebut then all increasedre-releases, slightly particularly each limitedyear between or 2011 and 2014 (whennumber it of reachedre-released a high films pointtracked ofby comScore49) before each year was usually lowbetween of 25 161 and 30 releases up to 2011,in 2009 to a high of 279 in 2013. There lowwere point 277 foreignof 34 inlanguage 2006 to 117releases in 2015.in 2015. The The number of foreignsteady language increase films has alsoin theincreased, number fromof theatricallya released feature documentariesunderstand over the thepatterns period of– from specialised a film distribution over time. As Figure 2 shows,language there films, hasre-releases been a and others (films with a distinctive genre, hook orBy style) sorting – specialisedwe can betterfilms into the four separate categories mentioned above – documentaries, foreign Source: comScore, BFIRSUanalysis % Figure 1Specialisedflms,2006-2015percentage ofreleases andmarketshare 0 Specialised ﬁlmsas%oftotal aktsaeo pcaie im . . . 52631. 21959.2 9.5 12.1 16.4 6.3 15.2 8.2 8.0 8.5 Market share ofspecialised films releases 2006 886. 666. 63.6 68.8 66.6 64.4 58.8 2007 082009 2008 0021 0221 042015 2014 2013 2012 2011 2010 61.8 686. 4360.1 64.3 63.9 66.8 3.7 BFI Statistical Yearbook 2016

5. SPECIALISED FILMS 63 7 52 38 11 277 in in Macbeth. 49 87 98 in 2001. The The 2001. in 42 70 89 in in Slumdog Millionaire 34 86 Michael Jackson’s This Is It This Jackson’s Michael 31 88 100 68 28 88 58 2010 2011 2012 2013 2014 2015 25 56 Crouching Tiger, Hidden Dragon Tiger, in 2004 Crouching or in 2015. Foreign language in in 2015. and Amy 2013 film grosses have which alone grossed £0.8 million. Finally, the more subjective subjective more the Finally, million. £0.8 grossed alone which 26 97 117 49 2008 2009 2007 The Passion of the Christ in 2012. The top release top in and Life of Pi in this The 2012. in 2011 category in was 2015 2573 29 109 34 36 2006 Blade Runner: The Final Cut Final The Blade Runner: Re-release Other specialised Foreign languageForeign 171 170 188 161 199 180 230 279 255 Documentary 0

50 category of films with non-mainstream genres or styles has achieved its highest grosses in years when when years in grosses highest its achieved has styles or genres non-mainstream with films of category its titles of a few translated have critical acclaim box office into success such as 2009, The King’s Speech One Direction: This Is Us This One Direction: 2009, Senna in 2011, Source: comScore, BFI RSU analysis comScore, Source: combined annual revenues for re-releases of archive/classic titles are consistently small, rarely rising rising rarely small, consistently are titles archive/classic of re-releases for by led revenues million £2 annual of takings combined office box overall with year strong a was 2015 although million, £1.5 above of re-release the remained reasonably consistent across the last 10 years with few high earning titles like those seen in in seen those like titles earning high few with years 10 last the across consistent reasonably remained as such 2000s early the The box office performance of specialised films, again split into the four categories of documentaries, documentaries, of categories four the into split again films, specialised of performance office box The release the by affected foreignparticularly are language films films,specialised of re-releases and other categories films all withfor have a distinctiverevenues documentaries office hook, for genreBox or3. style, Figure isrevenues shown in as 2006-2015, period such the Over titles titles. earning high of break-out number of small a of number a of release the with peaks witnessed Figure 2 Number of specialised releases in the UK and Republic of Ireland, 2006-2015 of Ireland, Republic UK and in the releases of specialised 2 Number Figure 100 150 200 250 300 350 400 450 500 64 BFI Statistical Yearbook 2016 5. SPECIALISED FILMS original title of the 1954 radio drama from which it was adapted, adapted, was it which from drama radio 1954 the of title original released the year,during language film Dany Wenallt. The film was also released in English under the share of overall box office revenues, followed by Tamil (0.2%) and Frenchfollowed (0.1%). by French.There wasHindi one was againWelsh the top non-English language atAfter the English,box office the bymost value, common with alanguages, 1.1% in terms of numbers of releases, were Hindi and Tamil communication grunts. in is classic, re-releases of Dziga Vertov’s 1929 Soviet documentary Ireland in 2015, two more than in 2014 (Table 2). There were alsoFilms three in releases38 different with nolanguages spoken (including dialogue: English and Welsh) were released in the UK and Republic of NON-ENGLISH LANGUAGEFILMS Source: comScore, BFIRSUanalysis £ million Figure oxofcegross ofspecialisedflmsreleased intheUKandRepublicofIreland, 2006-2015 100 120 140 160 180 200 20 40 60 80

0 te pcaie 3 Other specialised Re-release Foreign language Documentary Steamboat Bill, Jr. 2006 29.8 4. . . 1.0 1.7 1.2 7.4 6 starring Buster Keaton, and the 2015 British satire satire Buster Keaton, 2015 British the and starring 2007 32.3 39.7 1.6 082009 2008 51133.1 45.1 27.1 4.1 5630.3 25.6 12.0 0.7 Man withaMovieCamera and the 1928 silent 0021 0221 042015 2014 2013 2012 2011 2010 30.5 1.9 1.7 150.2 Under Milk Wood. 24.4 11.1 . . . 1.8 1.3 1.6 1.4 108.1 Aaaaaaaah! where all 28.0 5.9 73.5 4824.0 24.8 10.7 70.5 3.2 25.6 13.1 8.3 2.0 BFI Statistical Yearbook 2016

5. SPECIALISED FILMS 65 office share (%) share % of total total of % gross box box gross Box office office Box office office (£ million) (£ Gross box box Gross (£ million) (£ Box office office Box 2 3 <0.1 <0.1 <0.1 <0.1 759 759 1,298.4 100.0 releases % of all all of % releases Number Main language Main of Number 20062007 1712008 1702009 33.9 1882010 32.9 1612011 35.7 199 29.82012 32.0 180 32.32013 35.7 230 27.12014 32.3 279 3.5 25.62015 35.5 255 3.5 30.3 40.0 277 2.9 24.4 35.8 2.3 28.0 36.8 3.0 24.8 2.2 24.0 2.4 25.6 2.2 2.2 2.0 Thai Silent/no dialogue Total Source: comScore, BBFC, IMDb, BFI RSU analysis comScore, Source: as at 21 February 2016. Note: Figures Asian South the from languages in Films from office box the of 1.4% shared subcontinent languages European in films and releases of 16.6% box gross the of 0.4% earned English than other Taken 4). (Table releases of 12.6% from office shown were films language non-English together, of point widest their at sites 19 at average on of average an with compared 2014) in (17 release 158 sites for English language releases. Source: comScore, BBFC, IMDb, BFI RSU analysis BBFC, IMDb, BFI comScore, Source: films whose main language was * ‘English with others’ includes use of other languages, such as English but with extensive and Sicario in English and The Martian in English and Mandarin Spanish. language. is a UK official ** Welsh 277 over spread were languages foreign 36 The of (37% Ireland of Republic and UK the in releases 2014) on point percentage one up releases, all office box the at million £26 earned which gross total the of 2% represented This 3). (Table 2015. for office box UK and language flms at the Foreign Table 2006-2015 box ofce, Republic of Ireland share (%) share Box office office Box office office (£ million) (£ Gross box box Gross 6 5 0.8 0.8 6 0.1 8 0.1 0.6 7 0.5 3 <0.1 0.4 8 <0.1 0.4 <0.1 0.4 7 <0.1 <0.1 0.3 8 3 <0.1 0.3 3 0.2 6 <0.1 0.1 1 <0.1 0.1 4 <0.1 0.1 1 <0.1 0.1 2 <0.1 0.1 1 <0.1 <0.1 1 <0.1 <0.1 <0.1 1 <0.1 <0.1 1 <0.1 <0.1 2 <0.1 <0.1 1 <0.1 <0.1 1 <0.1 <0.1 1 <0.1 <0.1 1 <0.1 <0.1 1 <0.1 <0.1 2 <0.1 <0.1 1 <0.1 <0.1 1 <0.1 <0.1 <0.1 <0.1 <0.1 40 40 39 14.2 41 2.2 11 1.1 1.9 0.2 1.0 0.1 20 0.1 0.7 0.1 19 0.4 13 <0.1 0.3 <0.1 427 427 1,039.8 80.0 releases Main language Main of Number English Swedish Punjabi Japanese Arabic Farsi Italian Turkish Malayalam Cantonese Danish Telugu Indonesian Russian Hungarian Norwegian Estonian Welsh** Georgian Gujarati Dutch Bulgarian Korean Polish Amharic Bengali Hebrew Sotho Dari English with others* with English Hindi Tamil 51 French 232.7 Spanish 18.0 Urdu Portuguese Mandarin German Table 2 anguages of flms released in the UK and in the UK released of flms 2 anguages Table box ofce gross 2015 ranked by of Ireland, Republic 66 BFI Statistical Yearbook 2016 5. SPECIALISED FILMS Arabic with French). 10, top the in appear films nominated Table 4anguageofreleases intheUKandRepublicofIreland, 2015rankedbynumberofreleases Punjabi), while five of the films were in European languages (includingThree of thethree top earningin inthefilms 2015 French). list were in other Two South Asian languages (Urdu, Oscar Tamil and comparedover million, £1 eightgrossed with language releases.Hindi language film top four foreign language films were in Hindi. Furthermore, across the two years, language release in 2015 only fourafter language titles. 2015Hindi was the second one consecutive year that the non-Hindi UK and Republic of Ireland box office. However, this film was only thethis fifth highestlist is earning the foreign Argentinian black comedy Table 5 shows the top 10 highest earning non-Hindi foreign language films of 2015. At number one in Figures/percentages maynotsumtototals duetorounding. Figures asat21February2016. ** IncludesWelsh. * SeenotetoTable 2. Notes: Source: comScore, BBFC,IMDb,BFIRSUanalysis English andwithothers* Main language South Asiansubcontinent European otherthanEnglish** West Asian/ Middle Eastern Middle Asian/ West East Asian Other international Silent/no dialogue Total Number of releases The Tale of the Princess Kaguya Princess the TaleThe of Wild Tales Wild 478 126 759 95 33 22 2 3 (in Spanish), which took just over £0.7 million at the releases 100 1284 100 106 100.0 1,298.4 100.0 % of 6. ,7. 80 158 98.0 1,272.5 63.0 1. 18.4 16.6 12.5 4.3 2.9 03 <. <0.1 <0.1 0.3 04 <. <0.1 <0.1 0.4 Gross box (£ million) (in Japanese) and and Japanese) (in office office 5.3 1.2 1.1

% of gross box office 1.4 0.4 0.1 0.1 Timbuktu widest point of release (in (in Average sites at ® 26 16 16

5 7 9 BFI Statistical Yearbook 2016

5. SPECIALISED FILMS 67 Urdu Arabic French Punjabi Spanish Swedish language language Distributor Yash Raj Films Metrodome French StudioCanal Japanese Distributor Distributor Main Aascar Films Tamil Soda Pictures French

2.7 2.7 International Eros 2.4 2.4 Pictures Motion UTV 1.6 1.6 Fox Century 20th 1.4 1.4 International Eros 0.5 0.5 International Eros 0.5 0.5 Pictures Motion UTV 0.5 0.5 International Eros 0.5 0.5 International Eros 0.4 0.4 International Eros 0.4 0.4 (£ million) (£ office 0.3 0.3 Eye Artificial 0.3 Curzon Eye Artificial 0.3 Curzon 0.3 0.2 Network B4U 0.6 0.6 Eye Artificial 0.5 Curzon 0.4 0.3 Network B4U 0.7 0.7 Eye Artificial Curzon (£ million) million) (£ Gross box box Gross India India Japan origin France Fra/UK Arg/Spa Pakistan India India India India India India India India India Fra/Bra/Ita Country of of Country Mauritania/Fra India/UAE Swe/Nor/Den/Fra Country of origin of Country total office box UK , with box office takings of £2.7 million. The top four films in the list were were list the in films four top The million. £2.7 of takings office box with Bhaijaan, Bajrangi

Bajrangi Bhaijaan Title Title Dilwale Title The Salt of the Earth Gemma Bovery Ji Sardaar The New Girlfriend Timbuktu Bin Roye I Kaguya The Tale of the Princess Wild Tales Wild Majeure Force Prem Ratan Dhan Payo Ratan Prem Bajirao Mastani Tanu Weds Manu Returns Tamasha Dil Dhadakne Do Welcome Back Singh Is Bliing

1 2 7 8 9 6 3 4 5 1 2 3 4 5 6 7 8 9

10 10 Piku Figures as at 21 February 2016. Figures * For Hindi titles, see Table 6. * For Hindi titles, see Table Notes: Source: comScore BBFC, IMDb, BFI RSU analysis comScore Source:

Table 5 Top 10 foreign language flms excluding indi released in the UK and Republic of Ireland, 2015 Ireland, of and Republic the UK in indi released flms excluding language 10 foreign 5 Top Table Note: Figures as at 21 February 2016. Note: Figures Source: comScore, BBFC, IMDb, BFI RSU analysis comScore, Source:

Table 6 Top 10 indi language flms released in the UK and Republic of Ireland, 2015 Ireland, in the UK and Republic of 10 indi language flms released 6 Top Table halftimes greater than foreignlanguage grossreleases. thenon-Hindi combined the 10 top of the drama drama the a and two than more was year the of releases language Hindi 10 top the of gross office box combined Table 6 shows the top 10 film releases of 2015 whose principal language is Hindi. At the top of the list is is list the of top the At Hindi. is language principal whose 2015 of releases film 10 top the shows 6 Table The office. box the at million £1 over took which of all 2015, of films language foreign four top the also 68 BFI Statistical Yearbook 2016 5. SPECIALISED FILMS it would appear that that appear would it release in the list is non-concert documentaries since 2001 are UK films. UK are 2001 since documentaries non-concert the list is a film about the lead singer of rock bandthird andNirvana, another film by Asif 2004. Kapadia,in million the £6.5 2011grossed releasewhich grossing non-concert documentary Tableof 8all shows time the top 20at non-concert the UKdocumentaries box atoffice the UK box officeis sinceMichael 2001. The highestMoore’s takings of £3.8 million. year and became the all-time highest earning UK non-concert documentary atAsif theKapadia’s UK box office with film about the life of Amy Winehouse was one ofconcert the top documentary 10 independent of 2015, however,UK films of the was also a film about a popularperformance andrecording behind-the-scenes star: footage British of populardirector musical performers. The most successful non- of coverage which feature a particular and ‘concert’ documentaries, of style documentary observational office gross. We have split our analysis of this category into the morerepresenting traditional 15%expository of ortheatrical releases. They earned £8.3 million which wasA total 0.6% of of 117 the overall feature box documentaries were released at the UK and Republic of Ireland box office in 2015, DOCUMENTARIES Source: comScore, BFIRSUanalysis Table 7Top 10non-nglishlanguageflmsreleased intheUKandRepublicofIreland, 2001-2015 Ireland between 2001 and 2015. The top is thefilm release 2004 Table 7 shows the 10 highest grossing non-English language films released in the UK and Republic of French language title. are also three Spanish language films in the list (twomartial from arts films,Spain which and onereflects from the Southpopularity America), of theandCrouching genre Tiger,one with HiddenDragon UK audiences in the early 2000s. There however, its actual box office gross is slightly smaller.) by followed 0Dhoom:3 10 9 8 7 6 5 4 3 2 1 Pan’s Labyrinth The Motorcycle Diaries Volver House ofFlyingDaggers Hero Apocalypto Amélie Crouching Tiger, HiddenDragon Title The PassionoftheChrist Crouching Tiger, HiddenDragon Dhoom: 3 which earned £2.7 million in 2013. (As the figures in the chart are rounded, Pan’s Labyrinth Bajrangi Bhaijaanshouldincluded be alongside Pan’s is the first film in Hindi to appear in the top 10 since our records began. top 10 records our the since appear in to Hindi in film first the Dhoom: 3is is one of three Mandarin language films in the list, all of which are wuxia joins the list in second place pushing second place in pushing list Amy the joins Aramaic/Latin/Hebrew (£9.4 million) which was released in 2001. The most recent French/Russian agae UK box office Language Mandarin Mandarin Mandarin Spanish Spanish Spanish Mayan Hindi Senna, into fourth place. Another new entry in Cobain: MontageofHeck. Nine of the top 20 total (£ million) total The Passion of the Christ the of Passion The 11.1 . piu 2006 Optimum 2.7 2.7 . ah 2004 Pathé 2.8 . ah 2006 Pathé 2.9 . ah 2004 Pathé 3.8 3.8 4.1 . oetm2001 Momentum 5.0 . oyPcue 2001 SonyPictures 9.4 Yash Raj Films Raj Yash March ofthePenguins to Distributor Walt Disney Walt and Dhoom:3, and Fahrenheit 9/11 Fahrenheit (£11.1 million), cn2007 Icon cn2004 Icon release Year of 2013 2004

BFI Statistical Yearbook 2016

5. SPECIALISED FILMS 69 Icon Revolver Distributor Warner Bros Picturehouse/ (sites) Widest Widest release point of of point

, which earned £0.4 million million £0.4 earned which , Box Box gross gross office (£ million) (£ Year of of Year release Roger Waters The Wall The Waters Roger , which earned £9.8 million in 2009. The highest highest The 2009. in million £9.8 earned which , UK 2014 0.6 33 Picturehouse UKUK 2015UK 2011 3.8UK 2003 280 3.2 2011 2.6 358 Altitude 1.3 50 Universal 125 Pathé CinemaNX Fra 2005 3.3 163 Fra 2003 0.7 15 Tartan USA 2004 6.5 200 Optimum USAUSAUSA 2003USA 2009 2015 0.5 2004 0.4 0.4 17 0.4 18 Metrodome 85 Momentum 26 Munro Tartan USA 2002 1.7 37 Momentum USAUSA 2004 2006 1.1 0.9 83 68 Tartan Paramount Ger/Fra 2011 0.7 26 Artificial Eye UK/USA 2012UK/USA 1.1 2008 77 0.9 43 Country Country of origin of UK/Jam/USA 2012 1.0 333 Universal Michael Jackson’s This Is It This Jackson’s Michael Fahrenheit 9/11 Fahrenheit Amy Senna March of the Penguins March Touching the Void Bowling for Columbine The Imposter TT3D: Closer to the Edge TT3D: Closer to the Super Size Me Title Title 1 2 4 3 5 6 8 7 9 17 Spellbound 15 Forgotten Dreams Cave of 16Days on Earth 20,000 UK/Can/Fra/Ger/USA18 Issue The September 19 2011 Montage of Heck Cobain: 20 the Friedmans Capturing 0.6 39 Picturehouse 14 Pina 13 et Avoir Être 10 Marley 11 Truth An Inconvenient 12 Wire Man on A number of concert performance documentaries, often now in 3D, are released theatrically every year. year. every theatrically released are 3D, in now often documentaries, title performance grossing concert highest of The number A 2015. to 2008 from category this in documentaries 10 top the shows 9 Table periodthe is during released earning concert performance film in the UK in 2015 was Source: comScore, BFI RSU analysis comScore, Source: Notes: and shorts. The table does not include concert performance documentaries, IMAX-only documentaries data for 2001-2015. Based on box office documentary of all time because, even with price inflation, it is unlikely that any feature as the highest grossing Fahrenheit 9/11 is regarded in nominal terms. 1989 will have earned more documentary films before and is just outside the top 10 concert documentaries. concert 10 top the outside just is and 2001-2015 of Ireland, and Republic the UK in released documentaries feature 20 non-concert 8 Top Table 70 BFI Statistical Yearbook 2016 5. SPECIALISED FILMS Table 9Top 10concertdocumentariesreleased intheUKandRepublicofIreland, 2008-2015 2015 re-release of re-release 2015 anniversary re-release of sci-fi comedy grossed over £1 million of –re-release 2012 Steven the is entry Spielberg’sother 20th anniversary re-releasefrom its 2014 ofre-release (as part of epic the sci-fi BFI’s His Kubrick. Sci-fiStanley season)director for andentries at number 12 from its 2001 re-release. His The topped by is years. list Table 10 shows the top 20 specialised re-releases at UK and Republic of Ireland cinemas over the last 15 initial release, is missing from this analysis, so the actual box office share is likely to be greater. revenue for films, which tend to be booked for a limited time into re-releasesspecialised cinemas are longtracked byafter comScore, their which primarily focuses on first-run combinedfilms. Some grossadditional of £2 million (0.2% of the total box office). However, not comScoreall box office these revenues re-releases for accounted for 3.6% of the year’s theatricalIn 2015, releases 38 archive/classic and generated titles were a re-released in the UK and Republic of Ireland. According to RE-RELEASES Source: comScore, BFIRSUanalysis 0TheStoneRoses:Madeof 10 9 8 7 6 Hannah Montana/Miley Cyrus: Best 5 4 3 2 1 JLS: Eyes Wide Open3D JLS: EyesWide Shine aLight Glee: The3DConcertMovie U2 3D of BothWorlds Concert Katy Perry:PartofMe Justin Bieber:NeverSay One Direction: ThisIsUs Michael Jackson’s ThisIsIt Title Blade Runner: The Final Cut A Clockwork Orange The Shining The Country of Country Back totheFuture (2010). There is one new entry in the list: the S/K20 . 5 20thCenturyFox 159 0.7 2008 USA/UK KUA21 . 7 SonyPictures 479 8.0 2013 UK/USA origin is at number four with box office takings of £0.8 million. S 01073520thCenturyFox 335 0.7 2011 USA S 080767 0.7 2008 USA S 080865 0.8 2008 USA S 021236Paramount 326 1.2 2012 USA S 012338Paramount 388 2.3 2011 USA S 099848SonyPictures 498 9.8 2009 USA , which grossed £2.1 million in 2000 and is the first of four K21 . 3Picturehouse 83 0.5 2013 UK K21 . 1 Omniverse 210 0.5 2011 UK . Alongside . Alongside

2001: A SpaceOdyssey release Year of Year A Clockwork Orange, two other re-releases have

Box office (£ million) gross appears twice, at number nine

E.T. (2002) and the 25th point of release Widest (sites) Distributor Walt Disney Walt Revolver BFI Statistical Yearbook 2016

5. SPECIALISED FILMS 71 BFI BFI BFI BFI BFI BFI UIP Optimum Walt Disney Distributor Warner Bros Warner Bros 5 4 5 5 (sites) Widest Widest release release point of of point Box Box (£m) gross gross office 2015 0.8 136 Year of of Year re-release UK 2012 0.2 149 20th Century Fox UK 2000 2.1 328 Fra 2000 0.2 USA 2012 0.4 319 Universal USAUSA 2007USA 0.3 2001USA 0.3 2007 33USA 2011 0.2 Circus Park 2012 0.2USA 19 0.2 13 2012 Lionsgate 17 0.2 Park Circus 325 20th Century Fox USAUSA 2011 2001 0.5 0.5 277 22 Universal USAUSA 2002 2010 2.1 1.2 313 273 Universal Ita/Fra 2003 0.3 UK/USA 2014 0.4 60 UK/USAUK/USA 2001 0.3 2012 0.2 29 UK/USA 2003 0.5 134 20th Century Fox Country Country UK/USA/ UK/USA/ of origin of Hong Kong Title (year of originalrelease) of Title(year 2001: A Space Odyssey (1968) Jaws (1975) Breakfast at Tiffany’s Tiffany’s at Breakfast (50th anniversary) (1961) Apocalypse Now (Redux) (1979) Alien (Director’s Cut) (1979) Alien (Director’s Jurassic Park (1993) Back to the Future (25th anniversary) (1985) (25th anniversary) Back to the Future The Final Cut (2007) A Clockwork Orange (1972) A Clockwork Orange (20th anniversary) (1982) E.T. 9 8 7 5 6 3 4 Runner: Blade 1 2 19 (1960) souffle À bout de 10 (1963) The Leopard 11 Life (1946) a Wonderful It’s 12 A Space Odyssey (1968) 2001: 13 (1961) at Tiffany’s Breakfast 14 (1980) The Shining 15 (20th anniversary) (1987) Dirty Dancing 16 17 (1943) Casablanca 18 (1981) of Fire Chariots 20 Alone (1990) Home Source: comScore, BFI RSU analysis comScore, Source: 2000-2015 box ofce, Ireland of and Republic at the UK re-releases 20 10 Top Table 6. UK FILMS AT THE WORLDWIDE BOX OFFICE

UK qualifying films released at the worldwide box office in 2015 earned one quarter of total global receipts. Star Wars: The Force Awakens was the top grossing UK film of the year with worldwide earnings of $1.9 billion, while Paddington was the highest grossing independent UK title with takings of $112 million.

FACTS IN FOCUS UK qualifying films earned $9.4 billion worldwide in 2015, accounting for 25% of global box office receipts.

Independent UK films accounted for 2.8% of the global theatrical market, at a value of $1.1 billion.

The best performing UK film globally was Star Wars: The Force Awakens ($1.9 billion) which is now the all-time highest earning UK qualifying film at the worldwide box office.

Paddington was the highest earning UK independent film at the global box office in 2015, with takings of $112 million. (The film was the third highest earning UK independent title of 2014 with takings of $137 million.)

UK films accounted for 20 of the top 100 titles at the worldwide box office in 2015 with a total box office of $8.6 billion.

Independent UK films took 3.2% of the North American box office and 3.6% of the box office in Europe. Outside the UK and Republic of Ireland, New Zealand had the highest share for independent UK titles at 9.2%.

73 BFI Statistical Yearbook 2016

6. UK FILMS AT THE WORLDWIDE BOX OFFICE 74 3.3 1.6 1.8 2.8 1.6 UK UK 2.4 1.8 1.9 1.2 2.2 1.6 1.5 1.5 (%) 2.8 2.8 films share films independent independent 9.8 4.4 7.5 5.5 7.6 (%) 10.2 13.4 14.4 12.6 13.3 10.6 13.4 10.0 22.3 22.3 share* UK studio- UK backed films backed 6.8 8.6 6.9 9.1 (%) 25.1 13.5 11.4 15.3 17.2 14.2 15.1 12.5 15.5 11.6 UK share share UK 35.9 35.7 34.7 32.6 31.8 29.4 27.8 26.3 25.5 23.1 24.9 20.1 19.8 37.6 37.6 Global Global market theatrical theatrical (US$billion) 9.4 4.9 4.1 5.3 5.6 4.5 2.0 4.2 3.3 2.2 3.6 2.9 1.4 1.8 gross UK films films UK worldwide worldwide

(US$ billion) 2015 2014 2013 2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 Year Source: BFI, comScore, IHS BFI, comScore, Source: * ‘Studio-backed’ means backed by one of the major US film studios. Table 1 UK flms global market share, 2002-2015 1 UK flms global market share, Table UK FILMS WORLDWIDE UK FILMS UK studio-backed films (UK films wholly or partly financed and controlled by US studios but featuring featuring but studios US by controlled and financed the partly of or 22.3% wholly shared films (UK films material) source UK studio-backed UK often and post-production facilities, in seen locations, billion $3.6 crew, the cast, UK double than more billion, $8.4 of earnings with slightly 2015, billion, in office $1.1 box of office box worldwide gross a with revenues global of 2.8% earned and films UK the in takings independent office UK box the 2014. include shares market global These office 2014. in box the billion of $1.2 share from 34.2% a down had films studio-backed UK (where territory release Ireland of Republic 10.5%). had films independent UK and UK films earned a combined worldwide gross of $9.4 billion in 2015, a 25.1% share of the global box box global the of share 25.1% a 2015, in billion $9.4 of the gross was films UK worldwide for gross combined global a 2015 earned films The UK 1). (Table billion $37.6 of record new a hit which office, began. records our since highest 75 BFI Statistical Yearbook 2016 6. UK FILMS AT THE WORLDWIDE BOX OFFICE 2015 is headed by headed by is 2015 As Table 2 shows, the list of the top 10 highest grossing UK qualifying film at the worldwide box office in * ‘Studio-backed’meansbackedbyoneofthemajorUSfilmstudios. Source: BFIRSU ■ ■ Movie $102 million and $112 million respectively, while other significant earners includedhad releases split across 2014 and 2015) were again among the joint the year, second oftop period. highest still the was earning titles with 2015 grosses of Paddington Figure 1UKflmsglobalmarketshare, 2002-2015 Ultron of Age Avengers: highest earning UK qualifying film at the global box office, as well asWars:of Star Forcethe The success Awakens enormous the strongby propelled was 2015 performances of highly dependent on the performance of a small number of titles. AsThe Figure 1unprecedented shows, the UK/US studio peak achievedmarket sharein fluctuates significantly from year to year and is Paddington ( No independent UK films made the list of top 10 earning UK films released in 2015, compared with two success of a small number of titles – number of of titles asmall success independent films’ market share over the period with a peak in 2014. Again this was largely due to the 10 15 20 25 % The Imitation Game Imitation The 0 5

films share (%) UK independent films share* (%) UK studio-backed ($103 million) and and million) ($103 , fell just outside the top 10 in 13th place. top 10 just outside 13th , fell the in ($137 million). The share for independent films in 2015, while down slightly on the previous previous on the slightly 2015, down in while The for independent share films million). ($137 Star Wars: Star Force The Awakens and Non-Stop and 2002 ($1.4 billion) and and billion) ($1.4 ...... 2.8 3.2 1.6 22.3 1.8 9.8 2.8 9.9 1.6 13.4 2.4 14.2 12.6 1.8 4.4 1.9 13.3 1.2 10.6 2.2 7.5 1.6 13.4 1.5 10.0 5.5 1.5 7.6 The Second Best Exotic Marigold Hotel Marigold Exotic Best Second The 2003 ) in 2014. The top earning independent UK film worldwide in 2015, 2004 The Imitation Game Imitation The 2005 SPECTRE 2006 ($1.9 billion) and and billion) ($1.9 ($809 million). ($809 There has been a rising trend for UK 2007 The Imitation Game Imitation The ($228 million), million), ($228 2008 ($88 million). ($88 Avengers: Age of Ultron of Age Avengers: 2009 Non-Stop 2010 and Paddington and ($1.9 billion), the all-time 2011 ($223 million) and 2012 Shaun the Sheep Shaun the ($1.4 billion). (both of which 2013 2014

the 2015 BFI Statistical Yearbook 2016

6. UK FILMS AT THE WORLDWIDE BOX OFFICE 76 88 88 62 55 45 39 37 36 398 398 191 440 440 512 512 559 559 587 587 653 653 809 809 679 679 102 102 112 112 103 7,469 7,469 1,375 1,375 1,946 1,946 (US$million) (US$million)

Worldwide gross Worldwide gross # # # # # # # UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/Fra UK/Fra Country Country of origin of The Imitation Game UK/USA UK/USA UK/USA UK/USA UK/USA Country Country of origin of UK/USA/Ice UK/Can/Ire UK/Fra/USA UK/Can/USA , which earned $112 million worldwide, which grossed $103 million (Table 3). 3). $103 million (Table grossed Shaun the Sheep the Movie which Kingsman: The Secret Service Kingsman: The Secret Terminator Genisys Ant-Man Cinderella The Martian Mission: Impossible – Rogue Nation Mission: Impossible SPECTRE The Second Best Exotic Marigold Hotel Woman in Gold in Black: Angel of Death The Woman Brooklyn Legend Ex Machina Title Avengers: Age of Ultron Title Shaun the Sheep the Movie The Imitation Game* Paddington* Star Wars: The Force Awakens The Force Star Wars: 9 8 7 6 5 4 3 4 5 6 7 8 9 2 2 3 1 1 10 Everest 10 Mortdecai Total Total

Source: BFI RSU Source: Notes: includes the UK and Republic of Ireland. gross Worldwide takings in 2015. Box office the film was released up to 21 February 2016 in territories where box office is cumulative gross gross The box office in the total. not included in 2014 or 2016 are the film was released territories where from split were * Paddington and The Imitation Game appear in the lists of top 10 independent UK films for both 2014 and 2015, as their releases those two years. (In 2014 Paddington earnedacross £137 million and The Imitation Game earned $228 million.) # Films made with independent (non-studio) US support. Table Top 10 UK independent flms worldwide, 2015 Top Table The highest grossing UK independent film in 2015 was Paddington 2015 was film in UK independent The highest grossing Source: BFI RSU Source: Notes: includes the UK and Republic of Ireland. gross Worldwide as of 21 February 2016. revenue box office Gross may not sum to total due to rounding. Figures ($102 million) was the only other independent UK title to earn over $100 million at the global box office office box global the at million $100 over by followed earn to title UK independent other only the was million) ($102 its 2015 release. from 2015 worldwide, flms ualifying 10 UK 2 Top Table 77 BFI Statistical Yearbook 2016 6. UK FILMS AT THE WORLDWIDE BOX OFFICE * ‘Studio-backed’meansbackedby oneofthemajorUSfilmstudios. Source: comScore, BFIRSUanalysis Table 4ountryoforiginflmsreleased intheUSandanada,2015 films grossed $354million, again more thandouble the$150millionearned in2014. these filmsstoodat$3,178million, more thandouble the$1,292millionearnedin2014. UKindependent represented 10% of releases in the North American marketTable up from 8% 4 inshows 2014. the countriesThe total of revenueorigin of films from released in the USA and Canada in 2015. UK films UK FILMSINNORTH AMERICA Table 5UKmarketshare inNorthmerica,2002-2015 began at3.2%(asmallincrease from theprevious highof3.1%in2014). our records began. The market share for UK independentThe overallfilms was UKalso share the highestin 2015 sincewas 28.8%,our records nearly double greatlythat over thelast14years depending ontheperformanceofavery smallnumberof oftitles(Table 2014 5). (15.6%) and the highest share since As with the share of the global market, the market share for UK films in North America has fluctuated * ‘Studio-backed’meansbackedbyoneofthemajorUSfilmstudios. Source: comScore BBFC,BFIRSUanalysis Total Rest oftheworld USA UK filmstotal UK studio-backedfilms* UK independentfilms 2002 Country of origin Country 2003 Year 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 Total UK share % 11.0 15.8 11.8 16.3 14.2 16.5 16.2 11.9 15.6 28.8 7.2 5.7 9.2 6.6 Number of releases 72 100.0 702 295 337 70 19 51 studio-backed films releases % of 42.0 48.0 10.0 2.7 7.3 share* % UK/US UK/US

15.0 10.6 14.5 12.4 15.3 14.6 10.5 12.4 25.6 6.6 4.2 9.7 7.6 5.5 Box gross office

(US$ million) (US$ 11,036 7,585 3,178 2,824 273 354

independent films Box office share (%) share % 100.0 68.7 28.8 25.6 2.5 3.2

UK 0.6 1.5 1.3 0.8 1.6 1.2 1.8 1.1 1.8 1.2 1.5 1.4 3.1 3.2

BFI Statistical Yearbook 2016

6. UK FILMS AT THE WORLDWIDE BOX OFFICE 78

US US Sony Universal Company Company Paramount Paramount distributor Paddington MGM/Columbia/

33.3 33.3 Weinstein The 33.1 26.5 Searchlight Fox 25.4 Media Relativity Films A24 25.0 25.0 Bros Warner 89.8 89.8 76.2 76.2 Weinstein The 47.4 47.4 Bros Warner 45.4 45.4 Bros Warner 43.5 43.5 35.6 35.6 Searchlight Fox 35.1 35.1 Bros Warner 922.4 922.4 Disney Walt 459.0 459.0 Disney Walt 201.2 201.2 Disney Walt 228.3 228.3 Fox Century 20th 199.8 199.8 195.0 195.0 180.2 180.2 Disney Walt 128.3 128.3 Fox Century 20th (US$ million) Box office gross Box # # # #

USA origin UK/Fra UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/Ire/Can Country of of Country UK/USA/Ice UK/USA/Aus UK/Can/USA with $459 million (Table 6). There were six independent independent six were There 6). (Table million $459 with was the top performing UK qualifying film in North America in 2015 earning earning 2015 in America North in film qualifying UK performing top the was Avengers: Age of Ultron Title Ex Machina Star Wars: The Force Awakens The Force Star Wars: Avengers: Age of Ultron Cinderella The Martian SPECTRE Mission: Impossible – Rogue Nation Ant-Man Kingsman: The Secret Service Kingsman: The Secret Terminator Genisys Everest Woman in Gold

1 2 4 3 5 6 7 8 9 18 in Black: Angel of Death The Woman 19 20 In the Heart of the Sea 17 Best Exotic Marigold Hotel The Second 10 Paddington 11 Ascending Jupiter 12U.N.C.L.E. from The Man 13 14 Brooklyn 15 Pan 16 UK films in the top 20, two less than in 2014. The top performing UK independent titles were titles were independent performing UK The top 2014. less than in two in the top 20, UK films with $36 million. with $36 million and Brooklyn with $76 Source: comScore, BFI RSU analysis comScore, Source: Notes: 2015 and includes 2015 earnings in the USA and Canada in up to 21 February 2016. for films released box office lists the gross Table # Films made with independent (non-studio) US support. Table 6 Top 20 UK flms at the US and anada box ofce including co-productions, 2015 including co-productions, anada box ofce at the US and 20 UK flms 6 Top Table Star Wars: The Force Awakens Force The Wars: Star by followed $922 million, 79 BFI Statistical Yearbook 2016 6. UK FILMS AT THE WORLDWIDE BOX OFFICE † Inprevious editionsoftheYearbook wehavereported admissions.In2015,Francehadatotalof41.3millionadmissions forUKfilms. * ‘Studio-backed’meansbackedbyoneofthemajorUSfilmstudios. Notes: Source: comScore, BBFC,BFIRSUanalysis Table 7UKmarketshare inselecteduropean territories,2015 titles respectively. (6.6%) andtheNetherlands(5.5%)where Paddington films) to 21% in France (Table 7). The largest including Russia,shares ranged from ahighof justunder32%inRussia(including2.4%forUKindependent for UK independent films were recorded in PortugalOutside theUKandRepublic ofIreland, themarketshares forUKfilmsinmajorEuropean territories, UK FILMSINEUROPE France Austria Territory Italy Germany Netherlands Portugal Russia Spain † for UK films UK for Box office ($ million) 302 2. 18.3 21.4 350.2 268 2. 20.0 25.0 25.3 28.4 206.8 403.4 411 3. 29.5 31.9 431.1 174 2. 20.5 24.7 187.4 4. 64 22.9 26.4 46.2 9. 96 24.1 29.6 95.0 3. 92 22.6 29.2 30.8

UK share (%)

films share* UK studio- The Imitation Game Imitation andThe backed (%)

independent films share 35 Shaun the Sheep the Movie 3.5 3.1 34 Shaun the Sheep the Movie 5.4 3.4 5.5 6.6 2.4 4.3 (%) UK were the top independent

The ImitationGame The ImitationGame The ImitationGame The ImitationGame Top independent Top Paddington Paddington UK film

BFI Statistical Yearbook 2016

6. UK FILMS AT THE WORLDWIDE BOX OFFICE 80

EU 2,002,348 2,002,348 1,794,305 1,456,535 8,863,135 8,863,135 8,663,883 5,464,017 5,127,014 5,057,139 4,876,634 4,662,048 4,604,843 3,506,706 3,325,429 3,235,012 2,501,516 2,448,237 10,417,142 10,417,142 27,712,023 27,712,023 24,856,886 15,616,445 admissions had the the had recorded the the recorded

The Imitation Game Avengers: Age of Ultron USA USA origin UK/Fra UK/Fra UK/Fra UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA Country of of Country UK/USA/Ice UK/USA/Ice UK/USA/Aus UK/USA/Aus UK/Ita/Fra/Swi UK/Ita/Fra/Swi was both the best attended UK film film UK attended best the both was Everest with over 27.7 million admissions 8). (Table with 27.7 over Fury Cinderella Everest The Imitation Game Service Kingsman: The Secret Terminator GenisysThe Theory of Everything Mission: Impossible – Rogue Nation Star Wars: The Force Awakens The Force Star Wars: SPECTRE Avengers: Age of Ultron The Martian Title 6 7 8 9 5 1 2 3 4

19 20 U.N.C.L.E. The Man from 10 Ant-Man 11 the Sheep the Movie Shaun 12 13 14 Paddington 15 Gods and Kings Exodus: 16 Pan 17 Ascending Jupiter 18 Youth highest admissions in Russia and Turkey, although in both these markets UK films featured less highly UK films featured although in both these markets Turkey, highest admissions in Russia and director Icelandic its to thanks interest In Iceland local than in EU territories. rankings in the end of year strong by helped 2015 in overall film earning highest and Baltasar Kormákur. was the UK film with the highest admissions in Norway and Switzerland (it was was (it Switzerland and Norway in admissions highest the with film UK the was SPECTRE Outside the EU, in the latter territory). also the film with the highest admissions overall Source: European Audiovisual Observatory Lumière Database Audiovisual Observatory Lumière European Source: and Malta) in the 2015 calendar year. EU countries (excluding the UK, Republic of Ireland Note: Data based on admissions from Table 8 Top 20 UK flms in other U countries, 2015 in other U countries, 20 UK flms 8 Top Table The most popular UK film in EU countries (other than the UK, Republic of Ireland and Malta) in 2015 was was 2015 in Malta) and Ireland of Republic UK, the than (other countries EU in film UK popular most The Awakens The Force Star Wars: most admissions for an independent UK film in the EU with over 5.1 million ticket sales. Five of the top top the of Five sales. ticket million 5.1 over with EU the in film UK independent an for admissions most 20 titles were films,UK independent six less than in 2014. 81 BFI Statistical Yearbook 2016 6. UK FILMS AT THE WORLDWIDE BOX OFFICE * ‘Studio-backed’meansbackedby oneofthemajorUSfilmstudios. Source: comScore, BFIRSUanalysis Table 10UKmarketshare inselectedsianmarkets,2015 of Death. earners across thesixterritories–Paddington number of foreign films released in the territory. Fourterritories different but itUK isindependent worth noting films that were the Chinesethe highest market hastitle. a quota forThe film shares imports for whichboth studio-backed limits the and independentAsian marketswiththeexception ofJapan where Star Wars: UK films The Force wereAwakens lowerUltron inof China thanAge other Asian As inLatin America, Avengers: UK FILMSINASIA * ‘Studio-backed’meansbackedbyoneofthemajorUSfilmstudios. Source: comScore, BFIRSUanalysis Table 9UKmarketshare inselectedatinmericancountries,2015 are available (Table 9). UK films earned between 18% and 28% of the box office in the Latin American territories for which data UK FILMSINLATIN AMERICA Black: Angel ofDeathwas thehighestearner. 2014). in 1.6% from (down 1.3% performing independent UKtitleinalloftheterritoriesexcept ColombiaandMexico where of analysed territories the across average The market share for UK independent films ranged from 0.9%with combinedtakingsof$224millionandStar inWars: Chile The Forceto 1.9%Awakens in Mexico with an Argentina China Brazil Hong Kong Chile Japan Malaysia Colombia Territory Territory Singapore Mexico South Korea Venezuela for UK films UK for for UK films UK for Box office Box office ($ million) ($ million) 1096 1. 14.4 15.1 1,059.6 Avengers: Age of Ultron of Age Avengers: 171 1. 17.0 18.3 107.1 250 2. 26.1 27.6 295.0 461 2. 19.5 20.7 466.1 192 2. 20.9 21.9 109.2 296 2. 24.5 26.4 269.6 363 2. 20.6 22.2 366.3 22.2 23.2 219.2 7. 88 26.8 28.8 79.6 3. 32 22.3 23.2 39.2 8. 65 25.6 26.5 80.4 5. 25 30.4 32.5 58.7

UK share UK share (%) (%) was the top earning UK qualifying film across all the selected was the highest performing UK film in those territories ,

The Imitation Game Imitation The films share* films share* UK studio- UK studio- backed backed (%) (%)

independent independent , films share films share Mortdecai andThe Woman in Black: Angel was secondwith$178million. 1.2 0.6 1.4 2.0 0.9 1.2 1.0 0.8 1.9 2.1 1.5 1.0 (%) (%) UK UK The Imitation Game Imitation The

was the top performing UK Top UK independent UK Top Top UK independent UK Top The Woman in Black: The Woman in Black: The Woman in Black: The ImitationGame The ImitationGame The ImitationGame The ImitationGame The ImitationGame The ImitationGame The ImitationGame was the top Angel ofDeath Angel ofDeath Angel ofDeath The Woman in Paddington Mortdecai film film

BFI Statistical Yearbook 2016

6. UK FILMS AT THE WORLDWIDE BOX OFFICE 82

China

film

Malaysia Chile Marigold Hotel

was the top top the was Venezuela

The Imitation Game

Colombia Top UK independent Japan The Second Best Exotic Exotic Best Second The

was the leading UK UK leading the was

Argentina Brazil

th Korea th

UK UK (%) Sou 9.2 9.2 6.5 6.5

Mexico Hong Kong Hong films share films

independent

Singapore Russia

(%) France backed

UK studio- UK

Germany films share* films Canada and USA

The Second Best Exotic Marigold Hotel Austria

Spain

(%) Italy

UK share UK

Netherlands Australia

was the highest grossing UK film in both Australia and New Zealand in 2015, 2015, Zealand in and New Australia both UK film in grossing the highest was Portugal third in both territories. The in both territories. Imitation SPECTRE third second and Game 59.4 59.4 38.4 29.2

391.7 391.7 32.9 26.4 UK

34.2 29.2 22.6 26.4 24.1 20.0 20.5 22.9 25.0 25.6 18.3 29.5 30.4 26.8 24.5 20.6 26.1 17.0 19.5 20.9 22.2 22.3 25.6 14.4 10.5 9.2 6.6 6.5 5.5 5.4 4.3 3.5 3.4 3.2 3.1 2.4 2.1 2.0 1.9 1.5 1.4 1.2 1.2 1.0 1.0 0.9 0.8 0.6 New Zealand New ($ million) ($ Box office Box 2.8

22.3 forUKfilms Global UK market share 25.1 44.7 38.4 29.2 32.9 29.6 25.3 24.7 26.4 28.4 28.8 21.4 31.9 32.5 28.8 26.4 22.2 27.6 18.3 20.7 21.9 23.2 23.2 26.5 15.1 UK studio-backed* UK independent

5 0 Territory New Zealand Total Australia Source: comScore, BFI RSU analysis comScore, Source: Notes: may not sum to total due to rounding. Figures * ‘Studio-backed’ means backed by one of the major US film studios. ■ ■ % of UK independent flms of market share in 24 territories, 2015 in order 2 UK market share Figure Figure 2 shows the market share of UK films for the territories shown in Tables 4, 6-7 and 9-11. The share share The 9-11. and 6-7 4, Tables in shown territories The the for films UK comparison. a of share provide to market the included shows are 2 share Figure global the had overall the and Portugal and Ireland of Zealand New Republic and films. UK the for independent UK of share market of order in listed are territories at 9.2% and 6.6%. respectively, share market highest UK independent second and third Source: comScore, BFI RSU analysis comScore, Source: major US film studios. * ‘Studio-backed’ means backed by one of the grossing UK independent film in Australia and Australia film in UK independent grossing Table 11 UK market share in ustralia and New ealand, 2015 in ustralia and New ealand, 11 UK market share Table UK FILMS IN AUSTRALASIA FILMS UK Awakens Force The Wars: Star with Avengers: Age of Ultron independent title in New Zealand (Table 11). At over 38%, the market share for UK films in New Zealand Zealand New in films UK for share market the 38%, over At 11). (Table Zealand New in title independent was the largest for any territory outside the UK and Republic of Ireland. 45 40 35 30 25 20 15 10 7. UK TALENT AND AWARDS

CHAPTER 7 UK TALENT AND AWARDS Image: Amy courtesy of Altitude Film Distribution 83 UK TALENT AND AWARDS

UK actors, directors and writers consistently win acclaim at the global box office and international awards ceremonies. In 2015, UK talent and story material continued to reach enthusiastic audiences and showcase our culture and identity to the world.

FACTS IN FOCUS Of the top 200 global box office successes of 2001-2015, 36 films are based on stories and characters created by UK writers. Together they have earned $30 billion (£20 billion) at the worldwide box office.

Five of the top 20 global box office successes of the last 15 years are based on novels by UK writers.

British acting talent has played lead or supporting roles in 81% of live action titles in the top 200 films of the last 15 years.

UK directors were behind 31 of the 200 highest earning films of the last 15 years with Harry Potter director, David Yates, topping the box office league.

UK films and talent won 26 major film awards in 2015/16, including six Oscars® and 11 BAFTAs.

84 BFI Statistical Yearbook 2016

7. UK TALENT AND AWARDS 85

(writer) material material novels by by novels Based on on Based UK story UK JK Rowling Ian Fleming JRR Tolkien JRR Tolkien Lewis Carroll Universal Universal Universal New Line New by Novel which features the the features which Paramount Paramount Walt Disney Walt Disney Walt Disney Walt Disney Walt Disney Walt Disney Walt Disney Walt Disney Novel by Buena Vista Warner Bros Novel by Warner Bros Novel by Warner Bros US distributor US Gross Gross The Dark Knight Rises box office office box (US$million) USAUSA 2,788USA 20th Century Fox USA 1,670 1,520 1,516 USA 1,277 USA 1,124 USAUSA 1,063 1,026 origin USA/NZ 1,021 UK/USA 2,066 UK/USA 1,405 UK/USA 1,109 MGM/Colombia/Sony UK/USA 1,085 USA/Fra 1,159 USA/China 1,215 USA/China 1,104 Country of of Country Avatar Awakens The Force Star Wars: Jurassic World Assemble Marvel Avengers Fast & Furious 7 Avengers: Age of Ultron Part 2Harry Potter and the Deathly Hallows: UK/USA 1,342 Transformers: Dark of the Moon Frozen Man 3 Iron Title Transformers: Age of Extinction Toy Story 3 1 2 3 4 5 6 7 8 9 11 10 Minions 12 of the Rings: The Return The Lord of the King13 USA/NZ Skyfall 1,120 14 16 Chest Pirates of the Caribbean: Dead Man’s 17 18 Pirates of the Caribbean: On Stranger Tides19 USA Alice in Wonderland UK/USA20 1,066 The Hobbit: An Unexpected Journey 1,046 15 The Dark Knight Rises Rank Source: BFI RSU Source: 2001-2015 flms worldwide, 20 grossing 1 Top Table Novels by British writers have provided the source material for five of the top 20 grossing films films grossing 20 top the of five for material source the provided have writers British by Novels worldwide since 2001 (Table 1). Also appearing in the top 20 is The global box office performance of UK films and foreign productions which draw on UK source source UK on draw which productions foreign and films UK of performance office box global The UK-originated and exposure and British theimpact international films, of culture. of 200 theOf material top goodis a indicator qualifying UK are 48 2015, and 2001 between worldwide material. story released films US by grossing only bettered feat a films, 36 for the at inspiration rate) the provided exchange material average story 2015 the at billion (£19.6 billion $30 earned have films 36 these Collectively office. box global UK STORY MATERIAL UK STORY character Batman created by American Bob Kane, but the story for this film was written by British British by written was film this for story the but Kane, Bob American by created Batman character Nolan. Christopher writer/director 86 BFI Statistical Yearbook 2016 7. UK TALENT AND AWARDS Table 2Top 20grossing flmsworldwidebasedonstoriesandcharacters created byUKwriters,2001-2015 screenplays. original from are two and authors UK by novels characters created by during UK writers the period are listed in Table 2. Eighteen are adaptations of Looking just at films based on UK story material, the top 20 grossing films adapted from stories or Source: BFIRSU Rank 8HryPte n h rsnro zaa KUA797 Interstellar 20 UK/USA 19 HarryPotterandthePrisonerofAzkaban 879 NovelbyJRRTolkien 18 NewLine 897 Inception 17 UK/USA 926 16 UK/USA HarryPotterandtheChamberofSecrets 934 15 SPECTRE 940 USA/NZ 14 HarryPotterandtheGobletofFire UK/USA 13 TheLord oftheRings:TheTwo Towers 12 UK/USA HarryPotterandtheHalf-BloodPrince 11 HarryPotterandtheOrder ofthePhoenix 10 9 8 Harry Potter and the Deathly Hallows: 7 6 5 4 3 The Lord of the Rings: 2 1 the Witch andtheWardrobethe Witch The Chronicles of Narnia: The Lion, of theRing The Lord of the Rings: The Fellowship h obt h ateo h ieAme S/Z956 959 USA/NZ USA/NZ 975 The Hobbit:BattleoftheFiveArmies 1,021 The Hobbit:DesolationofSmaug Part 1 USA/NZ UK/USA Harry PotterandthePhilosopher’s Stone The Hobbit:AnUnexpectedJourney Alice inWonderland Skyfall oftheKing The Return Part 2 Harry PotterandtheDeathlyHallows: Title

of origin Country KUA826 UK/USA 881 UK/USA KUA960 UK/USA 1,109 UK/USA 1,342 UK/USA S/Z745 Novel byJRRTolkien NewLine USA/NZ 872 USA/NZ S/Z110NwLn NovelbyJRRTolkien NewLine 1,120 USA/NZ S 7 Paramount 675 USA 1,026 USA (US$ million) (US$ box office Gross Columbia/Sony Columbia/Sony anrBo Original screenplay Warner Bros Warner Bros Novel by JK Rowling JK by Novel Bros Warner Rowling JK by Novel Bros Warner Warner Bros Novel by JK Rowling JK by Novel Bros Warner Novel by JK Rowling Warner Bros Rowling JK by Novel Bros Warner Rowling JK by Novel Rowling JK by Bros Novel Warner Tolkien JRR Bros by Warner Novel Tolkien JRR Bros by Warner Novel Bros Warner Rowling JK by Novel Tolkien JRR Bros by Warner Novel Bros Warner distributor Walt Disney Novel by CS Lewis CS by Novel Disney Walt Walt Disney Novel by Lewis Carroll Lewis by Novel Disney Walt MGM/ MGM/ US

Original screenplay by by ChristopherNolan Christopher Nolan Based on novels Based on novels by IanFleming by IanFleming Jonathan and UK story material (writer) BFI Statistical Yearbook 2016

7. UK TALENT AND AWARDS 87

and and . Orlando Bloom is next next is Bloom Orlando . The King’s Speech 3 8 % 89 . In second place is Ian McKellen who has has who McKellen Ian is place second In . Wonderland Alice in Kingsman: The Secret Service. Secret The and Kingsman: Star Wars: The Force Awakens Force The Wars: Star and 2015’s King Kong Musical Novel Original screenplay

At the top of the list is the late Alan Rickman thanks to appearances in nine of the top 200 films films 200 top the of nine in appearances to thanks Rickman Alan late the is list the of top the At and series Harry Potter the including UK ACTORS British featured have 2001 since office box global the at films 200 top the of removed (126) are thirds titles two animated Nearly If (70). cast supporting the in or (56) action roles live top lead/title the of either in 81% in actors roles supporting or lead played has talent which 2, acting Figure British in then reflected is titles), (44 talent acting UK of prominence global The office box years. 15 total by last the ranked of and films films 200 top the in appearances on based actors British 12 top the shows chart. this in heavily feature films Potter Harry The gross. and trilogy Hobbit The films, Rings the of ground- Lord three all whose including Serkis, films, 200 Andy top is the list of the 11 in in Third appeared 200. top the in feature and that Apes films the of X-Men Planet three Rings, the the of Lord the to contributed have performances capture motion breaking as well as is films and films Caribbean Hobbit the the of Pirates three plus adaptations Tolkien five in Watson Emma appearances to Radcliffe, thanks Daniel – franchise Potter Harry the of stars has who young Carter regular three Bonham the by Helena is followed list the in feature to actor female other only The Grint. Rupert and appeared in nine of the top 200 films, including four Harry Potter films, Source: BFI RSU Source: Figure 1 rigin of UK story material in the top 200 flms at the worldwide box ofce, 2001-2015 at the worldwide in the top 200 flms UK story material 1 rigin of Figure Of the 36 films from the top 200 based on UK stories and characters, the majority (89%) were based on on based were (89%) majority the characters, and stories UK on based 200 Tolkien JRR top the and from films Rowling 36 JK the Lewis, Of CS list the Fleming, in Ian as appear such writers authors UK by classic and current created of work the characters and stories on based films new Three 1). (Figure SPECTRE, Fifty Shades of Grey Shades Fifty – SPECTRE, Les Misérables. 88 BFI Statistical Yearbook 2016 7. UK TALENT AND AWARDS 10 worldwide gross of $414 million) and Danny Boyle’s Danny and of $414 million) gross worldwide Hooper’s Tom are These 200. top the in films independent UK two are There gross of $571 million for the list with a worldwide gross of $610 million for Two women feature in the list of top British directors at the global box office: Phyllida Lloyd is 10th in $1.07 billion. Sherlock earned whose Holmes followed two Guytitles by Ritchie billion) films, and theDeathlyHallows:Parts 1and2). Christopher Nolan is second with $3.96 billion, with three Batman( films Potter British director in recent years, with total top 200 box office takings of $4.16by British billion directors from (Figurehis four3 and Harry Table 3). David Yates remains the most Thirty-onecommercially of thesuccessful 200 highest grossing films at the global box office between 2001 and 2015 were helmed UK DIRECTORS Gross boxoffice (US$billion) number ofappearancesinbrackets Figure 2Top 12UKactorsfeatured inthetop200flmsatworldwideboxofce,2001-2015 including voicesinanimatedfilms). Notes: Includesactorswhohavemadefourormore appearancesinthetop200films,eitherlead/titlerole orsupportingrole (not Source: BFIRSU 0 1 2 3 4 5 6 7 8 9 Worldwide gross 200 (US$billion) from filmsintop Inception and Harry Potter andtheOrder ofthePhoenix, Harry Potter andtheHalf-Blood Prince

Alan Rickman (9) Interstellar in the list. In third place is ...... 6.6 6.7 6.9 7.1 7.1 7.7 8.0 8.6 8.6 8.7

Fifty Shades of Grey of Shades Fifty Ian McKellen (11)

Andy Serkis (9)

. Orlando Bloom (9)

Daniel Radcliffe/Emma Watson/Rupert Grint (8) MammaMia! and Sam Taylor-Johnson is 11th with a Slumdog Millionaire ($377 million).

Skyfall SPECTREdirector and Sam Mendes ($1.99 Helena Bonham Carter (9)

Christopher Lee (9) The King’s Speech King’s The Richard Griffiths (7) and Harry and Potter

Gary Oldman (7) (with a

Ralph Fiennes (7)

BFI Statistical Yearbook 2016

7. UK TALENT AND AWARDS 89

Phyllida Lloyd (1) Lloyd Phyllida

David Slade (1) Slade David

Tom Hooper (2) Hooper Tom

Mike Newell (1) Newell Mike

Kenneth Branagh (2) Branagh Kenneth

Ridley Scott (2) Scott Ridley

Guy Ritchie (2) Ritchie Guy

Sam Mendes (2) Mendes Sam Christopher Nolan (5) Nolan Christopher

4,156 3,960 1,989 1,068 1,034 993 893 856 699 610 David Yates (4) Yates David 0 from films in top 200 (US$ million) 500 Worldwide gross Figure Top 10 UK directors based on top 200 grossing flms at the worldwide box ofce, 2001-2015 number number 2001-2015 box ofce, worldwide at the flms 200 grossing on top based directors 10 UK Top Figure brackets of flms in (US $ million) box office Gross Source: BFI RSU Source: 4,500 4,000 3,500 3,000 2,500 2,000 1,500 1,000 90 BFI Statistical Yearbook 2016 7. UK TALENT AND AWARDS be some writers and directors who have made just one film so far, butmade will successfulgo on to independentmake many more films and gone on to work on studio-backedthan these films.figures Thereindicate. are alsoSome likely might to have been involved with earlierbetween films and 2003 others and 2015will have it is possible that some directors and writers werefilmmaking involved career (Tables with more 4 andfilms 5). However, as we are looking just atwhich UK independentillustrates how difficultfilms released it is to make the leap from first to secondand overfeature 81% and of to thesustain directors a have been associated with just one UK inindependent the UK between 2003 film duringand 2015this time, (not including re-releases of classicWe films). Almosthave 87%information of the writerson 1,457 writers and 1,120 directors associated with UK independent films released 2003-2015 WRITERS ANDDIRECTORSOFUKINDEPENDENT FILMSRELEASEDINTHEUK, Source: BFIRSU Table UKdirectors from thetop200flmsatworldwideboxofceandtheirflms,2001-2015 io mt PenguinsofMadagascar Slumdog Millionaire Simon JSmith Snow White and the Huntsman Danny Boyle Kingsman:TheSecret Service TheChroniclesVoyage ofNarnia: Rupert oftheDawnTreader Sanders Matthew Vaughn RiseofthePlanetApes The Bourne Ultimatum Michael Apted Paul Greengrass Godzilla Rupert Wyatt MammaGareth Edwards Mia! TheTwilight Saga:Eclipse FiftyShadesofGrey Sam Taylor-Johnson Phyllida Lloyd Les Misérables David Slade Harry Potter and the Goblet of Fire Tom Hooper Mike Newell Thor Kenneth Branagh Sherlock Holmes: A Game of Shadows Ridley Scott Guy Ritchie Sam Mendes BatmanBegins Christopher Nolan HarryPotterandtheDeathlyHallows:Part2 David Yates Director The King’s Speech Cinderella The Martian Prometheus Sherlock Holmes SPECTRE Skyfall Interstellar Inception The Dark Knight The Dark Knight Rises Harry PotterandtheHalf-BloodPrince Harry Potter and the Order of the Phoenix Harry PotterandtheDeathlyHallows:Part1 Film(s) (US$ million) (US$ Total gross box office 1,034 1,068 1,989 3,960 4,156 374 378 397 414 416 443 483 529 571 610 699 856 893 993 BFI Statistical Yearbook 2016

7. UK TALENT AND AWARDS 91 3.9 1.4 0.4 0.3 0.2 0.1 0.1 81.2 12.4 % of of % 100.0 directors 5 3 2 1 1 44 16 139 909 1,120 Number Number of directors of ceremonies which took place in ceremonies which took place 2016. ® 2 3 4 5 6 7 1 10 12 Number of of Number directed films co-directed or Total However, Table 6 also shows the number of of number the shows also 6 Table However, in 2015, to 2001 years calendar in won awards previous with comparison a provide to order individuals British and films UK 2015, In years. prizes the of 18% representing awards, 28 won down was won awards of number The available. won, were awards 31 when 2014, on slightly (Awards available. those of 20% representing example for films, or nationals foreign to specific Best for award Festival’s Film Toronto the present the in included not are Film, Canadian analysis). and films British to presented awards 28 the Of shared or won were nine of total a 2015, in talent by made films British by won or women British by women, down from in 10 2014. Source: comScore, BFI RSU analysis comScore, Source: UK FILMS AND TALENT FOR AWARDS British by won awards the presents section This and festivals film major the at films UK and talent cycle. awards 2015/16 the in ceremonies awards Sundance, the are here included festivals The of festivals Toronto and Venice Cannes, Berlin, Academy and Award Film BAFTA the and 2015 Award of UK directors flms by of 5 Numbers Table years 200-2015 flms, release independent 8.6 3.0 1.0 0.4 0.3 0.1 86.6 % of of % 100.0 writers , the the , which was was which 6 5 2 43 14 125 1,262 1,457 The King’s Speech The Danish Girl Number Number of writers of released released and Les Misérables 1 2 3 4 5 6 7 Number of of Number written films co-written or Total Source: comScore, BFI RSU analysis comScore, Source: UK of number highest the of directors The and 2003 between released films independent films, 12 with Winterbottom Michael were 2015 and Erskine James and films, 10 with Loach Ken Evans, Marc films. seven with Frears Stephen each MacKenzie David and Macdonald Kevin directors the while titles, independent six directed Michell, Roger Meadows, Shane are films five of Temple. Julian and Rothwell Jerry Parker, Oliver and writers of gender the on information (For on report the see films, UK of directors filmthein industry.) Employment 4 Numbers of flms by writers of UK Table years 200-2015 independent flms, release The writers who have been involved with the the with involved been have who writers The and 2003 between films UK independent most Winterbottom Michael and Laverty Paul are 2015 Cottrell Frank Clarke, Noel and films, seven with Ronald and Grisoni Tony Erskine, James Boyce, Steven Bennett, Sacha each. six with Harwood Thomas Anders Morgan, Abi Love, Nick Knight, or written have Williams Andrew Paul and Jensen independent five for screenplays the co-written films four with involved writers while titles, Moran James Isitt, Debbie Beaufoy, Simon include Parker. Ol and all-time highest grossing independent UK film at at film UK independent grossing highest all-time addition, In office. box worldwide and UK the both films, studio-backed of number a directed has he The Damned United during this period, and 2016. in released films. Tom Hooper is a good example of a director director a of example good a is Hooper Tom films. has who but data these in once only appears who one His film. successful one than more directed filmis UK independent 92 BFI Statistical Yearbook 2016 7. UK TALENT AND AWARDS d’Or and Grand Prix, the Prix du Jury (Jury Prize). (Jury Jury du Prix the Prix, Grand and d’Or prestigious award at the festival behind the Palme independent film Father 14plus) and Gift film, short A Confession(best of My awarded their top honours to two UK short films: 45 Years while juries for the generation prizes the leading acting awards for their roles in Tom Courtenay and Charlotte Rampling picked up Maclean’s competition the grand jury prize went to John ( award – t at Festival Sundance the Film filmmakers factual were three awards for UK documentaries and of the five major festivals in 2015 (Table 7). There British films and filmmakers won prizes at three Awards at the 2016 BAFTA Film Awards and Academy British talent at the major festivals in 2015 and Table 7 lists the awards won by UK films and Source: BFI Table 6NumbersofUKaward winners,2001-201516 ( Year Total (to end of 2015) 2015/16 awardscycle of end (to Total 2015 2014 2013 2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 2001 The Russian Woodpecker Russian The he directing award (Kim Longinotto), audience (best short film, kplus). At Cannes, the UK Dark Horse) and grand jury prize ® . Slow West. At Berlin the veteran actors The Lobster The ) – while in the dramatic award winners award Number of UK won the most 403 617 18 26 20 14 28 14 31 15 26 12 23 17 30 15 24 15 36 14 32 14 32 13 25 13 23 15 22 14 22 24 25 share % UK

six Oscars six At the awards ceremonies in 2016, 11 BAFTAs and female VFX supervisor to win the award. the win to supervisor VFX female wonfor was American VFX artist Suzanne Benson who and was the second to win. The previous winner have been nominated for the award in its history Sara Bennett was one of only three women to Rylance won both the BAFTA and Oscar and BAFTA the wonboth Rylance in role her for BAFTA actress talent. Kate Winslet won the best supporting prizes at both the BAFTAs and the Oscars the and BAFTAs the at both prizes For the third year in succession, the visual effects Amy won best documentary at both ceremonies. for awards Jenny Beavan won both best costume design Spies. Rylance was one of three double winners: role for in awards actor his supporting and Sara Bennett won the Oscar Andrew Whitehurst, Paul Norris, Mark Ardington BAFTA for Paul Kavanagh and Roger Guyett shared the different teams won the awards. Chris Corbould, teams won prizes for the same film, in 2016 two in 2014 (for won by teams from British VFX houses. Although in 1987. Aliens in first-ever the was Bennett ® Star Wars: The Force Awakens Mad Max:Fury Roadand Asif Kapadia’s were presented to British films and Interstellar 2015) and (for Steve Jobs while Mark ® for for Gravity) UK Ex Machina. , while Bridge of ®

® were BFI Statistical Yearbook 2016

7. UK TALENT AND AWARDS 93 Title Dreamcatcher The Russian Woodpecker Dark Horse Slow West 45 Years A Confession Gift of My Father Father My of Gift The Lobster Edmond Operator Mad Max: Fury Road Amy

Recipient Kim Longinotto Film to presented (Award Chad Garcia) Film presented Award to Louise Osmond Film to presented Award John Maclean Film to presented Award Nelson Matt Silvestros) (with Petros Film to presented (Award Salam Salman) Film to presented (Award Yorgos Lanthimos) Award presented to to presented Award Jouffroy Emilie (with Nina Gantz) Film to presented Award Bartleet, Caroline Morgan, Rebecca White Vanessa Heckmann) (with Yann Jenny Beavan Film to presented Award James and Kapadia Asif Gay-Rees John Boyega

14plus Short Film) Short Film) Film) Short kplus Award World Cinema Documentary Documentary Cinema World Award Directing World Cinema Grand Jury Jury Grand Cinema World Prize: Documentary Audience Award for World World for Award Audience Cinema Documentary World Cinema Grand Jury Jury Grand Cinema World Prize: Dramatic Silver Bear for Best Actor Courtenay Tom Silver Bear for Best Actress Charlotte RamplingYears 45 Crystal Bear Bear Crystal ( Crystal Bear ( Jury Prize British Short Animation Film British Short Film Costume Design Documentary EE Rising Star

Awards ceremony/festival Sundance Film Festival Sundance February January-1 22 2015 Berlin Film Festival Festival Film Berlin 5-15 February 2015 Cannes Film Festival 13-24 May 2015 BAFTA Film Awards Film BAFTA 14 February 2016 201516 winners, award 7 UK Table 94 BFI Statistical Yearbook 2016 7. UK TALENT AND AWARDS Source: BFI Academy Awards 14 February2016(Contd) BAFTA FilmAwards ceremony/festival Awards 28 February2016

uprigAtesKateWinslet Supporting Actress Visual Effects Supporting Actor hr im(ieAto)Film Short Film(LiveAction) pca iulEfcsChris Corbould, Special Visual Effects ui Oiia og Jimmy Napes and Music (Original Song) Producer British Writer, Director or Outstanding Debut by a ouetr Faue Film Documentary (Feature) usadn rts imFilm Outstanding BritishFilm Contribution toCinema Outstanding British Costume Design Award co naSpotn oeMarkRylance Actor inaSupportingRole and Sara Bennett Paul Norris, Mark Ardington Andrew Whitehurst, Mark Rylance (with BenjaminCleary) Serena Armitage Award presented to (with NealScanlan) Roger Guyett Paul Kavanagh and Sam Smith Rupert Lloyd Naji Abu Nowar and James Gay-Rees Asif Kapadia and Award presented to and FinolaDwyer) (with John Crowley Nick Hornby Amanda Posey and Award presented to Angels Costumes Jenny Beavan Recipient

Steve Jobs Ex Machina Bridge ofSpies Stutterer Awakens Star Wars: The Force SPECTRE ‘Writing’s on the Wall’ from Theeb Amy Brooklyn Mad Max:FuryRoad Title Bridge ofSpies 8. THEATRICAL RELEASE HISTORY

CHAPTER 8 THEATRICAL RELEASE HISTORY Credit: The Imitation Game courtesy of StudioCanal 95 THEATRICAL RELEASE HISTORY AND COMPARATIVE PERFORMANCE OF INDEPENDENT DOMESTIC UK FILMS

A successful theatrical release is seen as key to a film’s long-term prospects, and competition for the available cinema release slots is fierce. However, almost 80% of independent domestic UK films which are not released theatrically do reach audiences by being shown at festivals or becoming available on other platforms.

FACTS IN FOCUS Over half (55%) of independent domestic UK films with production budgets of £500,000 or more shot between 2003 and 2013 were released within two years of principal photography.

The percentage of independent domestic UK films achieving a theatrical release increased with the level of budget.

For independent domestic UK films with budgets between £2-4.9 million, the highest proportion of box office came from the UK and Republic of Ireland, but for films with budgets of £5 million or over less than a quarter came from the UK and Republic of Ireland.

The USA and Canada generated the largest proportion of worldwide box office for independent domestic UK films with budgets of £5 million or over.

Of the films which do not achieve a theatrical release, 79% get shown via another platform or become available on other platforms, with screenings at film festivals and releases on physical video being the most common.

96 BFI Statistical Yearbook 2016

8. THEATRICAL RELEASE HISTORY 97 Of the 2,144 independent domestic UK films shot between 2003 and 2013, 598 (28%) were released released were (28%) 598 2013, and 2003 between shot films UK domestic 1). (Table independent 2,144 the photography Of principal of years two within Ireland of Republic increased and UK rates the in Release 55%. was theatrically rate release the more, or £500,000 of budgets with films release at just theatrical UK a Looking achieving million £10 than more productions). for 42 made films from of 90% over with releases budget, (39 with photography principal of years two within RELEASE RATE OF INDEPENDENT DOMESTIC UK FILMS IN THE UK AND RELEASE RATE REPUBLIC OF IRELAND It is possible that the ‘true’ release rates could be higher than shown in the following Tables, as our our as Tables, following the in shown than higher be could rates release release the ‘true’ of the that estimates our possible is while It However, above. listed territories the they only rates, covers release information worldwide true release the than lower slightly be might data budget. available the on production by based rates rates release of comparisons accurate providing for sufficient be should The theatrical release territories included in the analysis of worldwide release performance are: are: performance release worldwide of analysis the in included Japan, territories Italy, release Kong, theatrical Hong The Germany, France, Colombia, China, the Chile, Spain, Brazil, Austria, Korea, South Australia, Argentina, Singapore, Russia, Portugal, Zealand, New 24 These Netherlands, the Venezuela. Mexico, and Malaysia, territory) (one Canada and USA the territory), (one range, Ireland date of the across Republic and UK average on (86% majority the for account box they because title-matched covered are because and territories market, theatrical global the of Intelligence) Cinema IHS to according office data for these territories are available. It should be borne in mind that the number of effective theatrical release slots each year is tightly tightly is year each slots release theatrical effective of number shown the that mind in DVD/Blu-ray, borne be on should released be It also can Films year. per weekends 52 only being there constrained, on television, or downloaded or streamed over different digital platforms. Our data on box office and theatrical release details (opening date, distributor, gross, etc) are supplied by supplied are etc) gross, distributor, date, (opening details company. this release from theatrical and data office box on release data the Our having on depends also by release of tracked not definition is the and so and venues of comScore, number small a in time short a the for if even released be might film calculations, a rate Occasionally release the in released not as included be would film a Such comScore. photography. principal of years two within occurred release limited The reference period is the production years 2003 to 2013. (Production year is defined as the year in in year the as defined is year (Production 2013. to 2003 years production the is period reference The latest the is 2013 and which onwards, principal 2003 from photography begins.)available are have data We restricted the tracking of years our two production analysis within to thesereleased yearscomprehensive were becausewhich films on rates release base we as common a included provides year but rate, production release final the underestimate will This photography. principal of start levels. budget different of films comparing for measure This chapter looks at the theatrical release performance, in the UK and internationally, of independent independent of internationally, and UK the in performance, release theatrical the at companies looks chapter production UK This by made features are films UK Domestic band. producers, UK budget the by from films, UK is films domestic domestic to input Creative UK. the in partly or the wholly However, produced are that companies. non-British from backing financial with made are films the studios. of US some major but the by provided is support no that means ‘independent’ description THEATRICAL RELEASE OF INDEPENDENT DOMESTIC UK FILMS DOMESTIC OF INDEPENDENT RELEASE THEATRICAL 98 BFI Statistical Yearbook 2016 8. THEATRICAL RELEASE HISTORY by budget,production years200-201 Table 2oxofceperformanceofindependentdomesticUKflmsreleased intheUKandRepublicofIreland Yearbook. Statistical median box office has decreased slightly since the analysis was last carried without forbudgets the 2014 of £10 million or over was £5-9.9almost million £5.5budget million. band during Forthe period filmswas just in underthe £1.4smaller million,independent whilebudget the median domestic forbands films UK films theincreased with budget. The median boxTable office achieved 2 shows by that,films in asthe with release rates, both the median and mean UK box office takings for RELEASED INTHEUKANDREPUBLICOFIRELAND BOX OFFICEPERFORMANCEOFINDEPENDENTDOMESTICUKFILMS A filmisconsidered tobereleased theatricallyifitwasrecorded assuchbycomScore. Release ratessubjecttotwo-yearrelease limit. Notes: Source: comScore, BFI also showninthetableforreference. distribution ofboxoffice revenues thanthemeanwhichtendstohaveanupward skewduetoasmall numberofhighgrossing films.Meansare The median(thevalueatwhichequalnumbersoffilmshavehigherand lowerboxoffice values)isabetterrepresentation ofthe‘middle’ Box office figures validtoMarch 2016. Figures shownare ofindependentdomesticUKfilmsreleased intheUKandRepublicofIreland withintwoyearsofprincipalphotography. Notes: Source: comScore, BFI production years200-201 Table 1ReleaseratesofindependentdomesticUKflmsintheand RepublicofIreland, bybudget, Total ≥10 5 – 9.9 2 – 4.9 0.5 – 1.9 <0.5 (£ million) Budget band (£ million) Budget band <0.5 Total ≥10 5 – 9.9 2 – 4.9 0.5 – 1.9 films produced Number of 1,387 2,144 202 439 films released 42 74 Number of Number released within two years 598 136 180 185 photography 39 58 of principal 185 136 180 598 39 58 box office Median Median (£ 000) % released 5,467 1,390 245 48 23 6

13.3 67.3 41.0 92.9 78.4 27.9 of released films films of released Median budget box office (£ million) (£ 000) Mean 1,396 9,532 3,678 1,366 15.4 198 0.2 2.8 1.0 6.8 1.1 31

BFI Statistical Yearbook 2016

8. THEATRICAL RELEASE HISTORY 99 0.2 1.0 2.8 1.1 88 88 6.8 6.8 666 666 15.4 15.4 Mean Mean 4,050 4,050 7,442 23,514 23,514 61,968 (£ million) (£ box office office box (US $ 000) $ (US Median budget budget Median of released films films released of 13.3 41.5 67.8 78.4 92.9 28.0

16 16 167 167 102 102 1,167 1,167 5,770 5,770 % released 46,314 46,314 Median box office office box (US $ 000) $ (US 58 58 39 185 182 137 601 of principal principal of 58 39 photography 137 601 182 185 within two years years two within Number released released Number Number of of Number 74 74 42 films released films 439 202 1,387 2,144 Number of of Number films produced films 0.5 – 1.9 1.9 – 0.5 4.9 – 2 9.9 – 5 ≥10 <0.5 <0.5 Total Budget band band Budget million) (£ 2 – 4.9 4.9 – 2 9.9 – 5 ≥10 Total 0.5 – 1.9 1.9 – 0.5 <0.5 <0.5 Budget band band Budget million) (£ Table orldwide release rates of independent domestic UK flms by budget, production years 200-201 domestic UK flms by budget, production rates of independent release orldwide Table WORLDWIDE RELEASE RATES OF INDEPENDENT DOMESTIC UK FILMS UK FILMS DOMESTIC INDEPENDENT OF RATES RELEASE WORLDWIDE released were 2013 and 2003 between shot films UK domestic this in independent all covered of 28% that Ireland) of shows 3 Republic Table and UK the (including territories 24 the of more or one in theatrically with increased rate release the Again, release a photography. principal achieving startof the of years more withintwo analysis or million £10 of budgets with productions of 90% than budgets with films more with of 20% just budget, with compared photography, principal of years two within worldwide £2 million. under Source: comScore, BFI comScore, Source: Notes: territories within two years of principal in at least one of 24 comScore for independent domestic UK films released shown are Figures photography (see first section for the list). 2016. valid to March figures Box office Source: comScore, BFI comScore, Source: Notes: calculated two years after principal photography. Release rates are for the list). (see first section territories monitored of the 24 comScore as such in any one worldwide’ if it was recorded A film is ‘released Table 4 ox ofce US for independent domestic UK flms released in at least one of 24 territories by in at least one for independent domestic UK flms released 4 ox ofce US Table years 200-201 budget, production The worldwide box office performance (from 24 territories) of independent domestic UK films by budget budget by films UK domestic independent of territories) 24 (from performance box office box mean and median worldwide The The 4). (Table office box UK the at performance their to patterns budgets with similar films for showed million $5.5 over of office box median a with over. budget, or with million increased £10 of office budgets with films for million $46 over of median a and million £5-9.9 between OF INDEPENDENT DOMESTIC UK FILMS BOX OFFICE PERFORMANCE RELEASED GLOBALLY 100 BFI Statistical Yearbook 2016 8. THEATRICAL RELEASE HISTORY 100 % smallest share at 3.5%. share smallest the other European territories (21.1%). The Central and South Americanwas territories North America generated (USA and the Canada) with 29.3%, followed by the UK and Republicdomestic of Ireland UK films. The(29%) and territory generating the highest share of worldwideTable box office5 shows during the the relative period importance of geographically grouped global territories for independent Box office figures validtoMarch 2016. Release ratessubjecttolimitoftwoyearsfrom principalphotography. Notes: Source: comScore, BFI 200-201 Figure 1ocalandoerseasshare ofindependentdomesticUKflmboxofcebybudget,production years territories. overseas budgets of £5 million or more, over 75% of the total 24 territory globalfrom boxthe UKoffice and cameRepublic from of Ireland and from overseas were approximatelyindependent equal, domesticbut for UK filmsfilms withby budget. For films with budgets up toFigure £5 million,1 shows box the office share takings of box office takings in the UK and Republic of Ireland and overseas for UK FILMS LOCAL ANDOVERSEASSHAREOFBOXOFFICEINDEPENDENTDOMESTIC 10 20 30 40 50 60 70 80 90 UKandRepublicofIreland Overseas 0 <£0.5 million 56.2 43.8 £0.5 -£1.9million 46.7 53.3 £2 -£4.9million 54.3 45.7 £5 -£9.9million 24.9 75.1 ≥ £10 million 24.4 75.6 8. THEATRICAL RELEASE HISTORY BFI Statistical Yearbook 2016 101 9.6 9.6 7.6 3.5 29.3 29.3 29.0 21.1 100.0 box office (%) box Share of worldwide worldwide of Share USA and Canada Ireland UK and Republic of Spain the Netherlands, Portugal, Russia, Italy, Austria, France, Germany, Australia, New Zealand South Korea Japan, Malaysia, Singapore, China, Hong Kong, Colombia, Mexico, Venezuela Argentina, Brazil, Chile, office box multi-territory comScore of Total Territories Table 5 Share of 24 territory worldwide box ofce of independent domestic UK flms by grouped territories, territories, grouped flms by UK domestic independent ofce of box worldwide territory of 24 5 Share Table 200-201 years production For the three lowest budget bands the pattern of box office share is very similar, with the UK and and UK the with similar, very is share office box of pattern the was bands pattern budget The lowest territories. three the European For other the by followed share highest territory the The having bands. Ireland of budget over Republic and million £10 and million £5-9.9 the in films for respectively) however, 32% and different (33% Canada and USA the was bands both in share office territories box European highest the other with the and 24%) and (25% Ireland of Republic and UK the by followed 21%). and (23% A further breakdown of worldwide box office shares, by geographically grouped territory and budget, is is budget, and territory grouped geographically by shares, office box worldwide of breakdown further A 2. Figure in shown Source: comScore, BFI comScore, Source: Notes: section 1). limit (see Release rates subject to two-year release 2016. valid to March figures Box office may not sum to 100 due to rounding. Percentages 102 BFI Statistical Yearbook 2016 8. THEATRICAL RELEASE HISTORY 100 theatrical release were shown on another medium orabandoned. are available Table 6 onshows some that, overall,other at platform. least 957 (79%) ofbeen the abandoned 1,218 films which would did fall not into achieve the last a category, but not allinvestigated; films in this category it does would not have indicate been a definite outcome. For example,The last categoryany film for includes which production all films for haswhich no information was available from the sources • No information found. • The film is still in production or post-production; and • The film has been completed and shown or is available; shows the number of films, by budget, which fall into three broad outcomemedium) was categories: investigated. There are many possibilities for the outcome(whether of a theyfilm project have beenand shownTable at 6 any venue or festival or whetherof information they were (IMDb,made film festivalavailable websites, on any films’ own websites, etc) comScore. Using sources other the from release but on production nowe had data information onoutcome theatrical of these film projects We have identified 1,218 independent domestic UK films, produced between 2003 and 2013, for which an audience. is not shown in a cinema (whether tracked or not), there are many releaseother ways details for are itsupplied to be seenby comScore by which does not track every limitedphotography release. criterion Even wherein this section). a film As outlined previously, our datanot on onbox theatrical office and release theatrical at any time (we do not use the releaseIn thiswithin section two years we oflook principal at what has happened to films for which we have information on production, but FILMS WHICHWERENOTRELEASEDTHEATRICALLY % and budget,production years200-201 Figure 2Share of24territoryworldwideboxofceindependentdomesticUKflmsbygrouped territories See notestoTable 5. Source: comScore, BFI 10 20 30 40 50 60 70 80 90 USAandCanada UKandRepublicofIreland Australia,NewZealand OtherEurope CentralandSouthAmerica Asia 0 <£0.5 million 56.2 21.4 11.8 9.7 0.9 0.1 £0.5 -£1.9million 46.7 11.8 26.0 4.4 2.0 9.2 £2 -£4.9million 54.3 13.3 17.9 8.7 2.5 3.3 £5 -£9.9million 24.9 33.0 22.9 10.1 3.8 5.3 ≥ £10 million 24.4 31.8 20.6 10.2 9.5 3.5 8. THEATRICAL RELEASE HISTORY BFI Statistical Yearbook 2016 103 5.7 83 78.6 15.7 178 957 Total ≥£2million 4 70 1,218 11 55 £2 £2 ≥ 6.6 million 66.0 27.4 £0.5 - £1.9 million £1.9 - £0.5 54 13 Budget 197 130 million £0.5-£1.9 £0.5-£1.9 6.9 81.2 11.9 66 951 113 772 <£0.5 million <£0.5 <£0.5 million 0 Shown / available information No In production / post-production 10 20 30 40 50 60 70 80 90 Total No information In production/post-production Shown/available Outcome The amount of total budget by outcome for the non-released films shows a similar pattern to the the to pattern similar a shows films non-released the for outcome by budget are total or of amount available are The shown, been have which films the Overall, 4). (Figure outcome by films of numbers still in production/post-production over account for theof 75% total all budget for films. Source: comScore, BFI comScore, Source: 6. See notes to Table % of films basic into each of three independent domestic UK flms falling of non-released’ ercentages Figure years 200-201 outcome categories by budget, production For non-released films, the percentage of films which have been shown at a small venue or festival or or festival or venue small a at shown been have which films of bands percentage the budget films, all for 66%-82% range non-released the in is For platforms release more or one on audiences are to films of 7% available further a are and available, are or shown been have films of 80% nearly Overall, 3). (Figure still in production/post-production. Table 6 utcome of proects by budget for independent domestic UK flms which hae not been released released not been hae flms which UK domestic independent for by budget proects of 6 utcome Table years 200-201 production theatrically, Source BFI RSU Source released. to be not considered are not tracked by comScore that were limited releases Note: Films which had 100 104 BFI Statistical Yearbook 2016 8. THEATRICAL RELEASE HISTORY 100 See notestoTable 6. Source: comScore, BFI See notetoTable 6. Categories maysumtomore thanthetotalsassome individualfilmsare includedinmore thanonecategory. Notes: Source: BFIRSU years 200-201 Table 7Numbersofnon-released’ independentdomesticUKflmsshownoraailablebybudget,production totals. Table available on video or online, and so the sums over the categories inSome this Table films are availableare greater on than more the than one platform or have been shownplatform, or broadcast Table 7and shows, are also by production period and budget, whereFor they films havethat beenhave shown been oridentified are available. as having been shown at some venue or are available on some % oftotalbudget three basicoutcomecategoriesbybudget,production years200-201 Figure 4ercentages oftotalbudgetfornon-released’ independentdomesticUKflmsfallingintoeachof Total Shown atfilmfestivalonly Shown atfilmfestivalandother release Worldwide Limited UKtheatricalrelease Shown ontelevision online Available video physical on Available Outcome 10 20 30 40 50 60 70 80 90 Inproduction/post-production No information Shown/available 0 <£0.5 million <£0.5 million 772 196 455 135 222 325 51 48 11.8 81.2 7.1 £0.5 - £1.9 million £0.5 - 1.9 million 130 32 71 26 21 66 21 17 26.1 68.6 5.3 £2 million ≥£2 £2 million ≥£2 25 11 13 38 55 15 18 15.7 78.8 5.4 5 8. THEATRICAL RELEASE HISTORY BFI Statistical Yearbook 2016 105 9.1 69.1 23.6 32.7 20.0 27.3 45.5 50.8 16.2 13.1 20.0 16.2 54.6 24.6 6.2 6.6 17.5 58.9 25.4 42.1 28.8 <£0.5 million £0.5 - £1.9 million ≥£2 million <£0.5 million £0.5 - £1.9 Shown at film festival and other Shown at film festival only Limited UK theatrical release Worldwide release Available online Shown on television Available on physical video

0 Source: comScore, BFI comScore, Source: 7. See notes to Table % category UK flms in each shown or aailability independent domestic of non-released’ ercentages 5 Figure years 200-201 by budget, production For films made with budgets of £2 million or more which were not released theatrically but have been been have but theatrically released not were which more or million £2 of budgets with made films For at screenings is audiences shownreaching areor available, thefor most platformcommon which on they are available isplatform physical video. For common most the bands, also budget and two festivals other the at in films screened films into divided been have festivals one-off at a shown films effect, in The provides, festivals. film festival film A only. festivals at screened films and an reach to elsewhere opportunity available less has festival a at just shown film a so viewed be to film a for platforms. opportunity other on available also and festival a at shown one than audience 10 20 30 40 50 60 70 9. DISTRIBUTION

The increasingly crowded theatrical marketplace is dominated by a few very large companies. In 2015, the top 10 distributors generated over £1.3 billion in theatrical revenues, while the remainder made £59 million.

FACTS IN FOCUS The top 10 distributors had a 95.5% share of the market in 2015. The market share for distributors outside the top 10 was 4.5%. Weekdays (Monday to Thursday) accounted for 42% of the box office in 2015, slightly more than in 2014.

Opening weekends represented 30% of the total box office. The estimated total amount spent by distributors on advertising films released theatrically was just over £192 million.

The average advertising spend for UK studio-backed films was £1.6 million, compared with £1.3 million in 2014; the average spend for UK independent films was £0.2 million, the same as in 2014.

107 9. DISTRIBUTION BFI Statistical Yearbook 2016 108 59.3 59.3 20.4 20.4 50.6 50.6 51.9 51.9 52.9 52.9 61.7 61.7 118.3 118.3 155.3 155.3 195.9 195.9 262.4 262.4 283.5 283.5 1,252.9 1,252.9 1,312.2 1,312.2 Box office office Box gross (£ million) (£ gross Jurassic World, egend, Shaun the Sheep Sheep the Shaun egend, 14 40 25 13 57 37 22 54 21 44 922 595 595 327 and two other top 10 titles, titles, 10 top other two and in 2015 in Films on release release on Films 4.5 4.5 (%) 1.6 1.6 3.9 3.9 4.0 4.0 4.0 4.0 4.7 4.7 9.0 9.0 95.5 95.5 11.8 11.8 14.9 14.9 20.0 20.0 21.6 21.6 100.0 Star Wars: The Force Awakens, Force The Wars: Star . Table 1 shows box office takings by distributor for all all for distributor by takings office box shows 1 Table . Market share share Market , which continued to generate considerable box office considerable to, which generate continued 2015. into

Inside Out. and Total Others (121 distributors) Sub-total Entertainment eOne Films Lionsgate Paramount Paramount StudioCanal Warner Bros Bros Warner Sony Pictures 20th Century Fox Walt Disney Disney Walt Universal Distributor Table 2 shows the market share for the top 10 distributors annually between 2006 and 2015. Universal, Universal, 2015. and 2006 between annually distributors 10 top Century the 20th for while share period, the market the during year shows 2 other Table one in spot top the Warner held decade. 2015, the of over total distributor in times leading three the chart the topped four has on chart 2014, 10 of top the distributor headed leading has the 2015, Fox, in distributors 2015 in earning 10 distributor top of list the independent in fifth top was The which Bros, distributor. any of number highest the period, the over occasions L year, UKfilm the of independent top the included titles whose StudioCanal, was Avengers: Age of Ultron comScore Source: Notes: in 2014. in 2015, including titles first released 6 as it includes all films on release Table from differs The total number of films on release total for all films handled by the distributor in the period 1 January 2015 to 31 December 2015. = cumulative box office gross Box office release Paddington and thethe Movie, 2014 the exception, one with 2012, to up years all In 10. top the in distributors appear consistently independent distributors different six same only The with list the in the of places number leading a the of took studios consolidation US the major following However, period. Paramount, the of over 10 ahead top the appeared in appearing StudioCanal 2015 In change. the to In beginning Pictures. is Sony pattern and this Paramount of independents, ahead appeared 3.6% Films from eOne and ranged has 10 StudioCanal top both the 2014 in outside while distributors by generated office box of share the years, few last 2009. in 7.8% to 2006 in Table 1 istributor share of box ofce, UK and Republic of Ireland, 2015 of Ireland, of box ofce, UK and Republic 1 istributor share Table films on release during 2015, and hence includes the box office takings of titles which were released in in released were which titles & Furious 7 and Fifty Fast of ShadesMinions, takings ofoffice Grey box the includes Disney hence and Walt was 2015, 2015 during in release distributor on films earning highest second The 2015. into cinemas in remained but 2014 which released the top grossing film of the year, The leading distributor was Universal, which released four of the top 10 films of 2015: Table 1 shows that the top 10 distributors had a 95.5% share of the market in 2015 from the release of of release the from 2015 in market the of share 95.5% a had the distributors of 10 96% top took the that distributors shows 10 1 top the Table when 2014 to similar is share The releases). all of (35% titles 327 companies 130 with thein all further releases).A distributorsof involved (37% 121 were releases compared 316 office from box total 2015, in Ireland of Republic and UK the in films of release theatrical outside the top 10 in 2014. These distributors handled a total of titles595 (65%office. of allbox releases)total the but gainedof 4.5% only DISTRIBUTORS 109 BFI Statistical Yearbook 2016 9. DISTRIBUTION 4 3 2 1 Notes: Source: comScore number of specialised films in 2015 with 30 and 23 films respectively. Ayngaran International just missed missed just International million. £1.2 Ayngaran was 2015 in releases its for take respectively. office box total films the as 23 list and the on out 30 with 2015 in films specialised of number overall), film topspecialised earning Altitude is third in the list with nine releases includingin thethe list is topCurzon Eye Artificial which earning released documentary20 specialised titles including of the yearyear, of the (andfilm language theforeign grossing highest the 2015including in category for specialised films was Eros International with a total grosstitles, of £6.8which million. took It £35 released million at 15 the films boxin thisoffice (Table grossing3). The £48 distributormillion (4% withof thetotal largest box office).box releases), officeThe all 2015 (60% in ofshare Republic and Ireland top UK the in released were 10 films distributors of 456 specialised A total of these films released 120 specialised documentaries. commercial genre to be ‘specialised’; this includes subtitled foreign languageindependent films and most films releasedfeature in 2015. The BFI considers films that doTables not sit 3easily to 5 showwithin a mainstreamthe top 10 distributors of specialised films, foreign language films and UK Table 2istributormarketshare aspercentage ofboxofcegross, 2006-2015rankedby2015marketshare Top 10totalrefers tothetop10distributorsofthat particularyear. Until2006ParamountandUniversaldistributedjointlyasUIP. MomentumwastakenoverbyeOneFilmsinJanuary2014. OptimumReleasing,theUKsubsidiaryofStudioCanal,wasrebranded asStudioCanalinSeptember2011. Optimum/StudioCanal Warner Bros Sony Pictures 20th CenturyFox Walt Disney Universal Distributor Total Others total 10 Top UIP Momentum Pathé Entertainment eOne Films Lionsgate Paramount 3 2 4 1 0. 0. 0. 0. 0. 0. 0. 0. 0. 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 2006 1. . 25 1. . . 80 87 6211.8 6.2 8.7 14.9 18.0 20.0 21.8 7.2 10.1 13.1 15.2 16.1 6.9 10.2 12.1 11.3 8.7 15.9 12.5 16.6 14.0 8.2 9.4 12.4 16.1 9.9 13.9 20.9 10.7 15.7 1. - - - - - 95.5 96.3 - 95.5 95.4 - 94.4 93.7 - 92.2 94.5 94.5 - 96.4 18.9 82 1. 10 1. 83 1. 29 1. 59 9.0 15.9 17.2 12.9 18.2 18.3 11.2 11.0 15.6 8.2 36 55 55 78 63 56 46 . 37 4.5 - 3.7 - 4.5 4.6 - 5.6 1.6- 6.3 5.2 7.8 4.0 - 1.9 5.5 5.5 3.1 5.5 - 4.7 6.7 3.6 5.7 2.9 2.5 - 2.1 8.6 1.3 8.0 3.5 9.5 3.2 2.9 2.5 7.9 2.3 2.4 23 34 35 - - 46 43 - - - - - 4.3 4.6 - - 3.5 3.4 2.3 - 1. 85 1. 02 1. 07 1. 12 21.6 11.2 15.1 10.7 11.8 10.2 10.5 18.5 13.9 - - - - 49 55 51 67 90 80 3.9 8.0 4.7 9.0 6.7 6.7 2.8 5.1 - 4.0 5.5 5.8 4.9 3.8 7.8 - 2.2 7.7 - - 16.3 14.8 - 10.8 - 16.9 14.7 - - - Amy. StudioCanal and Ayngaran International released the highest 2007 082009 2008 0021 0221 2014 2013 2012 2011 2010 45 Years and Bajrangi Bhaijaan Still Alice. . Second 2015 9. DISTRIBUTION BFI Statistical Yearbook 2016 110 6.8 6.8 4.7 4.7 4.6 4.0 3.5 2.9 2.8 2.7 1.3 1.3 (in (in in Farsi. Farsi. in Box office office Box gross (£ million) (£ gross Wild Tales 51 51 26 26 50 27 81 81 89 30 28 230 230 Average widest widest Average point of release of point A Girl Walks Home Alone at Night Home Walks A Girl (in Swedish). Swedish). (in 9 5 9 4 9 7 15 20 30 12 , had the largest share of the the of share largest the had Bhaijaan, Bajrangi Number of of Number Force Majeure released in 2015 in released specialised films films specialised B4U Network Lionsgate Picturehouse* BFI UTV Motion Pictures 20th Century Fox Altitude StudioCanal Eros International Eros Curzon Artificial Eye Distributor Source: comScore, BFI RSU analysis comScore, Source: Notes: specialised films in 2015. two or more The list includes distributors releasing jointly with Element. The Lobster which was released includes all takings from * The total for Picturehouse Table Top 10 distributors of specialised flms in the UK and Republic of Ireland, 2015 ranked by box by box ranked 2015 of Ireland, Republic the UK and flms in of specialised 10 distributors Top Table ofce gross Eros International, whose titles include the Hindi-language Hindi-language the include titles whose International, Eros Foreign language films accounted for 37% of films released at the UK and Republic of Ireland box office office box Ireland of Republic and UK the at released films of 37% for titles accounted films 277 total language the of (44%) Foreign 122 released films these with associated in distributors 10 released top films The of 2015. numbers in of terms in language non-English non-English popular popular most the most was the was French 4). Hindi (Table however, revenue, office box of terms In titles. 41 with million £2 grossed year, which the Tamil, by followed releases, 40 from million £14 of International, Eros earnings as with such – language subcontinent Asian South the from films of Distributors list. releases. the 39 in from highly feature – International Ayngaran and Network B4U Pictures, Motion UTV had Pictures, Motion UTV films, foreign Hindi-language grossing of distributor highest Another second million). (£6.8 the was overall office title box earning top Its million. £3.5 with share largest next the most the released of International most (22), Ayngaran number specialist film Tamil highest . Dilwale filmlanguage theyear, of second the released StudioCanal and year the in (23) titles language foreign which were drawn from French cinema but which also included The highest grossing non-Hindi foreign language title of 2015 was the Argentinian film Spanish) which was released by Curzon Artificial Eye. The company also released the top earning earning top the released also company The Eye. Artificial Curzon by released was which Spanish) non-English language European film of the year, 111 BFI Statistical Yearbook 2016 9. DISTRIBUTION Note: Thelistincludesdistributors withtotalboxoffice grosses forUKindependentfilmsin2015ofover£1million. Source: comScore, BFIRSUanalysis ofce gross Table 5Top 10distributorsofUK independentflmsintheUKandRepublicofIreland, 2015rankedbybox Best ExoticMarigoldHotel,and FoxCentury whose include titles secondthe independent UK highest earning of 2015, film highest grossing UK independent titles, office for UK independent films was StudioCanal, whose releases includeby this categorytwo of the(Table year’s 5). Fortop threethe third consecutive year, the distributorindependent with the largest shareUK titles of accounted the box for £131 million, whichmillion equates£136 was (10.5% to2015 96%in of of the released the total total box films box officeUK office) generated independent from 182all for releases.gross Theoffice 61box films combined released The by the top 10 distributors of Note: Thelistincludesdistributorsreleasing twoormore foreign languagetitlesin2015. Source: comScore, BFIRSUanalysis ofce gross Table 4Top 10distributorsofforeign languageflmsintheUKandRepublicofIreland, 2015rankedbybox Distributor StudioCanal Distributor Eros International 20th CenturyFox UTV MotionPictures Lionsgate 20th CenturyFox Sony Pictures Curzon ArtificialEye eOne Films B4U Network Entertainment Ayngaran International Ayngaran Altitude Soda Pictures Universal Metrodome Picturehouse Qube Entertainment Curzon ArtificialEye StudioCanal Far from the Madding Crowd. Madding the from Far Legend Number of foreign independent films released in 2015 released in 2015 language films Number of UK and Shaun theSheepMovie. Second in the list is 20th 14 15 12 10 23 13 11 22 5 5 9 7 1 7 3 4 1 2 0.6 24 7 9 5 1 1.2 19 2 0.7 25 1 0.6 11 6 0.6 6 point of release point of release Average widest Average widest 204 425 266 553 227 350 442 41 79 89 1 6.8 51 1 3.5 81 1 2.6 61 3 2.3 23 8 1.3 28 gross (£ million) gross (£ million) The Second

Box office Box office 38.0 35.4 14.1 13.0 12.8 2.1 6.0 3.9 2.9 2.7 9. DISTRIBUTION BFI Statistical Yearbook 2016 112 releases of % 526.9 41 5.4 222.9 33 4.3 506.6 466.1 759 100.0 279 36.8 236 31.1 Number releases of % Number releases of % Number releases of % Number releases of % Number releases of % 2010 2011 2012 2013 2014 2015 Number 1.8 13 2.3 19 3.4 26 4.0 31 4.4 39 5.5 releases of % 9 Number 1.7 releases of % 9 43 8.2 31 6.2 36 6.5 41 7.3 56 8.7 64 9.2 58 8.1 25 4.7 32 6.4 37 6.6 41 7.3 36 5.6 36 5.2 30 4.2 31 5.9 30 6.0 28 5.0 26 4.7 24 3.7 19 2.7 21 2.9 60 11.4 53 10.5 48 8.6 44 7.9 51 7.9 42 6.0 49 6.9 34 6.5 46 9.1 51 9.2 57 10.2 43 6.6 53 7.6 46 6.5 527 100.0 503 100.0 557 100.0 558 100.0 647 100.0 698 100.0 712 100.0 206 39.1 197 39.2 215 38.6 192 34.4 245 37.9 243 34.8 279 39.2 119 22.6 105 20.9 129 23.2 138 24.7 166 25.7 210 30.1 190 26.7 2008 2009 Number Total <10 10 – 49 50 – 99 100 – 199 200 – 299 300 – 399 400 – 499 ≥500 Sites at Sitesat widest point release of Table 6 Numbers and percentages of releases by widest point of release, 2008-2015 by widest point of release, of releases 6 Numbers and percentages Table WIDTH OF RELEASE OF WIDTH 2015. to 2008 from release of point widest by releases of percentages and of numbers the exception shows the 6 (with 2008 Table since year each increased has released films of Consistently, number sites. 50 total than the While fewer at shown films by for accounted is one than increase the more with of sites, majority 50 the 2009), than fewer at shown been have sites 500 at releases of 60% released films around of 2015 to number 2008 The from sites. 10 than fewer at shown being year each proportion a as releases of 2015; in third 46 to 2009 and 2008 both in nine from rising period, the over grown has more or of total releases, the number of films in this width of release band in 2015 representedwith compared 2% in 2008 2009. 6%and of all releases As outlined above, between 2008 and 2015 more films were shown at fewer than 50 sites at their widest widest their at sites 50 than fewer at shown were films more greatest the 2015 at and 2008 between released films above, 2011, outlined To As bands. release of width higher for the of any different than is pattern release the of but point releases, of number 1 lowest Figure the As had more. more) or or (500 sites 500 sites at of number released than sites 200-299 at released being films fewer with a shown has 2012-2015 sites 200-299 at released films of number the in the trend the sites) 400-499 period the and during 300-399 illustrates, 100-199, (50-99, bands release of width other the In decrease. gradual evident. are patterns consistent no and vary releases of numbers Source: comScore, BFI RSU analysis comScore, Source: may not sum to totals due to rounding. Note: Percentages 113 BFI Statistical Yearbook 2016 9. DISTRIBUTION 100 150 200 250 300 the period. share of box office revenues taken on a Wednesday (10.8%) acrossthe theperiod whole by the ‘Orange/EEof 2015 Wednesdays’ was the lowest promotion. for The promotionconsistent ended in February with the 2015: exception the of the middle of the working week, whichthe 59.2% had beenseen boosted in 2014 for (Tablemost of 7). The pattern of box office takingsIn by2015, day has 58.1% remained of broadly box office revenue was taken at weekends (Friday to Sunday), a slight decrease from WEEKEND BOXOFFICE Source: comScore, BFIRSUanalysis Number ofreleases Figure 1Numbersofreleases bywidestpointofrelease, 2008-2015 50 <10 10–49 50– 99 100– 199 200– 299 300–399 400–499 ≥500 0 2008 206 119 43 25 31 60 34 9 2009 197 105 31 32 30 53 46 9 2010 215 129 36 37 28 48 51 13 2011 192 138 41 41 26 44 57 19 2012 245 166 56 36 24 51 43 26 2013 243 210 64 36 19 42 53 31 2014 279 190 58 30 21 49 46 39 2015 279 236 52 41 22 33 50 46 9. DISTRIBUTION BFI Statistical Yearbook 2016 114 2015 32.2 25.9 25.6 28.7 32.3 37.3 39.6 29.9 9.5 2015 15.3 23.9 18.8 58.1 10.6 10.8 10.9 41.9

100.0 9.1 9.4 9.8 27.1 21.9 30.9 25.9 30.3 36.7 40.0 27.9 15.3 25.2 18.8 59.2 12.4 40.8 2014 2014 100.0 8.9 9.4 15.8 24.9 18.2 58.9 12.6 10.2 41.1 2013 100.0 24.0 30.9 27.6 28.4 32.1 37.0 38.3 28.4 2013 9.3 9.3 9.8 16.4 24.1 17.6 58.1 13.4 41.9 2012 100.0 27.0 22.4 24.6 26.1 31.8 37.7 37.8 26.8 2012 9.2 9.1 9.8 16.6 23.8 17.6 57.9 13.9 42.1 2011 100.0

29.4 22.6 27.6 26.2 32.2 35.5 38.5 28.1 2011 9.5 9.3 9.3 16.0 24.1 18.5 58.6 13.2 41.4 2010 100.0 which generated 43%SPECTRE which generated (£41.3 million) its of 9.2 9.5 9.5 16.4 24.0 17.8 58.2 13.7 41.8 27.4 35.8 26.1 26.7 30.4 31.9 34.8 28.6 2009 2010 100.0 9.4 9.5 9.9 16.7 24.4 18.3 59.4 11.9 40.7 % of total in opening weekend opening in total of % 2008 100.0 18.8 23.0 32.2 26.1 30.3 35.5 36.5 26.1 2009 7.2 9.0 8.7 16.4 27.8 19.3 63.5 11.6 36.5 2007 100.0 21.7 31.0 29.2 27.6 27.4 34.1 34.8 27.3 2008 9.5 9.5 9.7 16.5 25.1 18.7 60.3 10.9 39.7 2006 100.0 Range of box office million) (£ >30 20 – 30 10 – 19.9 5 – 9.9 1 – 4.9 0.2 – 0.9 <0.2 All films Friday Saturday Sunday Weekend Monday Tuesday Wednesday Thursday Weekday Total For many films many For the opening box office weekend represents a significant proportion their of total theatrical gross. 8 shows the opening box office Table weekend as a share total of theatrical for revenue the years 2008 this In 2015 to 2015. share was 30%, the highest the of period. film, top year’s The , took £33.9 million Awakens its opening (extended on The weekend Force to days),four whichStar Wars: 28% nearly represented its total of gross (to February 21 2016). film The earning the highest percentage box officeof receipts from its opening in the year was Table 7 Box office percentage share by weekday/weekend, 2006-2015 by weekday/weekend, share percentage 7 Box office Table Source: comScore, BFI RSU analysis comScore, Source: is included in the analysis. figure For films with a limited initial opening, the wider release figures. Note: Opening weekends include preview Table 8 Opening weekend as percentage of total box office, 2008-2015 of total 8 Opening weekend as percentage Table total gross (to February 21 2016) from its opening This weekend. is the largest ever a film opening for in is based period. it an seven-day the on unusually UK, films long the Only of 10 however, top one the of year took less than 20% its total of box office tally its opening on This weekend. wast, Inside Ou whose opening take weekend was 19% under just its theatrical of gross (to February 21 2016). comScore Source: sub-totals due to rounding. may not sum to weekend/weekday Note: Percentages 115 BFI Statistical Yearbook 2016 9. DISTRIBUTION not possible to compare online spend year on year. the Nielsen Media Research methodology for collecting internet advertisingon thespend internet data accountedmeans that forit is the lowest proportion of spend comparedrepresented with otherjust media.over 11%The change of total in spend, compared with 15% Thein 2007. share of spendIn all yearson pressexcept advertising 2011, has advertising been on a downward trendadvertising over thespend, period; within 2015,TV alone itaccounting for over 50% of the total foradvertisements. the second Intime 2015, in the period.the combined proportion of spend on theseperiod two themedia highest represented proportion 82% of of advertising all spend has been allocated toFigure TV and 2 showsoutdoor the percentage share of advertising spend by medium between 2007 and 2015. Over the The figures for2013 onwards are nothistoricallycomparableasthese were calculatedonthebasisofadifferent methodology. Figures maynotsumtototalsduerounding. Notes: Source: NielsenMediaResearch Table 9stimatedadertisingspend2007-2015 reduces the estimation of online advertising spend from Q2 2013 onwards. advertising spend data changed during the period. The method, appliedsignificant, in October it 2014, should significantly be noted that the Nielsen Media Research methodology21% and for 12% collectingrespectively online over the same period. While the fall in internetincreased advertising by 38%spend since appears2007 while the spend on outdoor advertising, pressthese andnew radioapproaches has fallen are by not 7%, fully captured in the current release costincreasing methodology.) use of partner TV spend media hasadvertising and social media engagement2014, to promote so the averagefilm releases, advertising but spend per film decreased from £0.27 millionHowever, to £0.25 million. there (2015 were saw 759 film releases in the UK and Republic ofspend Ireland by distributorsin 2015 comparedin 2015 was with just712 overin £192 million, down 2% from £195and million online) in 2014in order (Table to raise 9). a film’s profile with potential audiences.Distributors The invest estimated heavily total in advertisingadvertising across all media (outdoor posters, print media, television, radio majorof the backing studios. continue to screen a film which is particularly important for independentsubsequent films which dorelease not platforms.have the A good opening weekend, for example,The opening may weekendencourage is exhibitorsrecognised as to being crucial to the success of a film, both in cinemas and on RELEASE COSTS

eim20 0820 0021 0221 042015 2014 2013 2012 2011 2010 2009 2008 2007 TV Medium Outdoor Press Radio Sub-total Internet Total 7. 6. 6. 6. 8. 8. 8. 9. 191.4 194.0 187.8 188.1 188.7 163.5 161.9 167.5 174.8 7. 7. 6. 7. 9. 8. 8. 9. 192.1 195.1 189.4 188.6 197.2 170.6 168.3 172.0 179.5 417. 437. 088. 92110102.2 101.0 89.2 89.1 90.8 76.0 74.3 79.3 74.1 535. 706. 916. 126. 60.5 64.2 71.2 67.2 69.1 61.0 57.0 56.2 65.3 702. 991. 202. 072. 21.3 24.2 20.7 21.5 22.0 19.9 19.9 22.6 27.0 . . 0776686859467.4 4.6 5.9 6.8 6.8 7.6 10.7 9.4 8.4 . . . . . 4.0 8.5 6.1 6.4 4.5 4.7

(£ million) . . 0.7 1.1 2.5 9. DISTRIBUTION BFI Statistical Yearbook 2016 116 3.9 0.4 2015 2.4 0.6 2014 3.1 3.0 2013 3.6 2.1 2012 3.4 4.3 2011 4.5 3.6 2010 6.4 3.8 2009 5.5 2.6 2008 4.7 2.6 41.336.415.0 46.1 32.7 13.1 44.1 33.9 11.8 44.5 35.8 11.7 46.0 35.0 11.2 47.2 35.6 11.4 47.1 37.6 10.9 51.8 32.9 12.4 53.2 31.5 11.1 2007 Press Radio Internet TV Outdoor 0 Using the information on advertising spend, and estimating print and Digital Cinema Package (DCP) (DCP) Package Cinema Digital and print estimating and spend, used advertising on screens cinema all information the When Using estimated. be can widths release various for cinema UK costs all 2015 release of total end the the at costs, However, print. per £1,000 at costs print as estimated distribution, we digital prints, and 35mm analogue both with Working projection. digital for costs equipped were duplication and screens mastering digital incur distributors prints, 35mm is print refurbishing digital a and striking as producing well that likely is it Although Fees. for Print cost Virtual now average the instances on many out in carried and been has research in-depth no print, any 35mm of a absence producing the In than costs. extra cheaper these of account taking prints, all 35mm and when as digital of estimate same the combination use a to continued have we cost, average current the on data empirical analogue. were prints Source: Nielsen Media Research Source: 2014, in million £50 from up 2015, in films British advertising on spent was advertising million £56 The 156). with Approximately compared (209 2014 in than 2015 in released were films UK with more compared although average, on film per million (£1.5 million £28 on was films UK spent amount studio-backed the for that spend show films individual for spend advertising on data Our in as 2014). in same the million film, £1.3 per million £0.2 of average (an million £29 was films UK not is films smaller independent for advertising spend advertising some as underestimate an be to likely is this but 2014), distributor. by spend generic to but titles individual to allocated Figure 2 ercentage share of adertising spend by medium, 2007-2015 by medium, spend adertising of share 2 ercentage Figure % 10 20 30 40 50 60 117 BFI Statistical Yearbook 2016 9. DISTRIBUTION Table 10stimatedrelease costbywidthofrelease, 2009-2015 all other categories when compared to 2014. media activity not being fully captured in the data. There was a slightthe decline next categoryin average (400-499), which release could costs be a in result of new partnership media advertisingdown slightly and (2%)social from £2.94 million in 2014. There was a large drop (22%) costin average of release release for costs films shownin across the widest number of cinemas the(500+) inaverage 2015 was release £2.87 million, cost for different levels of theatrical releaseadvertising can be spendcalculated estimate (Table (+20% for10). The other average public relations campaigns,So, publicity keeping and the premiereestimate ofcosts), a typical cost of £1,000 per print and adding the Nielsen Media Research See notetoTable 10. Source: NielsenMediaResearch, BFIRSUanalysis Table 11stimatedrelease costbybudgetforUKflms,2015 million. £1.4 was for independent films cost release average the and million £2.6 was films studio-backed studios which have considerable marketing budgets. In the top budgetpromotional band, spend,the average in particular release the large cost scale for inward investment films backedrange andby thethose major made USfor million. £2–£4.9 The highest budget films are most likelyproduction to have budget, the highest with the largest increase being seen between films inmillion thewhich £0.5–£9 budget budget information for 2015 isin available.released films 159UK The the for budget averageproduction by cost releaserelease average the costs11 shows Table increased with the size of the distribution. Note: Theprintcostscalculationsassumeforacombinationofdigitalandanaloguedistributionare thesameasforanalogue Source: NielsenMediaResearch, comScore, BFIRSUanalysis 500+ 400 –499 300 –399 10+ 200 –299 100 –199 of release at widest point Number of sites Budget (£ million) All films <0.5 0.5 –1.9 2 –4.9 5 –9.9 50 –99 10 –49 <10

cost 2009 (£ million) Average release .026 .431 .429 2.87 2.94 3.04 3.13 3.14 2.65 3.40 .520 .719 .420 1.59 2.04 2.04 1.99 2.17 2.09 2.05 .212 .812 .512 1.30 1.21 1.15 1.28 1.38 1.24 1.32 .407 .208 .607 0.72 0.76 0.76 0.83 0.82 0.77 0.84 .103 .103 .003 0.25 0.35 0.30 0.36 0.31 0.33 0.51 .102 .601 .301 0.12 0.18 0.13 0.12 0.16 0.20 0.21 .600 .500 .300 0.03 0.05 0.03 0.04 0.05 0.04 0.06 .100 .100 .100 <0.01 0.01 0.01 0.01 0.01 0.01 0.01 (£ million) cost 2010 Average release (£ million) cost 2011 Average release Number of films (£ million) cost 2012 Average release 159 67 27 21 13 31 (£ million) cost 2013 Average release (£ million) cost 2014 Average release Average release cost (£ million) (£ million) cost 2015 Average release 0.58 0.02 0.05 0.43 1.29 2.07 10. EXHIBITION

CHAPTER 10 EXHIBITION Image: Bajirao Mastani courtesy of Eros International 118 EXHIBITION

The overall number of screens in the UK continues to rise, mainly due to the increasing number of multiplex cinemas. However, augmenting commercial cinema is a thriving voluntary sector in film exhibition, and film society admissions are highest in areas less well served by commercial cinemas.

FACTS IN FOCUS At the end of 2015, the UK had 4,046 screens, 137 more than 2014, in 751 cinemas. There were just over six screens for every 100,000 people, the same as in 2014, but lower than countries such as the USA (12.6), France (8.7), Australia (8.6), Spain (7.4) and Italy (6.5).

Only 7% of screens showed mainly ‘specialised’ (ie non-mainstream) programming, while 0.1% of screens were dedicated to South Asian films.

According to IHS, since 2014 all screens in the UK have been equipped for digital projection. Over two fifths (44%) of community cinemas which responded to the latest Cinema For All annual survey saw an increase in their annual admissions compared with the previous year; 31% recorded roughly the same number.

The average ticket price at commercial cinemas was £7.19.

119 10. EXHIBITION BFI Statistical Yearbook 2016 120 2015 2014 2013 2012 2011 2010 2009 2008 2007 249448 258 469 269 457 275 448 278 438 285 460 288 481 295 461 301 449 316 435 697 727 726 723 716 745 769 756 750 751 35.7 35.5 37.1 38.0 38.8 38.3 37.5 39.0 40.1 42.1 2006 0 Multiplex Traditional and mixed use

Source: Dodona Research, BFI RSU analysis Dodona Research, Source: Notes: traditional converted from that were while excluding those screens defined as purpose-built cinema complexes with five or more Multiplexes are cinema sites. only part of the time. used for screenings Mixed use cinemas are ■ ■ Total sites % multiplex sites Number of sites Figure 1 UK cinema sites by type of site, 2006-2015 1 Figure Figure 1 shows the number of cinema sites in the UK from 2006 to 2015. The total number of sites has has sites of number total The 2015. to 2006 from UK the in sites cinema has of fluctuation number the This shows 2012. 1 in Figure 769 of high a and 2006 in 697 of low a with are period screens the use over (mixed fluctuated sites use mixed and traditional of number the in high a changes by from driven decreased been has mainly sites these of number steadily The has time). the of part however, only sites, screenings film for multiplex used purpose-built of number The were 2015. in which 435 of to 42% 2012 in 2015, 481 in UK of the in point cinemas 751 were There 2015. in 316 to 2006 in 249 from risen multiplexes. UK CINEMA SITES UK CINEMA 900 800 700 600 500 400 300 200 100 121 BFI Statistical Yearbook 2016 10. EXHIBITION 1,000 1,500 2,000 2,500 3,000 3,500 4,000 4,500 town’ cinemas, where there were 78 new screens, an increase in provision of compared5.8% 2014. with in the numbers of screens in all locations compared with 2014. Thecounterparts, largest increase although was town seen and in city‘out centre of sites are also relatively small.Table In 2015,1 shows there suburban were and increases rural cinemas tend to have fewer screens on average than their urban suburban locations. In 2015, 97% of all screens in the UK were located in town or city centres, ‘edge of centre’, ‘out of town’ or SCREEN LOCATION See notestoFigure 1. Source: DodonaResearch, BFIRSUanalysis ■ ■ Number ofscreens Figure 2UKcinemascreens bytypeofcinema,2006-2015 2015. in 77% to 2006 in 73% from increased screens multiplex there were 3,096 multiplex screens and 950 traditional and mixed use Thescreens. UK hasThe gained percentage 584 multiplex of screens and 22 traditional and mixed use screens since 2006. In 2015,2014. with compared 137 of rise a 4,046, at stood screens of such as schools and private screening rooms) has risen every year since 2006.As FigureIn 2015,2 shows, the the total overall number number of cinema screens in the UK (excluding those operated in venues UK SCREENS % multiplexsites sites Total

500 Traditional and mixed use mixed and Traditional Multiplex 0 ,1 ,7 ,8 ,3 ,6 ,3 ,5 ,1 ,5 3,096 2,959 2,915 2,851 2,833 2,767 2,735 2,689 2,578 2,512 ,4 ,1 ,1 ,5 ,7 ,6 ,1 ,6 ,0 4,046 3,909 3,867 3,817 3,767 3,671 3,651 3,610 3,514 3,440 2006 307. 457. 547. 477. 5776.5 75.7 75.4 74.7 75.2 75.4 74.9 74.5 73.4 73.0 2 3 2 1 0 3 6 5 5 950 950 952 966 934 904 916 921 936 928 2007 2008 2009 2010 2011 2012 2013 2014 2015 10. EXHIBITION BFI Statistical Yearbook 2016 122 Italy no. of of no. per site per screens screens Average Average

% 2015 2014- 1.7 1.6 1.5 1.5 1.6 1.6 1.7 1.5 1.6 1.7 1.5 1.8 1.8 1.6 1.6 1.7 1.5 1.7 1.7 1.6 change change 2.0 1.9 1.7 2.0 2.1 2.2 2.4 2.3 2.6 2.7 Spain Germany 2.6 2.4 2.6 2.7 2.7 2.7 2.8 2.7 2.7 2.6 UK 3.1 3.1 3.2 3.4 3.6 3.5 3.4 3.2 3.0 3.2 2010 2011 2012 2013 2014 2015 France 3.6 3.3 3.7 3.7 3.8 4.1 4.1 3.9 4.0 4.0 2008 2009 Australia 2007 3.9 3.6 3.8 3.9 3.8 4.0 4.2 4.1 4.3 4.3 USA 40 30 30 27 28 28 27 26 25 26 4.0 1.9 105 98 95 97 100 101 109 113 108 114 5.6 1.6 478 486 499 498 506 518 523 534 540 561 3.9 9.0 2006 3,440 3,514 3,610 3,651 3,671 3,767 3,817 3,867 3,909 4,046 3.5 5.4 1,262 1,284 1,303 1,297 1,311 1,335 1,310 1,328 1,335 1,413 5.8 9.9 1,555 1,616 1,683 1,732 1,726 1,785 1,848 1,866 1,901 1,932 1.6 4.2 2015 2014 2013 2012 2011 2010 Total 2009 Rural 2008 Suburban 2007 Edge of of Edge centre 2006 Out of of Out town Location Town/city Town/city centre Source: IHS Source: Table 2 dmissions per person in maor flm territories, 2006-2015 ranked by 2015 admissions 2 dmissions per person in maor flm territories, 2006-2015 Table Table 2 shows the number of admissions per person in a number of major film territories. The UK saw saw UK The territories. film major of number a in person per admissions of density number screen the shows lower 2 a having Table despite Italy and Germany Spain, than (2.6) person highest per the had admissions (3.6) more Australia and (3.9) USA the territories, major the Of Italy. and Spain than admissions per person. A standard way to gauge the level of cinema provision is by ‘screen density’, ie the number of screens screens of number the ie density’, ‘screen by is provision cinema of in level screens the 6.1 gauge from to up way standard people, A 100,000 per screens 6.3 was figure UK the (12.6), 2015, USA In territories: film population. major of unit other in per numbers the of short falls screens per to screens access of 5.7 at level This density, 2014. screen Germany’s (6.5). Italy and (7.4) Spain (8.6), Australia (8.7), France 100,000 people, is less than the UK’s (source: IHS). SCREEN DENSITY AND ADMISSIONS PER PERSON – SCREEN DENSITY AND ADMISSIONS COMPARISONS INTERNATIONAL Source: Dodona Research, BFI RSU analysis Dodona Research, Source: Table 1 Screens by location, 2006-2015 location, by 1 Screens Table 123 BFI Statistical Yearbook 2016 10. EXHIBITION Figures maynotsumtototalsduerounding. which istheofficial mid-2014populationestimate. *Beacon DodsworthpopulationestimatesbasedonCensusdata2011, andsotheUKtotalislowerthanpopulationshowninT Notes: Source: DodonaResearch, BeaconDodsworth,CinemaAdvertisingAssociation(CAA),BFIRSUanalysis Table Screens andadmissionsbyISTregion, 2015rankedbyscreens per100,000people lowest screen density (4.8) among all ISBA regions. slightly higher than the Wales and West (6.7) and Lancashire (6.4) ISBA100,000 regions.people, The was Northlower East thanhad that the of Northern Ireland (11.3) and CentralAlthough Scotland London (7.4) had and onlythe highest numbers of screens and sites, its screen density, at estimates.7.0 screens per density and admissions per person shown in the Table being differentestimates. Theto lowerthe UK populationcorresponding shown total infigure Table 3 also results forIHS in the figures screen lower than the UK population shown in Table 4 which is based on theestimates official mid-2014for the ISBA regionspopulation are based on 2011 census data and admissionsso the UK totaldata shown for in2015 the Tableusing these is television regions are presentedadvertising in Table regions 3. used The by thepopulation Incorporated Society of British Advertisers (ISBA).The Screen Cinema and Advertising Association produces monthly admissions totals for each of the television in screen provision. regions are defined; they do, however, shed light on different aspectsof regional of national classification. and regional The variationdatasets are not directly comparableAs becausein previous of editionsdifferences of inthe the Yearbook way the we are able to present screen provision data based on two types SCREEN DENSITYANDADMISSIONSPERPERSONINTHEUK Total North East Border Yorkshire ato nln . 3 . 14291,2 51,981 45,400 12,423 4,299 3,723 51 1,296 5.9 20 239 2.0 5.6 82 6.3 East ofEngland Midlands Scotland Northern South West Southern Lancashire Wales and West and Wales London eta ctad7427663 ,2 12641,969 11,206 3,626 39 6.6 267 7.4 Central Scotland otenIead1. 0 . 817857428,393 5,764 1,798 28 5.0 203 11.3 Ireland Northern ISBA TV region Screens 100,000 people per . ,4 0. 5 304119042,494 171,930 63,044 751 100.0 4,046 6.4 . 4 . 629365246,802 40,337 6,552 1,331 2,913 610 26 16 3.5 0.8 140 33 4.8 5.4 . 2 . 85901,4 41,775 13,744 5,980 58 8.1 329 5.5 . 9 48121,3 43940,701 24,339 10,133 102 14.8 598 5.9 . 1 . 518645838,863 4,508 1,836 35 2.9 116 6.3 . 5 . 05691,2 45,962 36,453 16,224 16,622 5,629 7,151 80 8.7 64 11.3 353 456 6.3 6.4 . 2 . 14861,5 37,907 47,716 12,358 4,876 43,136 71 12,898 8.1 161 22.3 326 904 6.7 7.0 Screens screens % of total ie Population Sites (000)* Admissions (000) Admissions per screen Admissions per person able 4 2.7 2.2 2.2 2.3 2.9 2.4 2.9 2.5 2.9 2.5 2.3 3.3 3.1 3.2 10. EXHIBITION BFI Statistical Yearbook 2016 124 4.3 5.4 7.3 5.7 4.8 5.5 4.1 6.9 4.2 6.4 5.6 5.3 6.0 4.9 per site site per number Average Average of screens screens of n/a 6.3 7.6 6.7 6.7 6.7 6.4 6.3 5.9 5.5 4.8 4.8 4.0 11.0 people Screens Screens per 100,000 100,000 per n/a (000)* Population Population 4 Sites screens % of total total of % 17 0.4 203645591 5.0359 15.9207 14.6459 28 114 8.9343 124 5.1339 11.3 1,840 293 65 8,539 8.5221 50 8,874 67 8.4127 5,348 7.2242 82 3,092 5.5 53 7,133 3.1 52 5,423 6.0 42 5,713 21 5,360 49 4,637 2,619 6,018 4,046 100.0 751.0 64,597 Screens Nation/region Nation/region Total Northern Ireland London South East Scotland Wales North West South West West Midlands Yorkshire and The HumberEast Midlands North East East of England Others** Table 4 also shows that Northern Ireland and the North West had the highest averages for screens per per screens for averages highest the had Channel West the North the include and (which Ireland Northern ‘others’ that with shows along also 4 Wales Table and West South The towards respectively. 6.9 tendency and a showing 7.3 at site per site screens for averages lowest the had multiplex Man) of fewer Isle the and proportionally Islands ‘others’, and West South the for particularly and, cinemas smaller 5). screens(Table Source: Dodona Research, Office for National Statistics (ONS), BFI RSU analysis Office Dodona Research, Source: Notes: *ONS Mid-year population estimates 2014. Isle of Man. **Others include the Channel Islands and the n/a = not available. may not sum to totals due to rounding. Figures/percentages 100,000 people per ranked by screens 2015 and regions, in the nations and population 4 Screens Table Table 4 gives screen information for each of the English regions, plus Scotland, Wales and Northern Northern and Wales Scotland, plus regions, English the of each for followed information (11.0), screen 2015 gives in 4 people Table 100,000 per screens of number screens of highest the number had Ireland average Northern The 6.7). Ireland. with (all Wales and Scotland East, South the and (7.6), London by 6.0. was whole a as England for people 100,000 per 125 BFI Statistical Yearbook 2016 10. EXHIBITION Table 5inemascreens bytypenationorregion, 2015rankedbypercentage multiplex whole was 75%. screens, at 67%, was the second lowest in England. Thethe and proportion London after ofSouth East).multiplex Londonhighest had the largestthird number screens of(the traditional screens forbutscreens its percentageEnglanduse of multiplex mixed as and a traditional of number high a had which (87%). In England the lowest concentration of multiplex screens washighest found proportion in the Southof multiplex West (59%), screens (92%) followed by the North Westlargest (89%)number and the ofNorth multiplexEast screens (436) in 2015, four more thanTable London. 5 providesNorthern Ireland a snapshot had the of variations in multiplex provision around the UK. The South East had the TYPE OFCINEMASCREENSBYNATION ANDREGION increased by 2% in 2015 compared with 2014, but the number of sitesdedicated decreased mainly by to 7%. South Asian films. The number of screens showing 7%mostly of specialisedscreens) showingfilms mainly specialised films and three cinemas (with six screens,a 0.1%4% increase ofin thescreens) number of screens compared with 2014). There werecinemas 153 with sites3,760 595 2015, In (with screens 280films. screens, showedmainstream show mostly mainstreamprimarily screens of films (a majority 2% the increase far by that inshows 6 Table the number of sites and (ie non-mainstream, including ‘arthouse’) or South Asian films. Dodona Research categorises screens according to whether they show mostly mainstream, specialised MAINSTREAM, SPECIALISEDANDSOUTHASIANPROGRAMMING *Others includetheChannelIslandsandIsleofMan. Source: DodonaResearch, BFIRSUanalysis Northern IrelandNorthern Nation/region North West North East Yorkshire and The Humber The and Yorkshire East Midlands West Midlands West Scotland Wales East ofEngland South East London South West Others* Total Multiplex 3,096 186 408 110 239 177 271 279 160 184 436 432 204 10 utpe Traditional and % multiplex 91.6 88.9 86.6 81.6 80.1 79.9 77.7 77.3 76.0 73.8 67.0 59.5 58.8 76.5 mixed use 155 213 139 950 17 51 17 54 44 68 80 47 58 7 4,046 Total Total 203 459 127 293 221 339 359 207 242 591 645 343 17 10. EXHIBITION BFI Statistical Yearbook 2016 126 0.6 2.8 47.8 34.9 13.9 Total 100.0 - - - 66.7 33.3 100.0 South Asian 2.1 1.4 2.9 6.1 87.5 100.0 777446 Sites Specialised Screens 0.4 2.6 37.4 44.8 14.8 100.0 Mainstream 5444333223 697 727 726 723 716 745 769 756 750 751 3,440 3,514 3,610 3,651 3,671 3,767 3,817 3,867 3,909 4,046 Town/city centre Out of town Edge of centre Suburban Rural Total Location Location Programme 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 South Asian Specialised 157 177 168 168 163 171 177 168 165 153 Mainstream 535 546 554 551 550 571 589 586 583 595 Total Programme 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 South Asian 18 10 10 10 Specialised 231 255 250 253 248 259 268 265 275 280 Mainstream 3,191 3,249 3,350 3,388 3,416 3,501 3,542 3,598 3,630 3,760 Total Table 6 Sites and screens by programme, 2006-2015 by programme, and screens 6 Sites Table 2015 by location and programme, of screens 7 Percentages Table The pattern of programme type by location in 2015 is shown in Table 7. Screens showing mostly South South mostly showing Screens 7. Table in shown is 2015 in location by type specialised programme to of devoted pattern those The while areas, suburban and centres city or town in years. located earlier to were films similar Asian remained pattern overall The centres. city or town in found mainly were film Source: Dodona Research, BFI RSU analysis Dodona Research, Source: a of part not (ie cinemas independent single, in found were screens specialised in of based (65%) were majority screens The specialised of 72% when 2014, in than lower is percentage The chain). cinemas. independent The six screens showing South Asian films were found in only three cinemas, two in London and the the and London in two cinemas, three only in found were films Asian South showing screens six The Midlands. East the in Leicester in other Source: Dodona Research, BFI RSU analysis Dodona Research, Source: screens specialised of distribution the shows which 8, Table in extended is South analysis the and geographical London This in concentrated were films specialised and mainly screens showing specialised Screens 25 UK. the had around Scotland 2015. in total UK the of 50% for Northern accounted respectively. jointly screens which such East, of 8% and 9% for accounting 22, had Humber specialised The of and percentages Yorkshire smallest the had (3.2%) Wales and (2.1%) East North the (0.7%), Ireland screens. 127 BFI Statistical Yearbook 2016 10. EXHIBITION all UK screens, the same share as at the beginning of 2015. has moved ahead of Movie House Cinemas. At the start of 2016, thefurther five down largest the listexhibitors Cineworld/Picturehouse owned 74% ofhas moved ahead of Reel Cinemas someand Merlinof the Cinemas companies has changed. Cineworld has moved ahead ofThe Odeon top to10 take is thecomprised top place, of the whilesame exhibitors as at the end of January 2015, but the relative position of Entertainment. newcomers to the list are PDJ Cinemas, Savoy Cinemas, Irish Multiplexend Cinemas of January and Parkway2016, as shown in Table 9. This is four moreThe than atnumber the endof exhibitorsof January that 2015: owned the or programmed 20 or more screens in the UK totalled 17 at the EXHIBITORS Note: Percentages maynotsumto100duerounding. Source: DodonaResearch, BFIRSUanalysis Table 8Geographicalspread ofspecialisedscreens, 2015 Total IrelandNorthern North East Wales North West Midlands West East Midlands East ofEngland South West Humber The and Yorkshire Scotland South East London Nation/region Specialised screens 280 101 12 13 14 16 21 22 25 39 2 6 9 100.0 13.9 36.1 4.3 4.6 5.0 5.7 7.5 7.9 8.9 0.7 2.1 3.2 % 10. EXHIBITION BFI Statistical Yearbook 2016 128 6.5 4.5 2.2 1.8 1.5 1.0 1.0 0.9 0.9 0.6 0.5 0.5 0.5 0.5 21.7 21.5 19.5 14.2 100.0 % of total screens 90 72 62 40 39 38 35 23 22 21 21 20 880 871 789 264 183 576 4,046 Screens 5 3 5 4 3 4 88 83 20 18 11 24 15 13 17 14 109 315 751 Sites . Other income, which includes includes which income, Other and SPECTRE. Star Wars: The Force Awakens Force The Wars: Star Exhibitor Cineworld Odeon Vue National Amusements Cinemas Empire Omniplex Cineworld/Picturehouse Reel Cinemas Merlin Cinemas Movie House Cinemas Everyman Media Group Curzon Cinemas Light Cinemas PDJ Cinemas Savoy Cinemas Irish Multiplex Cinemas Parkway Entertainment 259 and exhibitors major (17 Others independent single venue exhibitors) Total Average ticket prices, calculated by dividing the UK-only box office gross for the year (£1,236 million) by by million) (£1,236 year the for gross office box UK-only the dividing 7%.by of calculated increase an prices, 2015, ticket in Average £7.19 to 2014 in £6.72 from rose million), (171.9 admissions UK total The top five exhibitors had a 79% share of gross box office in the UK and Republic of Ireland in 2015, and and 2015, in Ireland of Republic and UK the in office box gross of share 79% a had exhibitors five top The 10). (Table exhibitors three top the between shared was office box the of 69% advertising revenue, booking fees, sales of 3D glasses and auditorium rental, increased by 36% between between 36% by increased rental, auditorium and glasses 3D of sales fees, booking revenue, advertising million. £173 to million £126.9 from up 2015, and 2014 Dodona Research reports that exhibitors’ revenues from refreshment sales were £424.7 million in 2015, a 2015, in million £424.7 were sales refreshment from revenues in exhibitors’ rise 20% that the of reports reflection Research a partly is Dodona increase substantial This million. event £363.5 year’s the of 2014’s some from of increase appeal 17% wider the and Ireland of Republic and UK the for receipts office box movie releases such as EXHIBITOR REVENUES Source: Dodona Research Dodona Research Source: Notes: as at January 2016. correct Figures may not sum to 100 due to rounding. Percentages private equity firm. Partners, a European Firma Capital The Odeon chain was owned by Terra the former Cine-UK and UGC chains in 2004. It in the UK. It was formed in 1995 and acquired Cineworld was the only publicly-quoted exhibitor in 2012. Picturehouse also acquired Village cinemas in 2003 and the Apollo cinema chain in 2012, was sold to Canadian investors Omers Private Equity Warner which acquired Vue, and Alberta Investment Management in 2013. giant Viacom.National Amusements was owned by the family of Sumner Redstone, chairman of US media was founded in 2000. The company made its debut on the Alternative in November 2013. Investment Market (AIM) The Everyman Media Group 2015 screens, or more with 20 exhibitors by screens 9 inema Table 129 BFI Statistical Yearbook 2016 10. EXHIBITION 100 Source: IHS ■ ■ % Figure 3Percentage ofdigitalscreens, 2006-2015 with digital projection. shows the percentage of digital screens in the UK since 2006, when justAccording 4% of cinemas to IHS, were all cinemas equipped in the UK have been equipped for digital projection since 2014. Figure 3 DIGITAL SCREENS DIGITAL PROJECTION Figures/percentages maynotsumtototals/sub-totalsduerounding. * Boxoffice gross isforallfilmsonrelease in2015.Thisincludes titleswhichwere firstreleased in2014. Notes: Source: DodonaResearch andcomScore Table 10xhibitorshare ofboxofceintheUKandRepublicIreland, 2015 Total Others Sub-total Empire Cinemas National Amusements Vue Cineworld Odeon Exhibitor 20 40 60 80

Analogue only Digital 0 2006 599. 158. 222. . 1.6 8.3 29.0 62.2 82.6 91.5 91.8 95.9 . . . 743. 109. 84100100.0 100.0 98.4 91.7 71.0 37.8 17.4 8.5 8.2 4.1 2007 2008 Market share (%) share Market 2009 2010 100.0 20.7 79.3 21.1 23.9 24.4 4.0 5.8 2011 2012 2013 Box office gross gross office Box 2014 (£ million)* (£ 00 1,317.3 1,044.6 272.6 278.6 315.4 321.6 52.8 76.3 2015 10. EXHIBITION BFI Statistical Yearbook 2016 130 Avatar Gravity Beowulf . Toy Story 3 Fly Me to the Moon and The Martian Star Wars: The Force Awakens The Force Star Wars: Top performingTop digital 3D title The Hobbit: An Unexpected Journey in the UK and Republic of Ireland The Hobbit: The Battle of the Five Armies Harry Potter and the Deathly Hallows: Part 2 Tim Burton’s The Nightmare Before Christmas 3-D Christmas Before Nightmare The Burton’s Tim 3.4 3D % of 3D % of screens all digital 148 296 15.9 310 22.3 642 69.9 screens Total digitalTotal 5 47 69 449 1,067 1,415 75.4 1,4751,564 2,714 3,538 54.3 44.2 1,655 3,868 42.8 1,772 3,946 44.9 1,854 4,123 45.0 Star Wars: The Force Awakens, Jurassic World, Avengers: Age of Ultron Avengers: World, Jurassic Awakens, Force The Wars: Star screens 3D digital Number of Number of 2006 2007 Year 2008 2009 2010 2011 2012 2013 2014 2015 Source: IHS, comScore, BFI RSU analysis IHS, comScore, Source: Notes: 3D format. content made in stereoscopic capable of screening are 3D digital screens 3D and IMAX 3D screenings. based on takings from are performing digital 3D titles in the UK and Republic of Ireland Top in the UK, 2006-2015 11 3D digital screens Table According to IHS, of the 4,123 digital screens in the UK at the end of 2015, 1,854 (45%) were 3D-capable 3D-capable were (45%) 1,854 2015, of end the at UK the in screens digital 4,123 the the of of IHS, because to previously According used figure the to here differs screens of in number screenings total 3D (The popular the screens. of digital Some Research.) Dodona and IHS by employed methodologies different 2015 included 3D AND EVENT CINEMA Table 11 shows the increasing number of 3D digital screens in the UK. The growth in such screens screens such in growth The UK. the in screens digital 3D of number were films 34 increasing the 2015, In shows 11 Table internationally. content 3D of availability the in increase an with coincided earning films year. highest the 20 of top the of 12 included these than2014): in (23fewer 3D in released films of each year. All of the top 20 films at the UK box office in 2015 had ST/AD tracks. 10 top the ST/AD of all had almost 2015 including in available, office made been box have UK titles 1,000 the than at more films decade last 20 the Over top the of All year. each of films Data from ‘YourLocalCinema.com’ show that, in 2015, 180 English language films were shown in UK in shown were films language English 180 2015, in that, show ‘YourLocalCinema.com’ from Data description. audio with shown were 170 and captions with cinemas ACCESSIBLE CINEMA ACCESSIBLE description audio and subtitle/caption language English have now cinemas latest UK the screen regularly digitally-equipped All cinemas smaller many and cinema multiplex every provided Almost are screenings facilities. such (ST/AD) 1,500 Around captions. language English total), on-screen the with half than releases (more popular nationwide cinemas 450 around in 20% by exhibitors, 60 increased than has more by shows weekly, accessible of number The cinemas. the at multiplex million of £3.5 95% than around more including generating 2015, in 500,000 over of audience estimated an with 2014, since office. box 131 BFI Statistical Yearbook 2016 10. EXHIBITION in 2015). 2014 (128) to 2015 (119) but the box office takings increased by 4% (£33.6box million office in takings 2014 by type of and event £35 million in the same period. The number of eventsFigure 4 decreasedshows the by numbers 7% from of events by type of event between 2013 and 2015, and Figure 5 shows the Note: Percentages/figures maynotsumtototalsduerounding. Source: comScore ranked byboxofce Table 12Numbersandboxofcetakingsofeentsscreened inUKcinemasbytypeofeent,2015 and – showings two content comScore, by with tracked as programme, generated £3.9 million(including at events the box12 office.with For theballet first was time, eSport eventstakings performances were office partfrom of box the the Royalin alternative and Ballet, theevents of Bolshoi andnumbers Les both Ballets in TrockaderoFourth de Monte Carlo), which this category. Cinema showing of premium prices charged (£75 per ticket) for the highest earning film/documentary eventcould partly– thebe explainedSecret by the higher average WPR for theatre (296 for differencetheatre; 245 in total for box opera) office and between the theatre and film/documentary events comparedbehind theatrewith operas and film/documentary, which took £12.8 million and £7.6event, million generatingrespectively. a total The box office of £7 million. Opera was third in the eventsbox office were rankings, first screened however, and in 2015 more operas were screened (30) thanat any the otherbox office single million(£34 type of in 2014). Opera has proved consistently popularAccording since alternativeto comScore, content 119 events were screened in 2015 (128 Tablein 2014) 12 whichshows tookthe numbersa total ofof events£35 million and box office takings by type of event screened in 2015. generated in 2014. rates than feature films. The box office gross from events screened in 2015Also, was since slightly events up usuallyon the havetotal only one or two screenings they can oftenthe audience generate and higher has potentiallyoccupancy improved the use of auditorium widenedcapacity the duringrange typicallyof content quiet periods. on the big screen, allowed for greaterrecent interactivity years in the between UK due the toscreen the increaseand in digital screens. The availabilityEvent of cinema, a digital alternative screen base content has or non-feature film programming has become a regular feature over Theatre event of Type Film/documentary Opera Ballet Popular musicconcert Classical concert Exhibition Comedy eSport Total EU LCSSummerFinals Viewing Party 2015 Star Wars: The Empire StrikesBack Number of events 119 29 22 30 12 11 6 5 2 2 – taking just under £0.1 million. just under £0.1 –taking of events 100.0 – which generated 83% of the total box office for 24.4 18.5 25.2 10.1 9.2 5.0 4.2 1.7 1.7 % Box office (£ million) ESL OneCologne:CounterStrike2015 <0.1 12.8 35.0 7.6 7.0 3.9 1.6 1.5 0.5 0.1 box office 100.0 <0.1 36.6 21.6 19.9 11.1 4.5 4.3 1.6 0.3 % Average WPR 296 245 246 131 162 132 200 75 95 29

10. EXHIBITION BFI Statistical Yearbook 2016 132 - - 0 0 2 eSport eSport 4 4 2 1.8 0.1 <0.1 Comedy Comedy 6 7 5 0.90.9 0.5 <0.1 Exhibition Exhibition 8 7 6 0.9 1.4 1.5 concert concert Classical Classical 8 8 11 0.5 1.5 1.6 concert concert Popular music Popular music 17 14 12 2.1 4.1 3.9 Ballet Ballet 44 38 30 4.8 5.4 7.0 Opera Opera 10 23 22 2.2 4.8 7.6 Film/ Film/ documentary documentary 14 27 29 7.2 13.7 12.8 Theatre Theatre 2014 2015 2013 2013 2015 2014

5 0 0 2 4 6 8 Source: comScore Source: ■ ■ ■ Figure 5 Reenues from eent cinema by type of eent screened in UK cinemas, 201-2015 in UK cinemas, eent cinema by type of eent screened 5 Reenues from Figure £ million ■ Figure 4 ents screened in UK cinemas by type of eent, 201-2015 of eent, by type cinemas in UK screened 4 ents Figure Number of events ■ ■ Source: comScore Source: 50 45 40 35 30 25 20 15 10 10 12 14 16 133 BFI Statistical Yearbook 2016 10. EXHIBITION 10 20 30 40 50 60 from a different source than the earlier data, revenuesFigure 7 forshows theserevenues years from are events not fromincluded 2006 to 2012. in Again,the becausechart. the data from 2013 onwards are ‘Film/documentary’ includesscreenings followedbyalive‘questionandanswer’session. Figures includeliveandrecorded events. Notes: Source: IHS ■ ■ ■ ■ ■ ■ Number ofevents Figure 6entsscreened inUKcinemasbytypeofeent,2007-2012 chart. the not in included are onwards 2013 Because of methodological differences in data collection between IHSFigure and 6 comScore,shows the numbersthe figures fromof events, by type of event, from 2007 to 2012,events using as well the asdata for from films. IHS.Previously published data on event cinemaAs mentioned prior to 2013 above, was theprovided data byin IHS.Table 12 are from comScore, which now tracks box office receipts for 0

2012 2011 2010 2009 2008 2007 Theatre 9 7 5 2 6 0 documentary Film/ 12 16 11 8 6 7 Opera 52 43 24 34 39 8 Ballet 15 17 0 1 3 0 Popular music concert 11 14 15 4 2 9 Classical music 18 0 6 1 2 0 Other 15 5 9 3 4 7 10. EXHIBITION BFI Statistical Yearbook 2016 134 Most of the film societies that responded (66%) (66%) responded that societies film the of Most in (73% 2014/15 in system membership a operated was size membership average the and 2013/14) of range wide a was there but 2013/14), in (152 130 was membership smallest The sizes. membership film of Membership 780. was largest the and 15 saw cinemas of 30% popular: remains societies one than less whereas increase, membership their members fewer had (19%) respondents of fifth membership total The year. previous the in than of responding societies stood at 26,151. was fee membership annual full average The of 32% and 2013/14) in £29.10 from (down £24.70 system membership a operated that societies average The fee. admission additional an charged 2013/14. in £4.40 from down £4.20, was charge offered respondents of (19%) fifth one under Just cost average The 2013/14). in (28% tickets season ranged charges and £30, was ticket season a of season of number average The £64. to £10 from was societies responding in holders ticket 76 (down from 81 in 2013/14). to open were (91%) societies responding Most The door. the on charge a for non-members was non-members for fee admission average commercial for price ticket average (the £5.00 £7.19). was 2015 in cinemas responding the season, 2014/15 the In different 817 of total a programmed organisations screenings. 2,558 across 2013/14) in (858 titles titles the of 25% for accounted films British a in were shown films the of 26% and screened, 2013/14). in 29% with (compared language foreign one only by screened were titles of 10 of out Seven indicating 2013/14), in as same (the society film by made choices programming of diversity the proved titles some However, societies. individual and societies, film many across choices popular more or 10 by programmed were films 37 number the Figure shows societies. 8 responding sourced Titles film. of category by screenings of accounted scheme booking All For Cinema the via screenings. 142 for events or satellite (via content Alternative increasingly is Blu-ray) on delivered and recorded events 110 and cinemas, community to available during societies responding by screened were 2013/14). in 83 from (up 2014/15 2012 2011 2010 2009 2008 2007 2006 0 2 4 6 8 While many film societies and community community and societies film many While period, long a over existence in been have cinemas Almost time. the all established are ones new responding the of (73%) quarters three established were survey latest the in organisations established were 12% while later, or 2000 in 1970. before Cinema For All (formerly the British Federation of of Federation British the (formerly All For Cinema an on members its surveyed has Societies) Film the measure to order in 2005/06 since basis annual of distribution geographical and composition size, we Here UK. the in sector cinema community the the from findings key the of summary a present survey. 2014/15 COMMUNITY CINEMA IN THE UK COMMUNITY CINEMA IN not is UK the in films feature of screening The commercial to belonging cinemas to limited of sector thriving a is There operators. cinema variety wide a makes which providers voluntary often that communities local to available films of accesscommercialtoless cinemas. have This cinema. community as to referred often is sector more generally are communities local of Members cinemas such of programming the in involved commercial their of programming the in than are sector this in films of Screenings counterparts. mixed halls, village as such venues in held usually cinemas. independent and artsspaces Source: IHS Source: Total revenue 0.2 0.8 3.1 4.7 7.5 10.5 12.5 Figure 7 Reenues from eent cinema screened in screened cinema eent from 7 Reenues Figure 2006-2012 UK cinemas, £ million 10 12 14 135 BFI Statistical Yearbook 2016 10. EXHIBITION 100 200 300 400 500 600 700 ‘usually’ or ‘sometimes’ used online downloads/streaming (11% in 2013/14).via digital cinema were ‘usually’ or ‘sometimes’ used by 23% of respondentsThe use (26% of in new2013/14), digital andscreening 20% formats by community cinema providers continues to grow. Screenings 35mm projection was ‘usually’ used by 1% and 8% of respondents ‘sometimes’formats are still used used 16mm by some projection. societies. VHS was ‘sometimes’ used by 5%51% of responding of respondents organisations, (up from 40% in 2013/14) while 35% ‘sometimes’14%of screenedresponding using societies Blu-ray. never used Blu-ray.Other This format wascontinued ‘usually’ usedin 2014/15. for screening In 2010/11purposes by almost half of respondentsresponding (49%) never organisations),used Blu-ray, but the shift but towards in 2014/15 the use ofonly Blu-ray reportedThe most over commonlyprevious years used format for screenings was DVD (used ‘usually’ or ‘sometimes’ by 96% of and annual admissions 31% their saw in increase an recorded same roughly number. the admissions from responding organisations was 127,413. Over twoThe fifths (44%) averageof community audience cinemas size in 2014/15 was 64 (down from 75 in 2013/14), and the sum total of all 2014/15. in screenings additionevents) in social to regular special events (eg screenings with guest appearances by filmmakers or cast members,commercial film themed cinemas in the UK in 2014. Almost two thirds (60%) of all respondingGrand BudapestHotel(inorganisations English) and held in a foreign language. The three most programmed werefilms Of the 37 films programmed by 10 or more responding societies in 2014/15, 13 were British, and 16 were Figures includebothfilmsocietiesandcommunitycinemas. * Thebookingschemeprovides CinemaForAllmemberswithaccesstoacatalogueofover650non-mainstream films. Notes: Source: CinemaForAll Number ofscreenings Figure 8Numberofflmsocietycommunitycinemascreenings bytype,201415 2014/15 0

British 9 608 593 (in English and Welsh). All three were first released in in released first were three Welsh). and All English Pride (in Foreign

language

Documentaries 5 287 158

Shorts The Lunchbox The 1407 71 (in Hindi and English), English), and Hindi (in

Films made before 2000

Cinema For All booking

scheme titles* 4 110 142

contentAlternative events The 10. EXHIBITION BFI Statistical Yearbook 2016 136 0.8 8.7 5.8 4.9 3.0 1.6 1.3 0.9 0.9 % 30.9 17.3 13.6 10.4

Northern Ireland London Channel Islands East of England North East Wales West Midlands Scotland Yorkshire and The HumberEast Midlands South East South West North West Source: Cinema For All Source: Nation/region Figure 9 Share of flm societycommunity cinema admissions by nation and region, 201415 and region, cinema admissions by nation of flm societycommunity Share 9 Figure Figure 9 shows the percentage share of film society/community cinema admissions by nation and and nation by admissions cinema society/community film of share responding from percentage the admissions shows 9 annual Figure total of 31% for accounted East South The 2015). in region 2014/15. in ISBA region Southern the in cinemas commercial to admissions of 9% with (compared societies UK’s the of 3% just for The Southaccounted West region,region ISBA which hasWest a strongSouth communitythe while cinemaLondon, sector,in admissions, accountedwere cinema for 17% ofadmissions filmcommunity society film society/of 3% only Conversely 2015. in provides This admissions cinema admissions. cinema commercial commercial of share 25% region’s ISBA limited London the have with that compared communities in film of provision the enhance exhibitors community that evidence cinemas. commercial to access 11. FILM ON PHYSICAL VIDEO 137

Image: Paddington courtesy of StudioCanal PHYSICAL VIDEO

FILM ON CHAPTER 11 FILM ON PHYSICAL VIDEO

Despite falling revenues, particularly in the rental market, physical video remains an important element of the film value chain illustrating that audiences for film still appreciate both ownership and physical products. In 2015, non-digital feature film video sales and rentals in the UK generated just under £800 million.

FACTS IN FOCUS The value of sales for all categories of video on physical media in 2015 was just under £1.2 billion; sales of feature film on video accounted for £712 million.

There were 120 million sales of all categories of video on physical media (143 million in 2014), with feature film accounting for 89 million sales.

Film accounted for 74% of the volume of the video sales market and 66% of the value. UK films accounted for around 25% of all films sold on video.

The most popular purchase on DVD in 2015 was Paddington, while on Blu-ray the best-selling title was The Hobbit: The Battle of the Five Armies.

The value of the video rental market for film was £62 million in 2015, with online rental with postal delivery accounting for 85% of all feature film rental transactions.

138 11. FILM ON PHYSICAL VIDEO BFI Statistical Yearbook 2016 139 2015 2014 2013 2012 2011 2010 2009 2008 2007 2006 2005 2004 2003 2002 135 169 208 234 222 228 249 257 243 223 207 179 162 143 120 2001 1,417 1,896 2,245 2,478 2,309 2,219 2,246 2,237 1,975 1,839 1,749 1,543 1,438 1,264 1,075 0 500 Volume (million) Volume (£ million) Value Source: BASE, IHS Source: video, not only film. Note: Data in this table include all categories of retail units to a peak of 196 million, before falling back to 180 million units in 2009 (Figure 2). The decrease in in decrease The 2). (Figure 2009 Thein numberunits of filmsmillion 180 soldto on videoback morefalling than before doubled 2015. in between million, 196 sold 2001of million andpeak 89 a 2008, and to units rising2014 in fromsold 96 millionunits million 110 with then, since continued has sales (all categories), 2001-2015 1 Retail video sales Figure Million Feature film represented approximately 66% of the sell-through video market by value (£712 million) million) (£712 value by market video sell-through the of 66% of volume, approximately by sales, of represented film 25% around Feature for accounted films UK 2015. in units) million (89 volume by 74% and video. on film DVDs accounted for the majority of all categories of video sales (81% by value and 87% by volume). volume). by 87% and value by (81% sales video of categories all in of volume majority by the sales for of 13% and accounted value DVDs by sales video total of 19% for accounted purchases disc Blu-ray both2015, these of figures have increased by frompercent one 2014. In 2015, 120 million videos in all categories were sold in the UK, a fall of 12% compared with 2014. As 2014. with compared 12% of fall a UK, the in sold were categories all in videos 2014. million in 120 million £1,264 2015, In from 15% down million, £1,075 was value have market volume total the and value shows, 1 sales Figure both for trends the then since and 2004, in peaked videos of sales The decreasing. been FILM IN THE RETAIL VIDEO MARKET VIDEO RETAIL IN THE FILM and Blu-ray DVD, including video, Screen physical all of description for generic the as this in chapter used is Association ‘Video’ British the BASE, by used definition the with line in formats, physical other information (For downloads. include not does Association); it British the Video (formerly Entertainment on films rented or purchased by download or streaming see the Digital Video report.) 1,000 1,500 2,000 2,500 3,000 140 BFI Statistical Yearbook 2016 11. FILM ON PHYSICAL VIDEO 1,000 1,200 1,400 1,600 1,800 10 Figure erage retail priceofflmperunit,2001-2015 increased to a 10-year high of £8.36. £7.29, and stayed at similar levels until 2014. In 2015, downwardthe average trend price from per 2002 filmto on 2009. physical The averagevideo price increased to £7.90upward curvein following2010 compared the introduction with 2009’s of the DVD format in the late 1990s),As Figurebut 3 thereshows, was thea generalaverage unit price for film on video peaked in 2002 (prices had been on an Figure 2Filmonvideoretail sales,2001-2015 Armies, Armies, in office is list the of top the At released theatrically in 2015, and the other four were released in 2014. were 10titles top the of Six 2015. in video physical on films 10best-selling top the shows 1 Table appeared in the top 10 best-selling films on video in 2014. in video on films best-selling 10 top the in appeared Price (£) Million Note: Includessomefeature filmswhichwouldbeclassifiedas‘children’s’ videosintheBASEYearbook. Source: BFIRSUanalysisofOfficial ChartsCompanyandBASEdata Source: BFIRSUanalysisofOfficial ChartsCompanyandBASEdata 0 1 2 3 4 5 6 7 8 9 200 400 600 800 Value (£million) Volume (million) Price( 0 £) The Hunger Games: Mockinjay – Part 1 Part – Mockinjay Games: Hunger The

2014. The other top 10 titles released theatrically in 2014 are Theare 2014 Hobbit: in Thetheatrically Battlereleased of titles the 10 top Fiveother The 2001 2001 .691 .086 .278 .874 .979 .476 .378 8.36 7.83 7.93 7.62 7.64 7.90 7.29 7.42 7.68 7.89 8.52 8.64 8.80 9.15 8.56 2 ,7 ,9 ,5 ,9 ,0 ,4 ,5 ,1 ,6 ,6 6 4 861 940 968 1,165 1,267 1,311 1,454 1,440 1,302 1,399 1,557 1,392 1,175 821 61818101415181610101217191089 110 119 127 152 160 180 196 188 165 164 180 158 128 96 Paddington, the top earning British film at the UK and Republic of Ireland box 2002 2002 2003 2003 2004 2004 2005 2005 The Imitation Game Imitation The and 2006 2006 2007 2007 2008 2008 2009 2009 . None of the 2014 theatrical releases 2010 2010 2011 2011 2012 2012 2013 2013 2014 2014 2015 2015 712 11. FILM ON PHYSICAL VIDEO BFI Statistical Yearbook 2016 141 Universal Universal Universal Lionsgate Walt Disney Walt Disney Walt Disney StudioCanal Distributor StudioCanal Warner Bros USA USA USA USA USA UK/Fra USA/NZ UK/USA UK/USA USA/Fra Country Country of origin of

% 5.1 2.2 1.7 1.4 0.9 0.8 0.5 0.4 0.1 8.2 6.2 19.4 14.4 14.4 14.2 10.2 <0.1 <0.1 was the most popular 2015 release on sell-through video in the year. All six titles in the top top the in titles six All year. the in video sell-through on release 2015 popular most the was Other Documentary Western Sport/health/fitness Anime Adult Bollywood Horror War Musical Fitness Animation Comedy Sci-fi Family Thriller Action/adventure Drama Title Paddington Jurassic World The Hobbit: The Battle of the Five Armies The Hobbit: The Battle Fifty Shades of Grey Minions Avengers: Age of Ultron Inside Out Big Hero 6 Big Hero The Hunger Games: Mockingjay – Part 1 The Hunger Games: Mockingjay – Part

1 2 3 4 5 6 7 8 9 10 The Imitation Game Figure 4 Sales of flm on physical ideo formats by genre, 2015 ideo formats by genre, 4 Sales of flm on physical Figure As Figure 4 shows, the most popular genre on sell-through video in 2015 was action/adventure, which which action/adventure, was 2015 in video sell-through on genre most next popular the most were the jointly shows, 4 Figure animation As and Drama 2014). in (25.5% market the categories, of these that 19.4% for noted be should accounted (It 14.2%. with comedy by followed sales, all of BFI the by 14.4% with market popular theatrical the to assigned categories genre the from differ BASE, by defined as report.) Classification and Genre the in Unit Statistics and Research Genre Source: Official Charts Company Official Source: Jurassic World 2015 ideo formats, selling flms on physical 10 best 1 Top Table 10 which were released theatrically in 2015 also feature in the year’s top 20 highest box office earners. earners. office box highest 20 top year’s the in feature also 2015 in theatrically released were which 10 Source: Official Charts Company, BASE Charts Company, Official Source: and Classification report. not the same as those in the Genre assigned by BASE; the categories are are Note: These genres 142 BFI Statistical Yearbook 2016 11. FILM ON PHYSICAL VIDEO earning UK independent films at the UK and Republic of Ireland box Movie officein second in 2015. and third place are respectively,2015 in whichtheatrically mirrors released their relativetitles two The rankings in the chart of top video in 2014, Hotel, features in the chart for the fourth consecutive year, while the best theselling titles independent were released UK film on in 2014 and one was released in 2012. The 2012 release, # Source: BFIRSUanalysisofOfficial ChartsCompanydata Table Top 10bestsellingUKindependent flmsonphysicalideoformats,2015 in 2015 were released theatrically in previous years, including Unlike the previous top 10 charts, the majority of titles in the top 10 UK independent films sold on video Source: BFIRSUanalysisofOfficial ChartsCompanydata Table 2Top 10bestsellingUKualifyingflmsonphysicalideoformats,2015 Marigold Hotel. independent theatrical release at the UK and Republic of Ireland box office in 2015, Four of the top 10 UK performers on video are independent titles, including the second highest earning (Table 2). Seven of the titles were released theatrically in 2015 and thethree wereoverall released top in10 2014. films on video for the year: The list of the top 10 UK qualifying films on physical video in 2015 includes three titles which are also in Filmmadewithindependent(non-studio) USsupport.

10 0Nativity 3:Dude,Where’s MyDonkey?! 10 9 8 7 6 5 4 3 2 1 2 1 9 8 7 6 5 4 3

Terminator Genisys Terminator Ant-Man Cinderella The SecondBestExoticMarigoldHotel The TheoryofEverything Fury Kingsman: TheSecret Service The ImitationGame Avengers: Age of Ultron of Age Avengers: Title Paddington The SecondBestExoticMarigoldHotel Paddington Title The BestExoticMarigoldHotel The Hundred-Foot Journey The Inbetweeners2 What We DidonOurHoliday Mr. Turner Before IGotoSleep Shaun theSheepMovie The Inbetweeners 2 Inbetweeners The , appears in the chart for a second year. Paddington, Avengers: Age of Ultron of Age Avengers: Paddington, The Second Best Exotic Marigold Hotel Marigold Exotic Best Second The Paddington, UK/UAE/USA UK/USA/Ind UK/Fra/Ger of origin Country UK/USA UK/USA UK/Fra UK/Fra of origin Country UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/USA UK/Fra UK UK UK which tops the list. Seven of # # # The Imitation Game Imitation The and The Best Exotic Marigold and Shaun and the Sheep the The Second Best Exotic 20th CenturyFox 20th CenturyFox 20th CenturyFox 20th CenturyFox Sony Pictures Distributor StudioCanal StudioCanal StudioCanal StudioCanal Distributor StudioCanal Walt Disney Walt Walt Disney Walt Walt Disney Walt eOne Films eOne Films eOne Films Paramount Channel 4 Lionsgate Universal

11. FILM ON PHYSICAL VIDEO BFI Statistical Yearbook 2016 143 Universal Universal Universal Universal Lionsgate , Amy eOne Films eOne Films eOne Films Distributor Kaleidoscope Universal/Island which which Ronaldo, UK UK UK UK UK UK UK UK UK USA Country Country of origin of . The other personality-based sports documentaries were were documentaries sports personality-based other The . Amy Amy Title Ronaldo I Believe in Miracles Gascoigne Being A.P. The Class of ‘92 Mr Calzaghe Hitting the Apex Building Jerusalem 1 2 3 4 5 6 7 8 9 10 Stunt Driver Ben Collins:

Source: BFI RSU analysis of Official Charts Company data Charts Company data BFI RSU analysis of Official Source: Note: Titles not included. are based on music concerts British director Asif Kapadia’s film about the life of Amy Winehouse, which was also the year’s most most year’s the also was which Winehouse, Amy of life the about film Kapadia’s Asif director British successful documentary non-concert the UK at Ireland and Republic of box office. Five the of sports- list,the in title placed second the specific including on personalities titlesfocus related Collins. Ben driver stunt and behind team the by Calzaghe produced also was Joe boxer McCoy, AP jockey 10 Gascoigne, top the Paul of Nine UK. footballer the in about films theatrically released not was that list the in film only the is latter The films. UK were documentaries formats, 2015 flms on physical ideo 10 best selling documentary 4 Top Table with nine of the top 10 titles. However, the list is headed by the only non-sports related release, list release, the dominate related personalities sports or non-sports sport only about the by documentaries year, headed is consecutive list second the the For However, titles. 10 top the of nine with Table 4 shows the top 10 best selling featureconcerts. documentariesmusic on on physical videobased inare 2015. This listwhich does not documentaries include 144 BFI Statistical Yearbook 2016 11. FILM ON PHYSICAL VIDEO Table 5Top 10best-sellingforeign languageflmsonphysicalideoformats,2015 second instalment. with ‘Back to the Future Day’ on 21 October 2015, the date to whichJurassic the protagonists Park trilogy. travelled There in were the also substantial sales for the Backfollowing to the Future the releasetrilogy which coincidedof new episodes, including the original and prequelA number Star of Wars box trilogiessets andof filmsthe from successful franchises achieved substantial sales on video in 2015 of well on video in 2015, helped in part by a prolonged promotionCinderella, with majorThe Jungle Book, Theretailers LionKing, The LittleMermaid, and also, in the case theatrical re-releases or other events associatedClassic with thetitles, films. in particularWalt classic Disney family films,titles also remain popular video purchases, due in part to and Studio Ghibli’s Swedish language black comedy comedy black language Swedish topped the chart in 2014. Two other entries from the 2014 topdirected 10 byalso British appearthriller filmmaker in action Gareththe current Evans.language list: The the Indonesian secondthe by in headed a plannedis list trilogy of overall Raid The titles, the film also is the 2015 theatrical release, year. The list features six titles from the renowned Japanese animationfrom the house, catalogue the oftop Studio ranked Ghibli,of which which celebrated the 30th anniversary Theof its list foundingof the top during 10 the best-selling foreign language films on physical video in 2015 is dominated by titles Source: BFIRSUanalysisofOfficial ChartsCompanydata

10 9 8 7 6 5 The Hundred-Year-Old Man Who Climbed Out 4 3 2 1 Cinderella, by the successful theatrical release of a live action remake. Blue IstheWarmest Colour Princess Mononke Howl’s MovingCastle My NeighbourTotoro Spirited Away The Wind Rises The Wind the Window andDisappeared the Window The BattleforWarsaw: StonesfortheRampart The Tale ofthePrincessKaguya Title The Raid2 Howl’s MovingCastle. The Tale of the Princess Kaguya. Princess the TaleThe of The Hundred-Year-Old Man Who Climbed Out the Window and Disappeared and Window the Out Climbed Who Man Hundred-Year-Old The and Snow and White andtheSeven Dwarves Indonesia/USA r/e/p CurzonArtificialEye Fra/Bel/Spa The Raid 2 Raid The of origin Country Swe/Cro Jap Jap Jap Jap Jap Jap Pol , which was written and Beauty andtheBeast, Kaleidoscope StudioCanal StudioCanal StudioCanal StudioCanal StudioCanal StudioCanal Distributor StudioCanal all sold eOne Films

11. FILM ON PHYSICAL VIDEO BFI Statistical Yearbook 2016 145 2015 2014 2013 2012 2011 2010 2009 2008 1 2007 2006 2005 2004 2003 2002 198 183494 160 494 159 462 138 476 116 399 340 98 295 96 284 98 285 93 278 262 93 221 87 146 50 87 29 62 22 2001 0 Transactions (million) Transactions (£ million) Value Due to declining volumes, information on the top 10 online film video rentals and a breakdown of rentals by genre are not presented in this not presented are by genre rentals of and a breakdown Due to declining volumes, information on the top 10 online film video rentals Source: IHS, BASE Source:

Figure 5 Film on video rental market, 2001-2015 market, Film on video rental 5 Figure Million The average value of a physical video rental in 2015 was £2.78, and online renting of physical discs (with (with discs physical of renting online and £2.78, was 2015 in rental video physical a of value average The transactions. rental of 85% for accounted delivery) postal FILM IN THE VIDEO RENTAL MARKET RENTAL VIDEO IN THE FILM 2001 both in achieved was which million, £494 was film for market rental were physical the There 5). of (Figure value that peak of The eighth one under just was 2015 in with market the of compared 24% value of the 2002; fall a and 2015, in video physical on film feature decrease of The transactions 2014. in rental million £87 million from 22 down million, £62 was market the of of face value the in The million. rentals 29 2014’s over-the-counter of decline rapid the to mainly due is as such value services (eg market’s the Demand in on Video subscription and television multi-channel from competition Prime). Amazon and Netflix 100 200 300 400 500 600 year’s report. year’s 1 12. FILM ON DIGITAL VIDEO

Digital video enables audiences to access films through a range of devices, anytime, anywhere. Revenues for on-demand services in the UK continued to increase in 2015, generating just under £500 million.

FACTS IN FOCUS In 2015, the overall digital video market for film in the UK was estimated to be worth £499 million, up 14% on 2014, and up over 700% since 2004.

Revenues from online digital video services increased year on year by 11% to £315 million, while television-based revenues increased by 21% to £163 million.

Subscription services accounted for almost half of online film revenues, and digital rental revenues remain higher than those of digital retail for the second year in a row.

In 2015, Netflix and Apple retained their position as the highest earning digital video providers in the UK.

Analysis of the library content of five digital video suppliers in the UK showed that over two thirds (68%) of available titles were from the USA, while 11% were UK productions.

In 2015, 34% of adult internet users (16+) watched or downloaded films or television programmes online at least once a week.

147 FILM ON DIGITAL VIDEO BFI Statistical Yearbook 2016 148 499 2015 2014 2013 2012 2011 2010 2009 2008 2007 0 1 6 22 40 55 124 209 284 315 67 67 74 95 97 90 94 110 129 152 184 67 75 101 119 130 149 234 338 436 2006 elevision-based digital video 0 Online digital video

T Figure 1 stimated alue of the digital ideo flm market in the UK, 2006-2015 1 stimated alue Figure £ million The value of the overall on-demand film market represented approximately 12% of the total UK filmed filmed UK total the of 12% approximately represented market film on-demand overall the of value The entertainment market in 2015, an increase of one percentage point on the previous year. Revenues from online on-demand services (such as Netflix and Apple) have been greater than those those than greater been have Apple) and Netflix as (such services online on-demand 2015, In online 2012. from since Revenues TalkTalk) and Sky BT, (including services while million) (£284television-based by 2014 with generated compared 11% up million, £315 been have with to compared estimated 21% were up million, revenues £184 been have to estimated were 2015 in revenues television-based (£1522014 million). According to IHS, the estimated value of the on-demand market for film in the UK in 2015 was £499 £499 was 2015 in UK the in film for market on-demand the of was value 2015 in estimated the market IHS, the to of size According the shows, 1 Figure As 2014. with compared 14% of increase an million, 2006. of that times seven over and 2012 of that double than more VALUE OF FILM ON DIGITAL VIDEO FILM ON DIGITAL OF VALUE Although digital video (Video on Demand) is now a firmly established part of the film value chain in the the in chain value film the of part established firmly a now is Reliable Demand) on data. (Video robust video digital available Although publicly of lack a by hampered is survey market by the of supplemented understanding our UK, aggregates, business and revenue to limited are services on-demand for data of always consequence is not Within it a behaviour the preferences. existingconsumer and – on data however, data, programmes television and films feature between distinguish clearly to possible market. entertainment the within convergence increased AVAILABILITY OF COMPREHENSIVE DATA ON FILM ON DIGITAL VIDEO DIGITAL ON FILM ON DATA COMPREHENSIVE OF AVAILABILITY Total Total IHS Source: have been amended since publication of the 2014 Statistical Yearbook. Figures 100 200 300 400 500 600 149 BFI Statistical Yearbook 2016 12. FILM ON DIGITAL VIDEO 100 150 200 250 300 350 were ranked as a single entity, it would have been the second largest provider in 2015 after Netflix. 2015 after in entity, provider asingle as second largest it the ranked were would have been into fourth place. However, it is worth noting that Now TV is ownedbetween and therun bytwo Sky years – ifwas the the two rise services of Now TV from sixth place in the chart to third,and which Apple pushed were Sky the two highest earning providers of on-demand servicespossible in the UK. thatThe rankings biggest based change solely on film revenue would be differentUK in(Table 2014 1). and In 2015.both years, Providers Netflix are ranked by revenue for all on-demandIn the absence services, notof film-by-filmjust film – data,it is this section outlines the top providers of digital video services in the TOP PROVIDERSOFDIGITAL VIDEOSERVICES £ million Figure 2nlinedigitalideoflmreenue bytypeofserice,2011-2015 growing from less than half of oneThe percentpercentage of overallat revenues the generatedstart ofby advertising the increased periodrental steadily revenues to between werenearly 2011-2015, higher than those5% of indigital 2015retail, a reversal (Figure offollowed the situation2). by digital in rentalall previous (24%) years. and digital retail (22%) This was the secondIHS consecutiveestimates that year subscription that digital services accounted for 49% of online film revenues in the UK in 2015, On-demand providersservice in the UK employ three basic of types business model: Source: IHS 50

Advertising Digital retail Digital rental Subscription 0 • F • S • Transactional (TVoD) which comprises rental digital video, a one-off rental for a limited time, – p as Curzon Home Cinema deal exclusively rentalwith content; such as iTunes or Google Play offer both rental and retail film alsocontent, known as electronic-sell-through however some services such(EST) – most providers of transactionalincluding on-demand both services,streaming and download-to-rent (DTR) and retail or download-to-own video (DTO), ree/advert-supported – providers include catch-up such as services BBC iPlayer and All4. ubscription (SVoD) which provide unlimited access to content for a fixed monthly sum sum monthly content fixed to fora access unlimited provide which (SVoD) ubscription roviders include Netflix, Amazon Prime Video and BFI Player+; Prime Amazon and includeroviders Netflix, £ million 396. 4. 885. 816. 437. 22.3 70.2 24.4 76.9 24.3 68.9 25.8 73.3 28.1 58.7 24.4 50.8 38.8 48.0 28.0 34.6 62.1 33.9 36.1 19.7 0.2 0.8 2011 0.4 1.5 % £ million 023. 374. 3. 5812848.5 152.8 45.8 130.0 44.9 93.7 32.5 40.2 . 0.6 0.8 2012 % £ million . . 17411. 4.8 15.2 4.1 11.7 2.6 5.4 2013 % £ million 2014 % £ million

2015 % 12. FILM ON DIGITAL VIDEO BFI Statistical Yearbook 2016 150 UK USA USA USA USA UK/USA UK/USA UK/USA 2015 Sky Virgin Apple Netflix Amazon Now TV* Microsoft BT Vision UK USA USA USA USA UK/USA UK/USA UK/USA

1 2014 Sky Virgin Apple Netflix Amazon Now TV* Microsoft BT Vision Company Countryownership of Company Countryownership of 2 3 4 5 6 7 8 1 Rank Revenue figures are not disclosed as these are confidential. not disclosed as these are are Revenue figures * Now TV is a non-contract on-demand service owned and run by Sky. owned and run by Sky. * Now TV is a non-contract on-demand service Table 1 Top transactional and subscription flm and teleision programme digital ideo serice proiders in proiders serice ideo digital programme teleision flm and and subscription transactional 1 Top Table by reenue and 2015 ranked the UK, 2014 In October 2015, the European Audiovisual Observatory (EAO) conducted research into the composition composition the into research conducted (EAO) Observatory Union. European Audiovisual the of European the states 2015, member 28 October the In across suppliers SVoD 16 and VoD 75 of productions, European catalogues the were of services VoD the on available films the of 27% that of found were films study of 30% The services SVoD the on while USA, the in originating films the for of all 59% with catalogues, compared VoD the of 40 than more In films. US for 60% with compared origin, European available titles were non-European (originating either from the USA or other international territories). FILM CATALOGUES ACROSS DIFFERENT DIGITAL VIDEO PROVIDERS ACROSS DIFFERENT DIGITAL FILM CATALOGUES the among is content library film to access Report, Market Communications Ofcom’s to 27% and According subscribers Netflix of 38% with UK, the in services SVoD of use the the using for for reason motivators a primary as films of catalogues back to access citing subscribers Video film Prime new to Amazon of access cited subscribers Prime Amazon of 23% and subscribers Netflix of 27% while service, services. the use to reason a as content growth in the use of on-demand services in the UK. In the second half of 2015, six in 10 UK adults (59%) (59%) adults UK 10 in six continued a 2015, identified of 2016) August half (published Report second Market the In UK. Communications Ofcom the in recent most The services on-demand of since use points the percentage in two by up growth months, 12 previous the in service one one least around at with used have to iPlayer, BBC claimed the was period same the in service on-demand popular most popular The most the was 2014. Sky while year, previous the within service the adults, of using 16% by adults used of also (32%) was third which Netflix, service. its using adults of 16% with year-on-year provider highest the pay-TV recorded and UK the in services non-broadcaster the of popular most the 2014. was with compared points percentage four of rise a with services, all across growth POPULARITY OF ON-DEMAND FILM AND TELEVISION PROGRAMME SERVICES FILM AND TELEVISION PROGRAMME SERVICES POPULARITY OF ON-DEMAND Source: IHS Source: Notes: 1 151 BFI Statistical Yearbook 2016 12. FILM ON DIGITAL VIDEO Curzon HomeCinema. Providers analysedare: iTunes, ChiliTV, Netflix,Wukai.TV & BFI definitions. Territory oforiginisdefinedbytheEAOandmaydiffer from Notes: Source: EAO so may different be to BFI definitions.) outside of Europe or the USA. (It is worth noting that these territories SVoDof origin (30%)were EU based ascribed digitalby the video EAO services. Twelve per cent of the Europeanavailable countries. titles came This from is lowerterritories than the proportions of European titlesavailable available films, on which VoD includes (27%) and 11% from the UK, 8% from other EU countriesEU averages and 1% for from both non-EU VoD (59%) and SVoD (60%) services. European titlesand accounted SVoD) operating for 20% ofin thethe UK. The majority of titles were from the FigureUSA 3 (68%) showswhich theis higherterritory of than originthe of films in the catalogues of five digital video services (both VoD country. respective each national films on both VoD and SVoD platforms was strongly linked consumersto national in theproduction individual levelscountries in in which they operate, and that Thethe availability EAO research of foundEuropean that pan-European services adapt the films they offer to suit the tastes of Source: EAO,BFI Figure Territory oforiginflmsinselectedo andSo cataloguesintheUK,2015 Territory of origin of Territory Table 2Mostpopulartitlesino cataloguesacross uropean territories EAO and their countries of origin. (The Table lists titles that appear inTable over 452 showsof the the 75 titles catalogues.) that appear with the greatest frequency in the VoD catalogues surveyed by the 46 46 46 title is present (/75) catalogues in which Number of 46 46 47 47 48 49 50 50 USA Otherinternational OtherEuropean EU(excludingtheUK) UK % of films rneo esa h ad fTm 2010 Prince ofPersia:TheSandsTime ore :TeMseiu sad2012 2:TheMysteriousIsland Journey 68 12 11 1 8 h atadteFros2001 The FastandtheFurious orbeBse 2014 Horrible Bosses2 mrcnSie 2014 American Sniper Fast & Furious 7 2015 USA/Jpn/Chn USA/Jpn/Chn 2015 Fast &Furious7 Valentine’s Day Valentine’s u l ih 2015 Run AllNight neetVc 2014 Inherent Vice eet o 2014 Seventh Son e mr 2008 Get Smart Film Year of release 2010 UK/USA/Can/Chn Countries USA/Ger of origin UK/USA USA USA USA USA USA USA USA 12. FILM ON DIGITAL VIDEO BFI Statistical Yearbook 2016 152 12 21 19 21 27 USA 13 23 19 20 25 Non-European 20 26 21 14 19 UK 19 31 21 13 17 the UK) EU (including 17 20 31 21 12 European 23 15 25 20 18 Total Over 20 years years 20 Over 5-10 years years 5-10 years 10-20 0-2 years years 2-5 0

10 20 30 40 50 60 70 80 90 Figure 5 looks at the age of films in the individual catalogues of the five UK digital video providers. The The providers. video digital UK five the of catalogues individual the in films of libraries age their in the films at older looks 5 of Figure percentages larger have iTunes, and and Netflix Wukai.TV films. providers, service available bigger of two respectively 28% and 25% for accounting old years libraries. 20 their in over films titles with released recently most the of proportions than higher less are have titles Cinema of Home majority Curzon a which in catalogue a has which analysed supplier only the is Curzon old. years five % Figure 4 reakdown of age of flms by territory of origin in selected o and So catalogues in the UK, 2015 catalogues So and o by territory of origin in selected of age of flms reakdown 4 Figure Figure 4 shows the breakdown of the age of titles by territory of origin in the selected group of UK digital digital UK of group selected the in origin of territory by titles of age the titles, of of ages breakdown the the between shows 4 split Figure even reasonably a is there (15%). films all at content looking available When of catalogues. percentage video smallest the for account UK old) and years (0-2 European titles that newest the noticeable is it although origin, of territory by titles of age the at means also looking This when (12%). titles US However, to compared (20%) releases new are of 27% while percentage over, higher a or old include years films 10 are 48% – titles ‘library’ older are films US available the of more that old. years 20 than more Source: EAO Source: 100 153 BFI Statistical Yearbook 2016 12. FILM ON DIGITAL VIDEO 100 Source: EAO Note: Data is based on a sample of all adults (16+) who use the internet andhavetakenpartinthelistedactivities onaweeklybasis. Note: Dataisbasedonasampleof alladults(16+)whousetheinternet Source: Adults’MediaUseandAttitudesReport2016,Ofcom percentage, 2015 Table atching onlineideoatleastweekly, bydemographicgroup, byadult16agegroups, groups. age other the of any for than higher is activities the of each in engaging reflected in all adult age groups apart from those aged 75 or over.audiovisual The proportion content of 16-24 (48%) than to watchyear olds or download television programmesTable or films 3(34%). showsThis is that, overall, adult internet users are more likely to go online to watch short-form2013. in 201454% and in 60% with compared week, a once at least films, or programmes behaviour. According to Ofcom, in 2015, 67% of adult internetby Ofcom. users (16+)This datawatched is no or longerdownloaded available TV so in this section we lookIn previous at online years movingwe have image reported viewing the median number of films downloaded and streamed, as reported THE ONLINEAUDIENCE % UK, 2015 Figure 5reakdown oftheageflmsbyterritoryorigininselectedo andSo cataloguesinthe such asmusicvideosorcomedyclips Watch online or download short video clips Activity programmes orfilms Watch online or download television 10 20 30 40 50 60 70 80 90

0 Over 20 years 10-20 years 5-10 years 2-5 years 0-2 years iTunes 28 15 20 25 12 All ages ChiliTV 87 34 62 20 29 46 49 63 73 48 45 43 02 811 18 21 30 36 44 52 34 20 26 27 16 11 16-24 25-34 Netflix 25 19 18 27 11 54 45-54 35-44 Wukai.TV 55-64 15 19 19 25 22 65-74 Hom e Cinema Curzon 75+ 15 13 18 34 21 9 12. FILM ON DIGITAL VIDEO BFI Statistical Yearbook 2016 154 51 Aged 12-15 43 Aged 8-11 38 Aged 5-7 44 All aged 5-15 All 27 Aged 3-4 Percentage of children Percentage

0 % Figure 6 roportion of children -15 who watch on-demand teleision programmes and flms and flms programmes -15 who watch on-demand teleision of children roportion 6 Figure and catch-up serices subscription includes pay-per-iew, According to Ofcom, a majority of children aged 5-15 (62%) live in households with access to on-demand on-demand to access with households in live (62%) 5-15 aged children of majority of a Ofcom, percentage to The According services. these use to (17%) not than (44%) likely and more being subscription children with services, pay-per-view, from films 43% and/or with programmes TV compared so, on-demand doing watch that 12-15 children aged those of (51%) half over with age age by youngest the increases of (54%) services proportion catch-up smaller A 6). (Figure 5-7 aged those of of 38% four and in one over 8-11 just aged and those of services, on-demand to access with households in live olds) year (3-4 group services. on-demand watch (27%) these Source: ‘Children and Parents: Media Use and Attitudes Report 2015’, Ofcom and Parents: ‘Children Source: 10 20 30 40 50 60 13. FILM ON UK TELEVISION

CHAPTER 13 FILM ON UK TELEVISION Image: Quartet courtesy of eOne Films 155 FILM ON UK TELEVISION

In terms of viewer numbers, television is the single most important platform for film consumption in the UK. Viewers had a choice of nearly 7,000 unique film titles across all channels in 2015, and the cumulative film audience was just under three billion.

FACTS IN FOCUS In 2015, 6,966 unique film titles were shown on television in the UK, including 1,463 on terrestrial channels, 1,368 on pay TV film channels and 4,135 on other digital channels.

There were 1,665 film transmissions on terrestrial channels, down from 1,943 in 2014. Of these, 372 (22%) were UK films (down from 400 in 2014), 208 (12%) were network premieres and 39 (2%) were foreign language films.

The most-watched film screening on terrestrial television was Brave on BBC One, with 6.1 million viewers; the top independent UK film screening was Quartet on BBC Two, with 2.7 million viewers.

There were 2,952 million viewings of feature film across all television formats (except pay-per-view) in 2015 – over 17 times the number of cinema admissions.

The estimated value of feature film to UK broadcasters in 2015 was £1.6 billion, up from £1.4 billion in 2014.

156 13. FILM ON UK TELEVISION BFI Statistical Yearbook 2016 157 8 2 9 8 7 12 for top top for (million) premiere premiere Audience Audience as % of total total of % as films broadcast films Recent UK films films UK Recent Top Top Brave 6.1 Quartet 2.7 premiere 2 8 41 16 54 17 136 Number of of Number broadcast recent UK films films UK recent (million) Average Average 22 13 14 35 38 10 audience audience as % % as of total of 1346 1.77 0.59 57 2.39 The Amazing Spider-Man 3.9 161223 0.60 1.01 0.81 The Jungle Book Olympus Has Fallen 3.9 1.8 UK films films UK of total total of films as % % as films UK premiere premiere UK 47 59 71 23 premiere films premiere 372 172 2 4 4 19 18 47 UK films films UK broadcast Number of of Number films films on terrestrial teleision 2015 on terrestrial 1 broadcast Number of of Number 350 432 202 454 227 UK premiere UK 1,665 1,665 of films films of 7 Number Number 16 41 33 208 broadcast films films premiere premiere broadcast Number of of Number Total Channel 5 Channel 4 ITV BBC Two BBC One BBC Two ITV Channel 4 111 Channel 5 Total BBC One Includes repeat broadcasts of individual titles. broadcasts Includes repeat in the UK since 2008. or intended for release, film is one which has been theatrically released, A recent Table 1 Feature flms broadcast 1 Feature Table There were 1,665 film transmissions on terrestrial television in 2015, down from 1,943 in 2014, an an 2014, in 1,943 from down 2015, in television terrestrial on transmissions film 1,665 were There average of just under five films a day. Table 1 shows the total number of feature films broadcast on the five terrestrial channels in 2015 and and 2015 in channels terrestrial five the on broadcast films feature of number the total the describe to shows 1 here used is Table television (Terrestrial time. that in broadcast titles UK service of public number of the degree some have which of all services, theatrical analogue recent terrestrial and old) national years previous eight than (more titles older into down the by broken are originated films UK UK as listed titles obligation.) all include films UK Here, years). eight last the in (released nationalities releases other given films qualifying UK plus (BARB), Board Research Audience Broadcasters’ data. BARB the in USA) (mostly PROGRAMMING ON THE TERRESTRIAL CHANNELS THE TERRESTRIAL ON PROGRAMMING Source: Attentional, BARB, BFI RSU analysis Source: Table 2 remiere feature flms broadcast on terrestrial teleision, 2015 on terrestrial flms broadcast feature 2 remiere Table In 2015, 12% of films broadcast on terrestrial television (208 films) were premieres (films shown for the the for shown (films premieres were films) (208 television terrestrial on broadcast films of highest 12% the 2015, showed In 4 Channel 2). (Table films UK were these 111 of with 47 premieres, networks); film UK terrestrial of on time number first highest the showed Two BBC and overall although seven, premieres with of premieres number of number smallest the showed ITV with whereas premieres film UK of respectively, films 19 number and lowest the showed One BBC films. UK of premieres were these of four films. two Source: Attentional, BFI RSU analysis Source: 1 2 158 BFI Statistical Yearbook 2016 13. FILM ON UK TELEVISION 100 independent production titles. in the liststudio-backed UK (Tabletwo include which 3). USA, the from films by dominated release. The top 10 is theatrical its after years 50 almost television Book, made on terrestrial premiere its drew 4.7 million viewers. Interestingly, one of the films in the list, Disney’s classic animation including the year’s second highest-rated terrestrial television debut, Brave on BBC One, which attracted 6.1 million viewers. The channel Thealso had most two popularother topfilm premiere 10 premieres on terrestrial television in 2015 was the Christmas Eve broadcast of Source: Attentional,BARB,BFIRSUanalysis % Figure 1ercentage offeature flmpremieres andrepeat broadcasts onterrestrial channels,2015 (4%). smallest the had ITV while broadcasts. Channel 4 had the largest proportion of premieres (26%) althoughin 2015 infor terms eachof filmschannel broadcast, titles shown five times or more account screenedfor the bygreatest a particular share channel. (57%) The of numberfilm of times films are shown varies acrossFigure 1 theshows channels, the percentage of films broadcast categorised by the number of times they have been 10 20 30 40 50 60 70 80 90

0 5th ormorebroadcast 4th broadcast 3rd broadcast 2nd broadcast Premiere BBC One 48.5 20.3 12.3 11.9 7.0

BBC Two 64.1 9.0 9.9 8.8 8.1 84.7 ITV 3.5 5.9 2.5 3.5 Mrs. Brown’s Boys D’Movie Quartet is the only UK Channel 4 25.7 31.7 11.8 23.4 7.4 The Jungle Jungle The , which Channel 5 67.4 9.4 8.9 7.4 6.9 13. FILM ON UK TELEVISION BFI Statistical Yearbook 2016 159

1 - - -

0.18 0.13 (million) (million) Audience Audience rated foreign foreign rated language film language Audience for top top for Audience Year of of Year release House of FIying FIying of and House 2 - - -

theatrical theatrical [Rec] UK 2013 2.7 USA 2012 2.8 USA 2013 3.9 USA 1968 3.9 USA 2012 3.9 Top foreign foreign Top USA 2012 6.1 La Vie en Rose language film language USA/NZ 2011 3.4 USA/NZ 2012 3.8 UK/USA 2008 3.6 The Gatekeepers with an audience of just over 129,000. 129,000. over just of audience an with 2 [Rec] Countryorigin of ITV ITV ITV ITV ITV Channel BBC Two (million) BBC One BBC One UK/Ire/USA 2014 4.7 BBC One Average Average Channel 4 audience audience ------1.8 0.08 7.2 0.05 2.3 0.06 % of of % channel’s channel’s film output film - - - 8 31 39 Number of of Number films broadcast films foreign language language foreign , followed by en Rose, followed the SpanishVie horror filmLa Ted The Adventures of TintinThe Adventures The Dark Knight The Hobbit: An Unexpected JourneyThe Hobbit: An Unexpected The Croods The Jungle Book The Amazing Spider-Man Mrs. Brown’s Boys D’Movie Mrs. Brown’s Brave Title 9 8 7 6 5 4 3 2 1 10 Quartet Total audience for all transmissions for the foreign language film, on the terrestrial channel listed. language film, on the terrestrial audience for all transmissions for the foreign Total BBC One BBC Two ITV Channel 4

Channel 5 Total (The top two foreign language films on terrestrial television in 2014, 2014, in television terrestrial on films language foreign two top (The Audience figures for foreign language films on terrestrial television in the last few years have failed to to failed have years few last the in television terrestrial on films viewers, language 179,000 foreign over for with figures shows, 5 Audience Table As series. television European sub-titled of Edith the success the was 2015 match in channels terrestrial main the on shown film language foreign popular most the biopic Piaf Source: Attentional, BARB, BFI RSU analysis Source: 1 Table 4 Foreign language flms broadcast on terrestrial teleision, 2015 on terrestrial language flms broadcast 4 Foreign Table As Table 4 shows, 39 foreign language films were broadcast on the main terrestrial channels in 2015 2015 in channels terrestrial main the on broadcast were films language foreign 39 shows, 4 Table As Source: Attentional, BARB, BFI RSU analysis Source: (2% of all film transmissions) down from 56 in 2014. Only two terrestrial channels screened foreign foreign screened channels terrestrial two Only 2014. in 56 from down Two transmissions) BBC film all while films) of (2% (31 4 Channel on shown were majority the year: the during titles language eight. screened 2015 teleision, terrestrial on premieres 10 flm Top Table achieved audiences of just over 361,000 and 263,000 respectively.) Eight of the top 10 films were were films 10 top the of Eight respectively.) 263,000 and 361,000 over just of audiences achieved Daggers, European-backed projects and the remaining two were from India. 160 BFI Statistical Yearbook 2016 13. FILM ON UK TELEVISION 10 20 30 40 50 60 70 80 Number offilms Source: Attentional,BFIRSUanalysis Total 1 Source: Attentional,BFIRSUanalysis Figure 2Numberofforeign languageflmsbroadcast onterrestrial teleision,2006-2015 channels. terrestrial on throughout the period accounting for three quarters (75%) of all non-English2009 to the language39 transmissions film broadcasts achieved in 2015. Channel 4 has shown the mostto the foreignnumber languageof English films language titles broadcast, ranging in the 10-year2006 and period2015. from Thea high total of number76 in of titles shown annually has remainedFigure consistently2 illustrates thelow number in comparison of foreign language films broadcast on terrestrial television between Table 5Top 10foreign languageflms Foreign languagefilmswiththehighestaudiencefigure foranindividualtransmission. 0ComeasYou Are 10 0

9 8 7 6 5 4 3 2 1 Channel 5 Channel 4 ITV BBC Two BBC One

Chennai Express BBCTwo Fashion Cash The FatherofMyChildren Love LikePoison Stranger bytheLake Lore [Rec] enRose La Vie Title 2 2006 54 64 50 42 46 46 35 16 37 96 14 639 56 47 71 60 59 76 73 63 41 72 8 7 25 17 23 9 2 25 - 2007 1 onterrestrial teleision,2015 Channel 4 Channel 4 Ger/Australia/UK Channel 4 Channel 4 Channel 4 BBC Two BBC Two BBC Two B w Fra/UK/Czech BBC Two Channel - 2008 35 -1 61 3 -2 132 Country of origin Country 2009 Fra/Ger/Bel 2010 Belgium France France France Spain India India - 2011 15 94 31 46 39 50 51 - Year of theatrical 2012 19 - - release 0369,500 71,700 2013 2008 0366,900 2013 80,400 85,500 94,700 2008 100,300 2010 108,200 2011 129,200 2014 2013 2010 07179,300 2007 2013 8 - - - 2014 Audience 98 1 - - 2015 - - -

13. FILM ON UK TELEVISION BFI Statistical Yearbook 2016 161 2014

8 3 1 4

13 2012 2010

Channel 5 2008

9 2 5

13 16

2006 2015

2 4

14 19 11 2013

2011 2009 Channel 4

2 4

14 20 13 2007

2 4

15 21 16

2014 2012

ITV

2010 4 3

13 22 16

2008 2006

15 21 19 19

2015

2013 2011 9 7 16 17 19

BBC Two

2009 2007

9 6

15 19 13 2014

7 2012 21 27 20 10 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015

BBC One

2010

2008 2006 Channel 4 Channel 5 ITV BBC One BBC Two 0 5 0 Source: Attentional Source:

by channel, 2006-2015 hours peak time programming of Film as a percentage Figure % FILMS ON PEAK TIME TERRESTRIAL TELEVISION, 2006-2015 2006-2015 TELEVISION, TERRESTRIAL TIME PEAK ON FILMS across widely varied film feature to dedicated hours) 23:00 to (18:00 hours time peak of has 5 proportion The Channel period, the Throughout 3). (Figure 2015 4 and 2006 Channel between while 2015), channels in terrestrial (13% film the to dedicated hours time peak of proportion highest programming the time had peak of 8% generally up made Film share. highest third lowest or the had second One the BBC either year, had usually consecutive has fourth the For Two. BBC share for 4% the in and drop 2015 a in 4 saw Channel channels the for of all 2015, In (1%). film to dedicated hours time peak of proportion of peak time hours they dedicated to film compared with the previous year. 10 15 20 25 3 35 162 BFI Statistical Yearbook 2016 13. FILM ON UK TELEVISION 1 Source: Attentional,BARB 1 Source: Attentional,BARB Table 7Top 10UKualifyingflms Two. BBC and One BBC on each one of the films making an appearance. Eight of the top 10 UK film broadcastschannels. were onAs in ITV andthe previousthere was two years, the Harry Potter franchise features stronglywhich in attractedthe list, thewith year’sfive highest audience for a single The headed(Table is television 7). list broadcast by on terrestrial top 10overall films of a UK film across the terrestrial The list of the top 10 UK films of 2015 includes three premiere titles, two of which appear in the year’s Table 6Top 10flms 10 list for a second consecutive year. £43.5 million; its actual gross thein list withthe 6.1 UKmillion viewers.was (In £22.2theatrical revenuemillion). terms, this is equivalentSeven of the top 10 broadcast tofilms a televisionon boxterrestrial in 2015 officewere premieres gross(Table 6). of TOP FILMSONTERRESTRIALTELEVISION

Filmswiththehighestaudiencefigure for an individualtransmission. 0IdaaJnsadTeKndmo h rsa kl BBCOne IndianaJonesandThe KingdomoftheCrystalSkull 10 0NannyMcPheeandtheBigBang 10 Films withthehighestaudiencefigure foranindividualtransmission. 9 8 7 6 5 4 3 2 Brave 1 9 8 7 6 5 4 3 2 1 Marvel Avengers Assemble Harry PotterandtheDeathlyHallows:Part1 The DarkKnight The Hobbit:AnUnexpectedJourney The Croods The JungleBook The AmazingSpider-Man Mrs. Brown’s BoysD’Movie Title Title Harry PotterandtheOrder ofthePhoenix Quartet Harry PotterandtheHalfBloodPrince Harry PotterandtheGobletofFire Harry PotterandTheDeathlyHallows:Part2 Skyfall Harry PotterandTheDeathlyHallows:Part1 The DarkKnight Mrs. Brown’s BoysD’Movie 1 onterrestrial teleision,2015 1 onterrestrial teleision,2015

Channel 4 BBC One BBC One BBC One BBC One Channel B n KIeUA21 4.7 2014 UK/Ire/USA BBC One BBC Two Channel Marvel Avengers Assemble appears in the top T KUA21 3.6 2010 UK/USA ITV T KUA20 3.6 2008 UK/USA ITV T S/Z21 3.8 2012 USA/NZ ITV T S 023.9 2012 USA ITV T KUA21 2.6 2.7 2010 2.9 2007 3.0 3.2 UK/USA 2009 3.2 UK/USA 2005 3.6 ITV 2011 3.6 ITV UK/USA 2012 UK/USA 2010 ITV UK/USA 2008 ITV UK/USA ITV UK/USA ITV UK/USA ITV ITV

KIeUA21 4.7 2014 UK/Ire/USA Country of of origin Country origin S 083.5 2008 USA S 023.6 2012 USA S 033.9 2013 USA S 983.9 1968 USA S 026.1 2012 USA Mrs. Brown’s Boys D’Movie K21 2.7 2013 UK theatrical theatrical release release Year of Year of Brave tops Audience Audience (million) (million)

13. FILM ON UK TELEVISION BFI Statistical Yearbook 2016 163 (million) Audience Audience 2013 2.7 201420122012 2.2 2.2 2.0 2013 2.4 201420062012 2.0 1971 2.0 2014 1.7 1.7 1.7 Year of of Year release theatrical theatrical # # # recorded the largest largest the recorded Skyfall UK UK UK UK UK UK Country Country of origin of ITV UK/Fra/Ita (2.4 million viewers) which were shown on BBC Two Two BBC on shown were which viewers) million (2.4 Channel BBC Two BBC Two BBC Two Channel 4 UK/USA Channel 4 Channel 4 Channel 4 UK/Ger/USA Channel 4 UK/USA/Ind Channel 4 Red 2 Red on terrestrial teleision, 2015 on terrestrial 1 The three previously shown titles have all all have titles shown previously three The and, Non-Stop Cuban Fury. The Inbetweeners 2 Quartet (2.7 million viewers) and Quartet Red 2 Title The Sweeney Nativity 2: Danger in the Manger! Non-Stop The Inbetweeners 2 The Queen The Best Exotic Marigold Hotel 1 2 4 5 6 3 7 8 9 Army Dad’s 10 Fury Cuban

Films with the highest audience figure for an individual transmission. for an individual Films with the highest audience figure # Film made with independent (non-studio) US support. # Film made with independent (non-studio) US audience for a single screening on multi-channel television in the year, with over 2.2 million viewers viewers million 2.2 over with year, the in television multi-channel on screening single a for audience on ITV2. For many of the channels, including TCM, the UKTV channels (Dave, Drama, Gold, W), BBC Three and and Three BBC W), Gold, Drama, (Dave, channels UKTV the TCM, including channels, the of many For BBC Four, the number of transmissions decreased compared with 2015. In 2015, multi-channel television (freeview/satellite/cable) accounted for almost 48% of all television television all of 48% almost for accounted (freeview/satellite/cable) television multi-channel section, this 2015, of In purposes the (For television. on film of viewings all the of with 66% and UK channels the in viewing subscription] [non-film paid and free-to-air all includes the television transmissions, film of multi-channel number the lists 9 Table channels.) broadcast terrestrial which traditional channels the of of selection a exclusion for film, top the for audience and film top the audience, films) 2,800 average under (just Film4 films), 2,900 over (with TCM channels film dedicated of After suite films. 2-4 ITV feature the by screened was titles of number highest the films), (2,000 TV Pictures Talking and films. 1,600 withover channels TELEVISION FILMS ON MULTI-CHANNEL Source: Attentional, BARB Source: Notes: 1 and Channel 4 respectively (Table 8). In total, seven of the top 10 titles were premieres, including the the including premieres, were titles 10 top the of seven total, In 8). (Table respectively 4 Channel and releases 2014 appeared in this top 10 list in earlier editions of the Yearbook. Table 8 Top 10 independent UK flms 10 independent 8 Top Table The most popular screenings of UK independent films on terrestrial television in 2015 were the network network the were 2015 in television terrestrial on films independent UK of screenings popular most The premieres of

164 BFI Statistical Yearbook 2016 13. FILM ON UK TELEVISION Table 9Feature flmsonmulti-channelteleision,2015 the largest number of films in the top 10, three oftotal which audience, were Jameswith 8.4 Bondmillion viewers titles, from eightthe same broadcasts as in (Table 2014.Despicable Mewas the10). topAs in filmprevious on multi-channel years, ITV2 had television for the second consecutive year in terms of 3 2 1 Notes: Source: Attentional,BARB The TBNUKchannelsare notshowninthetableduetoissuesrelating toidentifiablefilmtitles. BBCThree stoppedbroadcasting on16February 2016andwasreplaced withanonline-onlyservice. Dave,Drama,GoldandWare partofthestableUKTVchannels. Filmwiththehighestaudiencefigure foranindividualtransmission. Dave, Drama,Gold,W Rishtey Horror Channel Showbiz TV Movies 24 Syfy 5 USA Venus TV Venus 5 Star UMP Movies 4 Music,4Seven,E4andMore 4 London Live SAB Sky Living Sky 1, Sky Arts 1-2, Sky Atlantic, True Movies 1-2 Movies True True Drama, True Entertainment, Star Gold,plusandLifeOK Spike BBC Three Talking Pictures TV ITV 2-4 Pictures Talking Film4 Channel TCM 3 andBBCFour 2 Number of broadcast 1,303 ,1 249 1,614 2,000 ,8 7 h etEoi aiodHtl1,294 TheBestExoticMarigoldHotel 176 2,783 ,1 21 2,916 films 195 6 38 266 1 0.3 311 416 3 8Sa rkI:TeVyg oe189 StarTrek IV: TheVoyage Home 48 430 3 102 435 491 1 114 615 683 8 179 685 1 11 816 961 5 88 157 123 6 62 166 8 1 nin oe n h atCuae1,157 IndianaJonesandtheLastCrusade 413 182 9 87 190 audience Average (000) 7 5 1 4 4 8 4 2 ah hsiKbi hm 54 Kabhi KhushiKabhieGham… h alo h se os87 The FalloftheEssexBoys oknbr o’ ig120 Mockingbird Don’t Sing l atfrCrsms63 All IWant forChristmas Wake of the Red Witch Red the of Wake trTe:Gnrtos283 Star Trek: Generations u aaK asa70 Dum LagaKeHaisha lmu a aln438 Olympus HasFallen h xedbe 249 The Expendables2 The MagicSword h akKih 154 The DarkKnight abri ak111 Gabbar isBack 3 qarn326 633 Squadron hM o 56 Oh MyGod alra 39 Gaolbreak a as21 Aas Paas ieGrs147 5ive Girls Top film Top ....422 S.W.A.T. kfl 2,210 Skyfall Audience film (000) for top 32 9 13. FILM ON UK TELEVISION BFI Statistical Yearbook 2016 165

1 Total (million) audience Year of of Year release theatrical theatrical ; 6.5 6.5 Ralph; (Wreck-It USA 1989 4.2 USA 1997 4.2 USA 2008 4.4 USA 2004 4.4 USA 2012 4.5 USA 2010 8.4 origin UK/USA 2008 3.9 UK/USA 2005 6.2 UK/USA 2012 7.2 Country of of Country 4 6 7 9 6 8 8 5 8 10 USA 2009 4.0 attracted just over one million million one over just attracted Cinderella Number of of Number broadcasts is second in the list, with 7.3 million viewers from 133 133 from viewers million 7.3 with list, the in second is ITV2 ITV2 ITV2 ITV2 ITV2 ITV2 Film4/E4 Channel ITV2/ITV4 CITV/ITV2 Tangled (6.3 million from 167 transmissions). The large audiences for for audiences large The transmissions). 167 from million (6.3 Maleficent attracted the largest cumulative audience with 16.3 million viewers over 141 transmissions, transmissions, 141 over viewers million 16.3 with audience cumulative largest the attracted Frozen Ice Age 3: Dawn of the Dinosaurs Film4/E4 Back to the Future Part II Back to the Future The Lost World: Jurassic Park The Lost World: Iron Man Iron The Polar Express Hotel Transylvania Casino Royale Skyfall Despicable Me Title 9 8 7 6 5 4 3 2 1 10 of Solace Quantum

Total audience figure for all transmissions across all free-to-air and paid (non-film subscription) multi-channels. and paid all free-to-air for all transmissions across figure audience Total Disney and Pixar titles dominate the top 10 with six films in the list, including the four most watched watched most four the including list, the in films six with 10 top the dominate titles Pixar and Disney titles. which is more than twice the audience of the top film on pay TV channels in 2014 Table 11 shows the top 10 films, in terms of combined viewings, on the additional subscription TV film TV subscription additional the on viewings, combined of terms in films, 10 top 2016) the July shows in 11 Cinema Sky Table as (rebranded Movies Sky various The 2015. in average an Sky by with year the operated during channels slots 44,717 across titles with slots unique 1,368 33,009 of across total a shown were broadcast titles unique channels 1,122 when 2014 on up is This 12,500. over of audience 10,000. nearly of audience average an Source: Attentional, BARB Source: 1 million viewers from 148 transmissions). transmissions). 148 from viewers million of by course the over followed week a twice least transmissions, at shown being their to part in due is audience films 10 largest the top the claimed of all list, the in nearly feature not does which film, Disney another However, year. the Christmas. to for up a single run transmission the on in pay TV in 2015: Kenneth Branagh’s premiered it when viewers Table 10 Top 10 feature flms on multi-channel teleision, 2015 teleision, multi-channel flms on feature 10 10 Top Table 166 BFI Statistical Yearbook 2016 13. FILM ON UK TELEVISION 1,000 1,500 2,000 2,500 3,000 3,500 4,000 4,500 Figure 4Total audienceforfeature flmonteleisionexceptpay-per-iew, 2006-2015 viewers. 558million with audience overall smallest those on terrestrial channels for the fourth year in a platforms.row. Multi-channelPay TV channels film viewings dedicatedwere the lowest to since film had2008; however, the numbers they weredecreased greater for than terrestrial and multi-channel television platforms,10-year but increased period 2006-2015; for pay it TV represents approximately 47 film viewingswith per cinema person admissions per year. of 171.9Audience million. This is the lowest figure for Intelevision 2015, filmthere audiences were just in theunder three billion viewings of film on television in the UK (Figure 4), compared THE AUDIENCEFORFILMONALLTELEVISIONCHANNELS,2006-2015 1 Notes: Source: Attentional,BARB

Table 11Top 10feature flms All filmswere shown onSkyMovies. Million Note: Figures for2006-2013havebeenrevised sincepublicationofthe2015 Statistical Yearbook. Source: BFIRSU,Attentional,BARB Total audiencefigure foralltransmissionsacross allsubscriptionfilmchannels. 0SleepingBeauty 10

Total PayTVfilmchannels Terrestrial 500 1 2 3 4 5 6 7 8 9 Othermulti-channel 0 Title Frozen Tangled Maleficent Beauty andtheBeast Guardians oftheGalaxy The LegoMovie Rio 2 Finding Nemo Despicable Me2 1 onpayTflmchannels,2015 ,0 ,1 ,9 ,5 ,6 ,1 ,6 ,2 ,7 2,952 3,079 3,422 1,006 3,863 1,244 3,910 1,302 3,669 1,531 3,857 1,674 3,497 1,634 3,111 1,726 3,306 1,808 1,827 1,951 2006 3 8 9 6 5 9 7 5 3 558 338 453 571 594 558 565 491 488 630 2 9 ,9 ,6 ,7 ,4 ,6 ,6 ,9 1,387 1,497 1,667 1,761 1,642 1,477 1,565 1,198 796 725 2007 transmissions Number of 2008 141 133 167 104 5 UK/USA 154 0 Aus/USA/Den 108 106 109 124

45 2009 Country of 2010 origin USA USA USA USA USA USA USA USA 2011 theatrical 2012 release Year of 2013 2010 2014 1992 2014 2014 2014 2003 2013 1959 2013 Total audience Total 2014 (million) 16.3 2015 7.3 6.3 5.6 5.6 5.0 4.4 4.3 4.0 3.9 1

13. FILM ON UK TELEVISION BFI Statistical Yearbook 2016 167 2015 2014 2013 2012 2011 2010 2009 2008 2007 2006 2,027 2,182 2,221 2,221 2,085 2,210 2,142 1,994 1,943 1,665 42,745 34,710 40,048 45,039 50,754 47,830 48,365 41,543 33,163 44,717 64,361 57,641 64,988 69,619 73,012 69,206 70,048 61,235 51,807 64,650 19,589 20,749 22,719 22,359 20,173 19,166 19,541 17,698 16,701 18,268 0 Other multi-channel Terrestrial Pay TV film channels Total

Based on a model developed by Attentional, the BFI Research and Statistics Unit has estimated the value value the estimated has Unit Statistics and Research BFI the Attentional, by of increase developed an model 2015 a in on billion Based £1.6 approximately been have to net ie – broadcasters UK channel to per film feature revenue of annual the from derived is figure This 2014. and on channels million TV £260 pay the for approximately revenues subscription channels, commercial the the for by revenue multiplied – advertising channels BBC the on programming to applied fee licence of proportion the film. feature for hours broadcast of percentage THE VALUE OF FEATURE FILM TO BROADCASTERS OF FEATURE THE VALUE Source: BFI RSU, Attentional, BARB Source: since this data was last published in the 2014 Statistical Yearbook. for 2006-2013 have been revised Note: Figures Number Figure 5 Total number of flm transmissions on all teleision channels except pay-per-iew, 2006-2015 except pay-per-iew, on all teleision channels number of flm transmissions Total 5 Figure In terms of unique film titles, there were 1,463 films broadcast on terrestrial, 1,368 titles on pay TV film TV pay on titles 1,368 terrestrial, on broadcast films 1,463 were all there across titles, film shown unique were of titles film terms In individual 6,966 Overall, multi-channels. other on 4,135 and channels 2015. in channels television Figure 5 shows the total number of film transmissions on television since 2006. The total number of of number total The 2006. since television on transmissions film of overall number the total in rise the first the shows 5 Figure 2015, in 64,650 to 2014 in transmissions 51,807 from increased screenings number of screenings since 2012. 80,000 70,000 60,000 50,000 40,000 30,000 20,000 10,000 14. THE UK FILM MARKET AS A WHOLE

CHAPTER 14 THE UK FILM MARKET AS A WHOLE Image: Mr Holmes courtesy of eOne Films 168 THE UK FILM MARKET AS A WHOLE

The UK is the third largest film market in the world, generating revenues in excess of £4.1 billion. In 2015, cinema-going remained the most significant component of the film value chain, with revenues of over £1.2 billion.

FACTS IN FOCUS The total filmed entertainment market in the UK in 2015 was worth an estimated £4.1 billion, up from £3.8 billion in 2014.

Revenues across theatrical, digital video and pay TV were up compared with 2014, with pay TV increasing by 71%.

Gross revenues for UK film were an estimated £1,095 million, up from £836 million in 2014. Overall film revenues in the UK increased every year between 2006 and 2015, with the exception of 2014.

In 2015, the UK had the third largest filmed entertainment market in the world after the USA and China, but is expected to be overtaken by Japan in the next four years.

169 14. THE UK FILM MARKET AS A WHOLE BFI Statistical Yearbook 2016 170

8 26 18 27 17 25 25 45 UK film film UK as % of of % as total gross 61 63 88 16 (£ million) 2015 to UK films films UK to Attributable Attributable 62 value value (£ million) Total gross gross Total 22 4,145 1,095 16 616 109 26 225 11 795 20 499 25 712 178 25 27 1,236 580 UK film film UK as % of of % as total gross

62 51 88 22 (£ million) to UK films films UK to Attributable 87 673 107 235 466 435 861 217 value value 3,815 836 1,058 289 (£ million) Total gross gross Total 2014 Total Other multi-channel Terrestrial TV Pay TV Digital video Physical video retail Physical video rental Theatrical

The television values are retail equivalent values calculated from the dataset of films shown on UK television. Values are estimated by multiplying are the dataset of films shown on UK television. Values equivalent values calculated from retail The television values are Television applicable to that channel (licence fee, subscription or advertising revenue). of the total channel time by the total revenue the film share See Film on UK television report. pay TV and other multi-channel TV. values cover terrestrial, is based IHS estimates of the combined size of the television and online on-demand markets. UK share derived from are Digital video revenues in the pay TV and video markets. knowledge of UK film share on an estimate derived from margins, prints and advertising costs, DVD/video retail values and include distributor and exhibitor margins, VAT, gross The above values are sector and film investors. production to the film and multi-channel TV operator margins in addition to net returns broadcaster export revenues earned films. The table does not include revenues by film in the UK market, whether UK or foreign are shown here The revenues for UK film export revenues. See UK film economy report for the UK film industry. may not sum to totals due to rounding. Figures Source: comScore, BASE, Official Charts Company, Attentional, ONS, IHS, BFI RSU analysis Charts Company, BASE, Official comScore, Source: Notes: the calendar years 2014 and 2015 for all films exhibited in the UK. See in VAT) (including UK theatrical revenues ‘Theatrical’ is the total gross report. Box Office of transactions in the calendar the number etc) from (DVD, Blu-ray, physical video rental from is the estimated revenue ‘Physical video rental’ the 2015 Yearbook. since have been revised years 2014 and 2015. 2014 figures physical video report. transactions in the calendar years 2014 and 2015. See Film on physical video retail from is the total revenue ‘Physical video retail’ Table 1 UK flmed entertainment market, 2014 and 2015 1 UK flmed entertainment market, Table Gross revenues for UK films in 2015 were estimated to be £1,095 million, with the share for British films films British for share the with million, £1,095 be to estimated were 2015 in films UK for and revenues rental Gross video physical and (27%) TV terrestrial by followed (45%), market theatrical the in highest 25%). with (both retail THE UK FILMED ENTERTAINMENT MARKET AS A WHOLE MARKET ENTERTAINMENT UK FILMED THE 2015, UK.filmthe Aschainthe in in of value million) component significant most (£1,236 the were revenues theatrical value 2015, In market total the of 30% for accounted office up box were the TV pay shows, and 1 video Table digital theatrical, from Revenues 2014. in down. million) were TV (£1,058 28% with multi-channel and compared terrestrial retail, and rental video physical from and those million while £795 to 2014, million £466 on from value in rise a with increase, largest the all of recorded majority the revenues TV that Pay noted be should (It 19%. to 12% from share market overall in increase an film.) of suppliers thanthe industryto rather television the accrue to revenues television 171 BFI Statistical Yearbook 2016 14. THE UK FILM MARKET AS A WHOLE 1,000 1,500 2,000 2,500 3,000 3,500 4,000 4,500 show that, again with the exception of 2014, period. plateaued have exception revenues the over the with again showthat, The revenues shown in Figure 1 are the actual figures; if adjusted for inflation (Figure 2), the figures Figures maynotsumtototalsduerounding. 2012-2014 figures fordigitalvideorevised since the2015Yearbook. 2014 figure forphysicalvideorental revised sincethe2015Yearbook. total. ‘Film ontelevision’coversterrestrial, payTVandothermulti-channel.On-demandtelevision-basedservicesare includedwithinthedigital video Notes: Source: comScore, BASE,Official ChartsCompany, Attentional,ONS,IHS,BFIRSUanalysis £ million Figure 1Gross flmreenues, allplatforms,2006-2015 increased again in 2015, rising to £4.1 billion from £3.8 billion in 2014, an increase of just under 9%. compensating for a decline in the value of the physical video rental2013, and there retail was markets. steady Overall growth with revenues increased theatrical, television and digitalAggregate video film revenuesrevenues increased every year between 2006 and 2015, with the exception of 2014. Up to THE EVOLUTIONOFUKFILMREVENUES,2006-2015 Total Filmontelevision Physicalvideoretail Theatrical 500 Digital video Physical videorental 0 2006 ,3 ,2 ,5 ,6 ,3 ,1 ,1 ,6 ,1 4,146 1,637 3,816 712 1,374 4,063 861 1,557 4,014 1,491 940 4,014 1,398 968 3,836 1,173 3,767 1,165 1,108 3,756 1,267 1,067 3,625 1,311 994 3,537 1,454 1,066 1,440 1,302 4 9 8 8 7 6 2 4 762 87 1,236 146 1,058 221 1,083 262 1,099 1,040 278 988 285 944 284 850 295 821 340 762 77 0 1 3 4 3 3 3 499 436 338 234 149 130 119 101 75 67 2007 2008 2009 2010 2011 2012 2013 2014 2015 14. THE UK FILM MARKET AS A WHOLE BFI Statistical Yearbook 2016 172 2015 2014 2013 2012 2011 2010 2009 2008 , in 2015 the the 2015 in Global Entertainment and Media Outlook 2016-2020, 2007 81 88 115 133 140 158 244 345 438 499 917 960 966 1,052 1,068 1,101 1,145 1,106 1,061 1,236 410 345 322 317 300 277 231 149 87 62 1,566 1,6841,282 1,653 1,163 1,461 1,213 1,369 1,234 1,233 1,267 1,008 1,480 960 1,553 1,590 863 1,377 712 1,637 4,255 4,240 4,269 4,197 4,145 4,249 4,180 4,149 3,826 4,146 2006 0 Digital video Physical video rental 500 Theatrical Film on television Physical video retail Source: comScore, BASE, Official Charts Company, Attentional, ONS, IHS, BFI RSU analysis Charts Company, BASE, Official comScore, Source: Notes: which can be found at https://www.gov.uk/government/statistics/gdp-deflators-at-market- deflated by the UK GDP deflator, Actual revenues prices-and-money-gdp-march-2016. included in the digital video are On-demand television-based services other multi-channel TV. pay TV and ‘Film on television’ covers terrestrial, total. may not sum to totals due to rounding. Figures Figure 2 Gross ination-adusted flm reenues, all platforms, 2006-2015 expressed in 2015 pounds in 2015 expressed 2006-2015 all platforms, reenues, flm ination-adusted 2 Gross Figure 2015 £ million

THE UK FILM MARKET IN THE GLOBAL CONTEXT USA The China. and USA theto PricewaterhouseCoopers’ According the after world the in next market The 7.0%. entertainment filmed for UK the largest third and the 8.7% had UK for accounting China with market, world the of 37% for accounted (3.6%).France and (6.9%), GermanyJapan (4.1%) were share market termslargestcountriesin of Total 1,000 1,500 2,000 2,500 3,000 3,500 4,000 4,500 173 BFI Statistical Yearbook 2016 14. THE UK FILM MARKET AS A WHOLE Other LatinAmericacomprisesArgentina,Chile,Colombia,Peruand Venezuela. South AfricaandtheUnitedArabEmirates. Middle EastandAfricacomprisesAlgeria,Bahrain,Egypt,Jordan, Kenya, Kuwait,Lebanon,Morocco, Nigeria,Oman,Qatar, SaudiArabia, EuropeOther CentralandEastern comprisesCzech Republic,Hungary, Israel,Poland,RomaniaandTurkey. Other AsiaPacificcomprisesIndonesia,NewZealand,Pakistan,Philippines, Singapore, ThailandandVietnam. Other Western Europe comprisesAustria,Belgium,Denmark,Finland,Greece, Republic ofIreland, Norway, Portugal,SwedenandSwitzerland. spending. sell-through andrental ofphysicalhomevideo,andsubscriptiontransactionalrevenues from electronic homevideo;itisfrom consumer ‘Home video’includesbothelectronic andphysicalhomevideooffilms,TVprogramming andotherpremium videocontent.Revenuecomprises ‘Cinema’ comprisesbothboxoffice andadvertising. filmed entertainmentrevenues are nowcalculateddifferently. own. Thebreakdown ofsectorsbysegmentsinthecurrent GlobalEntertainmentandMediaOutlookdiffer from thoseusedinprevious years; Global EntertainmentandMediaOutlook,2016-2020,www.pwc.com/outlook, however, somecalculationsandcategorisationofregions are our Information containedinthistablewastakenfrom segmentofthePwC sectionoftheTVandVideo theCinemasegmentandHomeVideo Notes: Source: PwC,GlobalEntertainmentandMediaOutlook2016-2020,www.pwc.com/outlook Table 2Filmedentertainmentreenues bycountryregion, 2015 USA Country/region China UK Japan Other WesternEurope Germany France Canada Australia India South Korea Other AsiaPacific Other Central and Eastern EuropeOther CentralandEastern Brazil Italy Mexico Other LatinAmerica Taiwan Middle EastandAfrica Russia Spain Malaysia Netherlands Hong Kong Total US$ US$ million 31,529 85,273 7,434 5,936 5,887 3,983 3,532 3,086 2,884 2,255 2,020 1,790 1,631 1,600 1,549 1,419 1,387 1,249 1,210 1,137 1,031 853 701 646 524 100.0 37.0 8.7 7.0 6.9 4.7 4.1 3.6 3.4 2.6 2.4 2.1 1.9 1.9 1.8 1.7 1.6 1.5 1.4 1.3 1.2 1.0 0.8 0.8 0.6 % 14. THE UK FILM MARKET AS A WHOLE BFI Statistical Yearbook 2016 174 % 0.5 0.7 0.7 1.0 1.1 1.3 1.4 1.5 1.6 1.9 1.9 1.9 1.9 1.9 2.5 3.0 3.1 3.2 3.3 4.1 5.4 6.0 17.8 32.4 100.0 536 714 774 1,046 1,177 1,386 1,433 1,565 1,622 1,944 1,947 1,974 1,977 1,987 2,606 3,137 3,232 3,326 3,489 4,231 5,674 6,232 18,532 33,778 104,319 US$ millionUS$

Total Hong Kong Malaysia Netherlands Spain Taiwan Russia Middle East and Africa Italy Mexico Brazil Other Latin America South Korea Other Central and Eastern Europe Other Asia Pacific Australia France Germany Canada India Other Western Europe UK Japan China USA Country/region www.pwc.com/outlook PwC, Global Entertainment and Media Outlook 2016-2020, www.pwc.com/outlook Source: Notes: PwC the of segment Video and TV the of section Video Home the and segment Cinema the from taken was table this in contained Information are regions of categorisation and calculations some however, www.pwc.com/outlook, Global Entertainment and Media Outlook, 2016-2020, our own. may not sum to 100 due to rounding. Percentages 2. See notes to Table for 2020 forecast by countryregion, Filmed entertainment reenues Table According to PricewaterhouseCoopers forecasts, the USA and China will remain the world’s top two two top world’s the remain will China and USA the forecasts, share PricewaterhouseCoopers significant to lose will USA According the (although years four next the over entertainment filmed for markets Four sixth. to 3). expectedis will India (Table thirdthe place overtake market largestChina), Japan become UK theto to but 10th from moving share, market of terms in rankings the in while significantly rise places, to two by fall will Germany and France rankings; the in drop will territories 10 top other Canada and Australia will fall by place. one 15. AUDIENCES

The audience lies at the heart of a vibrant and successful film economy and culture, yet current insight still provides a limited perspective on audience engagement. While data on cinema-going audiences is robust, new research is needed to show the full picture of the audience on all platforms.

FACTS IN FOCUS Television remains the most popular platform for watching film in the UK, followed by DVD/Blu-ray and cinema.

In 2015, 15-24 year olds made up the largest proportion of the UK cinema audience, at 29%. UK films were popular across all demographic groups, with a particularly strong appeal for those aged 45 and over. UK independent films were most popular among cinema-goers in this demographic.

Pitch Perfect 2 had the largest above-average audience share among the 15-24 age group, while The Lady in the Van had the largest share among cinema-goers aged 55 and above.

A wide range of genres appealed to women, whereas men were drawn to films with a strong action element.

UK films attracted above-average audiences across all nations and regions, except the North West.

Black and minority ethnic groups were over-represented among the cinema audience; disabled audiences were over-represented amongst physical video and digital consumers.

176 15. AUDIENCES BFI Statistical Yearbook 2016 177

6.1

Not watched film watched Not

Smart phone Smart

Tablet

Stream/download

Laptop/desktop

Cinema

DVD/Blu-ray TV 85.6 69.5 55.0 45.3 40.7 27.9 19.9 Platform/device

0 % Figure 1 ngagement with flm by platformdeice, 2015 ngagement with flm by platformdeice, 1 Figure In an era where a multitude of platforms and devices for accessing film are now available to audiences, audiences, to available now are film accessing for devices and platforms of audiences multitude a current where how era of an In snapshot a provides McIntyre Hargreaves Morris by with film, conducted survey accessing recent a for platform popular most the was or television DVD Linear 1). months. (Figure 12 film with previous the engage in television on film a watched had they stating respondents of 86% Blu-ray was the next most55%. popular,with with 70% cinema-going, of respondentsby sayingfollowed they hadmonths, used12 thisprevious platform in the In earlier editions of the Yearbook, we have been able to estimate the total size of the film audience in in audience film the of size total the estimate to able been have to we able been Yearbook, have the we of while editions earlier however, In years, few last the In sources. of range a from have data we on report) based UK video the digital on Film the (see services online for revenues in growth significant a download-to-own. track or streaming via online accessed films for figures viewing define to unable been AUDIENCES FOR FILM IN THE UK FOR FILM AUDIENCES Source: Morris Hargreaves McIntyre McIntyre Morris Hargreaves Source: 3,000 Institute. Survey conducted June 2015, survey population Reach – a market study report for the British Film Measuring Your Note: From adults (16+). In the remainder of this report, we look at UK cinema admissions by age, cinema-goers’ film preferences preferences film cinema-goers’ age, by admissions cinema UK at look we ethnicity report, by this of consumption film remainder the and In status, socio-economic and location geographical gender, age, by disability. and 90 80 70 60 50 40 30 20 10 178 BFI Statistical Yearbook 2016 15. AUDIENCES % 10 15 20 25 30 35 40 Source: CAA,FilmMonitor Figure 2gedistributionofadmissions,200-2015 in the next section showing films with above-average audiences for the similar,different which age groups.may be due to parents and carers taking their children Interestingly,to the cinema, a finding for reflected most of the period the shares of admissions for 7-14 and 35-44 year olds have been very and their comparatively higher disposable income and leisurecinema- time. for notably most increased, has goers aged 55over) and over,and due(45 toin part the increased appealingavailability of films demographicto this groups age older the with associated audience decreased, with 2015 recording a 10-year low of 29%. As a counter to fromthis decline, 15-24 the shareyear olds,of the with an increase from 26% to a peak of 35%. However,From 2012 the between share 2005for and this 2011,group there was an upward trend in thebased percentagefluctuations on with the releaseofperiod, the time audienceofthe a smallthroughout numberdrawn similar ofbroadly successfulbeen has titlescategory each for with a strongadmissions appeal to particular age groups. Figure 2 shows the age trends of cinema admissions from 2003 to 2015. The relative proportion of CINEMA AUDIENCEBYAGE 0 5 5 081. 111. 83------16.1 19.4 - 15.8 - 32.5 18.1 14.8 12.9 - - 33.5 19.3 - 14.0 14.4 34.8 - 23.3 - 16.1 14.6 - 31.8 19.0 18.3 15.6 13.6 - 30.7 - 18.5 16.1 17.0 17.9 31.7 17.0 - 16.0 21.1 15.8 - 29.6 19.0 17.4 17.9 18.1 - 31.6 55+ 19.9 20.8 18.2 17.2 45-54 26.5 20.1 14.9 15.1 45+ 26.0 21.7 35-44 17.8 30.2 25-34 12.4 15-24 7-14 2003 2004 2005 2006 2007 2008 . . . . . 0411.5 9.3 10.4 8.8 9.4 8.7 8.3 8.0 8.7 8.7 7.5 8.8 9.4 9.0 2009 2010 2011 2012 2013 2014 15.9 18.0 30.8 14.4 2015 12.5 16.3 18.7 29.4 13.6 9.5 - 15. AUDIENCES BFI Statistical Yearbook 2016 179 42 38 37 32 32 31 26 26 24 16 14 The , The also also and and (Table 3). (Table Age group % of of % group Age having the the having Cinderella and film’s total audience total film’s Fast & Furious 7 also appealed strongly strongly appealed also Pan , as well as independent independent as well as , and Minions , which generated 74% of its its of 74% generated which , Hotel Transylvania 2 , Hotel Transylvania had the highest significant significant highest the had Mad Max: Fury Road SPECTRE . The film with the highest single single highest the with film The . Home , Big Hero 6 dominated the list of films with the the with films of list the dominated

Fifty Shades of Grey of Shades Fifty Pitch Perfect 2 Perfect Pitch Home also had a high appeal with 30% of its its of 30% with appeal high a had also The Lady in the Van Fifty Shades of Grey of Shades Fifty Kingsman: The Secret Service The and Kingsman: . A variety of genres were popular with cinema-goers in the two older older two the in cinema-goers with popular were genres of variety A . and The Second Best Exotic Marigold Hotel Fifty Shades of Grey of Shades Fifty , the top earning UK independent release of the year.) The film with the highest significant significant highest the with film The year.) the of release independent UK earning top the , (Table 4). The only non-family film to achieve a significant above-average audience in this age age this in audience above-average significant a achieve to film non-family only The 4). (Table Legend Far from the Madding Crowd Home Home 6 Hero Big Minions Out Inside 2 Hotel Transylvania Shaun the Sheep the Movie (UK) Pan (UK) (UK) Into the Woods (UK) Cinderella of top 20 and top UK audience (%) share 7-14 age group in total survey population (%) 7-14 age group Title audience comprised of young adults from this group (Table 2). titles above-average audience across all age groups in 2015 was audience from cinema-goers aged 55 and over (Tables 5 and 6). to 25-34 year olds alongside many of the other titles that were popular with audiences from the 15-24 15-24 the from audiences with popular were that titles other the of twins many Kray the for alongside olds year audiences 25-34 to above-average have to two only the were groups (These group. age old year biopic, the from audiences with films popular most the among the highly with feature Releases always carers. titles and parents of Family-friendly percentage high a of up made is which group, age old year 35-44 most significant appeal to cinema-goers in this category in 2015 were Cinderella above-average attracting Releases categoryfilms. wasUK for preference strong a showed which of both groups, age audiences from both age groups included the latest James Bond outing, above-average audience share among 25-34 year olds was the action title above-average ‘18’ The audience. certified strongest year appeal olds, the to 15-24 music-based comedy appealed strongly to this group (Table 1). While actionHunger and adventureGames: Mockingjay films – suchPart 2 as Table 1 Films with a signifcant aboe-aerage audience in the 7-14 age group, 2015 top 20 flms and top UK flms highest significant above-average audiences. Family films and fantasies such as as such fantasies and films Family audiences. above-average significant highest Animated features appealed most to the 7-14 age group with with group age 7-14 the to most appealed features Animated FILM PREFERENCES BY AGE BY PREFERENCES FILM age different across share audience above-average significant highlighting statistically a with say, films to is outline That 1-6 2015. Tables in group each to most appealed for that films of attendance range the group age show to each and groups attendance audience average the between across difference the appeal where films significant a had films UK threshold. statistical standard a than greater is film particular a groups. age older the particularly groups, age all Source: CAA Film Monitor Source: Notes: to film-going occasions. That is, if a person went to the cinema to see 10 films in the this chapter refers ‘Audience’ in this table and throughout stated. Repeat visits to the above, unless otherwise figures that person would have contributed 10 film-going occasions to the audience year, in Cinema Advertising Association (CAA) Film Monitor. not recorded same films are The Film Monitor survey is carried out via a in 2015. of the 759 theatrical releases CAA Film Monitor included 82 film titles (mostly mainstream) months. Films are aged 7+, of those who had been to the cinema in the last three fortnightly omnibus survey of over 1,000 adults and children based on the film certificate. also age-filtered 180 BFI Statistical Yearbook 2016 15. AUDIENCES Table Films with a signifcant aboe-aerage audience in the 25-4 age group, 2015 top 20 flms and top UK flms UK top and flms 20 top 2015 group, age 25-4 the in audience aboe-aerage signifcant a with Films Table See notestoTable 1. Source: CAAFilmMonitor See notestoTable 1. Source: CAAFilmMonitor Table 2 Films with a signifcant aboe-aerage audience in the 15-24 age group, 2015 top 20 flms and top UK flms UK top and flms 20 top 2015 group, age 15-24 the in audience aboe-aerage signifcant a with Films 2 Table 25-34 agegroup intotalsurveypopulation(%) 25-34 agegroup share oftop20andUKaudience(%) Fast & Furious 7 (UK) Ultron of Age Avengers: Jurassic World The Martian(UK) (UK) Legend (UK) Genisys Terminator Fifty Shades of Grey Mad Max: Fury Road Title 15-24 agegroup intotalsurveypopulation(%) 15-24 agegroup share oftop20andUKaudience(%) Fifty Shades of Grey Jurassic World Legend (UK) Mad Max: Fury Road The Manfrom U.N.C.L.E.(UK) (UK) Ultron of Age Avengers: Ant-Man (UK) Taken 3 Kingsman: TheSecret Service (UK) The Hunger Games: Mockingjay – Part 2 Fast & Furious 7 Pitch Perfect 2 Title film’s total audience film’s total audience Age group % of Age group % of 19 17 21 22 23 23 23 25 26 27 29 26 30 32 32 34 35 37 38 40 41 41 44 46

15. AUDIENCES BFI Statistical Yearbook 2016 181

25 25 23 23 22 22 21 17 16 17 15 13 13 13 10 10 74 69 55 52 34 23 20 13 13 Age group % of of % group Age Age group % of of % group Age Age group % of of % group Age film’s total audience total film’s film’s total audience total film’s film’s total audience total film’s The Lady in the Van (UK) The Lady in the Van Hotel Transylvania 2 Transylvania Hotel (UK) Cinderella Out Inside (UK) Awakens The Force Star Wars: Grey of Shades Fifty Minions top UK audience (%) of top 20 and share 35-44 age group in total survey population (%) 35-44 age group (UK) the Madding Crowd Far from Mission: Impossible – Rogue Nation (UK) SPECTRE (UK) Road Fury Max: Mad (UK) The Second Best Exotic Marigold Hotel of top 20 and top UK audience (%) share 45-54 age group in total survey population (%) 45-54 age group The Second Best Exotic Marigold Hotel (UK) (UK) Suffragette (UK) Madding Crowd the Far from The Theory of Everything (UK) SPECTRE (UK) (UK) Everest of top 20 and top UK audience (%) share 55+ age group in total survey population (%) 55+ age group Title Home Home Title Title Source: CAA Film Monitor Source: 1. See notes to Table Table 6 Films with a signifcant aboe-aerage audience in the 55 age group, 2015 top 20 flms and top UK flms Source: CAA Film Monitor Source: 1. See notes to Table Table 5 Films with a signifcant aboe-aerage audience in the 45-54 age group, 2015 top 20 flms and top UK flms Source: CAA Film Monitor Source: 1. See notes to Table

Table 4 Films with a signifcant aboe-aerage audience in the 5-44 age group, 2015 top 20 flms and top UK flms 182 BFI Statistical Yearbook 2016 15. AUDIENCES See notestoTable 1. significant above-averageaudienceofeithergender. *Based onthemethodologyusedtomeasure averageaudiencesinthisdata, Everest,isincludedhere asitdoesnothaveastatistically Source: CAAFilmMonitor Table 7udiencegendersplit,2015top20flmsandUK an above-average with top films malesix audience share being British. audiences had a stronger preference for UK films compared with to femaleFifty Shadesfilms, ofaudiences,of Grey range withbroader alla butto one drawn of thewere audiences Female appeal. Genisys Terminator appeal. Titles with a strong action element were particularly popular significantamong maleabove-average audiences, male with and female audiences, and the three substantiallyfilms that had more no significantof one gendergender than the other. Table 7 showsmade the uptop 51% six films with of statistically total cinema-goers for these films. On an individualThe basis, overall some audience films attracted for the top 20 and top UK films in 2015 had a very slight bias towards males who FILM PREFERENCESBYGENDER Significant greater male audience share Significant greater female audience share The Martian(UK) Ant-Man (UK) (UK) Ultron of Age Avengers: The Manfrom U.N.C.L.E.(UK) (UK) Mad Max: Fury Road Genisys Terminator Gender difference not significant Inside Out The SecondBestExoticMarigoldHotel(UK) Suffragette (UK) Fifty Shades of Grey Pitch Perfect 2 Cinderella (UK) Big Hero 6 The Hunger Games: Mockingjay – Part 2 Everest (UK)* Mad Max: Fury Road Fury Max: , Mad having the greatest above-average appeal. Unlike in previous years, in 2015 male The Man from U.N.C.L.E. from Man The and topping the list of films with a greater

Cinderella Male % Male % Male % 63 66 69 69 71 73 34 34 31 27 25 21 49 50 58 , Pitch Perfect 2 and Female % Female Female % Female Female % Female 37 34 31 31 29 27 66 66 69 73 75 79 51 50 42 15. AUDIENCES BFI Statistical Yearbook 2016 183

41 41 39 37 34 34 53 52 52 47 44 38 37 33 31 , Taken 3, attracted attracted totalaudience totalaudience C1 group % of film’s film’s of % group C1 AB group % of film’s film’s of % group AB and Cinderella were were and SPECTRE, Genisys

The Hunger Games: Mockingjay – Mockingjay Games: Hunger The Terminator . While no UK films had a significant significant a had films UK no While . The Second Best Exotic Marigold Hotel Hotel Marigold Exotic Best Second and The Star Wars: The Force Awakens Force The Wars: Star Fifty Shades of Grey of Shades Fifty

. Far from the Madding Crowd, Suffragette and Mad Max: Fury Road Title The Hunger Games: Mockingjay – Part 2 Part – Mockingjay Games: Hunger The Road Fury Max: Mad Legend (UK) Avengers: Age of Ultron (UK) of top 20 and top UK audience (%) C1 share C1 in total survey population (%) Title Far from the Madding Crowd (UK) the Madding Crowd Far from Suffragette (UK) Suffragette (UK) The Second Best Exotic Marigold Hotel The Theory of Everything (UK) (UK) The Lady in the Van SPECTRE (UK) (UK) Awakens The Force Star Wars: of top 20 and top UK audience (%) AB share AB in total survey population (%) the highest above-average audience for the C2 group, while the French-produced action thriller thriller action French-produced the while group, C2 the for audience above-average highest the Animations, comedies and action films, mainly produced by the major Hollywood studios, appealed appealed studios, Hollywood major the by produced mainly films, action and comedies Animations, most to the C2 and DE social groups (Tables 10 and 11). Animated 2 comedy Hotel Transylvania Source: CAA Film Monitor. CAA Film Monitor. Source: 1. See notes to Table Table 9 Films with signifcant aboe-aerage 1 audience share, 2015 top 20 flms and top UK flms share, 9 Films with signifcant aboe-aerage 1 audience Table Four films, two of which were UK titles, attracted significant above-average audiences from the C1 social social C1 the from audiences films above-average non-UK significant the attracted were titles, UK were which releases of two films, Four popular most two The 9). (Table group Source: CAA Film Monitor Source: 1. See notes to Table Part 2 Table 8 Films with signifcant aboe-aerage audience share, 2015 top 20 flms and top UK flms audience share, 8 Films with signifcant aboe-aerage Table All of the films that attracted significant above-average audiences from the AB social group were UK were group social AB the from audiences above-average significant attracted that films the of All qualifying titles, with two top filmshaving the The appeal. strongest 2015, of significant have to groups social two only the were These group. DE the for appeal greatest the had above-average audiences for the dramaadult appeal for audiences in the C2 group, two UK studio-backed titles, FILM PREFERENCES BY SOCIAL GROUP SOCIAL BY PREFERENCES FILM above- significant a attracting cases most in 2015, in group groups each social to all appeal among significant popular were films strongest UK the with films the outline 8-11 Tables share. audience average year. the in also popular with this group (Table 8). (Table group this with popular also attracted significant above-average audiences from the DE group. 184 BFI Statistical Yearbook 2016 15. AUDIENCES give an impression of the range of films that appealed most in each whicharea. had four or more films with a significant above-average audienceaudiences (except Walesin each andnation Scotland) or regionto apart from the North West. Tablesand top 12-19 UK films with a significantshow the above-averagenations or regions audience. UK films attractedaverage above-average audiences, with the exception of Scotland which had only Every television one region covered release by the hadsurvey at fromleast which two films the attracted significant2015 above- top 20 films region). The survey which provides this data does not include Northern Ireland.Cinema Advertising Association (for ease of understanding the data are releasespresented that attracted an above-average audience by in each geographic ISBA television region as defined by the The national and regional distribution of audiences for the 2015 top 20 films and top UK films focuses on FILM PREFERENCESBYNATION ORREGION See notestoTable 1. Source: CAAFilmMonitor Table 11Filmswithsignifcantaboe-aerageaudienceshare, 2015top20flmsandUK Table 10Filmswithsignifcantaboe-aerage2audienceshare, 2015top20flmsandUK DE intotalsurveypopulation(%) DE share oftop20andUKaudience(%) Cinderella (UK) Fifty Shades of Grey Home (UK) Hotel Transylvania 2 Genisys Terminator Fast & Furious 7 Taken 3 Title See notestoTable 1. Source: CAAFilmMonitor C2 intotalsurveypopulation(%) C2 share oftop20and UKaudience(%) Fast & Furious 7 Fifty Shades of Grey Big Hero 6 Minions Pitch Perfect 2 Home Hotel Transylvania 2 Title DE group % of film’s C2 group % of film’s total audience total total audience total 16 15 18 19 19 20 21 26 29 19 18 21 22 23 23 23 23 24 15. AUDIENCES BFI Statistical Yearbook 2016 185 9 9

23 23 23 21 20 16 15 17 15 14 13 13 13 11 totalaudience total audience audience total Midlands % of film’s film’s of % Midlands

, The Second Best Exotic Marigold Hotel Yorkshire and The Humber % of film’s film’s of % Humber The and Yorkshire

The Man from U.N.C.L.E. (Table 13). (Table (Table 12). (Table Five the of seven titles with significant were appeal UK films. Legend The Hunger Games: Mockingjay – Part 2 Part – Mockingjay Games: Hunger The Pan (UK) (UK) The Lady in the Van SPECTRE (UK) (UK) Into the Woods of top 20 and top UK audience (%) Midlands share Midlands in total survey population (%) Title Yorkshire and The Humber in total survey population (%) Title The Man From U.N.C.L.E. (UK) The Man From Marigold Hotel (UK) The Second Best Exotic Legend (UK) (UK) Everest (UK) Cinderella Grey of Shades Fifty 7 Furious & Fast Yorkshire and The Humber share of top 20 and top UK audience (%) Source: CAA Film Monitor. CAA Film Monitor. Source: to the ISBA Central region. Midlands corresponds 1. See notes to Table and and

Table 1 Films with a signifcant aboe-aerage Midlands audience share, 2015 top 20 flms and top UK flms audience share, 1 Films with a signifcant aboe-aerage Midlands Table UK films also made up the majority of releases with significant appeal in the Midlands, although the the although Midlands, the in co-production, appeal significant with American-German releases of majority the independent up the made was also films UK audience above-average highest the with title The Hunger Games: Mockingjay – Part 2 Source: CAA Film Monitor. CAA Film Monitor. Source: region. to the ISBA Yorkshire and The Humber corresponds Yorkshire 1. See notes to Table Table 12 Films with signifcant aboe-aerage orkshire and The umber audience share, 2015 top 20 flms 2015 top 20 flms share, umber audience and The orkshire with signifcant aboe-aerage 12 Films Table flms and top UK Yorkshire and The Humber had the highest number of releases with a significant above-average above-average significant a with releases of number highest the had Humber The and Yorkshire audience in 2015, with seven films including 186 BFI Statistical Yearbook 2016 15. AUDIENCES See notestoTable 1. London andthehomecountiescorresponds totheISBALWT Carltonregion. Source: CAAFilmMonitor flms andtopUK Table 15Filmswithsignifcantaboe-aerageondonandthehomecountiesaudienceshare, 2015top20 15). (Table appeal London and the home counties in 2015, while re-boot action The See notestoTable 1. North West corresponds totheISBAGranadaregion. Source: CAAFilmMonitor Table 14Filmswithsignifcantaboe-aerageNorthest audienceshare, 2015top20flmsandUK with productions, In the North West, all the films with significant above-average audiences were American studio

London intotalsurveypopulation(%) London share oftop20andUKaudience(%) Fast & Furious 7 The Martian(UK) Home Mad Max: Fury Road Title Title North West intotalsurvey population (%) North West share oftop20andUKaudience(%) Minions Fast & Furious 7 Pitch Perfect 2 Jurassic World Jurassic World Jurassic Mad Max: Fury Road Fury Max: Mad

and Pitch and Perfect 2 attracted the highest significant above-average audience in The Martian The having the greatest appeal(Table 14). greatest the having was the only UK film to have a significant London/home counties % of film’s North WestNorth % of film’s

total audience total total audience total 21 20 23 24 24 27 12 12 14 14 15 15

15. AUDIENCES BFI Statistical Yearbook 2016 187

9 6 5 4 21 15 14 13 11 10 10 10 total audience audience total total audience audience total South East % of film’s film’s of % East South South West % of film’s film’s of % West South Far from the Madding Crowd Crowd Madding the from Far had the highest above-average above-average highest the had Far from the Madding Crowd (UK) the Madding Crowd Far from Marigold Hotel (UK) The Second Best Exotic (UK) The Theory of Everything (UK) Awakens The Force Star Wars: top UK audience (%) of top 20 and South East share South East in total survey population (%) Suffragette (UK) Suffragette (UK) The Lady in the Van SPECTRE (UK) Title Star Wars: The Force Awakens (UK) Awakens The Force Star Wars: of top 20 and top UK audience (%) share South West in total survey population (%) South West Title Source: CAA Film Monitor Source: to the ISBA TSW region. corresponds South West 1. See notes to Table Table 17 Films with signifcant aboe-aerage South est audience share, 2015 top 20 flms and top UK flms audience share, 17 Films with signifcant aboe-aerage South est Table Source: CAA Film Monitor Source: to the ISBA Meridian region. South East corresponds 1. See notes to Table Table 16 Films with signifcant aboe-aerage South ast audience share, 2015 top 20 flms and top UK flms top 20 flms and 2015 share, ast audience South with signifcant aboe-aerage 16 Films Table All of the releases with significant appeal to audiences in the South East and South West were UK films, films, UK were West South and East South 17). the in and 16 audiences to appeal (Tables significant with regions both releases the in of All lists the heading titles independent with had the highest above-average audience in the Suffragetteand SouthEast the audience highest had above-average audience in the South West.

188 BFI Statistical Yearbook 2016 15. AUDIENCES Digital includessubscriptionVoD services. includesallphysical videoformats,includingDVD,UniversalMediaDisc,high-definition DVDandBlu-ray.Video Fieldwork tookplaceinJanuary2016. Notes: Source: KantarWorldpanel Table 20thnicityofaudiencesaged1forcinema,retail andrental ideoanddigital,2015 represented among consumers onfilm other platforms. and renters (Table White 20). audiences were over-represented among video buyers and under- over-represented among theatrical audiences, and under-representedLooking across film platforms, among videoblack and and digital minority buyers ethnic groups (Asian, Chinese, mixed and other) were FILM AUDIENCEBYETHNICITY See notestoTable 1. Scotland corresponds totheISBABorder, STVandGrampianregions. Source: CAAFilmMonitor Table 19Filmswithsignifcantaboe-aerageScotlandaudienceshare, 2015top20flmsandUK See notestoTable 1. Wales corresponds totheISBAHTVregion. Source: CAAFilmMonitor Table 18Filmswithsignifcantaboe-aerageales audienceshare, 2015top20flmsandUK 19). and 18 (Tables Scotland in appeal films. The few releases to achieve significant above-average audiences in Wales and Scotland were all UK Population aged13+ Digital buyersandrenters film digital Video renters and rental Video buyers retail, cinema, Cinema-goers of buyers Total Title (%) population survey total in Wales (%) audience UK top and 20 top of share Wales (UK) Shaun theSheepMovie(UK) Genisys Terminator Title Scotland intotalsurveypopulation(%) Scotland share oftop20andUKaudience(%) The TheoryofEverything(UK) Terminator Genisys Terminator had the greatest appeal in Wales, appealin while greatest had the

Chinese, mixed and The Theory of Everything of Theory The Black, Asian, other % other 7.9 7.8 6.6 4.4 9.5 7.7 Scotland % of film’s had the greatest Wales % of film’s total audience total audience White % 93.8 92.2 93.4 95.6 90.6 92.3 11 12 11 8 8 9 8 15. AUDIENCES BFI Statistical Yearbook 2016 189 80.2 81.6 85.5 78.0 79.9 78.7 Not disabled % Not 19.8 18.4 14.5 22.0 20.6 21.3 Disabled % Disabled Population aged 13+ Total buyers of cinema,Cinema-goers retail, buyers Video rental and digitalrenters Video film Digital buyers and renters Source: Kantar Worldpanel Kantar Worldpanel Source: 20. See notes to Table Table 21 isabled audiences aged 1 for cinema, retail and rental ideo and digital, 2015 and rental cinema, retail 21 isabled audiences aged 1 for Table FILM AUDIENCES BY DISABILITY BY DISABILITY AUDIENCES FILM with 2015 in platforms film all across over-represented were audiences people Disabled disabled 21). years, (Table previous in Unlike audience the of 14.5% up made they where theatrical, of exception the video. of buyers as over-represented most were 16. FILM EDUCATION

CHAPTER 16 FILM EDUCATION Credit: High-Rise courtesy of StudioCanal 190 FILM EDUCATION

Film education offers children and young people opportunities to watch, understand and make films to enrich their lives, foster personal development, express their creativity and gain essential skills. For adult learners, film education can also be a stimulating part of lifelong learning.

FACTS IN FOCUS In 2015/16, more than 565,000 children and young people participated in the Into Film programme across the UK.

In 2015/16, just over 81,500 students were entered for GCSE and A Level media studies related courses and almost 3,000 students were entered for Scottish Intermediate/National and Higher courses.

In 2014/15 (the last year for which data is available), there were just under 22,000 entries for higher education media related courses.

In 2015/16, the BFI Film Academy provided opportunities for 865 16-19 year olds to develop new skills and build careers in the film industry.

There were just under 46,700 admissions to education events run by BFI Southbank and BFI festivals in 2015/16.

1 Impact, Relevance and Excellence: a new stage for film education, BFI 2014

191 16. FILM EDUCATION BFI Statistical Yearbook 2016 192 . This is is This . 1 Big and Big Inside Out, Minions the school to work within the classroom’ the within work to school the around – were among the top 20 highest earning releases at the UK and Republic of Ireland box office office box Ireland of Republic and UK the at releases earning highest 20 top the among were – Hero 6 2015. in In 2013, FILMCLUB and First Light, providers of film education and filmmaking opportunities for for opportunities filmmaking and education film of providers Light, First and integrated an FILMCLUB film making 2013, on In focused charity a Film, Into form Film to Into merged funders, people, other of young and range a and children BFI the by Supported olds. to year intended is 5-19 and for sector formal education the of part for education film in investments ever largest the of one represents ‘create a critical shift from film education work In practice, film education activity has traditionally involved watching and listening to a range of film of range a to listening and watching involved traditionally has activity education scripts; film and practice, storyboards In work written languages. and discursive modern or generating them; English analysing and courses, studies discussing media texts, science, and film as dedicated such of Outside material. curriculum, archive the of re-purposing and films; parts making other in used increasingly is film FILM EDUCATION IN FORMAL EDUCATION SETTINGS IN FORMAL EDUCATION FILM EDUCATION This report presents the most up-to-date record of film education related data currently available, available, currently data related education film of record up-to-date most the presents report This settings. education formal in activity at look a with beginning Over the past few years, the BFI has worked with a range of partners in the private, cultural and and cultural private, the in partners of range a with worked has plan BFI the emerging years, The UK. few the in past the Over education film for strategy overarching an as forge help to acknowledged be sectors should education image moving the landscape, digital new the forms in all that into belief the integrated be upholds should film that and text, printed the as value educational same the having understanding. and appreciation cultural training, learning, education, of Film education takes place in both formal and informal settings, from schools and colleges to voluntary voluntary to colleges and schools from settings, informal and formal both in place exploring takes for medium education Film versatile and rich a is Film societies. film and its in clubs study youth of like object groups rewarding interest and worthwhile a as well as elsewhere, and classroom the in subjects right. own LEARNING ABOUT AND THROUGH FILM AND THROUGH ABOUT LEARNING Table 1 shows the most popular films ordered from the catalogue in 2015/16. The list is comprised of of comprised is list The 2015/16. in catalogue the from ordered films popular most the UK shows the 1 in Table presence school primary larger much the reflecting films, family-orientated mainstream, three filmstop – registered filmThe table theand in system clubs. education In 2015/16, Into Film trained and enabled almost 12,600 teaching professionals and youth leaders to to leaders youth and professionals teaching 12,600 almost enabled and trained Film Into educational of sets 2015/16, In 161,000 under just and studies) film (including curriculum the and across plans film with lesson work worksheets, linked curriculum from range Resources downloaded. available were primarily films resources selected of catalogue a by supported guides, discussion film to presentations clubs. film within use for done primarily through providing educational resources to support the current curriculum: curriculum: current the support to resources educational and providing making through primarily watching, done for resources providing and lessons into also resources Film film-based Into by incorporating supported clubs (Film clubs. film schools’ of network its within film about learning libraries.) and cinemas clubs, youth as such settings non-school in operate 193 BFI Statistical Yearbook 2016 16. FILM EDUCATION 12,842 children andactivities. children young12,842 people filmmaking in participated 565,110 in 2015/16. Across the programme as a whole, 1,502Overall, films were the madereach overof the the programme year and has aincreased, total of from 424,690 pupils in 2014/15 to an estimated schools with registered film clubs that were not currently active. found, however, that Into Film resources and services were still beingactive used club by teachers is one inthat a numberis providing of some kind of film-based activity oncarried a regularout basis.) at the The end survey of 2015 estimated that 56% of the registered risingclubs from were 12,134 active toat 16,147 that time. (An (Table 2). As part of an evaluationThe of totalthe Intonumber Film ofprogramme, film clubs a surveyregistered with Into Film increased by 33% between 2014/15 and 2015/16, Source: IntoFilm Table 1Top 10flmsordered from IntoFilm201516 0Labyrinth 10 9 8 7 6 5 4 3 2 1 Shaun theSheepMovie E.T. theExtraTerrestrial Home Paddington The LionKing Monsters, Inc. Big Hero 6 Minions Inside Out Film of origin Country USA/Fra UK/USA UK/Fra USA USA USA USA USA USA UK theatrical release Year of 2015 2015 1982 2015 2014 1994 2002 2015 2015 1986 of orders Number 197 114 115 122 131 142 144 190 509 93 16. FILM EDUCATION BFI Statistical Yearbook 2016 194 8.0 8.0 8.3 8.1 6.2 4.6 8.9 6.1 5.1 0.1 3.5 76.3 11.7 10.9 10.5 % of of % 100.0

film clubs film 16 739 990 820 566 2015/16 --- 1,885 1,761 1,689 1,295 1,295 1,343 1,306 1,008 1,434 12,321 16,147 film clubs film Number of of Number - 246,434 317,189 353,416 9.9 8.3 8.2 8.2 8.0 6.5 0.2 7.4 6.0 5.0 5.7 4.8 11.6 10.4 75.8 % of of % 100.0 - 201516 and , 201415 film clubs film 1 - 19 995 990 972 783 901 725 611 686 576 2014/15 2010 2011 2012 2013 2014 2015 1,412 1,260 1,197 1,007 9,192 12,134 film clubs film Number of of Number - 2009 London South East North West South West East Midlands West Midlands Yorkshire and The Humber East of England North East Film clubs registered with Into Film, including both active and inactive clubs. Film clubs registered England Scotland Wales Northern Ireland Isle of Man stated No nation/region Total Nation/region Into Film Festival National Schools Film Week 392,452 473,000 469,000 541,744 Percentages may not sum to 100 due to rounding. Percentages Table 2 Nationalregional distribution of registered flm clubs of registered distribution 2 Nationalregional Table Source: Film Education, Into Film Source: or other adult attendees. and young people only; they do not include education professionals for attendances by children are Note: Figures In 2015, over 353,000 children and young people (and over 61,000 education professionals) attended the the attended professionals) education 61,000 over (and people young and and UK, the children across 353,000 cinemas over 527 2015, in In screenings 2,700 at films international and UK 157 showed It filmmaking and festival. talks careers professionals, industry with Q&As (previews, events special 180 hosted workshops) aimed expanding at understanding young people’s withand engagement film. 2009-2015 and the Into Film Festial, National Schools Film eek ttendances at Table One of Into Film’s flagship events is the annual Into Film Festival, a UK-wide programme of free film free of programme UK-wide a Festival, Film Into annual the is events First. flagship Cinema Film’s through Into of One industry-funded people, young and children for charity activities the by run related and previously screenings Week Film Schools National of success the people on young build to and aims children festival of The numbers the shows 3 Table 2013. April in closed which Education Film who participated in National Schools Film Week and the Into Film Festival between 2009 and 2015. 1 Source: Into Film Source: Notes: 195 BFI Statistical Yearbook 2016 16. FILM EDUCATION 10,000 20,000 30,000 40,000 50,000 60,000 70,000 80,000 Scotland isnotincludedbecauseofitsseparateexaminationssystem. These numbers,publishedinAugust2016,are provisional anddonotincludetheresults from anyappeals,declinesorlatecash-ins. Notes:

explained by the changes in the Scottish qualifications system and curriculum. 2015 (Figure 2). Since 2007, there has been a 58% increase in the numberstudies of in entries,2016, whichjust undermay partly 0.5% be of all equivalent level entries,There and was an aincrease total of of 1,907 0.4% entriescompared for with Scottish Intermediate Levels 1 and 2/National Levels 4 and 5 media Source: Total Number ofentries Figure 1ntriesforGSmediaflmTstudiesinngland,ales Ireland, andNorthern 200607-201516 2015/16 in entries were just under Overall 53,500, around entries. 1%increases. year GCSE of all seen year-on- Ireland mainly has and Wales in Northern overperiod, havethe since 2009/10, decreased and Northern Ireland since 2006/07 (Figure 1). While the numbers of entries in Englanddecrease have in the fluctuated overall number of students entering GCSE media, film or and Inof terms subjects media TV film specific taughtstudies in schools and incolleges, England, there has been a 20% Wales Wales Northern Ireland England entries All GCSE 0 Joint CouncilforQualifications

2006/07 ,5,5 ,2,1 ,6,7 ,6,6 ,5,7 ,2,8 ,4,2 ,1,7 ,7,0 5,240,796 5,277,604 5,217,573 5,445,324 5,225,288 5,151,970 5,469,260 5,669,077 5,827,319 5,752,152 6456,2 7926,6 7436,8 9146,3 24253,457 62,452 63,436 59,114 61,680 67,433 67,764 67,972 69,823 66,425 2636,9 3656,3 2955,5 5055,3 84651,209 58,496 59,536 55,005 57,451 62,915 63,134 63,685 65,693 62,683 ,7 ,8 ,3 ,0 ,5 ,0 ,5 ,5 ,5 2,248 2,350 2,456 2,659 2,905 3,357 3,705 3,438 3,288 2,874 6 4 4 2 ,6 ,2 ,5 ,4 ,0 1,771 1,606 1,444 1,450 1,324 1,161 925 849 842 868 2007/08 2008/09 2009/10 2010/11 2011/12 2012/13 2013/14 2014/15 2015/16 % change 2014/15- 2015/16 1. -19.5 -14.4 1. -18.3 -12.5 10.3 43-21.8 -4.3 -0.7

% change 2006/07- 2015/16 -8.9 104

16. FILM EDUCATION BFI Statistical Yearbook 2016 196 % change change % 2007-2016 4.0 100.0 0.4 57.6 % change % 2015-2016 2015-2016 2016 2015 2014 2013 2012 2011 2010 2009 2008 509 534701 493 828 528 781 617 906 671 756 636 758 629 895 979 866 1,018 920 889 -3.4 26.8 1,210 1,362 1,274 1,434 1,373 1,429 1,531 1,495 1,899 1,907 2007 53,840 60,267 65,735 69,834 65,437 67,753 63,213 150,390 132,429 130,876 -1.2 143.1 107,340 113,388 122,463 130,497 132,380 137,223 140,612 310,725 298,694 295,083 -1.2 174.9

0 Level 1/National Level 4 entries Intermediate Level 2/National Level 5 entries Intermediate Level 1/National Level 4 Intermediate all entries Intermediate Level 2/National Level 5 all entries 500

1,000 1,500 2,000 2,500 The total number of students taking GCE A Level media, film or TV studies in England, Wales and and Wales England, in studies TV or film media, Level A GCE taking students of is number trend total The overall the entries, GCSE with As 3). (Figure 2006/07 since 12% by total fallen The has period. the Ireland during 90%Northern over by increased have entries where Ireland, Northern in reflected not number of entries across the three nations in 2015/16 was just over 28,100. Source: Scottish Qualifications Authority Source: 2012 have been updated since publication of the 2015 Yearbook. from Note: Figures Figure 2 ntries for Scottish IntermediateNational eel media studies, 2007-2015 2007-2015 studies, media eel IntermediateNational for Scottish 2 ntries Figure Number of entries Total

197 BFI Statistical Yearbook 2016 16. FILM EDUCATION (Figure 4). studies has increased by 29% since 2007. In 2016, there were 1,055Despite entries,fluctuations down in total3% compared annual withentries, 2015 the number of students taking Scottish Higher media 200607-201516 Figure ntriesforGeelmediaflmTstudiesinngland,ales Ireland, andNorthern

To See notestoFigure 1. Source: JointCouncilforQualifications 10,000 15,000 20,000 25,000 30,000 35,000 40,000 Number ofentries 5,000 Wales

entries All GCSE England Northern Ireland tal 0

2006/07 0,5 2,3 4,7 5,3 6,1 6,1 5,5 3,0 5,4 836,705 850,749 833,807 850,752 861,819 867,317 853,933 846,977 827,737 805,657 1923,4 3823,7 3853,1 9122,9 8472,4 11-11.9 -1.1 28,140 28,467 28,497 29,112 32,111 33,855 33,375 33,822 32,749 31,942 0063,5 1683,3 1402,8 6882,1 6062,9 13-14.5 -1.3 25,693 26,036 26,116 26,848 29,682 31,400 31,032 31,618 30,651 30,036 ,5 ,5 ,0 ,8 ,0 ,8 ,9 ,4 ,2 ,9 22-4.4 -2.2 1,197 1,224 1,247 1,191 1,288 1,403 1,380 1,307 1,353 1,252 5 4 9 6 ,5 ,4 ,7 ,3 ,0 1,250 1,207 1,134 1,073 1,141 1,052 963 897 745 654 2007/08 2008/09 2009/10 2010/11 2011/12 2012/13 2013/14 2014/15 2015/16 % change 2014/15- 2015/16 -1.7 . 91.1 3.6

% change 2006/07- 2015/16 3.9

16. FILM EDUCATION BFI Statistical Yearbook 2016 198 % change % 2007-2016 -1.0 22.8 % change % 2015-2016 2016 2015 2014 2013 2012 2011 2010 2009 2008 819 797 765 803 870 927 977 1,140 1,087 1,055 -2.9 28.8 2007 161,081 162,576 167,792 175,614 178,279 181,032 182,730 191,859 199,850 197,774

0 entries All Higher Number of studies media entries

200 400 600 800 Entries for media studies courses were highest at the start of the period, at 19,785, but have fluctuated fluctuated have but 19,785, at period, the of start the at year highest on were year courses almost studies increased media have for Entries entries studies Film 2014/15. in 15,550 The of 101%. low a of to rise a falling 2005/06, in then, since 2,155 with compared entries 4,335 were there period the 2014/15 in over period; the increase over largest the seen has courses production film undertaking students of number 2014/15. in 2,035 to 2005/06 in 420 from rising (385%), in courses such on Study of the movingenrolled imagewere and alliedstudents creative22,000 2013/14 industries Almost in courses. entries remains of studies popular number media in the UK and 22,360 film higheron educationfrom through increase chart, slight a the in data), have we covered which period for the year over latest (the slightly 2014/15 fallen have entries however, Overall, 5). (Figure 2014/15. in 21,920 to 2005/06 in

Figure 4 ntries for Scottish igher media studies, 2007-2016 2007-2016 studies, media igher for Scottish 4 ntries Figure Source: Scottish Qualifications Authority Source: 2012 have been updated since publication of the 2015 Yearbook. from Note: Figures

Number of entries 1,000 1,200 199 BFI Statistical Yearbook 2016 16. FILM EDUCATION 10,000 15,000 20,000 25,000 Number ofentries To which were higher education programmes. These included 27 courses in film production, nine courses courses nine in screenwritingproduction, andfilm threein in post-production.courses 27 included These programmes. education higher were which training and education. In 2015/16, The 215 accreditedindustries. creative coursesthe for werebody offeredCreative Skillset acrossskills Tick is thean assurance UK, strategic the thatUK-wide majority coursesthe provide of the mostSkillset, up-to-date Creative and by relevant mark) industry quality Many of the film and media related further and higher education courses are accredited (via the ‘Tick’ Media studiesrelated coursesincludemedia,film,television,radio,electronic andprint-basedmediastudiescourses. Includes firstdegree, post-graduateandotherdegrees. Figures havebeenrounded tothenearest multipleof5. the databythird parties. © HigherEducationStatisticsAgency(HESA)Limited2016.HESAcannotacceptresponsibility foranyinferences orconclusionsderived from Notes: Source: HESA Figure 5ighereducationstudentsinflmandmediastudies,200506-201415 5,000 Filmstudies Film production Media studies tal 0 2302,8 1902,4 4102,6 5252,9 15521,920 21,585 21,390 25,275 24,865 24,120 21,940 21,990 22,080 22,360 9751,9 7801,9 9101,9 9751,8 5601,5 06-21.4 -0.6 15,550 15,640 15,780 19,745 19,690 19,190 17,595 17,860 18,995 19,785 2005/06 ,5 ,4 ,1 ,1 ,5 ,0 ,0 ,7 ,4 ,3 66101.2 -6.6 4,335 4,640 4,570 4,600 4,500 4,250 3,815 3,610 2,540 2,155 2 4 2 3 8 7 3 ,4 ,0 ,3 59384.5 55.9 2,035 1,305 1,040 930 675 680 530 520 545 420

2006/07

2007/08

2008/09

2009/10

2010/11

2011/12

2012/13

2013/14

2014/15 % change 2013/14- 2014/15 . -2.0 1.6

% change 2005/06- 2014/15

16. FILM EDUCATION BFI Statistical Yearbook 2016 200 32 74 80 97 88 78 71 60 52 47 40 865 679 146 44 72 85 71 73 37 62 52 57 44 38 783 582 148 49 56 63 70 74 31 66 30 57 42 36 720 552 146 - - - 95 57 52 27 49 28 49 34 34 425 425 2012/13 2013/14 2014/15 2015/16

London South West South East Yorkshire and The HumberEast of England West Midlands North West North East East Midlands Total Wales Scotland Northern Ireland England Nation/region Source BFI Source Table 4 FI Film cademy participants, 20121-201516 Table Over its first four years the Academy has provided opportunities for talented young people from a range range a from people young talented for opportunities provided has partner Academy through the years delivered four first its experience, Over filmmaking residential and out-of-school enjoy to backgrounds of UK people young 865 reaching organisationspartners acrossdelivery the45 UK andover with with industry worked bodies such as BAFTA, Academy ethnic Creativethe Skillsetminority and 2015/16 and PinewoodIn black from Studios. were participants of 24% 2015/16, in courses all Across 4). (Table wide backgrounds6% and disabled. were In 2012, the BFI launched the Film Academy – supported now by the Department for Education in in Education for Department the by now supported – Academy Film the to designed launched was BFI the which – 2012, Screen In Ireland Northern and Scotland Creative Lottery, National the England, yearhelp 16-19 olds develop the necessary skills to enter the film industry. FILM EDUCATION AS A PROGRESSION ROUTE A PROGRESSION AS EDUCATION FILM the to addition In filmmaking. in involvement practical by enhanced be can film about Learning development of critical, creative and cultural skills, gaining filmmaking experience, particularlyearly age, cananat be a key stepping stone to the of a career development in the film industry. 201 BFI Statistical Yearbook 2016 16. FILM EDUCATION Source: BFI Table 5FIeducationattendances,200607-201516 Southbank.) BFI increased substantially between 2011/12 and 2012/13 following its relocationthe BFI Reuben from the Library BFI increased head fromoffice 72,500to in 2014/15 to 73,100 in decrease2015/16. from (Visits48,400 admissions to the Library in 2014/15, but up 189% on 2006/07 (TableIn 5).2015/16, The number there ofwere visits 46,700 to admissions to education events run by BFI Southbank and BFI festivals, a courses, introduced screenings and discussion events. the BFI runs an annual series of one-off and sustained learning experiences throughincluding creative library talks,workshops and activity days. For adult learners (includingINSETs for higher primary, education secondary and students), A Level students, while families can outreach.learn about Film film educationtogether for children and young people is providedThe through BFI events,continues study to rundays programmes and for learners of all ages at BFI Southbank and as part of its festival qualifications in Scotland. Edinburgh’s pilot delivery Education Screen ofand 5-19for olds, year the Movingtraining and education Image Arts (MIA) Northerncross-curricular Irishwithin GCSE film and produced A Level (FAME) project, an online learning resource which sought to demonstratethe year,the unique including value of a locallypilot of the Hereford-based Rural MediaPhoenix Company’s Cinema in Film London. and Media A Educationnumber of new initiatives for youngerlearning learners programmes were such launched as the eveningduring and full-day courses in film criticism andwhich genre offered at the weekly film screenings followed by discussions with club members,2015/16 to moreranged structuredfrom informal initiatives such as the film club at the Robertregional Burns film Centrearchives, in trainingDumfries, providers and community-based groups. Provisionof for film education adult learners in the in UK at both a national and regional level includingIn addition independent to the activity described cinemas, above, there are many other organisations involved in the delivery OTHER FILMEDUCATION ACTIVITY % change2006/07-2015/16 % change2014/15-2015/16 2015/16 2014/15 2013/14 2012/13 2011/12 2010/11 2009/10 2008/09 2007/08 2006/07

education event admissions BFI Southbank and festivals 46,669 48,365 44,641 43,363 42,000 43,532 38,569 36,697 37,678 16,754 188.7 -3.8 BFI Reuben Library visits 73,146 72,502 69,592 62,000 11,900 10,983 10,969 12,024 11,905 11,919 503.0 4.2

17. SCREEN SECTOR PRODUCTION IN 2015

CHAPTER 17 SCREEN SECTOR PRODUCTION IN 2015 Image: A United Kingdom courtesy of Pathé UK 202 SCREEN SECTOR PRODUCTION IN 2015

The value of feature film production spend in the UK in 2015 was £1.4 billion, 83% of which was associated with inward investment features. The UK production spend of qualifying high-end television and animation programmes was £788 million, while the UK spend of qualifying video games was £59.5 million.

FACTS IN FOCUS Total UK film production activity in 2015 was £1,410 million, down 6% from £1,497 million in 2014, but still the second highest total since records began.

There were 124 domestic UK features (224 in 2014), 30 co-productions (37 in 2014) and 47 inward investment features (49 in 2014).

The UK spend associated with inward investment features was £1,177 million, down 6% from £1,247 million in 2014.

Fifteen big budget films (£30 million or over) accounted for 73% of the total UK film production spend.

The UK spend associated with domestic high-end television (HETV) programmes was £380 million, just over half (50.1%) of the total UK HETV production spend.

The UK spend of qualifying animation programmes was £29 million, while video games production generated a UK spend of £59.5 million.

203 17. SCREEN SECTOR PRODUCTION IN 2015 BFI Statistical Yearbook 2016 204

151413121110090807060504030201

The The and

A United Kingdom, Kingdom, A United Florence Foster Jenkins Foster and Florence The Danish Girl, I, Daniel Blake spent £198 million in the UK, down £14 million million £14 down UK, the in million £198 spent and official of spend UK The 2014. from (7%) down million, £35 was co-productions unofficial Co-productions 2014. in million £38 from year the in photography principal commencing included Domestic UK features, including including features, UK Domestic The Girl withAll the Gifts Receptionist. the both 1994, since that shows also 1 Figure of value total the in variation annual and growth inward by driven been principally has spend UK to year from fluctuates it how and investment been has films UK domestic of spend UK The year. of average an with period, this over stable broadly has there while year, per million £200 around co-productions of spend UK the in decline a been following changes to the UK film tax relief in 2007. 128 158 169 99 111 78 52 39 80 52 75 59 38 35 00 Rogue One: A One: Rogue 999897969594 Pirates of the Caribbean: Pirates and ------60 94 172 203 175 170 212 180 156 236 126 192 168 167 237 242 202 203 267 179 212 198 183 217 387 262 214 336 367 199 266 733 584 307 559 604 434 835 1,012 1,071 671 933 1,247 1,177 242 311 559 465 389 507 578 379 551 1,127 879 598 837 849 723 1,115 1,295 1,327 1,012 1,172 1,497 1,410

0 Domestic UK Co-production Inward Inward investment

Total

200 400 600 800 The above numbers include only the UK spend associated with productions shot or post-produced partly or wholly in the UK. partly or wholly shot or post-produced The above numbers include only the UK spend associated with productions Source: BFI Source: Notes: £0.1m so may not sum exactly to the totals shown. to the nearest rounded Data are allocated to the calendar year in which principal photography commenced. Films are included in this analysis after 2008. Films with budgets under £500,000 are since publication of the 2015 Statistical Yearbook. on the basis of new information received Numbers have been revised films. and VFX-only co-productions films include inward investment feature Inward Measurement: ■ ■ ■ ■ Spend is allocated to the year in which principal photography started or to the year in which the visual effects were undertaken in the case were the visual effects Spend is allocated to the year in which principal photography started or to the year in which of VFX-only films. £ million Star Wars Story, Fantastic Beasts and Where to Find Find to Where and Beasts Fantastic Story, Wars Star Them,Assassin’s Creed Inward investment films contributed contributed films investment Inward film UK total the towards million £1,177 from 6% of decrease a 2015, in spend production of proportion the However, 2014. in million £1,247 the was features inward to attributed spend UK budget big the of Some 83%. at years, both in same were figure this to contributing films Tales. No Tell Dead Men As Figure 1 shows, the aggregate UK spend of of spend UK aggregate the shows, 1 Figure As photography principal commenced that features on decrease slight a million, £1,410 was 2015 in but million, £1,497 of total record-breaking 2014’s records our since figure highest second the still years two these of totals high The began. introduced relief tax extended the with coincides 2014. in government UK the by THE VALUE OF UK FILM UK OF VALUE THE PRODUCTION Figure 1 UK spend of feature flms produced in the UK, 1994-2015, million flms produced 1 UK spend of feature Figure 1,000 1,200 1,400 1,600 205 BFI Statistical Yearbook 2016 17. SCREEN SECTOR PRODUCTION IN 2015

revised upwards.revised micro-budget feature film activity in the UK, and thewhich numbers were for down the from last 147 two yearsin 2014. are likely However, to be inward there investment is often afilms. delay The in biggest acquiring fall full was data in co-productions, domesticon low andUK features 124 withwere budgets domestic of UKunder features £500,000,In (of 2015, which 201 64 hadfilms werebudgets produced of under wholly £500,000) andor in47 part were in the UK, down from 310 in 2014. Of these,co-productions 30 were saw the greatest reduction. tax relief based on a film’s UK spend rather than the entirety of theco-production production budget. certification Minority requirements, followed by the introductionwas ofnot the comprehensive.)new film production The number of co-productions fell whichfrom 2007, partially explains reflectingthe increase. a tightening (Prior to in 2008 the collection of data on2010. films at thisFrom budget 2008 onwards, level the data collected include feature films withAs Figurebudgets 2 shows, of lessthe numberthan £500,000 of films produced in the UK grew from 209 in 2006 to a peak of 376 in THE VOLUMEOFUKFILMPRODUCTION See notestoFigure 1. Data are rounded tothenearest £0.1msomaynotsumexactlytothetotalsshown. Source: BFI Table 1alue ofUKspendUKUSstudioandindependentflms,2006-2015,million fall from 33% in 2014. wholly in the UK. In 2015, UK independent films accounted for 22%Table of the 1 productiondistinguishes UK independentspend in the UK, a films from UK/USA studio films and non-UK films made partly or Total Non-UK films Kidpnetfls 3 6 9 9 8 7 2 9 9 308 491 390 326 279 289 296 292 265 234 UK independent films KUAsui im 58 56 47 72 93 ,0 6 7 103 889 1,003 778 667 1,007 983 772 407 566 588 UK/USA studio films 2006 87 89 73 ,1 125 ,2 102 ,7 1471,410 1,497 1,172 1,012 1,327 1,295 1,115 723 849 837 1 8 2 8 2 1 1 213 3 4 19 41 22 48 24 18 15 2007 082009 2008 0021 0221 042015 2014 2013 2012 2011 2010 17. SCREEN SECTOR PRODUCTION IN 2015 BFI Statistical Yearbook 2016 206

2015 2014 2013 2012 2011 2010 2009 2008 2007 5572 69 10515 81 15238 15 86 173 18 14 72 235 16 13 191 88 25 25 204 76 13 178 24 67 23 147 24 77 22 64 32 60 26 17 20 15 15 29 34 3253 37 33 31 30 37 38 44 38 44 47 49 46 47 58 37 30 127 174 233 259 307 279 280 245 224 124 209 241 295 334 376 363 370 347 310 201 2006 0 Of which majority and parity co- Of which production minority co-production Of which Of which budget < £500,000 Of which Of which budget ≥ £500,000 Of which Total Co-production Inward investment Inward Domestic UK 50 A total of 17 UK/USA studio films were produced wholly or in part in the UK in 2015 (Table 2). These few few These 2). (Table 2015 in UK the in part in or wholly produced were films almost studio up UK/USA 17 made films of total A independent UK spend. production UK of majority 2014. the to for compared accounted when films points percentage five of delay the to decrease a due UK, the in years, recent produced films other all of for 88% than lower looks (176) films independent of revised be to number the likely is figure Although this activity, film feature micro-budget and low on data full acquiring in upwards over time. Source: BFI RSU Source: Notes: (VFX) only titles. 2007, a small number of visual effects and, from investment co-productions investment includes inward Inward of the 2015 Statistical Yearbook. Data for 2006-2014 updated since publication co-productions. and unofficial Includes both official UK investment is the largest single national investment (not necessarily an in which the means a co-production Majority co-production absolute majority). UK and at least one other country contributed equal largest investments. in which the means a co-production Parity co-production least one other country made a larger investment than the UK. in which at means a co-production Minority co-production Figure 2 Number of feature flms produced in the UK, 2006-2015 in the produced flms of feature 2 Number Figure features Number of 100 150 200 250 300 350 400 207 BFI Statistical Yearbook 2016 17. SCREEN SECTOR PRODUCTION IN 2015

Table Genre offlmproduction intheUK,201-2015rankedbyUKspend accounted for 37% of the overall UK spend, but only 7% of films. of productions, and 8% and 7% of respective UK spend. The biggest spending9% and 1% genre of wastotal action, UK spend. which These were followed by comedy anddocumentary thriller which genres each accounted accounted for for the 14%highest proportion of films, at 16%Table and 321% and respectively,Figure 3 show a butbreakdown only of production by genre for the years 2013-2015. The drama and FILM PRODUCTIONSBYGENRE,2013-2015 Note: Datafor2006-2014updatedsincepublicationofthe2015StatisticalYearbook. Source: BFI Table 2NumbersofUKUSstudioandindependentflms,2006-2015 Figures/percentages maynotsumtototalsduerounding. The datahavebeenpresented forathree-year periodtoshowasmanygenres aspossiblewithoutdisclosingthe budgetsofindividualfilms. The genre ‘Other’includes‘Animation’,‘Musical’and‘Western’. Notes: Source: BFI Total Non-UK films UK independentfilms UK/USA studiofilms Genre Action Adventure Drama Fantasy Comedy Thriller Sci-fi Horror Biopic Romance War Documentary Family Crime Mystery Other Total Number of films 134 117 120 183 5 100.0 858 63 18 11 21 69 21 29 13 36 10 8 5 2006 29 21 25 34 36 33 30 37 30 201 310 347 370 363 376 334 295 241 209 8 1 6 9 5 3 4 2 8 176 287 324 345 331 352 295 266 212 181 2 7 1 4 1 3 1 7 1 17 18 17 16 13 16 14 13 17 21 7 % of total 2007 films 21 25 16 12 15.6 13.6 14.0 21.3 7.3 2.1 1.3 2.4 8.0 2.4 3.4 1.5 0.9 4.2 0.6 . 96.7 1.2 082009 2008 (£ million) 2,608.8 6,588.2 Budget 956.0 581.6 474.5 435.1 359.1 251.0 178.0 126.5 149.9 130.6 118.6 82.8 26.2 12.9 0021 0221 042015 2014 2013 2012 2011 2010 8 % of total budget 100.0 39.6 14.5 19 8.8 7.2 6.6 5.5 3.8 2.7 1.9 2.3 2.0 1.3 1.8 0.4 0.2 0.1 UK spend 9658 (£ million) 1,494.7 4,078.9 519.7 360.5 360.1 327.3 277.4 166.8 141.9 80.8 80.6 70.1 53.5 39.7 22.3 74.1 9.4 UK spend % of total 100.0 36.6 12.7 8.8 8.8 8.0 6.8 4.1 3.5 2.0 2.0 1.7 1.3 1.0 0.5 0.2 0.1 17. SCREEN SECTOR PRODUCTION IN 2015 BFI Statistical Yearbook 2016 208

% 2.4 1.9 1.5 1.3 2.5 8.1 7.4 4.3 3.2 2.5 14.2 13.5 21.5 15.7 Other War Fantasy Biopic Adventure Crime Romance Sci-fi Horror Action Thriller Comedy Documentary Drama Looking at the breakdown by genre of UK independent films alone over the three-year period (Table 4), (Table period three-year the over alone films independent UK of genre biopic by and drama breakdown the thriller, at Looking comedy, that were differences main The UK the similar. in fairly was produced films all pattern the for than spend UK total of proportion greater compared much (24% a for proportion lower accounted a for accounted adventure and action and 26%), with compared (53% 49%). with Source: BFI Source: Notes: films. 3 as they do not include non-UK those in Table from The data differ ‘Mystery’ and ‘Western’. ‘Other’ includes ‘Animation’, ‘Family’, ‘Musical’, The genre Figure Genre of UK flm productions 201-2015 number of flms number 201-2015 flm productions of UK Genre Figure Genre 209 BFI Statistical Yearbook 2016 17. SCREEN SECTOR PRODUCTION IN 2015

Data inthistableare showntotwodecimalplaces to gainaclearer picture ofchange overthetimeperiodfordomesticUKfilms. Data for2010-2014updatedsince publicationofthe2015StatisticalYearbook. Includes filmswithbudgetsofless than£500,000. productions. The medianinthiscaseisabettermeasure ofcentraltendencythanthemean, asitavoidstheupward skewofasmallnumberhighbudget Median budgetisthemiddlevalueofbudgetswhenordered lowesttohighest(iethere are equalnumbersoffilmsaboveandbelow themedian). Notes: Source: BFI Table 5 Median feature film budgets, £ million, 2009-2015 million, £ budgets, film feature Median 5 Table figures for 2015 are likely to be whilerevised. for co-productions the median budget decreased from £1.4 millionThe to median£1.3 million. budget Again, for the inward investment features was £13.1 million, up from £12.6 million in 2014, acquiring budget data for low and micro-budget productions. (Table 5). It should be noted that the 2015 median is likely to beThe revised median downwards, budget due of to domestic the delay UK featuresin in 2015 was £500,000, an increase from £260,000 in 2014 BUDGET TRENDS Figures/percentages maynotsumtototals duetorounding. The genre ‘Other’includesthegenres ‘Musical’,‘Animation’,‘Family’and‘Mystery’. Notes: Source: BFI Table 4IndependentUKproductions bygenre 201-2015rankedbyUKspend Action Comedy Genre Co-production Domestic UK Inward investment category Production Thriller Drama Biopic Romance Documentary Horror Sci-fi Adventure Crime Fantasy War Other Total Number of films 0 13.7 108 1 14.9 117 2 16.4 129 7 22.6 178 8 100.0 787 46 19 25 64 19 36 11 19 9 7 % of total 84 1.9 76 .8 12 26 13.10 12.61 11.24 1.58 17.64 13.09 18.45 2009 13 .6 11 .5 10 .0 1.27 0.50 1.40 0.26 1.01 0.15 1.05 0.15 1.10 0.17 2.56 0.13 1.35 0.20 films 5.8 2.4 3.2 8.1 2.4 1.1 4.6 0.9 1.4 2.4 0021 0221 042015 2014 2013 2012 2011 2010 (£ million) 1,757.1 Budget

395.4 292.5 228.5 234.6 94.6 87.7 68.2 46.1 32.5 95.1 26.2 46.3 36.6 72.8 % of total budget 100.0 22.5 16.6 13.0 13.4 5.4 5.0 3.9 2.6 1.9 5.4 1.5 2.6 2.1 4.1 UK spend (£ million) 1,188.1 256.4 237.6 168.1 162.3 63.9 52.0 47.8 33.1 25.9 23.1 22.3 22.1 18.1 55.5 UK spend % of total 100.0 21.6 20.0 14.2 13.7 5.4 4.4 4.0 2.8 2.2 1.9 1.9 1.9 1.5 4.7 17. SCREEN SECTOR PRODUCTION IN 2015 BFI Statistical Yearbook 2016 210

total total % of of % budget 9.2 9.2 2.5 10.2 2.8 in band band in (£ million) (£ Total budget budget Total 759 61.7 9 16.4 68.7 18.3 30 89.8 100.0 productions, 2015 productions, Budget band Budget Number ≥£5 million £2 - £4.9 million £0.5 - £1.9 million <£0.5 million Total Table 8 Sie distribution of budgets, Table co- BFI Source: Seven of the 30 co-productions produced in the the in produced co-productions 30 the of Seven over, or million £5 of budgets had 2015 in UK this in budget total the of 69% for accounting with co-productions nine The 8). (Table category the of 3% for accounted £500,000 under of budgets budget. total 6.1 2.1 1.9 58.9 22.5 12.5 85.4 10.6 total total total total % of of % % of of % 100.0 budget budget 51.0 51.0 28.4 13.7 133.4 133.4 226.5 37.7 37.7 208.8 208.8 in band band in in band band in 1,689.2 1,689.2 (£ million) (£ (£ million) (£ Total budget budget Total Total budget budget Total 6 42.4 14 17 64 14 15 47 1,978.2 100.0 124 Budget band Budget Number Budget band Budget Number ≥£5 million £2 - £4.9 million £0.5 - £1.9 million<£0.5 million Total 29 ≥£30 million £10 - £29.9 million 12 £5 - £9.9 million <£5 million Total Source: BFI Source: Table 7 Sie distribution of budgets, domestic UK 7 Sie distribution Table 2015 features, Source: BFI Source: may not sum to totals due to rounding. Note: Figures budgets had (64) features UK domestic of half Over of (11% productions 14 only and £500,000, under of or million £5 of budgets had projects) UK domestic the in features UK domestic The 7). (Table over this of 59% for accounted band budget highest the in those while budget, aggregate category’s These 6%. for accounted band 2014. budget on lowest change substantial no show figures Table 6 Sie distribution of budgets, inward 6 Sie distribution of budgets, inward Table 2015 inestment features, For inward investment features, the 14 films with with films 14 the features, investment inward For inward all of (30% over or million £30 of budgets for budget total the of 85% for accounted features) inward 15 were There 6). (Table category this (32% million £5 than less of budgets with features the of 2% for accounted which features), inward of films. these for budget total SIZE DISTRIBUTION OF BUDGETS OF DISTRIBUTION SIZE main three the for distribution size budget The categories films of in made 2015 is shown in Tables 6 to 8. 211 BFI Statistical Yearbook 2016 17. SCREEN SECTOR PRODUCTION IN 2015

less than £500,000, but they represent just 1% of production investment in the UK. the in investment production of 1% just represent they but £500,000, than less responsible for the majority (73%) of UK production spend. Conversely,Figure 4 underlines 37% of that films havea small a proportionUK spend of(8%) of titles with a UK spend of £30 million or over are Note: Datafor2010-2014updatedsincepublicationofthe2015StatisticalYearbook. Source: BFI Table 10UKspendaspercentage oftotalproduction budget,2009-2015 UK spend (39%). 2015 (87%), followed by inward investment films at Co-productions60%. haddomestic the lowest UK and percentage co-production of films. UK domestic films had the highest proportionTable of10 UKshows spend UK inspend as a percentage of the total production budget for inward investment, UK SPENDASPERCENTAGE OFTOTAL PRODUCTIONBUDGET Note: Datafor2010-2014updatedsincepublicationofthe2015StatisticalYearbook. Source: BFI Table 9igbudgetflms’contributiontoUKspend,2009-2015 features. 73% of UK production spend, the same as in 2014. All except one filmsof – isthese demonstrated films were inward in Tableinvestment 9. In 2015, the 15 films with budgetsThe of importance £30 million or to over UK spend accounted of a smallfor number of big budget productions – usually inward investment BIG BUDGETPRODUCTIONS,2009-2015 Big budgetfilm%ofUKspend Total UK spend (£ million) (£ spend UK Total au fascae Ksed( ilo) 4. 6. 1098 619 847 ,9. 1,035.6 1,099.5 824.7 631.9 1,009.8 960.6 748.9 Value of associated UK spend (£ million) 3 ilo 61 17 13 16 Number offilmswithbudgets≥£30million Inward investment category Production Domestic UK Co-production 2009 5. 17 5. 03 6. 70 59.5 57.0 67.1 70.3 55.9 71.7 50.9 8. 99 8. 89 8. 86 87.4 78.6 86.7 88.9 86.6 89.9 81.4 3. 21 3. 60 4. 74 39.2 37.4 43.8 46.0 36.0 42.1 37.2 1154 1247 1368 ,1. 1115 ,9. 1,410.1 1,497.4 1,171.5 1,012.3 1,326.8 1,294.7 1,115.4 2009 717. 616. 047. 73.4 73.4 70.4 62.4 76.1 74.2 67.1 0021 0221 042015 2014 2013 2012 2011 2010 0021 0221 042015 2014 2013 2012 2011 2010 9 61 15 18 16 17. SCREEN SECTOR PRODUCTION IN 2015 BFI Statistical Yearbook 2016 212

1.0 1.0 37.3 37.3 <£0.5 <£0.5 million 2.4 2.4 20.9 20.9 million £0.5 - £1.9 £1.9 - £0.5 4.8 4.8 15.4 15.4 million £2 - £4.9 £4.9 - £2 7.5 7.5 10.9 10.9 million £5 - £9.9 £9.9 - £5 8.0 8.0 10.9 10.9 million £10 - £29.9 - £10

7.5 7.5 73.4 73.4 £30 ≥ million % of productions % of UK spend 0 Table 11 analyses domestic UK productions in 2015 according to whether they were wholly shot in the the in shot wholly were they whether to according 2015 in while UK, the productions UK in domestic exclusively analyses shot 11 were Table 124) of out (82 majority The 2015 in abroad. wholly productions or partly domestic shot of or UK, spend non-UK The UK. the outside wholly or partly shot were films 42 13%. was budget total their of proportion a as DOMESTIC UK PRODUCTIONS BY TERRITORY OF SHOOT DOMESTIC UK PRODUCTIONS BY TERRITORY Source: BFI Source: Figure 4 ercentage of productions and UK spend by category of UK spend, 2015 of UK spend, category by UK spend and of productions 4 ercentage Figure % 10 20 30 40 50 60 70 80 213 BFI Statistical Yearbook 2016 17. SCREEN SECTOR PRODUCTION IN 2015

Figures/percentages maynotsumtototalsduerounding. Includes bothofficial andunofficial co-productions. Notes: Source: BFI Table 1o-productions byterritoryofshoot,2015 shot partly or wholly abroad, as Table 13 shows; only five outIn of contrast 30 films were to domesticshot wholly UK films, co-productionsin the UK. beginning principal photography in 2015 were usually CO-PRODUCTIONS BYTERRITORY OFSHOOT Source: BFI Table 12omesticUKproductions, shootsbyterritoryorregion, 2015 films. There were 13 shoots in thewere shotUSA, in twofive or more in territories, France, the total numberfour of shootsin Spainis Tablegreater 12than and showsthe total thethree numbernumber ofofin shootsRepublic by territory for domesticof Ireland. UK films in 2015. Because some films Source: BFI Table 11omesticUKproductions byterritoryofshoot,2015 Total co-productions Total Wholly outsidetheUK UK andother UK only productions UK domestic Total UK andother/whollyoutsidethe UK only Total Other Germany Republic ofIreland Spain France USA UK shoot of Territory Shooting in… Shooting in… Number of films Number of films 30 14 11 2 226.5 124 5 283.0 143.5 42 82 (£ million) (£ million) Budget Budget 89.8 49.3 33.6 6.8 (£ million) Non-UK (£ million) spend Non-UK spend spend 28.6 27.5 1.1 54.6 38.5 14.8 1.3

Number of shoots

Non-UK spend Non-UK spend as % of total as % of total budget budget 60.8 78.0 43.9 19.6 12.6 33.1 170 113 0.8 30 13 2 3 4 5 17. SCREEN SECTOR PRODUCTION IN 2015 BFI Statistical Yearbook 2016 214

3 2 2 2 2 4 13 13 53 17 16 347 368 Number of companies of Number Other Total 3 1 Total Number of features per company per features of Number Germany Republic of Ireland Territories Occupied Palestinian Romania Other Europe 2 UK USA Source: BFI RSU Source: categories. Note: Includes all production Table 15 Film production company actiity, 2015 company actiity, 15 Film production Table UK film production in 2015 was dispersed among a large number of production companies, as shown in in shown as companies, production of number large a among films with dispersed was associated 2015 in companies production film UK production 368 recorded Unit 347 Statistics these, and Of Research 2014. BFI in The 391 from 15. decrease Table a year, the in UK the involving and co-productions or UK companies the in production shot distinct of mixture a were These feature. single a with associated were (94%) specialpurpose to make single vehiclesa up film. set PRODUCTION COMPANY ACTIVITY LEVELS PRODUCTION COMPANY Source: BFI Source: Table 14 o-productions, shoots by territory or region, 2015 or region, shoots by territory 14 o-productions, Table The country distribution of co-production shoots is shown in Table 14. As most co-productions were were co-productions most As 14. Table in shown is shoots films. co-production of of number distribution total the country than The greater was shoots of number and total the USA, the in territories, place more or took two in shoots shot Three Romania. Europe. in and elsewhere or Territories UK the in Palestinian were shoots of Occupied the majority The Ireland, of Republic Germany, in each two were there 215 BFI Statistical Yearbook 2016 17. SCREEN SECTOR PRODUCTION IN 2015

* AnHETVproduction canbeasingleprogramme oratelevisionseries. Figures maynotsumtototalsduerounding. The datainthistableshowtheprimarygenre assignedbytheBFIResearch andStatistics Unit. Notes: Source: BFI Table 17Genre ofualifyingTproductions, 2015 was crime, accounting for 21 productions and 18% of the total UK spend.drama, accounting for 25 productions (31% of the total) and £265 millionTable (35%) 17 of shows UK spend. a breakdown The secondof qualifying HETV productions by genre. The most common genre was GENRE OFHIGH-ENDTELEVISIONPRODUCTIONS * AnHETVproduction canbeasingleprogramme oratelevisionseries. Data for2014updatedsincepublicationofthe2015StatisticalYearbook. Productions are allocatedtotheyearprincipal photographycommenced. Co-production andinward investmenthave beencombinedtoavoiddisclosingbudgetdataforindividualtitles. Source: BFI Table 16UKspendandnumberofTproductions produced intheUK,2014and2015 Night Manager(6 episodes) and included co-productions Galavant while –Season2(10 episodes), included productions special), Christmas plus Domestic productions HETV shooting in the UK in 2015 included projects. investment inward with associated was spend production the HETV UK production spend in 2015, in contrast with feature film where £380 milllion,the majority up from (83%) of£331 million UK in 2014. Domestic HETV projects were responsible£379 for justmillion, over half an increaseprogrammes in 2015from was £759 £302million. Co-productions million and inward investmentinTable 2014, projects 16 shows contributed that thewhile total UK production domestic spend for UK qualifiying high-end UK television HETV (HETV) productions contributedTHE VALUE OFHIGH-ENDTELEVISIONPRODUCTION Drama Crime Genre Comedy Thriller Other Total Total Domestic UK Co-production andinward investment productions Number of Game of Thrones –Season6 (20 episodes) and Shetland–Series3 and (6 Dickensian episodes) episodes), (20 inward investment 25 21 14 17 82 5 War and Peace Peace and War productions % of total 100 826 100 788 100.0 758.8 100.0 862.6 100.0 3. 0. 50 250 34.9 265.0 35.0 302.1 30.5 2. 5. 82 185 18.3 138.5 18.2 157.1 25.6 1. 1. 37 9. 12.3 93.5 13.7 117.9 17.1 2. 4. 87 237 29.5 223.7 28.7 247.6 20.7 61 37.9 6.1 UK spend (6 episodes). (£ million) (10 episodes), (10 episodes), 633.2 330.9 302.4 (£ million) Budget 2014 Outlander –Season2(13 episodes) and Number Downton Abbey –Series6(8 episodes), % of total Call theMidwife budget 93 63 30 44 37.9 4.4 UK spend (£ million) UK spend (£ million) – Series5 (8 episodes, 758.8 380.2 378.6 2015 UK spend % of total Number 5.0 The 82 57 25

SCREEN SECTOR PRODUCTION IN 2015 BFI Statistical Yearbook 2016 216

8 18 10 Number of productions of Number 29.2 10.5 18.7 UK spend (£ million) (£ spend UK Total Domestic UK Productioncategory Co-production and inward investment and inward Co-production In April 2014, the UK government extended the coverage of creative sector tax reliefs to include video video include to reliefs tax sector creative of coverage the extended was UK government the UK in the 2014, produced April games In video qualifying 25 the of spend UK total the future 2015, in In available be will production. games production games video covering data comprehensive More million. £59.5 Yearbook. the of editions THE VALUE OF VIDEO GAMES PRODUCTION THE VALUE Source: BFI Source: Notes: data for individual titles. have been combined to avoid disclosing budget investment and inward Co-production or a television series. be a single programme can * An animation production in the UK, 2015 produced of animation programmes and number 18 UK spend Table THE VALUE OF ANIMATION PRODUCTION PRODUCTION ANIMATION OF VALUE THE UK the in produced programmes animation qualifying 18 the of spend UK total the spend. that total the shows of 18 36% for Table accounted productions UK domestic on spend UK million. £29 was 2015 in 18. SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015

CHAPTER 18 SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015 Image: Brooklyn courtesy of Lionsgate Films 217 SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015

In 2015, over 450 productions with a total value of £2.3 billion were certified as British under the screen sector cultural tests. An additional 15 films (£85 million) were certified under the UK’s co-production treaties. For the first time, 15 children’s television programmes received interim certification.

FACTS IN FOCUS A total of 253 UK films (254 in 2014) received final certification as British in 2015. Of these, 238 were films which passed the cultural test and 15 were official co-productions.

The combined production budget of finally certified cultural test films was £1,445 million (£1,856 million in 2014); the combined budget of finally certified co-productions was £85 million (£68 million in 2014).

Twenty-one cultural test films had budgets of over £10 million, down from 25 in 2014. In 2015, the median budget for cultural test films was £0.4 million; the median budget for co-productions was £3.8 million.

In 2015, 58 high-end television programmes received final certification as British under the cultural test, with a combined budget of £465 million, and 51 animation programmes received final certification under the cultural test, with a budget of £86 million.

Fifteen children’s television programmes received interim approval under the cultural test, with a total budget of £18 million.

In 2015, 116 video games received final certification, with a budget of £266 million.

218 18. SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015 BFI Statistical Yearbook 2016 219

Morph. Legends of of Legends

Monopoly Dash, The Casual Vacancy, ; finally certified certified finally ; Poldark Toybox Turbos. and Queen and Country. and and The Lobster co-productions. Films which received final final received which Films co-productions. include 2015 in certification co-production Brooklyn, force. Official UK co-productions can also be be also can co-productions UK Official force. on Convention European the under certified allows which Co-production Cinematographic for both bilateral and multilateral film Grand Theft Auto V Auto Theft Grand VIDEO GAME creative extended government UK the 2014, In games video include to reliefs tax sector sector screen other the with As development. game video a British officially as qualify to reliefs, (under test cultural relevant the pass must 2013). Act Finance the of 18 and 17 Schedules the to apply not do treaties Officialco-production receiving projects game Video sector. games video include 2015 in certification final HIGH-END TELEVISION, ANIMATION ANIMATION HIGH-END TELEVISION, OR CHILDREN’S TELEVISION PROGRAMME TELEVISION reliefs tax introduced government UK the 2013, In animation (HETV)and television high-end for boosting of aim the with programmes television sectors. creative these in investment production was programmes HETV for test cultural (The television children’s for relief Tax 2015.) in revised To 2015. April in introduced was programmes animation HETV, British official an as qualify programme, television children’s or television test cultural relevant the either pass must projects 2009, Act Tax Corporation the of 15A Part (under official an as certified be or amended) as bilateral UK’s the of one under co-production television allow which agreements co-production with were these 2015, of end the At co-production. the and Zealand New Israel, Canada, Australia, Territories. Palestinian Occupied under certification final receiving projects HETV include 2015 in test cultural the Outlander – Series 1 and include projects animation test cultural – Series 2 and Llan-ar-goll-en Chima – Season 2, , Shaun the Sheep the Movie, Horse Dark At the end of 2015, the UK had 11 active bilateral bilateral active 11 had UK the 2015, of end the At China, Canada, Australia, with place, in treaties New Morocco, Jamaica, Israel, India, France, and Territories Palestinian Occupied the Zealand, was Brazil with agreement An Africa. South constitutional to subject still is but 2012, in signed into come can it before ratification and procedures To qualify as British under one of the UK’s official official UK’s the of one under British as qualify To jointly be must films agreements, co-production each in authorities competent the by certified is co-producer party Each country. co-producing specific the of criteria the meet to required the includes which agreement, co-production input financial and artistic technical, creative, film a certified, Once co-producer. each from territories the of each in film national a as counts that in support public for qualify may and official as certified films British territory. the pass to required not are co-productions test. cultural To qualify as British under the revised cultural cultural revised the under British as qualify To of number requisite a receive to have films test, Area Economic European or UK on based points contribution, content, for elements cultural (EEA) films of range wide A practitioners. and hubs 2015, in test cultural the under British as qualified including . Wood SPECTRE and Under Milk The Secretary of State for Culture, Media and and Media Culture, for State of Secretary The of issuing the approving for responsible is Sport recommendations of basis the on certificates final ‘interim An Unit. Certification BFI the by made a to completion before granted be may approval’ criteria, certification the meets which production the once awarded is certification’ ‘final and final and completed been has production documents submitted. FILM for eligible be or relief tax film UK the access To as certified be must film a support, public other the pass must film a British, as qualify To British. the of 1 Schedule (under film for test cultural official an as certified be or 1985) Act Films bilateral UK’s the of one under co-production European the or agreements co-production Co-production. Cinematographic on Convention but 2007, since place in been has test cultural The the with line in it bring to 2014 in revised was Before tests. cultural sector creative recent more films which2007, certifiedwere not as co- to test costs production a pass to had productions British. as certified be QUALIFYING AS AN OFFICIAL BRITISH BRITISH AN OFFICIAL AS QUALIFYING PRODUCTION 220 BFI Statistical Yearbook 2016 18. SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015 there were record numbers of certifications in 2014 (254) and 2015 (253).co-productions) receiving final certification has risen sharply in the last few Dueyears. in partFigure to 1 ashows competitive that tax regime, the number of UK films (cultural test/production costs test and FILMS WITHFINALCERTIFICATION, 2006-2015 agreements.) formal has UK the which with those of outside one treaty and a small number of films in 2015 used additional treatiesUK-China, to obtain UK-Newbenefits from Zealand countries and UK-South Africa agreements. (Itthe is Europeanpossible Conventionfor a film to useand more the remaining than co-productions were underZealand the UK-Australia,and UK-South UK-Canada, Africa agreements. Of the 22 interim co-productionCo-production certifications, in 2015.17 were The under remaining co-productions were under Tenthe UK-Australia, of the 15 final UK-Canada,co-production UK-New certifications were under the European Convention on Cinematic Table 2Filmco-production certifications,2014and2015 anticipated production value of interim approvals 2014; in the was million £71 £68 compared with million million 2015 in £85 was incombined budgetcertifications both for final years. certifications was higher in 2015, but the budget for interim approvalsat 15,remained whereas at a interimsimilar level.approvals The increased from 16 films to 22 (TableThe 2). numberThe total of budgetco-production for final film projects awarded final certification in 2015 was the same as in 2014, FILM CO-PRODUCTIONCERTIFICATIONS, 2014AND2015 Table 1Filmculturaltestcertifications,2014and2015 value increased from £1,721 million to £2,793 million. test was higher in 2015 compared with 2014, rising from 166 to 264,features and the wereanticipated shot in totalthe UK. production The number of film projects gaining interimdecrease approval from underthe £1,856 the millioncultural seen in 2014 when a number of veryin high2014 budget (Table inward 1). investmentThe combined budget of certified films in 2015 wasIn 2015,£1,445 million, a total a substantialof 238 films received final certification as British under the cultural test, one fewer than CERTIFICATIONS, 2014AND2015 FILM CULTURAL TEST Source: DCMS,BFI Note: Thefigures for2014havebeenrevised sincepublicationofthe2015StatisticalYearbook. Source: DCMS,BFI Type of certification of Type Type of certification of Type Interim approval Interim approval Final certification Final certification Number Number 166 239 16 15 2014 2014 (£ million) (£ million) 1,721.4 1,856.1 Budget Budget 71.2 68.2 ubrBudget Number ubrBudget Number 6 2,792.8 264 3 1,444.9 238 22 15 2015 2015 (£ million) (£ million) 71.2 84.6 18. SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015 BFI Statistical Yearbook 2016 221 2015 2014 2013 200 199 254 253 2012 2011 2010 2009 2008 2007 74 98 97 144 170 189 187 182 239 238 68 56 8 8 19 14 13 17 15 15 142 154 105 152 189 203 2006 oduction 0 Cultural test/production costs test Cultural test/production Co-pr 50 100 150 200 250 300 The total production budget of British films receiving final certification in 2015, at £1,529 million, was was million, £1,529 at 2015, in certification final receiving films British of 2). (Figure budget 2006-2015 production period total The 10-year the of highest third the was but million) (£1,924 fell 2014 in than co-productions with lower associated budget production overall of share the the by shows, chart reduced the As was mechanism this via films structure to the in incentive the increase when an by 2007 after compensated dramatically been has co-productions of value the in decline overall the The in trend relief. tax upward new an been has there 2009, since and, films test cultural of value production production budget. In 2015, cultural test films accounted for 95% of the total budget. Figure 1 Number of films with final certification, 2006-2015 2006-2015 final certification, with of films 1 Number Figure certifications Number of final Source: DCMS, BFI Source: Total 222 BFI Statistical Yearbook 2016 18. SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015 1,000 1,500 2,000 2,500 Total cultural test films accounted for 97% of the overall UK spend of films with final certification. of co-productions has always been less than that of cultural test/productionupward costs trend test in thefilms. amountIn 2015, of UK spend with two peak years, 2011 and £990 million, 2014. was lower The aggregatethan in 2014 UK spend (£1,253 million). However, since 2006 therewhich has is beenused aor general consumed in the UK.) In line with the overall productionaccount budget, whenUK spend a filmin is2015, applying at for certification as British, tax reliefamendments is only awarded allow wideron expenditure European Economic Area cultural elements forproduction content budget to be expendedtaken into in the UK (see notes to Figure 3). (Although theFigure latest3 shows cultural the levelstest of UK spend between 2006 and 2015. UK spend is generally that part of the Figures maynotsumtototalsduerounding. films andtotalinvestmentforco-productions. Total production budgetisthesumofproduction activityin theUKandproduction activityoutsidetheUKforculturaltest/production coststest Notes: Source: DCMS,BFI Total production budget(£million) Figure 2Total production budgetoffilmswithfinalcertification,2006-2015 500 Co-pr Culturaltest/production costs test 0 oduction 2006 6 5 54 3 3 3136 85 68 113 73 131 137 48 45 357 460 6 918 862 0 6 3 0 ,0 ,1 ,7 ,5 ,5 1,445 1,856 1,353 1,170 2,118 1,002 605 935 561 402 2007 2008 8 5 ,3 ,5 ,4 ,6 ,2 1,529 1,924 1,466 1,243 2,250 1,139 653 980 2009 2010 2011 2012 2013 2014 2015 18. SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015 BFI Statistical Yearbook 2016 223 30 2015 2014 2013 2012 2011 2010 2009 2008 2007 341 442 589 423 854 1,478 834 1,041 1,253 960 183 123 34 22 51 55 44 65 40 524 566 623 445 905 1,533 878 1,106 1,293 990 2006 0 200 400 600 800 Cultural test/production costs test Cultural test/production Co-production UK spend as a percentage of a production category’s total budget is typically lower for co-productions co-productions for lower typically is budget total category’s production a of spend UK percentage a as spend co-production UK the 2006-2015, In 3). (Table films test in costs variation The test/production 2015. cultural and for 2007 than both in 35% as low as and 2008 in 75% as high as from being ranging varied, wide, has less share been has films test costs test/production cultural of share spend UK annual the 63% to 85%. In the 2015, UK spend share cultural of test films was 66%, the second lowest in the period. Source: DCMS, BFI Source: Notes: for test films and ‘UK expenditure’ costs in the UK’ for cultural test/production activities ‘UK spend’ is the ‘value of the production on UK goods and services may include some expenditure Convention). UK spend for co-productions (bilateral and European co-productions which took place outside the UK. may not sum to totals due to rounding. Figures Figure 3 UK spend of films with final certification, 2006-2015 final certification, films with spend of 3 UK Figure million) UK spend (£ Total 1,000 1,200 1,400 1,600 1,800 224 BFI Statistical Yearbook 2016 18. SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015 Median budget(£million) Table 3UKspendas%oftotalproduction budget,2006-2015 qualifying spend thresholds in the tax relief rules. relief tax the in thresholds spend qualifying year, but there were 25 in 2014 and 21 in 2015. These figureshighest may, in 2014in part, be and due 2015. to the Throughout recent changes the toperiod there were generallybudget around (over 10£10 million)to 15 filmssuch with finalfilms certificationper has increased over the timefilmmakers period followingand was the introduction of new rules in 2007. At the certification.same time, theThis total growth suggests number that of UKhigh tax relief has become more accessibletest tofilms islow the budgetgrowth in the number of low budget (under £2 million) productionsTable being 4 shows awarded that finalone reason for the decrease in the median budget for cultural test/production costs * Theproduction coststestforqualificationasaBritishfilmwasreplaced bythecultural testin2007. The medianisthemiddlevalue,iethere are equalnumbersoffilmsaboveandbelowthemedian. Notes: Source: BFI Figure 4Medianbudgetsoffilmswithfinalcertification,2006-2015 around £0.4 million from 2010. then, as the number of these films has increased, the median budget has startfallen of thesteeply, period, the median plateauing budget ofat cultural test/production costs testbecause films was £2 withmillion. low Since numbers the median is more susceptible to the effects million.of individual The peak budgets. is likely Atto thebe due in part to the very low numbers ofThe films certified median in thatco-production year,rates. atdifferent budgetalbeit period, the fell during from decreased £4.4 has millioncategories to production £3.8 million,both for budget median with a peak in 2009 at £6.3 Median budgets for films receiving final certification between 2006 and 2015 are shown in Figure 4. The BUDGET DISTRIBUTIONOFFILMSWITHFINALCERTIFICATION, 2006-2015 Source: BFI Total Co-production costs test Cultural test/production 0 1 2 3 4 5 6 7 Co-pr Culturaltest/production coststest* oduction 2006 2006 ...... 3.8 4.0 3.7 2.8 3.8 4.4 6.3 3.8 4.4 4.4 ...... 0.4 0.3 0.4 0.4 0.5 0.4 1.0 1.0 1.2 2.0 16 46 06 17 765 67 66 76 68 71 77 68 71 80 70 68 85 64 70 62 63 61 79 85 03 54 37 45 75 35 40 2007 2007 082009 2008 2008 2009 0021 0221 042015 2014 2013 2012 2011 2010 2010 2011 26 85 35 59 58 60 42 2012 2013 2014 2015 18. SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015 BFI Statistical Yearbook 2016 225 5 9 % % 12 <5 <5 1.1 3.6 5.0 7.1 10.4 72.8 100.0 100.0 budget 5 16 56 131 409 572 810 12 22 10 <5 <5 1,188 8,338 (£ million) (£ 99 7 Total budget budget Total % 7.0 4.7 4.9 47.0 25.0 11.3 13 <5 <5 <5 100.0 100.0 11,447 number 785 5 19 14 13 17 15 15 10 15 2010 2011 2012 2013 2014 2015 2010 2011 2012 2013 2014 2015 76 80 761 405 183 113 8 1,618 24 16 20 21 22 15 17 Number 88 9 11 <5 <5 <5 <5 <5 <5 <5 <5 <5 <5 <5 <5 <5 2008 2009 2008 2009 9 2007 2007 79 23946 776797579 99 68 56 13 28 25 <5 <5 20 13 <5 <5 2123 18 12 3674 25 24 98 38 49 97 52 144 41 88 170 40 94 189 44 101 187 39 182 93 43 240 135 238 63 127 2006 2006 30 30 30 30 Total <0.5 0.5 - 1.9 2 - 4.9 4.9 - 2 Total 5 - 9.9 9.9 - 5 <2 2 - 4.9 4.9 - 2 10 - 29.9 29.9 - 10 5 - 9.9 9.9 - 5 Budget band band Budget Budget band Budget million) (£ ≥ Budget band Budget million) (£ ≥10 ≥ 10 - 29.9 29.9 - 10 5 - 9.9 9.9 - 5 4.9 - 2 0.5 - 1.9 <0.5 Total Table 6 Final co-production certifications for film by budget band, 2006-2015 6 Final co-production Table For co-productions the pattern is different. The number of films in each budget band has been low since since low been has band budget each in films of number The different. is had pattern have the co-productions co-productions of For plurality a years most in but 2007 in test cultural the of introduction the medium budgets in the range £2 million – £4.9 million (Table 6). Source: DCMS, BFI Source: reasons. shown as <5 for disclosure Note: Entries with small numbers are Source: DCMS, BFI Source: may not sum to totals due to rounding. Note: Figures/percentages Table 5 Final cultural test certifications, budget distribution by budget band, 2006-2015 5 Final cultural test certifications, budget distribution Table Table 5 shows the distribution of budgets by budget band for films certified under the cultural test in in test cultural the under certified films for band budget by budgets of the of distribution 73% the for shows 5 accounted Table over or million £30 of budgets with films of the 5% of 5% The only 2015. for to 2006 years the accounted million £2 under of budgets with films of 72% the of while and films budget, test cultural aggregate budget low of number the in growth the both reflects This budget. aggregate UK/USA inward investment budget big titles band. in the budget top Source: DCMS, BFI Source: Table 4 Final cultural test/production costs test certifications by budget band, 2006-2015 2006-2015 band, by budget test certifications costs test/production cultural 4 Final Table 226 BFI Statistical Yearbook 2016 18. SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015 in 2015. anticipated UK spend of interim cultural test approvals rose from £517spend million associatedin 2014 with to these £618 millionprojects increased very slightly from 88% in 2014was £413 to 89%million, in 2015. up fromThe £288 million in 2014 (Table 9). As a percentage Theof theUK spendtotal budget, attributed theto HETVUK productions receiving final certification under the cultural test in 2015 Source: DCMS,BFI Table 8HETVprogramme culturaltestcertifications,2014and2015 not disclosed to maintain confidentiality. As the number of HETV productions certified under the UK’s co-production treaties is low, figures are an anticipated value of £749 million. the period from 64 projects with an anticipated total production value oftotal £634 millionbudget to 69of projects£327 million, with in 2014 (Table 8). Interim approvals underreceived the culturalfinal certification test rose as slightlyBritish under in the relevant cultural test, comparedIn 2015, with 44 projects,58 high-end with televisiona productions,(HETV) with a total combined budget of £465 million, HIGH-END TELEVISIONPROGRAMMECERTIFICATIONS, 2014AND2015 Note: Figures/percentages maynotsumto totalsduetorounding. Source: DCMS,BFI Table 7Finalco-production certifications,budgetdistributionbyband,2006-2015 cultural test films. highlights the small proportion of very low budget co-productions (2.6%),over a markedaccount contrast for onlywith 18% of the total budget compared with 73%associated for cultural with testfilms in films.the The£2 million table- £29.9 also million range, whereas films budgetedfor at cultural £30 million test or films with final certification. (Table 7). The majority of the Theaggregate budget budget distribution is for co-productions certified between 2006 and 2015 was much more even than ≥ Type of certification of Type (£ million) Budget band Interim approval 10 - 29.9 Final certification 5 - 9.9 2 - 4.9 0.5 -1.9 <0.5 Total 30 Number ubrBudget Number 64 44 233 29 59 90 43 2014 6 6 (£ million) number 634.0 326.9 0. ,1. 100.0 1,517.2 100.0 12.4 25.3 38.6 18.5 2.6 2.6 % Total budget (£ million) ubrBudget Number 275.3 440.8 431.3 311.2 57.0 69 58 1.5 2015 (£ million) budget 748.7 464.7 18.1 29.1 28.4 20.5 3.8 0.1 % 18. SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015 BFI Statistical Yearbook 2016 227 88.8 85.0 82.6 % of % of 86.4 (£ million) total budget 2015 2015 25 51 UK UK 412.7 618.1 spend Number Budget 88.2 81.0 81.6 % of % of 21.5 (£ million) total budget 2014 2014 28 14 UK UK 288.2 517.5 spend Number Budget Final certification Final certification Interim approval Interim approval Type of certification Type of certification The UK spend attributed to animation productions receiving final certification under the cultural test test cultural the under certification final receiving productions total animation the to of attributed percentage spend a UK As The 11). (Table 2014 in million £11 from increase 2015. an in 72% million, to £62 was 2014 2015 in in 49% from increased productions these with to associated 2014 in spend UK million £66 the from budget, slightly fell approvals test cultural interim of from spend UK decreased spend UK anticipated The anticipated budget, total the of percentage a as and, 2015 in million £63 to81% 74%. Source: DCMS, BFI Source: Table 10 Animation television programme cultural test certifications, 2014 and 2015 cultural 10 Animation television programme Table As the numbers of co-productions receiving final certification in both years and interim approval in in approval interim and years both in certification final receiving a with co-productions of co-productions, six numbers 2014, the In As confidentiality. maintain to disclosed not are figures low, are 2015 approval. interim received million, £11 of budget total cultural test in 2015, compared with 14 in 2014 (Table 10). The combined total budget associated with with associated budget total animationcombined A total television 51 of productions received finalThe certification10). as British the(Table under relevant 2014 in 14 with compared approvals 2015, in interim of test cultural number The 2015. in £86million to was 2014 projects in these million £22 of from value rose projects production those associated the but 2014, in 28 from down 25, was 2015 in awarded (£81million). 2014 in than (£85million) higher ANIMATION TELEVISION PROGRAMME CERTIFICATIONS, 2014 AND 2015 CERTIFICATIONS, TELEVISION PROGRAMME ANIMATION The median budget per minute for HETV productions with final certification under the cultural test in in test cultural the under certification final with productions HETV for minute per budget median The 2014. in £21,615 from down £20,866, was 2015 Source: DCMS, BFI Source: Table 9 UK spend of HETV programmes with cultural test certifications, 2014 and 2015 2014 test certifications, cultural with programmes of HETV spend 9 UK Table 228 BFI Statistical Yearbook 2016 18. SCREEN SECTOR PRODUCTIONS CERTIFIED AS BRITISH, 2006-2015 indicates an increase in the number of big budget video games being developed in the UK. certifications, the higher level of production value associated with projectsEEA spend with ofinterim million.£548 approval Although there was a similar number of interim approvalsInterim approval was granted to 121 projectsand a with total budget andmillion an anticipatedfinal of £604 UK/ 1 million. £0.1 was 2015 in certification final with games video for budget median The Source: DCMS,BFI Table 12Videogame certifications,2015 (Table 12). The UK/EEA million budget of £266 combined a with test, the under certification final received 2015,116 games video Video games can only qualify as British for the purpose of the relief through the relevant cultural test. In 2015 as this was the first full calendar year the relief was in effect. The tax relief for video games came into force on 1 April 2014. However, we are only reporting data for VIDEO GAMECERTIFICATIONS, 2015 period. the during certified low, figures are not disclosed to maintain confidentiality. No children’sspend of television£15 million (81%co-productions of total budget). were As the number of productionsperiod. Thereceiving total final budgetcertification associated is with these projects was £18 million andFifteen they children’s had an anticipated television UK productions received interim approval through the cultural test during the years). calendar full for presented here for the period April-December 2015 (whereas dataThe for new the taxother relief screen for sectors children’s are shown television programmes came into effect on 1 April 2015. Data is CHILDREN’S TELEVISIONPROGRAMMECERTIFICATIONS, 2015 the cultural test in 2015 was £6,851, compared with The£7,327 median budget in 2014.per minute for television animation productions receiving final certification under Source: DCMS,BFI Table 11UKspendofanimationtelevisionprogrammes withculturaltestcertifications,2014and2015 figures are notavailable. Astherulesfortax relief for videogamesconsiderspendin thewiderEuropean EconomicArea (EEA)inadditiontothe UK,disaggregated Type of certification of Type Interim approval certification of Type Interim approval Final certification Final certification 1 spend associated with these projects was £181 million (68% of the total budget). Number spend 66.0 10.5 121 116 UK 2014 UK/EEA UK/EEA spend total budget (£ million) 548.0 180.9 % of 81.4 49.0 Total budget (£ million) spend 603.6 265.6 63.0 62.2 UK 2015 UK/EEA UK/EEA spend total budget total total budget as a % of % of 90.8 74.1 68.1 72.0 19. PUBLIC INVESTMENT IN FILM IN THE UK 229

Image: Swallows and Amazons courtesy of StudioCanal FILM IN THE UK FILM IN THE INVESTMENT ININVESTMENT PUBLIC PUBLIC CHAPTER 19 PUBLIC INVESTMENT IN FILM IN THE UK

In recognition of the economic and cultural value of film, the UK Government, national administrations and the European Union provide financial support to film in the UK through a variety of channels. The biggest sources of public funding in 2014/15 were the film tax relief, the National Lottery and government grant-in-aid.

FACTS IN FOCUS Total estimated public funding for film in the UK in 2014/15 was £414 million, an increase of 3% on 2013/14.

The principal sources of public funding were the film tax relief (61%), the National Lottery (15%) and grant-in-aid (8%) from the Department for Culture, Media and Sport (DCMS).

The European Union contributed £8.7 million to film in the UK in 2014/15 (through the structural funds and MEDIA sub-programme), and a further £6.6 million to support UK film exports to other countries in Europe.

In cash terms, funding was greatest in England but per capita investment was highest in Northern Ireland.

Film production benefited from two thirds (68%) of the total financial support available in 2014/15, followed by education, young people and lifelong learning (10%).

230 19. PUBLIC INVESTMENT IN FILM IN THE UK BFI Statistical Yearbook 2016 231 The European Union (EU) contributed £8.7 million to UK film activity, of which £3.8 million came from from came million £3.8 which of activity, film UK to million £8.7 the via contributed (EU) was million Union £4.9 and European 1) The Table to note (see 2014 in and sub-programme MEDIA Fund Europe’s Development Creative Regional European the include which funds, These a reflects 2014/15. in 2014/15 funds for structural figure The period. the over increase for substantial support a and saw Fund, Social Yorkshire Screen European by managed Fund Content Yorkshire the to commitment renewed Media. & Film Northern and England Creative The Northern Ireland Executive reduced investment in film between 2013/14 and 2014/15, while funding funding while 2014/15, and 2013/14 between film in investment level the reduced Executive whether certain Ireland for Northern say to The possible not is It million. £3.6 to million £2.8 Library from National increased the Wales for in funding as period this in changed Government Scottish the from investment publication. of of time the at unavailable was Archive Image Moving Scotland’s of Publicly owned national broadcasters and their film arms also made substantial investments: Film4/ investments: substantial made also arms film their and broadcasters national owned Publicly million. £10.4 Films/BBC BBC and film UK in million £15.2 invested 4 Channel Total public funding for film in 2014/15 is estimated to have been £414 million, up from £403 million in in million £403 from up million, £414 been have to estimated is 2014/15 in film which for funding relief, tax film public UK the Total was year the in funding public of source single of 15% largest million, (£63The Lottery 2013/14. National the by followed was This total). the of and (61% Media million Culture, £251 for provided Department the from total) the of (8% million £33 of (NFTS). grant-in-aid School and total) the Television and Film National the and (ACE) is England this of Council Arts part BFI, the 2013/14; to with (DCMS) Sport compared grant-in-aid DCMS in million £2.4 of increase image. an saw moving the year and film The in investments ACE of recording the in changes by for accounted Table 1 outlines the estimated levels of public funding invested in film in the UK from 2012/13 to to 2012/13 from UK the in film in invested funding public of further levels or estimated higher the council, outlines 1 research Table authority, local of types some include not do figures (The 2014/15. funding.) education PUBLIC FUNDING FOR FILM IN THE UK BY SOURCE FILM IN FUNDING FOR PUBLIC 232 BFI Statistical Yearbook 2016 19. PUBLIC INVESTMENT IN FILM IN THE UK Table 1ublicfundingforflmintheUKbysource, 20121-201415rankedbyspend Source: Namedfundingsources, BiggerPicture Research analysis Film4/Channel 4 Foreign andCommonwealthOffice (ACE) andNFTS DCMS grant-in-aid to the BFI, Arts Council England National andRegionalDevelopmentAgencies BBC Films/BBC funding Totalinvestment public sector selective and automatic selective UK filmtaxrelief sector public Total Other publicsector Department forBusiness,Innovation&Skills Local government UK Trade &Investment Skills InvestmentFundtraininglevy Department forEducation Higher Educationfunding Scottish Government IrelandNorthern Executive Government Assembly Welsh EU MEDIAsub-programme Other European Union(EU) Arts CouncilEngland National LotteryDistributionFund 20 4 2 16 18 5 10 15 11 13 9

6 7 8 1 14 12 19 17 3 £ million 6. 0. 0. 0. 1. 100.0 413.8 100.0 402.9 100.0 364.7 0. 642185. 5. 60.7 39.3 251.3 162.5 57.5 42.5 231.8 171.1 56.4 43.6 205.6 159.1 79763. . 308.0 33.0 7.6 30.6 7.6 27.9 741. 311. 2815.2 62.8 18.1 73.1 18.5 67.4 81501. . 523.7 15.2 3.9 15.6 5.0 18.1 27351. . 042.5 10.4 2.6 10.6 3.5 12.7 .3>. .1>. .1>0.1 0.01 >0.1 0.01 >0.1 0.03 2012/13 . . . . . 0.3 1.2 0.3 1.2 0.4 1.6 . . . . 273.1 12.7 2.3 9.2 2.6 9.4 . . . . . 0.2 0.3 1.0 1.1 0.5 0.2 0.6 0.3 2.1 0.9 1.0 2.4 0.9 1.1 1.0 3.6 1.2 0.3 0.8 3.8 1.6 0.3 4.1 0.7 4.9 1.0 3.2 1.1 6.8 1.2 0.6 2.8 1.4 0.6 4.3 1.8 2.2 0.6 5.7 2.2 1.5 7.2 2.3 0.3 5.6 1.2 1.2 4.4 . . . . . >0.1 >0.1 0.1 0.1 0.2 0.2 0.0 0.3 0.1 0.9 0.0 0.1 0.3 0.2 0.2 0.3 0.1 0.8 0.8 0.1 0.3 0.2 0.2 0.6 % £ million 2013/14 % £ million 2014/15 % 19. PUBLIC INVESTMENT IN FILM IN THE UK BFI Statistical Yearbook 2016 233 the National Library of Scotland’s Moving Image Archive. Scotland’s the National Library of educational funding councils agencies. It does not include payments from and other strategic Skillset film academies, film archives Creative or further education. to other film courses (film studies, etc) in higher was carried grants was £264,676 (the remainder through while expenditure levy income in 2014/15 was £863,824, Skillset. Total Creative over into 2015/16). July 2016. Northern Ireland), plus Heritage Lottery Fund and Big Lottery awards for film-based projects. for film-based Lottery awards Lottery Fund and Big plus Heritage Northern Ireland), Strategic projects. years it does not calendar year 2014. For consistency with earlier is for film investments only and is for The figure and audiovisual sectors. in Euros Data provided 2. in Table film exports to the EU reported sales agents and distributors handling UK to non-British include the awards €1= £0.8107; 2014 €1= £0.8486. pounds. Exchange rates: 2012 €1= £0.8683; 2013 and converted to British Notes: Notes: of Council (via Arts Screen and Northern Ireland of Wales) Council (via Arts Wales Ffilm Cymru Scotland, Creative to the BFI, Allocations 1. 4 investment in the NFTS. and Channel investment production Includes Film4’s 2. the UK. Agencies throughout Development National/Regional agencies from to screen 3. Contributions archives. in the NFTS and film BBC investment investment, BBC Films’ production 4. Includes and film-related image projects for the Arts) into moving Grants (for example from National Lottery investments Includes ACE 5. Fund. Regional Development Social Fund and European 6. Investment via the European cultural, creative for the the new EU programme Europe, of Creative sub-programme ended in 2013; MEDIA is now a MEDIA programme The 7. government Welsh agencies to strategic bodies/projects. all 8. Includes funding from government Northern all to strategic bodies/projects. agencies Ireland 9. Includes funding from does not include investment in for 2014/15 The figure all Scottish government agencies to strategic bodies/projects. funding from Includes 10. to support and Scotland, plus Higher Education institutions for England, Wales Higher Education Funding Councils investment from Includes 11. funding of ‘in-country’ events (outside the UK). Excludes partnership activity. 12. Funding for UK-originated British Council 13. Includes funding for the BFI Film Academy. by UK public funding, collected and re-distributed of either based in the UK or in receipt film productions all from Made up of contributions 14. in July 2016. by the Department for International Trade 15. Funding for export support. UKTI was replaced agencies. screen England and other English regional Creative archives, film 16. Investment by local authorities in regional Strategy in by the Department for Business, Energy & Industrial of Skills Pilot 2 investment. BIS was replaced Includes Employer Ownership 17. agencies. screen public sector agencies, mainly made to national/regional a range of (under £10,000) from small awards 18. Very reserves. 19. Does not include transfers to and from provisional. are 20. 2013/14 and 2014/15 figures 234 BFI Statistical Yearbook 2016 19. PUBLIC INVESTMENT IN FILM IN THE UK 8. The spendingtabulatedaboveincludesnettransfers toandfrom reserves andspendingfinanced bycommercial income(egfrom filmrights) 7. Includes filmexpenditure onthepartofEastAnglianFilmArchive, MediaArchive forCentralEngland (MACE),NorthEastFilmArchive, 6. Includesfilmexpenditure Film&Media,Screen onthepartofNorthern SouthandScreen Yorkshire. 5. Includes filmexpenditure onthepartofFfilm CymruWales andtheFilmArchive ofWales (partoftheNational LibraryofWales) anddirect 4. Includesfilmexpenditure onthepartofCreative Scotland. 3. The figure isforfilminvestmentsonlyand isforcalendaryear2014.Italsoincludes£6.6milliongrantedinsupportofUKfilmsexportedtothe 2. Includes ACENational Lotteryinvestments(egfrom GrantsfortheArts)intomovingimageprojects, plusNationalPortfolioOrganisationand 1. Net spendmeansafterdeductinggrantsandawards tootherorganisationsinthisTable. Figures are presented nettoavoiddouble Figures/percentages maynotsumtototals due torounding. Notes: Source: Namedagencies,BiggerPicture Research analysis 2014/15 agency, by spend film Net 2 Table (£14 million) and Arts Council England (£13.5 million).relief), followed by the BFI million),(£90 Film4/Channel 4 (£15 million), Northern Ireland ScreenAs in previous years, HMRC was the largest net spender on film in 2014/15 (£251 million for film tax SPEND BYAGENCY HMRC Into Film BBC Films/BBC NFTS British Council English regional filmarchives Film London BFI Creative England Scottish agencies EU MEDIAsub-programme Big Lottery Creative Skillset Film 4/Channel4 Welsh agencies Welsh UKTI Other Englishagencies Northern IrelandNorthern Screen Heritage LotteryFund Arts CouncilEngland Total public agencies public Total higher thantotalpublicfundingfor filminthe2014/15year(£413.8million,Table 1). by agenciesaswellincomederivedfromearned publicsectorsources. Forthesereasons thetotalspendingbyagencies (£465.4million)is North West FilmArchive, Screen Archive SouthEast, SouthWest Film andTelevision Archive andtheYorkshire FilmArchive. investments bytheWelsh AssemblyGovernment. British pounds.Exchangerates:2012€1=£0.8683;2013£0.8107;2014 €1= £0.8486. EU through schemesproviding grantstonon-UKdistributorsandsalesagentshandlingBritishtitles.Dataprovided inEuros andconvertedto strategic investmentsattributabletofilmandthemovingimage,based uponACEcalculations. counting. 5 4 2 6 8 3 7 1

£ million 465.4 251.3 10.4 13.5 10.0 10.7 90.0 15.0 14.2 8.7 2.4 4.2 6.2 8.4 1.1 5.6 7.4 0.9 4.9 0.3 0.2 100.0 >0.1 54.0 19.3 2.2 2.9 1.9 0.5 0.9 1.3 2.1 2.3 1.8 0.2 1.2 1.6 0.2 1.1 3.2 0.1 3.1 % 19. PUBLIC INVESTMENT IN FILM IN THE UK BFI Statistical Yearbook 2016 235 % 2014/15 £ million % 2013/14 £ million % strategic plan from 2012/13, one of whose goals is is goals whose of one 2012/13, from plan strategic 1.6 0.4 3.1 0.7 2.7 0.6 2012/13 19.513.510.5 4.9 3.4 17.7 2.6 17.7 4.2 9.2 4.2 18.5 2.2 17.7 4.0 13.1 3.8 2.8 10.9 2.7 10.3 2.4 7.4 1.6 14.2 3.5 7.3 1.7 24.4 5.2 29.0 7.2 31.8 7.6 18.6 4.0 401.4 100.0 420.9 100.0 465.4 100.0 268.7 66.9 284.2 67.5 316.6 68.0 £ million Film Forever Film 4 6 2 5 3 1 investment. for non-British sales agents and distributors handling UK film exports in the EU. reserves. and transfers from trusts and foundations sponsorship, grants from earned/self-generated income, commercial Source: Bigger Picture Research, Creative Cultural Associates Creative Research, Bigger Picture Source: Notes: may not sum to 100 due to rounding. Percentages spend in 2014/15 was £65.3 million. production 1. Non-tax relief Lottery Fund and Heritage Media Image Archive) (except Scotland’s archives screen national/regional Archive, National Film and Television 2. and technical skills academies. Skillset film/craft training investment, Creative agency screen 3. Skills Investment Fund, national/regional support MEDIA sub-programme Europe and Creative British Film Commission, British Council, locations services in the nations and regions 4. companies. independent production agency investment: primary beneficiaries are screen 5. National/regional by supplemented was expenditure as 1) Table million, (£413.8 funding public total than greater was million) (£465.4 expenditure total 2014/15 6. Training and skills investment promotion Export and inward Development Total public film expenditure Education, young people and lifelong learning 33.5 8.3 39.6 9.4 46.4 10.0 Production Business support Administration and services to the public Distribution and exhibition Archives and heritage Archives - 201415 ranked by 201415 spend ctiities supported by public spend on flm, 20121 Table Production has consistently benefited from the largest share of public spending, primarily due to the the to due primarily spending, public of share largest the from benefited line in fluctuated consistently has has spend Production total the although relief, tax film the through million available £317 funding for accounted automatic production film 2014/15, In the production. had of learning volume lifelong changing the and with people young education, year, financial same the that In year total). the of consecutive (68% third the is This (£46million). 10% a at largely is spend which public of Table, share the in largest place second second in been has learning lifelong and people young education, BFI’s the of implementation the of result film feature and heritage and archives activity, skills and exhibition and training for distribution support on while spending 2012/13, Public in was it than 2014/15 in level lower a at was development period. same the over risen has promotion investment inward and export and ACTIVITIES SUPPORTED BY PUBLIC SPENDING ON FILM ON SPENDING PUBLIC BY SUPPORTED ACTIVITIES 2012/13 between UK the in film on spend public by supported activity of areas the describes 3 Table 2014/15. and learning. and education film for opportunities of expansion the 236 BFI Statistical Yearbook 2016 19. PUBLIC INVESTMENT IN FILM IN THE UK 0 1 2 3 4 5 6 7 8 9 £ Figure 1ercapitainestmentinflmtheUKnations,201415 4. Includesinvestmentfrom FfilmCymruWales, Wales FilmArchive, ArtsCouncilofWales andWelsh direct AssemblyGovernment expenditure. 3. Investmentfrom Creative Scotland. 2. Investmentfrom Ireland Northern Screen Ireland. andArtsCouncilofNorthern 1. Includesinvestmentfrom Creative England,Englishregional screen agencies,Englishregional screen archives andArtsCouncilEngland. Notes Source: BiggerPicture Research, ONS Table 4InestmentinflmtheUKnations,201415 four times the level in Wales, which had the next highest spend perterms, person however, at £2.00. the level of investment in Northern Ireland was thethe highestgreatest at level £7.89 of funding per (£27.5person, almostmillion or 49% of the total nation-specificthe level of investment). investment In dedicatedper capita to each of the UK nations in(eg 2014/15. investment In fromcash Ffilm terms, Cymru Wales, England Creative received Scotland and Northern Irelandfilm throughoutScreen). Table the 4UK. showsHowever, some sources of funding are particular toMany the sourcesindividual of UK publicnations investment for film, such as the film tax relief, are intended for the benefit of SPEND ACROSSTHEUKNATIONS Spend perperson(£) Source: BiggerPicture Research, ONS Nation Scotland³ IrelandNorthern England Wales 4 1 2 Total dedicated investment England 0.51 (£ million) 14.2 27.5 6.2 8.7 Northern IrelandNorthern 7.89 Population (million) 54.3 3.1 1.8 5.3 Scotland 1.64 £ per person £ per 2.00 7.89 0.51 1.64 Wales 2.00 19. PUBLIC INVESTMENT IN FILM IN THE UK BFI Statistical Yearbook 2016 237 % 0.2 0.3 4.1 3.8 3.8 0.07 0.07 £ million 3.8 100.0 - Markets 0.3 6.8 Initial training 0.4 11.8 Games Markets MEDIA MEDIA Initial training scheme(s) MEDIA scheme(s) MEDIA million £ Audience development 0.4 9.9 Single project and slateSingle project 0.6 17.9 Film festivals and Europa CinemasFilm festivals and Europa 0.3 6.9 1.5 billion for the period 2014-2020, and follows on from from on follows and 2014-2020, period the for billion 1.5 € Selective, automatic, sales agents and onlineSelective, automatic, 1.8 46.7 Training & skills: newNew media sub total media Total Activityarea Television productionTelevision sub totalBusiness support: new media Development: new media Distribution Development Training & skills Education Exhibition Business support Total Activityarea Source: Creative Europe Desk UK, Bigger Picture Research analysis Research Desk UK, Bigger Picture Europe Creative Source: and converted to British pounds. Exchange rate: €1 = £0.8486 in Euros Note: Data provided 2014 inestment in teleision and new media in the UK, MI sub-programme urope 6 reatie Table The MEDIA sub-programme also supports UK television and new media (including video games). UK games). video (including media new and television UK supports also sub-programme MEDIA The £0.3media and new in £3.8 millionfrom invested was millionbenefited 2014, in production television 6). (Table In addition to this, £6.6 million was invested in support of UK films exported to other countries in the EU, EU, the in countries other to exported films UK of titles. support in British invested handling was million £6.6 agents this, to sales and addition In distributors non-UK to grants providing schemes through Source: Creative Europe Desk UK, Bigger Picture Research analysis Research Desk UK, Bigger Picture Europe Creative Source: and converted to British pounds. Exchange rate: €1 = £0.8486 in Euros Note: Data provided Creative Europe’s MEDIA sub-programme supports European film and other audiovisual industries industries audiovisual other and film European supports sub-programme MEDIA MEDIA the 2014, In Europe’s works. Creative European of distribution and promotion into went development, (47%) this the of funding half by nearly and activity, film UK-based in million £3.8 invested sub-programme 5). (Table distribution film the previous Culture and MEDIA programmes. programmes. MEDIA and Culture previous the inestment in flm in the UK, 2014 MI sub-programme urope 5 reatie Table CREATIVE EUROPE INVESTMENT IN THE UK IN INVESTMENT EUROPE CREATIVE It sectors. audiovisual and cultural the for programme support Union’s European the is Europe Creative of budget a with 2014 January in launched was 238 BFI Statistical Yearbook 2016 19. PUBLIC INVESTMENT IN FILM IN THE UK were made, half of which were for £1 million or more. million of made,were for were which £1 half The large awards for film of £250,000+ made by the BFI in 2015 are shown in Table 8. In total, 16 awards Percentages maynotsumto100duerounding. BFI awards dataare forcalendaryear2015. Notes: Source: BFI Table 7FIotteryawards, 2015 in 2014) with a combined value of £25.5 million. Table 7 shows the Lottery awards made by the BFI in 2015. There were 393 awards in total (up from 385 BFI LOTTERY AWARDS 2015 Source Film Fund Film Fund–Pre-production Film Fund Film Fund–Completion Film Fund–Documentary Film Fund – Vision AwardsFilm Fund–Vision Film Fund–International Film Fund–AnimationDevelopmentLab Distribution Fund– Distribution Fund – International FestivalSalesSupportScheme Distribution Fund–International Partnerships – Partnerships – Film Academy Total awards Total – Development – Production Audience Fund

Number of awards 107 158 393 26 11 16 30 24 5 5 5 3 3 Total value (£ million) 14.9 25.5 2.4 0.1 0.5 0.8 0.5 0.1 0.2 1.4 0.2 4.0 0.7 19. PUBLIC INVESTMENT IN FILM IN THE UK BFI Statistical Yearbook 2016 239 871,000 833,469 785,715 775,000 350,000 300,000 300,000 300,000 1,780,000 1,451,975 1,200,000 1,000,000 1,000,000 1,000,000 1,000,000 2,000,000 award(£) Amount of of Amount Bill Project Free Fire Free Mindhorn Early Man Dark River Journeyman Ethel & Ernest I, Daniel Blake Viceroy’s House House Viceroy’s American Honey City of Tiny Lights A United Kingdom Kingdom United A Fanny Lye Deliver’d Fanny Lye Swallows and Amazons The Girl with All the Gifts The Girl with All the Versus: The Life and Films of Ken Loach Source Film Fund – Production Film Fund Film Fund – Distribution Film Fund – Documentary Table 9 shows the leading public agency and public service broadcaster investment in British films for for films British in BBC investment and broadcaster projects service 102 public with and BFI the agency were public leading investors the shows 9 public Table frequent most The 2013-2015. years million £272 and calendar million the £264 of budgets combined estimated had budget of projects share the These 85. with including films, Films/BBC the of budget total the for are figures budget (The respectively. provided by other public investors, private investors and pre-sales.) IN BRITISH FILM PRODUCTION, 2013-2015 LEADING PUBLIC INVESTORS Source: BFI Source: for calendar year 2015. data are Note: BFI awards Table 8 arge awards 250,000 for flm made by the FI, 2015 the FI, made by for flm 250,000 awards 8 arge Table 240 BFI Statistical Yearbook 2016 19. PUBLIC INVESTMENT IN FILM IN THE UK 1. Examples ofEuropean filmfundingagenciesincludeDeutscherFilmförderfonds, LeCentre nationalducinémaetdel’image animéeand budget row. In somecasesmore thanonepublicagencycontributedfundingtothesamefilm,sothere isdoublecountingofbudgetsandhencenototal Notes: Source: BFIproduction tracking Table 9eadingpublicinestorsinritishflmproduction, 201-2015 Creative Europe Northern IrelandNorthern Screen Government Welsh agencies/S4C/ Welsh Irish FilmBoard European agencies Scottish agencies BBC Films/BBC Creative England BFI funder Public agencies English regional screen Film4/Channel 4 Norsk filminstitutt. 1 Number 102 15 18 23 23 25 85 26 26 37 58 Estimated Estimated (£ million) budget 272 264 164 323 23 33 37 47 28 28 90 The Legend of Barney Thomson; Sunset Song; What We American Honey; Dark Horse; The Duke of Burgundy; Alone in Berlin; The Danish Girl; The Habit of Beauty; Did on Our Holiday; Where You’re Meant to Be; Una How To Talk toGirlsatParties;ARoyalNightOut Notes onBlindness;Spooks:TheGreater Good Brooklyn; The Hallow; I Am Not a Serial Killer; The Canal; Dan y Wenallt (Under Milk Wood); 45 Years; 20,000 Days on Earth; Suffragette; Swallows andAmazons;AUnitedKingdom High-Rise; IAmBelfast;TheSurvivalist Adult Life Skills; The Levelling; Norfolk; City of Tiny Lights;CoupleinaHole; City ofTiny Ethel & Ernest; TheLibrarySuicides Ethel &Ernest; The Lady in the Van; A Little Chaos; Bill; Far From the Madding Crowd; ’71; Await Further Instructions; The Lobster;MoonDogs This BeautifulFantastic The Salvation;Theeb Macbeth; Youth Examples

20. FILM INDUSTRY COMPANIES

In the UK, the majority of film industry companies are in the production and post-production sectors, but most of these are small companies. The exhibition sector has the greatest proportion of large companies, the top 10 of which generated 92% of the sector’s total turnover in 2015.

FACTS IN FOCUS In 2015, there were over 6,800 film production companies and almost 2,700 post-production companies in the UK.

There were 420 film distributors and 230 film exhibitors. The majority of companies were small (turnover under £250,000). The production, post-production and distribution sectors were concentrated in London and the South East, while the exhibition sector was more dispersed.

Outside London and the South East there were significant production and post-production clusters in the East of England, the South West and the North West.

242 20. FILM INDUSTRY COMPANIES BFI Statistical Yearbook 2016 243

6.3 2.2 41.9 12.5 88.9 16.6

46.8

197.7 2010- Growth 2015 (%) 85 420 230 2015 6,805 2,545 2,660 12,745 2,449,415 80 405 215 2014 6,090 2,200 2,465 11,455 2,263,645 75 395 215 2013 5,450 1,905 2,240 10,280 2,167,580 60 415 205 2012 5,190 1,470 2,205 9,545 2,149,190 45 420 210 2011 4,845 1,105 2,265 8,890 2,080,860 45 855 395 225 2010 4,795 2,365 8,680 2,100,370

Film production Sub-sector Video production Film, video and TV post-production* Film distribution Video distribution Film exhibition Total UK all industries In 2015 thereIn 2015 were 6,805 film production companies, 2,660 film, video and TV post-production filmcompanies, 420 distribution companies and 230 film exhibition companies. 42%. In this instance, the growth reflect may the special of number purpose vehicles (SPVs) created for specific productions which remain but in existence ascompanies after those of titles. the completion will(These SPVs usually only be in involved the film). one production of film of number The distribution and film exhibition companies has remained since stable 2010. broadly 2010-2015 1 Number of companies by sub-sector, Table NUMBER OF COMPANIES IN THE FILM INDUSTRY FILM IN THE OF COMPANIES NUMBER in companies involved the of number filmThe industry has grown to compared the sinceby 2010, 47% UK all industries substantial most 1). (Table 17% The of average growth was seen in the video of number production (198%) and distribution (89%) companies, which might partly be explained by the rise in film online of number for demand audiovisual The production companies content. has increased by 11% on 2010, and film 2010, on exhibition turnover11% company was £1,339 million an increase 39% of compared with 2010. In 2015, theIn turnover 2015, film of production companies was £2,967 million, an increase 12% of compared with Film, 2010. turnover video company and TV million, was post-production £1,478 an increase of Video production company turnoverVideo production company the saw substantial most rise between (70%) and 2015 film 2010 but production and distribution the for largest companies accounted proportions turnover of in the period (Table 2). Source: Office for National Statistics Office Source: Notes: 2015. Data as at March have a and therefore videos and television programmes, work on films, commercials, sector usually * Companies in the post-production combined statistical classification. 244 BFI Statistical Yearbook 2016 20. FILM INDUSTRY COMPANIES

% of turnover 0 10 0 Figure 1ercentagebysub-sector, offlmandideocompanies andturnoer 2015 represented 21% of companies and 16% of total turnover. of the major US studios in the film value chain. Film, video and TV post-productionaccounted for companies 31% of film industry turnover. This reflects the dominant Asposition Figure 1 shows, of the in UK 2015subsidiaries although film distributors represented 3% of film industry companies, they See notestoTable 1. Source: Office forNationalStatistics Table 2Turnover ofcompaniesbysub-sector, £000,2010-2015 See notestoTable 1. Source: Office forNationalStatistics % of companies % of Film production Sub-sector Video production post-production* Film, video and TV Film distribution Video distribution Film exhibition Total Film exhibition distribution Video Film distribution Film, videoandTVpost-production productionVideo Film production 20 ,5,9 ,0,1 26874 ,6,2 29802 ,6,1 11.7 2,967,315 2,968,092 2,760,227 2,688,724 2,407,913 2,656,494 ,2,3 ,1,7 14335 ,3,9 13938 ,7,8 11.3 1,477,587 1,389,338 1,434,894 1,493,355 1,416,379 1,327,739 ,8,5 ,8,1 15841 ,7,6 29630 ,7,8 3.2 2,776,183 2,976,370 1,579,168 1,538,451 2,784,818 2,689,156 ,9,4 ,7,0 74720 ,7,5 91514 ,0,1 13.9 9,105,217 9,125,124 7,478,955 7,457,210 8,076,104 7,996,144 1,3 5,7 1692 6,0 3160 5,3 70.0 357,139 301,630 263,009 186,902 152,775 210,038 4,3 3,2 2209 8,0 2418 8,2 25.9 187,726 214,128 180,001 272,039 130,629 149,139 6,7 ,8,9 12779 ,6,5 12556 ,3,6 39.0 1,339,267 1,275,566 1,261,656 1,277,739 1,183,590 963,578 0021 0221 042015 2014 2013 2012 2011 2010 30 40 50 60 70 80 companies 20.9 20.0 53.4 % of 1.8 0.7 3.3 90 2015 (%) Growth 2010- turnover % of 14.7 30.5 16.2 32.6 100 3.9 2.1

20. FILM INDUSTRY COMPANIES BFI Statistical Yearbook 2016 245

% % cc cc cc cc (£ 000) (£ (£ 000) (£ Turnover Turnover % % 10 4.3 1,224,884 91.5 3030 13.0 13.0 2,206 0.2 741 0.1 25 6.0 75 17.9 5,330 0.2 80 19.0 1,628 0.1 230 100.0 1,339,267 100.0 420 100.0 2,776,183 100.0 Number Number Turnover Turnover band size £ 000 Turnover Turnover band size £ 000 5,000+ 1,000 – 4,999500 – 999 30250 – 499100 – 249 13.0 4050 – 99 62,791 35 17.40 – 49 55 15.2Total 4.7 28,432 23.9 11,832 1.5 8,381 0.9 0.6 5,000+ 1,000 – 4,999500 – 999 45250 – 499100 – 249 10.7 45 40 10.7 110 9.5 26.2 15,670 0.6 50 – 99 0 – 49 Total Source: Office for National Statistics Office Source: Notes: 2015. Data as at March for by the Office ‘c’ indicates the data have been made confidential individual companies. National Statistics to avoid disclosing details of 6 Sie distribution of flm exhibition Table companies, 2015

Table 5 Sie distribution of flm distribution flm distribution of distribution 5 Sie Table 2015 companies, Source: Office for National Statistics Office Source: Notes: 2015 Data as at March may not sum to 100 due to rounding Percentages % % cc cc (£ 000) (£ (£ 000) (£ Turnover Turnover % % 45 1.7 929,528 62.9 110 1.6 870 32.7 61,693 4.2 660 24.8 17,152 1.2 2,660 100.0 1,477,587 100.0 6,805 100.0 2,967,315 100.0 1,660 24.4 Number Number Turnover Turnover band size £ 000 Turnover Turnover band size £ 000 5,000+ 5,000+ 1,000 – 4,999 360 5.3 729,741 24.6 1,000 – 4,999500 – 999 110 4.1 105 249,645 3.9 16.9 70,906 4.8 500 – 999 330 4.8 213,225 7.2 250 – 499 140 5.3 49,174 3.3 250 – 499 480 7.1 161,826 5.5 100 – 249 730 27.4 99,489 6.7 100 – 249 1,900 27.9 274,040 9.2 50 – 99 50 – 99 1,965 28.9 141,536 4.8 Total 0 – 49 0 – 49 Total Source: Office for National Statistics Office Source: Notes: 2015 Data as at March may not sum to 100 due to rounding. Percentages Table 4 Sie distribution of post-production 4 Sie distribution of post-production Table companies, 2015 Source: Office for National Statistics Office Source: Notes: 2015 Data as at March for by the Office ‘c’ indicates the data have been made confidential individual companies. National Statistics to avoid disclosing details of

Table Sie distribution of flm production Sie distribution of flm production Table companies, 2015 The size distribution of film companies in 2015 2015 in companies film of distribution size The the sectors, most In 6. to 3 Tables in shown is an with small very were companies of majority film the In £250,000. than less of turnover annual of number equal an were there sector exhibition than less of turnover annual an with companies more. or £250,000 or £250,000 SIZE DISTRIBUTION OF FILM FILM OF DISTRIBUTION SIZE COMPANIES 246 BFI Statistical Yearbook 2016 20. FILM INDUSTRY COMPANIES

Percentages maynotsumto100duerounding. The overalltotaldiffers from thatinTable 1asitexcludesfigures forvideoproduction anddistribution. Data asatMarch 2015. Notes: Source: Office forNationalStatistics Table 7Nationalregional distributionofflmcompanies,2015 regional centres, in the East ofparticularly England, the South West and West. the North While London and the South East dominate in production and post-production, there are significant companies outside based London. more widely spread across the UK, with 74% of companies and 44% ofparticularly turnover associatedstrong for with distribution (61% of companies and 97% of turnover)turnover wasbut generated the exhibition by companiessector was located in these two regions. The2015. London Overall, concentration 71% of film companies was were concentrated in LondonTables and the 7 Southand 8 East,show and the overnational/regional 78% of distribution of film companies and film company turnover in NATIONAL/REGIONAL DISTRIBUTIONOFFILMCOMPANIES INTHEUK UK Northern IrelandNorthern North East East Midlands Wales West Midlands West Yorkshire and The Humber The and Yorkshire Scotland North West South West East ofEngland South East London Number ,0 0. ,6 0. 2 0. 3 0. 015100.0 10,115 100.0 230 100.0 425 100.0 2,660 100.0 6,800 ,9 60501. 01. 51. ,9 16.8 1,695 15.2 35 16.5 70 18.8 500 16.0 1,090 ,7 541355. 6 126 6154553.7 5,435 26.1 60 61.2 260 50.6 1,345 55.4 3,770 2 . 01.9 50 1.8 120 3 . 01.9 50 1.9 130 4 . 0261 3.5 15 2.6 70 2.1 140 9 . 5211 . 565202.7 270 6.5 15 2.4 10 2.1 55 2.8 190 8 . 53.2 85 2.7 185 2 . 0 . 0242 . 6 3.6 360 8.7 20 2.4 10 3.9 105 3.3 225 7 . 7 . 5352 . 8 5.8 585 8.7 20 3.5 15 6.6 175 5.5 375 5 . 8 . 0711 . 8 6.7 680 6.5 15 7.1 30 6.8 180 6.7 455 production 0072 0.8 20 0.7 50 0102 0.9 25 1.0 70 Film % Number production Post- % Number distribution 0– 0–5 5 5 5 Film Film . 565101.9 190 6.5 15 1.2 . 043151.9 195 4.3 10 1.2 . 087252.9 295 8.7 20 1.2 %

Number 0438 0.8 80 4.3 10 exhibition 5 Film . 0 1.0 100 2.2 . 3 2.3 230 2.2 %

Number UK film Total Total %

20. FILM INDUSTRY COMPANIES BFI Statistical Yearbook 2016 247

% Total cc cc cc cc UK film UK (£ 000) Turnover % Film Film exhibition (£ 000) 30,837 2.3 16,074 1.2 23,538 1.8 12,951 1.0 Turnover

% Film cc cc cc cc cc cc cc cc cc cc cc distribution (£ 000) Turnover % Post- cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc cc production (£ 000) Turnover % Film Film production (£ 000) 11,809 0.4 3,242 0.2 17,793 0.6 19,763 0.7 23,974 0.8 46,838 1.6 9,387 0.6 28,464 1.0 42,112 1.4 18,297 1.2 43,139 1.5 82,404 2.8 32,554 2.2 32,864 1.2 44,832 3.3 192,654 2.3 121,390 4.1 35,217 2.4 353,715 11.9 253,664 17.2 Turnover 2,967,315 100.0 1,477,587 100.0 2,776,183 100.0 1,339,267 100.0 8,560,352 100.0 2,175,914 73.3 1,065,507 72.1 2,686,999 96.8 744,299 55.6 6,672,719 77.9 Total UK North East West Midlands Northern Ireland East Midlands Yorkshire and The Humber Scotland Wales North West South West East of England South East London Table 8 Nationalregional distribution of flm company turnoer, 2015 turnoer, company of flm distribution 8 Nationalregional Table Source: Office for National Statistics Office Source: Notes: 2015. Data as at March disclosing details of individual companies. for National Statistics to avoid by the Office ‘c’ indicates the data have been made confidential a London concentration may be overstated not its local units, so The geographic distribution of turnover is given by the location of the company, the UK. local units around for companies such as cinema chains which have and distribution. production for video 2 as it excludes figures that in Table from The overall total differs may not sum to 100 due to rounding. Percentages 248 BFI Statistical Yearbook 2016 20. FILM INDUSTRY COMPANIES

The tableincludescompaniesassociated withfiveormore filmsoverthethree-year period. and televisionpre-sales. variety ofsources includingNationalLotteryfunding, UKfilmtaxrelief, equityinvestment,USstudiodistributor minimumguarantees that company’s contributiontothebudget.Mostfilms hadanumberofproduction companiesassociatedwiththem and financingcamefrom a ‘Estimated combinedbudget’isthe sumoftheestimatedbudgetsallfilmsassociatedwithnamed company. Itisnot ameasure of Companies rankedbynumberoffilmsproduced, thenbyestimatedcombined budget. Notes: Source: BFI Table 9roduction companiesinoledinfeormore UKproductions, rankedbynumberofflms,201-2015 combined budget at £500,000. (combined budget of £37 million). North Bank Entertainment produced eightbudget films, but per hadfilm of the £20 million),lowest Vertigo Films (combined budget of £45 million)Title and Films, Pinewood which Pictures had the highest combined budget of the three (£177 million;2013 equivalentand 2015. toThree a meancompanies topped the list with a total of ninepresents films each forthe production the period – companiesWorking involved in the greatest numberDrawing of UKon feature the BFI film projectsResearch andbetween Statistics Unit’s production database and public information, Table 9 LEADING FILMPRODUCTIONCOMPANIES INTHEUK Templeheart Films Templeheart Third Films Hopscotch Films The FyzzFacility Runaway Features Tiger Lily Films Unstoppable Entertainment Film &MusicEntertainment Green Screen Productions Roast BeefProductions Fulwell 73 MoliFilms Entertainment Pulse Films Sixteen Films Richwater Films Passion Pictures Altitude FilmEntertainment Scott Free Productions North BankEntertainment Pinewood Pictures Production company Production Vertigo Films Vertigo Working Title Films Title Working Number of films

5 5 5 5 5 5 5 5 5 6 6 6 6 6 7 7 7 7 8 9 9 9 Estimated Estimated combined (£ million) budget 235 177 . KillKaneakaBloodRelations;PoltergeistActivity;Robert theDoll 0.5 2Bliss!;DustyandMeakaSlapperMe;TheJourney 12 12 15 37 45 2 2 2 3 Dangerous Mind of a Hooligan; The Disappearance of Lenka 4 The Lovers and the Despot; The Ones Below; Remainder 5 5 5 1 3 5 6 2 5 Atomic: LivinginDread andPromise; TheCarer; IAmBelfast I AmAli;TheGreen Prince;ChuckNorrisvs.Communism Jungle Sisters; The Russian Woodpecker; Tierra Caliente Jungle Sisters;TheRussianWoodpecker; Tierra Pressure; TheRiotClub;Spooks:Greater Good The Guvnors; Level Up aka London Underground; The DanishGirl;Everest; The TheoryofEverything Exodus: Gods and Kings; Get Santa; The Martian One Direction: Where We Are –TheConcertFilm A Patch of Fog; Scottish Mussel; The Survivalist Age ofKill;Top Dog;We StillKilltheOldWay Monsters: Dark Continent; Pudsey the Dog: He Who Dares; Heretiks; The Last Scout Big Game;KillYour House Friends;Tiger 20,000 Days on Earth; American Honey; StreetKids UnitedII–TheGirlsFrom Rio I, DanielBlake;Jimmy’s Hall;War Book The Anomaly;Legacy;We are Monster Golden Years; Montana;NorthvSouth The Movie;Walking onSunshine Blood Cells; Bypass; Light Years Lost in Karastan; The President; Wood; White Collar Hooligan 3 Hooligan Collar White Wood; The PossibilitiesAre Endless Selected titles 21. THE UK FILM ECONOMY

The UK film industry is a valuable sector of the British economy; in 2014 its direct contribution to Gross Domestic Product was £4.3 billion, 28% higher than its 2005 contribution in real terms.

FACTS IN FOCUS In 2014, the UK film industry had a turnover of £7.7 billion. The industry’s direct contribution to Gross Domestic Product (GDP) in 2014 was £4.3 billion. The industry exported £1.2 billion worth of services in 2014, made up of £519 million in royalties and £655 million in film production services.

Exports in 2014 were 21% higher than in 2005. The UK film trade surplus in 2014 was £715 million.

250 21. THE UK FILM ECONOMY BFI Statistical Yearbook 2016 251

33 49 19 31 % change change % 2005-2014 2014 2013 2012 2011 2010 2009 2008 2007 2006 5,795 6,794 5,957 6,382 6,775 6,803 6,481 7,243 6,457 7,712 2,280 3,6932,450 2,8301,065 2,125 2,717 2,105 976 2,889 2,524 1,022 2,596 2,710 1,141 2,619 2,950 1,176 4,238 2,592 1,257 3,742 1,680 1,270 3,392 1,425 1,325 2,926 1,290 1,394 2005

0 Total Film and video distribution production production (including post- production) Film exhibition Film and video £ million

Source: Office for National Statistics Office Source: Notes: for inflation. values, ie not adjusted in current turnover’ is expressed ‘Total The classifications to the type of their economic activity. to classify businesses according used Industrial Classification (SIC) codes are Standard in 2003 and 2007. The SIC codes can be found at https://www.gov.uk/government/publications/standard-industrial- last revised were classification-of-economic-activities-sic. 9212 (film and video distribution) and 9213 (film exhibition). for 2003 SIC codes 9211 (film and video production), For 2005-2007 data are and 59112 (video production) as the sum of 2007 SIC codes 59111 (film production), we define film and video production 2008 onwards, From film and video distribution is the sum of 59131 (film distribution) and 59132 (video distribution) and 5912 (film, video and TV post-production), film exhibition is 5914 (film exhibition). shown for the sum of the two is the The figure by the ONS as confidential. suppressed For 2008 both film distribution and video distribution are distribution (59133). class total (5913) minus TV programme four-digit confidential. distribution are For 2009, 2011 and 2012, only film is included in the distribution sector as the data for video since publication of the 2015 Statistical Yearbook. for 2012 and 2013 have been revised The figures

Figure 1 Total turnoer of UK flm industry by sector, 2005-2014 turnoer by sector, of UK flm industry Total 1 Figure The chart shows that turnover for film distribution decreased significantly from £2.6 billion in 2011 2011 in billion £2.6 from significantly decreased the to distribution film due for mainly is turnover this that shows Statistics, chart The National for Office the to details according (For but, 2012 in classifications. billion industrial £1.7 to their to changes resultant the and reclassifications The 1.) businesses Figure some to of notes restructuring the see framework, [SIC] Classification combined Industrial The Standard distribution). the of programme TV and video (film, 5913 2014. code in SIC the billion £2.9 within to 2013 contained in are billion £1.4 from increased distribution video and film for turnover FILM INDUSTRY TURNOVER, 2005-2014 TURNOVER, INDUSTRY FILM video and (film sectors industry film main three UK’s latest the the of is turnover (2014 total the 2005-2014 shows 1 period Figure the for exhibition) film with and decade, distribution the video over and growth film shown has production, sectors three 2009, the for of Each However, available.) 2014. are in data billion which for £7.7 year over to 2005 in billion for £5.8 data from the as increasing distribution film turnover only industry total includes distribution video and film for turnover the 2012 and 2011 confidentiality. maintain to disclosed not are distribution video 1,000 2,000 3,000 4,000 5,000 6,000 7,000 8,000 252 BFI Statistical Yearbook 2016 21. THE UK FILM ECONOMY

£ million Figure 2Total offlmsub-sectors,2010-2014 turnoer exception of 2013. for both the post-production and film exhibition sub-sectors increased distributionevery year returnedin the toperiod pre-2012 with the levels, with an increase of £1.4 billionexplained on the by previousthe reclassifications year. Turnover of businesses within the distribution sector.exception In 2014, of 2012the turnover and 2013for when turnover was lower than for mostfilm industryother sub-sectors. sub-sectors. This This remained is partly true of all years in the period covered inand exhibitionthe film fromchart 2010 with to 2014.the Film distribution has traditionally had the highest turnover of all Figure 2 shows the turnover for film production, film, video and TV post-production, film distribution statistical classification. Companies inthepost-production sectorusuallyworkonfilms,commercials, videosandtelevisionprogrammes, andtherefore haveacombined Notes: Source: Office forNationalStatisticsAnnualBusinessSurvey Table 1Total ofUKflmindustrybysub-sector, turnoer 2014 turnover, although this includes activity associatedmarketing with video of featureand TV films asand well highlight as thefilm). relative importance of the post-productionproduction and distribution. sector The(19% offigures reflect the high sunk costs associated withTable the production 1. This givesand an official measure of film production and distributionThe separate 2007 SICfrom videocodes allow for a more detailed breakdown of industry turnover by sub-sector, as shown in 1,000 1,500 2,000 2,500 3,000 unvr150109236203144 851411501231402852521601212651271201351201,394 1,290 1,325 1,270 1,257 2,615 1,261 1,680 2,592 2,805 1,490 1,293 1,590 1,421 885 See notestoTable 1. 1,464 2,053 2,346 Source: Office for National StatisticsAnnualBusinessSurvey 1,009 1,520 Turnover Sector total Film exhibition Video distribution Film distribution Film, videoandTVpost-production Video production Film production Sub-sector 500 0 1 1 1 1 14 13 12 11 10 Film production

Ps-rdcin Fl itiuinFilmexhibition Filmdistribution Post-production 1 1 1 1 1 0 1 2 3 14 13 12 11 10 14 13 12 11 10 (£ million) Turnover 7,712 1,394 2,615 1,490 1,464 438 311 1 1 1 1 14 13 12 11 10 % of total % of 100.0 18.1 33.9 19.3 19.0 5.7 4.0 21. THE UK FILM ECONOMY BFI Statistical Yearbook 2016 253

7 6 -4 20 % change change % 2005-2014 2014 2013 2012 2011 2010 2009 2008 2007 2006 2005 7,184 8,194 6,995 7,281 7,540 7,80 6,842 7,512 6,590 7,712 3,037 2,563 2,472 2,879 3,016 3,200 2,736 1,742 1,454 2,926 2,827 4,454 3,323 3,100 3,215 2,816 2,765 4,395 3,819 3,392 0 distribution Film and video production (including post- production) Film exhibition 1,320 1,177 1,200 1,302 1,309 1,364 1,341 1,374 1,317 1,394 Film and video

Total Source: Office for National Statistics Annual Business Inquiry and Annual Business Survey, HM Treasury HM Treasury for National Statistics Annual Business Inquiry and Annual Business Survey, Office Source: Notes: which can be found at https://www.gov.uk/government/statistics/ values is the UK whole economy deflator, The deflator used to calculate real gdp-deflators-at-market-prices-and-money-gdp-march-2016. in constant 2014 pounds. expressed Values 1. For sector classifications, see notes to Figure shown for the sum of the two is the The figure by the ONS as confidential. suppressed For 2008 both film distribution and video distribution are class total (5913) minus TV distribution (59133). four-digit confidential. distribution are For 2009, 2011 and 2012, only film is included in the distribution sector as the data for video may not sum to totals due to rounding Figures Figure Ination-adusted turnoer of UK flm industry by sector, 2005-2014 Ination-adusted turnoer by sector, of UK flm industry Figure £ million (2014 pounds) For the film industry as a whole, real turnover was just over £7.7 billion in 2014, the highest figure since since figure highest the 2014, in billion £7.7 over just was turnover real whole, a as billion £6.6 industry film total the a with For 2013 was period the of turnover real lowest the with year The 1.3). (Figure 2006 pounds. 2014 in Conversely, real turnover for film and video distribution appears to have declined by 4% since 2005. 2005. since 4% by declined have to appears distribution video and film for turnover within real businesses of Conversely, reclassifications the from resulting turnover to video adjustment physical the in fall the of Notwithstanding result a be could turnover real in decline the above, outlined distribution period. the over revenues Total industry turnover between 2005 and 2014, expressed in real terms, ie with the effects of inflation inflation of effects the with ie terms, real in expressed 2014, and 2005 between production turnover video and industry film for Total 20% been has 2005 since increase real The 3. Figure in shown is removed, exhibition. film for 6% and 1,000 2,000 3,000 4,000 5,000 6,000 7,000 8,000 9,000 254 BFI Statistical Yearbook 2016 21. THE UK FILM ECONOMY

1,000 1,500 2,000 2,500 3,000 3,500 4,000 4,500 The figures for2012and2013havebeenrevised sincepublicationofthe2015Yearbook. For 2009,2011and2012,onlyfilmisincludedinthedistributionsector asthedataforvideodistributionare confidential. 4-digit classtotal(5913)minusTVdistribution(59133). For 2008bothfilmdistributionandvideoare suppressed bytheONSas confidential. Thefigure shownforthesumoftwois ‘Gross valueadded’isexpressed inactualvalues,ienotadjustedforinflation. Notes: Source: Office forNationalStatisticsAnnualBusinessInquiryandSurvey £ million Figure 4UKflmindustrygross alueadded,2005-2014 distribution sector. distribution decreased between 2011 and 2012 due to the reclassificationsdistribution of businesses 43% and exhibitionin the 12%. Also, as with turnover (see section above), the valueFor added the film industryfor asfilm a whole, production accounted for 45% of the industry’s value added, least 5% of all creative industries’ value added. January 2016, the GVA for all UK creative industries in 2014 wasThe £84.1 billion,UK film industry’s so film accounted GVA in for2014 at was £4.3 billion. According to data published by the government in investors. and owners Value added is therefore a measure of an industry’s ability to industries.generate Theincome main componentsfor its workers, of value company added are wages and salaries,value addedinterest (GVA). and company ‘Value profits. added’ is industry turnover minus the Thecost directof inputscontribution bought an industryfrom othermakes to UK Gross Domestic Product (GDP) is measured by its gross FILM INDUSTRY CONTRIBUTIONTOGDP, 2005-2014 Total imehbto 0 0 0 1 6 8 0 6 0 517 507 567 505 483 466 415 403 407 600 Filmexhibition Film andvideo 500 distribution production) (including post- production Film andvideo 0 052006 2005 ,0 ,9 , ,7 ,5 ,6 ,4 ,9 ,2 4,280 2,626 1,848 2,792 448 ,442 249 1,915 ,260 1,671 1,442 ,258 1,976 1,706 ,074 1,517 1,495 2,57 1,071 1,317 ,596 1,275 964 2,707 1,342 1,232 1,170 1,072 1,957 1,035 2007 2008 2009 2010 2011 2012 2013 2014 2005-2014 % change -14 58 72 85 21. THE UK FILM ECONOMY BFI Statistical Yearbook 2016 255

4.2 5.1 39.0 12.1 17.9 21.7 100.0 % of total 178 517 767 220 928 GVA GVA 4,280 1,670 (£ million) (£ 10 10 11 12 13 14 10 11 12 13 14 10 11 12 13 14 Post-production Film distribution Film exhibition Film production 10 10 11 12 13 14 621 583 874 766 767 367 806 946 665 928 1,588 1,442 249 426 1,670 483 505 567 507 517 0 200 400 600 800 Video distribution Video Film exhibition Sector total Sub-sector Film production production Video post-production Film, video and TV Film distribution GVA for National Statistics Annual Business Survey Office Source: 2. See note to Table £ million Figure 5 Gross alue added of flm sub-sectors, 2010-2014 alue 5 Gross Figure The patterns of GVA by sub-sector from 2010 to 2014 are similar to those for total turnover (Figure 5). As 5). (Figure turnover total for those to similar are 2014 to 2010 from because sub-sector by but, GVA 2011 of and patterns 2010 in The added value highest the had just was consistently GVA distribution to film turnover, contribution with its sector, distribution the within companies of to recovered reclassifications added the of value distribution film 2014, saw In also 2013. in million £426 post-production TV and and 2012 in video Film, million £249 billion. £1.67 to four-fold almost film and increasing levels, production film the both pre-2012 while 2014, and 2013 between added value in increase substantial a rises. modest recorded sectors exhibition Source: Office for National Statistics Annual Business Survey Office Source: have a and therefore videos and television programmes, usually work on films, commercials, sector Note: Companies in the post-production combined statistical classification. Table 2 UK flm industry gross alue added, 2014 alue added, industry gross 2 UK flm Table Table 2 shows the GVA breakdown in 2014 by the 2007 SIC codes. Film distribution was the highest highest the was distribution Film codes. SIC 2007 the by 2014 in breakdown (£928 GVA the shows 2 post-production TV and Table video film, by followed total) the of 39% million; (£1,670 contributor single total). the of 22% million; 1,000 1,200 1,400 1,600 1,800 256 BFI Statistical Yearbook 2016 21. THE UK FILM ECONOMY

Figure 6UKflmindustryreal gross alueadded,2005-2014 GVA for the film industry as a whole in 2014 was 28% higher than its value in 2005. distribution sector. However, the distribution element increased substantiallyreduction inin GVA2014. for In realfilm distribution, terms, caused by the reclassifications decreasedof companies to £2.9 billionwithin the in 2012 and to £2.7 billion in 2013. The decreaseremoved. was mainlyFor due the fourto the years 2008 to 2011, real GVA was aroundFigure £3.5 6billion shows (in the 2014 industry’s pounds) value but added expressed in real terms, ie with the effects of inflation 1,000 1,500 2,000 2,500 3,000 3,500 4,000 4,500 For 2009,2011and2012,onlyfilmisincludedinthedistributionsectorasdataforvideoare confidential. 4-digit classtotal(5913)minusTVdistribution(59133). For 2008bothfilmdistributionandvideoare suppressed bytheONSasconfidential.Thefigure shownforthesumoftwois Values expressed inconstant2014pounds. gdp-deflators-at-market-prices-and-money-gdp-march-2016. The deflatorusedtocalculatereal valuesistheUKwholeeconomydeflatorwhichcanbefoundathttps://www.gov.uk/government/statistics/ Notes: Source: Office forNationalStatisticsAnnualBusinessInquiry, HMTreasury £ million(2014pounds) Total

imehbto 4 9 7 7 1 2 3 8 1 517 517 588 533 524 519 473 473 491 744 Filmexhibition Film andvideo 500 production) (including post- production Film andvideo distribution 0 052006 2005 ,8 ,6 ,7 ,3 ,1 ,6 ,7 ,4 ,0 1,915 1,705 2,049 1,578 1,162 1,419 1,531 1,374 2,360 1,283 ,2 ,8 ,3 ,0 ,8 ,5 ,2 5 5 1,848 457 258 1,522 1,851 1,688 1,502 1,132 1,486 1,329 ,5 , ,7 ,0 ,2 , , ,9 ,8 4,280 2,680 2,896 ,64 ,57 ,626 ,507 2,979 4,7 ,56 2007 2008 2009 2010 2011 2012 2013 2014 2005-2014 % change -30 49 39 28 21. THE UK FILM ECONOMY BFI Statistical Yearbook 2016 257

2014 2013 2012 2011 2010 2009 2008 2006 2007 660307 582 330 646 403 792 549 935 541 1,566 541 1,199 540 792 550 756 605 519 655 967 912 1,049 1,41 1,476 2,106 1,79 1,42 1,61 1,174 2005 0 company exports services 500 Film production Film production Royalties £ million Total flm Total 1,000 1,500 2,000 2,500 Figure 7 UK flm industry exports, 2005-2014 7 Figure FILM EXPORTS, 2005-2014 EXPORTS, FILM data which for year latest (the 2014 in services of worth million £1,174 services exported industry film production UK film from The million £655 and royalties from came million £519 which royalty of exceeded available), are have services production for revenues export that 31% time by first the fell is This Royalties 7). figure. (Figure export overall the of components as companies in exports based film UK to 8%.Total by payments increased services film-related of value export the but 2013, with compared higher were 21% than2014 in 2005, have declined but since a peak £2,106 of million in 2010. Source: Office for National Statistics Office Source: Notes: expected to be available at the end of January 2017. Data for 2015 are for National Statistics (ONS) Film the Office from derived are Import and export data to 2008 for film companies only. This chart shows the results Business Register in the Inter-Departmental rate (87%) of companies in Survey which was a sample survey with a high response and Television collected in the to film and television. This survey was discontinued and film and television data for 2009 and later were the SIC codes relating in Services. ONS Annual Survey of International Trade 258 BFI Statistical Yearbook 2016 21. THE UK FILM ECONOMY

1,000 See notestoFigure 7. Source: Office forNationalStatistics Figure 8UKflmindustryimports,2005-2014 are confidential. as imports of production services. However, this explanation cannot beexplanation confirmed as thecould survey bereturns the categorisation of the non-UK spend of importsUK/USA inward is relatively investment large productions in relation to total UK film production for Thethese years.reasons One for possible the increased share in these years are unclear as the reported level of production high as 30% in 2007, 40% in 2008 and 35% in 2013. services accounting for only around 15% of the total. However, theAs Figure production 8 shows, services in most share yearswas asroyalties make up the vast majority of imports with film production comprised royalties and £121 million (26%) film production services. The UK film industry imported £459 million worth of services in 2014, of which £338 million (74%) FILM IMPORTS, 2005-2014 Total flm £ million Film production Royalties 600 800 200 400 services imports company 0 2005 0 8 1 4 4 4 4 5 4 459 445 55 740 54 547 846 818 784 804 0 9 7 1 9 6 4 4 9 338 290 445 642 463 498 510 573 698 704 100 062007 2006 625336 245 86 2008 2009 49 2010 80 2011 81815121 155 108 98 2012 2013 2014 21. THE UK FILM ECONOMY BFI Statistical Yearbook 2016 259

2014

2013 2012 2011 2010 2009 2008 % 6.2 5.7 6.0 38.1 44.0 2006 2007 163 128 231 495 929 1,564 1,000 789 916 715 2005 0 Asia Rest of the world Other Europe USA EU 200 400 600 800 Balance Figure 9 Trade surplus of UK flm industry, 2005-2014 surplus of UK flm industry, Trade 9 Figure £ million THE FILM TRADE BALANCE, 2005-2014 BALANCE, TRADE FILM THE since payments of balance UK the to contribution positive continuous a made has industry film The 2005, as Figure 9trade shows. The surplus (positive balance exports of over imports) was in 2014 £715 million. As with exports, the balance of payments has decreased since a peak in 2010 2010 in peak a since decreased has payments of balance the exports, with As million. £715 million). (£1,564 Source: Office for National Statistics Office Source: due to sampling variation and disclosive data. Note: ‘Rest of the world’ cannot be disaggregated Figure 10 estination of UK flm exports as percentage of the total, 2010-2014 10 estination of UK flm exports as percentage Figure Source: Office for National Statistics Office Source: another from income a company (eg the UK subsidiary of a US major) receives minus imports. Where surplus’ equals exports Note: ‘Trade and a payment, both as a receipt this is recorded company, passes it on to its parent company and subsequently country on behalf of its parent of the trade surplus unaffected. leaving the measure Figure 10 shows the geographic distribution of UK film exports for the years 2010-2014. In the previous previous the In 2010-2014. years the for exports film UK of distribution (EU) Union geographic the European shows the to 10 exports Figure Yearbook, Statistical 2015 the in is covered USA the (2009-2013) period, period five-year five-year current the For began. records our since time first the for USA the the with surpassed compared exports of share 44% a with film UK for USA the of destination export ahead primary the slightly again are once countries European non-EU and EU together, total, taken the of 6% 38%.However, around EU’s took both world’ the of ‘rest and Asia exports. film UK all of share 44.3% a with which is unchanged from the previous five-year period. FILM EXPORT MARKETS MARKETS FILM EXPORT 1,000 1,200 1,400 1,600 1,800 260 BFI Statistical Yearbook 2016 21. THE UK FILM ECONOMY

10 15 20 25 30 35 40 45 Source: Office forNationalStatistics,PricewaterhouseCoopers entertainment, 2014 Figure 11UKexportshares, 2010-2014,compared withtheex-UKglobalmarketforflmed also export restrictions in the Chinese market. Korea) in their own markets, and the consequent lower market sharesThe for latter UK (and discrepancy USA) films. reflects There the strength are of the main Asian countries (China, India, Japan and South The lower proportion of UK exports to Asia (6%) compared with the• Asian countries’ share of the The higher proportion of UK exports to Europe (38% of the UK’s• film exports are to the EU compared regions, whereas for the reverse is true andAsia ‘rest of the world’. The differences that stand out are: UK exports are higher than the shares of the ex-UK global filmed entertainmentthe marketglobal market in each for of filmedthose entertainment (Figure 11). For the EU, USAA useful and comparison‘other Europe’can be made the sharesbetween of UK film export shares and the geographical distribution of ENTERTAINMENT UK FILMEXPORTS COMPARED WITHTHEGLOBALMARKETFOR FILMED % 0 5

entertainment market % oftotalglobalfilmed % oftotalfilmexports ex-UK global market (25%). are to ‘other Europe’ compared with a 4% ex-UK global market share); with the EU’s 20% share of the ex-UK global filmed entertainment market, and 6% of film exports 38.1 EU 19.8 Other Europe 6.2 3.6 USA 44.0 35.7 25.4 Asia 5.7 Rest oftheworld 15.5 6.0 1000 1000 Total 21. THE UK FILM ECONOMY BFI Statistical Yearbook 2016 261

6.6 5.5 -5.2 40.1 53.0 100.0 % balance 65.6 55.0 -51.8 399.6 527.8 996.2 Balance Balance (£ million) (£ 30.0 33.4 188.0 152.2 144.4 548.0 Imports Imports (£ million) (£ 95.6 88.4 92.6 587.6 680.0 1,544.2 Exports Exports (£ million) (£ EU Other Europe USA Asia Rest of the world Total Source: Office for National Statistics Office Source: Table International transactions of the UK flm industry by geographical area, annual aerage, 2010-2014 International by geographical area, transactions of the UK flm industry Table THE GEOGRAPHICAL DISTRIBUTION OF THE UK’S FILM TRADE SURPLUS TRADE FILM UK’S OF THE DISTRIBUTION GEOGRAPHICAL THE world’, the of ‘rest with balance, The geographicaltrade film the of 5% distribution to amounting of the UK’sdeficit, film the trade a with trade was surplusthere surpluses that trade showed film alarge similar except ran UK the patternyears, to thatearlier of exports,some with film UK’s contrast the In 3. of half Table over in just shown as for accounted USA the period, the surplus. During the of fifths two 2010-2014. for years the in USA accounted UK the than other countries EU while surplus, trade 22. EMPLOYMENT IN THE FILM INDUSTRY

CHAPTER 22 EMPLOYMENT IN THE FILM INDUSTRY Image: Suffragette © Pathé Productions Limited, Channel Four Television Corporation and The British Film Institute 2015. All rights reserved. 262 EMPLOYMENT IN THE FILM INDUSTRY

The UK film industry employs significant numbers of skilled individuals. In 2015 around 66,000 people were working across the industry’s three main sectors with 71% of those involved in production. However, employment in production is concentrated in London and the South East.

FACTS IN FOCUS In 2015, around 66,000 people worked in the UK film industry, of whom 47,000 worked in film and video production.

In 2015, 65% of the UK film and video production workforce was based in London and the South East.

Just over half (51%) of people working in film and video production were freelance. Women made up just 9% of directors and 14% of screenwriters of British films released in the UK in 2015 compared with 10% of directors and 14% of screenwriters in 2014.

Most film industry businesses had low numbers of employees, in particular those involved in film and video production, where 96% of workplaces employed 10 people or fewer.

263 22. EMPLOYMENT IN THE FILM INDUSTRY BFI Statistical Yearbook 2016 264 6,000 47,000 13,000 66,000 Number in employment in Number Sector Film and video production production video and Film Film and video distribution exhibition Film Total As Figure 1 shows, employment levels across all three main sectors have fluctuated between 2010 and and 2010 between fluctuated have sectors main three while all across 2015, in levels 47,000 to employment 2010 in shows, 1 Figure As 37,000 from increased has workforce production number video The and film period. The the during 2015. 6,000 to 7,000 from fallen has in workforce 18,000 as distribution high as video was and film but the (13,000) 2010 in as 2015 in same the was exhibition film in employees of 2011. in 19,000 and 2013 and 2012 both Source: Office for National Statistics Office Source: Notes: Survey for the period January to December 2015. the Annual Population taken from Numbers in employment are 1,000. to the nearest shown are Figures a job 16 or over who undertook paid work (as an employee or self-employed), those who had People in employment include individuals aged and those doing unpaid those on government-supported programmes, training and employment temporarily away from, that they were family work. 2015 1 Film industry workforce, Table According to the Annual Population Survey (APS) conducted by the Office for National Statistics (ONS), (ONS), Statistics National for Office the by conducted (APS) film and Survey distribution, Population video Annual and the film breakdown. to the shows production, According 1 video Table and film in workers. worked part-time people and 66,000 full- around include figures The 2015. year the in exhibition THE WORKFORCE THE WORKFORCE 265 BFI Statistical Yearbook 2016 22. EMPLOYMENT IN THE FILM INDUSTRY 10,000 20,000 30,000 40,000 50,000 60,000 See notetoFigure 1. Numbers inemploymentare showntothenearest 1,000butpercentages are basedonunrounded numbers. Notes: Source: Office forNationalStatistics Table 2Filmandideoproduction workforce, 2010-2015 self-employed (Table 2). In comparison, only 15% of the total UK Inworkforce 2015, 51% was self-employed of those engaged in 2015.in film and video production, a totalThe of film andmore video than production 24,000 people, sector were has traditionally employed a high proportion of freelance workers. Note: Figures havebeenupdatedsincethepublicationofemploymentdatain2014StatisticalYearbook. Source: Office forNationalStatistics Number inemployment Figure 1Sieoftheflmworkforce, 2010-2015 Year 2010 2011 2012 2013 2014 2015 Film exhibition Film andvideodistribution Film andvideoproduction 0 Total in employment employment in Total 13,000 37,000 7,000 2010 37,000 42,000 49,000 46,000 47,000 45,000 19,000 42,000 4,000 2011 18,000 45,000 2012 5,000 Self-employed 20,000 24,000 22,000 24,000 28,000 24,000 18,000 49,000 2013 7,000 15,000 46,000 2014 4,000 Self-employed as % of total 13,000 47,000 2015 6,000 54 57 49 49 61 51 22. EMPLOYMENT IN THE FILM INDUSTRY BFI Statistical Yearbook 2016 266 ); ); Nanny Nanny ); Suffragette which showed ); and and ); Suffragette London Road); ); Lone Lone Class); X-Men: First Wuthering Heights StreetDance, StreetDance 2 StreetDance StreetDance, ); and Lucinda Lucinda and ); Effie Gray The Iron Lady, Shame, The The Shame, Lady, Iron The ); Abi Morgan ( Morgan Abi ); ) and Debbie Tucker Green Green Tucker Debbie and ) Horse Dark 2010 2011 2012 2013 2014 2015 ); Abi Morgan ( Morgan Abi ); Honeytrap Kingsman: The Secret Service Secret The Kingsman: ); Olivia Hetreed and Andrea Arnold ( Arnold Andrea and Hetreed Olivia ); 2008 2009 ); Louise Osmond ( Osmond Louise Gascoigne); ). 20 29 23 17 30 25 22 30 41 149 139 117 126 129 162 133 181 244 169 168 140 143 159 187 155 211 285 108 111 114 119 127 162 139 154 209 ); and Emma Thompson and Susanna White ( White Susanna and Thompson Emma and Arthur Christmas); 11.8 17.3 16.4 11.9 18.9 13.4 14.2 14.2 14.4 88.2 82.7 83.6 88.1 81.1 86.6 85.8 85.8 85.6 ). 2007 ); Emma Thompson ( Thompson Emma Riot Club); The An Education, ); Jane English and Dania Pasquini ( Pasquini Dania and English Jane ); Far! Too Gone ); Jane Preston ( Preston Jane ); Succès de plume? Female Screenwriters and Directors of UK Films, 2010-2012 of UK Films, and Directors Screenwriters plume? Female Succès de Testament of Youth ); Jane Goldman ( Goldman Jane A Little Chaos); TheWoman in Black, Kick-Ass The Falling Horrid Henry: The Movie The Horrid Henry: ); Sarah Smith ( Smith Sarah ); One Day ). Carol Morley, Louise Osmond, Jane Preston and Debbie Tucker Green wrote the scripts of of scripts the wrote Green Tucker Debbie and Preston Jane Osmond, Louise Morley, Carol Second Coming). % female % male Number of female writers Number of male writers Number of writers associated associated writers of Number with these films Number of UK films released released films UK of Number in the UK their films as well as directing them. directing as well as films their ( In 2015, of the 285 identified writers of UK films released during the year, 41 (14%) were women (Table 3). (Table women were (14%) 41 year, the during released films UK of writers identified 285 the of 2015, In Female writers associated with UK films released in the year include: Alecky Blythe ( McPhee and the Big Bang). ( Deegan Alison Scherfig ( Scherfig In addition to independent UK films, a number of female writers and directors had success over the the over success had directors and writers female of number a films, UK independent to addition In Goldman studio( Jane titles. include: Examples period same UK-USA on working Whiteley ( Some of the female directors associated with UK films released in 2015 are: Sarah Gavron ( Gavron are: Sarah 2015 in filmswithUK released associated directors female the of Some Table 4 shows directors by gender for UK films released in the UK between 2007 and 2015. The proportion proportion The 2015. and 2007 between UK the in released films UK period. for the of gender by lowest third directors the shows 4 overall and Table 2012, since lowest the was 2015 in directors female of Source: BFI Source: Carol ( Morley Juliette Towhidi ( Table Gender of writers of UK flms released in the UK, 2007-2015 Gender of writers of UK flms released Table THE GENDER OF WRITERS AND DIRECTORS OF UK FILMS OF DIRECTORS AND WRITERS OF GENDER THE we 2013, In films. UK of directors and screenwriters of gender the tracking been have we 2007, Since published a report Female writers and directors of independent UK films released between 2007 and 2015 include: Bola Bola include: 2015 and 2007 between released films UK independent of directors and writers Female and DestinyAgbaje Ekaragha ( that although the numbers of female writers and directors of UK films released are consistently low, low, consistently are released films UK of directors and writers female of numbers independent the the Of films. although that successful with associated been have women of women. were proportions directors the higher of recently 11% and writers the of 16% just the 2012, of and 37% 2010 between represented released women films UK period, same the over films independent UK 20 top the were for writers the of 30% However, films, independent UK profitable for And directors. the of 18% and writers women. Jane Goldman ( ( Johnson Rebecca trilogy); Nativity! (the Isitt Debbie ( Scherfig Lone ); Woman Invisible 267 BFI Statistical Yearbook 2016 22. EMPLOYMENT IN THE FILM INDUSTRY percentages are basedonunrounded numbers. Numbers inemploymentthefilmindustryare showntothenearest 1,000andforallUKindustriesare showntothenearest 1,000,000but Totals showninthistable are forthe calendaryear2015. The SouthEastregion wrapsaround Londonsoincludesthemajorstudiostowestofcity. Notes: Source: Office forNationalStatistics Source: BFI remained stable at around 28%-29%. 2013. In comparison the percentage of the total workforce based inmajor London studios. and theBetween South 2010 East hasand 2015, this has ranged from just underyear depending 65% in 2015 in part toon just the levelsover 71% of productionin activity based in theconsistently capital and higher the surrounding than the proportion for all UK industries, although Asthis Figure share 2 shows,fluctuates thefrom London year to and South East share of the film and video production workforce is Table 5LondonandSouthEastemploymentaspercentage oftotal,2015 of workforce the aas whole 30% less than compared(Table 5). with In 2015, 65% andof video productionthe film UK workforce was based in London and the South East, THE WORKPLACELOCATION Table 4Genderofdirectors ofUKflmsreleased intheUK,2007-2015 UK all industries Sector in theUK Number of UK films released Film and video production associated withthesefilms Number ofdirectors Number ofmaledirectors Number offemaledirectors % male % female 2007 408. 298. 509. 598. 90.6 89.7 85.9 92.2 85.0 87.2 82.9 88.5 94.0 0 1 1 1 2 6 3 5 209 154 139 162 127 119 114 111 108 1 1 2 3 4 7 4 6 224 165 149 179 140 133 123 113 117 1 0 0 1 1 6 2 4 203 148 128 165 119 116 102 100 110 . 151. 281. . 411. 9.4 10.3 14.1 7.8 15.0 12.8 17.1 11.5 6.0 7 082009 2008 employment 31,000,000 32 72 42 721 17 21 14 21 17 21 13 Total UK 47,000 0021 0221 042015 2014 2013 2012 2011 2010 London and South East employment 9,000,000 30,000 East as % of UK total London and South 29.2 64.6 22. EMPLOYMENT IN THE FILM INDUSTRY BFI Statistical Yearbook 2016 268 64.6 29.2 2015 69.3 29.1 2014 71.3 29.0 2013 70.9 28.7 2012 70.8 28.5 2011 66.7 28.1 2010 EMPLOYMENT DATA is which (IDBR), Register Business Inter-Departmental the from are 8 to the 6 in shown Tables in estimates data the The from differ data These Statistics. National for Office the the by counts APS maintained The (APS). Survey Population Annual the on based and are sources which sections, administrative from previous updated is which IDBR, the whereas of employed numbers the people and of jobs of number numbers The jobs. of numbers includes the but employers, sources, of surveys from different from come data the and thing, same the not is not this are show, employed 2015 people for figures the as However, similar. be estimates, should the them from between arising differences estimates for reasons of number a identified has ONS be to The likely case. are the always sub-sectors industry particular at looking when ones that fact important the most and two the level but sub-sector industry at size sample APS small the from arising industry error by classified sampling are individuals APS, the In involved. processes based is classification two are classification the there IDBR the in whereas give, they information industry industrial the one on than more depending across work often companies and people As activities. and APS the companies’ between on variations unpredictable to rise gives this example) for film, and (television measures. IDBR the Film and video production UK all industries 0 Source: Office for National Statistics Office Source: THE SCALE OF THE WORKPLACE film production, video and film for workplace, of size by employees, of numbers the show 8 to 6 Tables exhibition. film and distribution video and

% Figure 2 ondon and South ast percentage share of the flm and ideo production and total workforce, workforce, and total production of the flm and ideo share and South ast percentage 2 ondon Figure 2010-2015 80 70 60 50 40 30 20 10 269 BFI Statistical Yearbook 2016 22. EMPLOYMENT IN THE FILM INDUSTRY Note: Percentages maynotsumto100duerounding. Source: Office forNationalStatistics Table 8NumbersofemployeesinflmexhibitionbysieworkplacefortheUK,2015 band. employee sector, with 44% of employees in workplaces of 50 or more and Tableonly 4% in8 showsworkplaces that thein thefilm exhibition 1-10 sector had a concentration that was the reverse of the production Note: Percentages maynotsumto100duerounding. Source: Office forNationalStatistics Table 7NumbersofemployeesinflmandideodistributionbysieworkplacefortheUK,2015 60% of employees based in workplaces with 50 or more employees (Table 7). than the production sector, with 81% of employees based in workplacesEmployment with 11 in orthe morefilm and employeesvideo distribution and sector in 2015 was less concentrated in small workplaces Note: Percentages maynotsumto100duerounding. Source: Office forNationalStatistics Table 6Numbersofemployeesinflmandideoproduction bysieofworkplacefortheUK,2015 employees accounted for over 12,000 employees, an average ofsmall 147 number each. of workplaces with a high number of employees. Thealmost 85half ofworkplaces its total workforce with 50 (46%), as orTable more 6 shows. At the other end of the scale, there wereof a employees. Workplaces with 1-10 employees accountedIn 2015, for the 96% filmof and all video workplaces production in thesector sector had and a very high number of workplaces with low numbers size band Workplace size band Workplace size band Workplace 50+ 50+ 50+ 11 -49 11 -49 11 -49 1 -10 1 -10 1 -10 Total Total Total workplaces in band in workplaces workplaces in band in workplaces workplaces in band in workplaces Number of Number of Number of 10,385 9,945 110 350 355 170 400 630 465 85 15 50 workplaces workplaces workplaces % of total % of total % of total 100.0 100.0 100.0 95.8 17.5 55.6 10.8 27.0 86.0 0.8 3.2 3.4 employees in band employees in band employees in band Number of Number of Number of 12,464 16,891 36,584 18,510 8,091 2,962 9,743 1,037 7,229 4,927 676 928 employees employees employees % of total % of total % of total 100.0 100.0 100.0 34.1 46.2 43.7 60.1 52.6 21.0 19.8 18.8 3.7 22. EMPLOYMENT IN THE FILM INDUSTRY BFI Statistical Yearbook 2016 270 34.1 46.2 43.7 52.6 2015 2015 37.3 42.8 46.0 50.6 2014 2014 31.0 46.2 49.8 46.9 2013 2013 32.6 45.6 2012 51.1 46.0 2012 32.2 47.7 2011 53.9 43.5 2011 31.0 47.2 2010 56.3 41.0 2010 1-10 employees 50+ employees 11- 49 employees 50+ employees 0 0 Source: Office for National Statistics Office Source: Source: Office for National Statistics Office Source: % of sector workforce % of sector workforce Figure 4 Film exhibition employees by workplace sie band, percentage of total, 2010-2015 by workplace sie band, percentage 4 Film exhibition employees Figure As Figure 4 shows, in the film exhibition sector the proportion of employees in workplaces with 50 or or 50 with workplaces in employees of proportion the in sector employees exhibition of film the in proportion the shows, 4 Figure As Conversely, 2015. in 44% to 2010 in 56% from declined has period. workers the more during 53% to 41% from risen has employees 11-49 with workplaces Figure Film and ideo production employees by workplace sie band, percentage of total, 2010-2015 percentage employees by workplace sie band, Film and ideo production Figure Figure 3 shows the percentage of employees in workplaces with 1-10 employees and the percentage in in percentage the and employees 1-10 with workplaces in employees In of 2015. to percentage 2010 the from shows 3 sector Figure production video and film workforce the in the of 31% employees and more or 50 employees with workplaces 1-10 with workplaces in employed was workforce the workforce of the of 47% proportion the 2010, then Since employees. more or 50 with of proportion workplaces the in while 46% employed at was same the approximately remained has workplaces smallest the in based 34%. to slightly increased has workplaces largest the in employees 10 20 30 40 50 60 10 20 30 40 50 60 GLOSSARY BFI Statistical Yearbook 2016 271 Department for Culture, Media and Sport. The The Sport. and Media Culture, for Department setting for responsible department Government National the administering for and policy film UK (www.culture.gov.uk) Fund Distribution Lottery Concession revenue Concession and drinks food, of sales from Revenue merchandise cinemasat Co-production one than more from companies by made film A the terms under bilateraloften a co- of country, on Convention European the or treaty production Co-production Cinematographic Country originof The nationality of a film.one than In themore case of co- include may this productions, country Europe Creative framework Commission’s European The and culture the to support for programme audiovisual sectors. It replaced the2007-2013 from Culture ran which and programmes MEDIA DCMS A notification to an Examining Board that all units completed been have GCSE) (eg qualification a of awarded be now should grade overall an and programme television Children’s television children’s the Yearbook, this Within have which those are to referred programmes UK relevant the access to intend or accessed relief the access To relief. tax industry creative qualify must programme television children’s a as or test cultural relevant the under British as for intended be must it co-production, official an at internet, the and/or television on broadcast on be must expenditure core total its of 51% least be will audience target primary its and action, live 15 of age the under film classification Cinema Board British the by film a to given Classification release. theatrical a for Classification Film of audiences for suitability film’s the Indicates according to their age (community cinema Community exhibition) variety a bringing films of providers Voluntary local to non-mainstream, often programming, of to access limited have may which communities commercialcinemas Cash-in Cinema Advertising Association. The trade trade The Association. Advertising Cinema contractors advertising cinema of association operating in the UK and Republic of Ireland (www. cinemaadvertisingassociation.com) CAA Box office Box gross Added Value of deduction before takings office Box Tax (VAT) Box office Box screened film a for sales ticket of value Total cinemas commerciallyat Blu-ray disc disc Blu-ray of Gb 50 to up store can that format disc optical An layer dual a of capacity the times six almost data, to laser blue-violet wavelength short a uses It DVD. disc to write information and read British Board of Film Classification. Independent Independent Classification. Film of Board British video. and films classifying for responsible body (www.bbfc.org.uk) film classification Cinema See BBFC BASE Entertainment, Screen for Association British trade The Association. Video British the formerly and publishers of interests the entertainment representing body home pre-recorded of owners rights on digital and physical video (www.base.org.uk) BARB The Board. Research Audience Broadcasters’ UK for figures audience compiles that company (www.barb.co.uk) television British Academy of Film and Television Arts Television and Film of Academy British (www.bafta.org) BAFTA BAFTA Animation television programme television Animation television animation the Yearbook, this Within have which those are to referred programmes UK relevant the access to intend or accessed relief the access To relief. tax industry creative qualify must programme television animation an as or test cultural relevant the under British as for intended be must it co-production, official an at and internet, the and/or television on broadcast on be must expenditure core total its of 51% least animation Alternative content Alternative cinema Event See GLOSSARY 272 BFI Statistical Yearbook 2016 GLOSSARY the European Economic Area production to completion,pre- from on activity expenditure, incurred in production all of value The spend EEA being viewed on different types of players A digital optimal disc storagedisc format versatile capable ofDigital – DVD the first play). See Video on Demand limited time period (often up to 48 hours following allows users to download content to view within a A type of Video on Demand business model which Download-to-rent(DTR) Video on Demand Also known as Electronic-sell-through (EST). See some cases to burn an additional copy to in DVD.and drive, hard a on storage for downloads which allows users to purchase permanent film A type of Video on Demand business model Download-to-own(DTO) UK the in partly or wholly by a UK production company that is produced A domestic (indigenous) UK feature is a film made feature DomesticUK release territory. in See this boxLocal office and revenue from the films given theatrical Typically refers to the USA and Canada box office Domesticoffice box audiences to attract to a film marketing activities markets. Also undertakes the promotional and of a film in the theatrical, video and television to exploit the commercial and creative values A person or company that acquires the right Distributor (PVR) Sometimes referred to as Personal video recorder storing large amounts of audiovisual content. A digital set-top box with hard drive capable of recorder (DVR) video Digital PC or mobile device. See Video on Demand from a digital platform to view on a television set, that allows users to stream or download a film Unit to describe Video on Demand (VoD), a system A term used by the BFI Research and Statistics video Digital celluloid strip the screen rather than passing light through a ie using electronic signals to direct light onto using a digital master and a digital projector, The projection of a film onto a cinema screen projectionDigital rental distributor to show to a cinema audience. See Film A cinema operator that rents a film from a Exhibitor digital projection has been made possible by the availability of feature of some UK cinemas in recent years, and elsewhere. Event cinema has become a regular screening of events or performances happening film programming in cinemas, such as the live Also known as ‘alternative content’. Non-feature Event cinema ‘Regions’ statistical purposes and are now known just as GORs was abolished but the areas were kept for Agencies. In 2011 the administrative function of Development Agencies and the Regional Screen used to establish the boundaries of the Regional (GORs) they were an administrative classification Formerly known as Government Office Regions Regions English See Download-to-own (DTO) Electronic-sell-through(EST) (AS Level) (AS Level (A Level) and Advanced Subsidiary Level An academic qualification comprising Advanced GCE – General Certificate of Education sequels its and Stone Philosopher’s A film series such as Harry Potter and the Franchise intention of being released for theatrical exhibition test or as an official co-production, with the must qualify as British under the relevant cultural British qualifying films. To access the relief a film Tax relief on film production costs available for Film tax relief office box net of particular film. Usually calculated as a percentage the exhibitor in return for the right to show a The sum of money paid to the distributor by Film rental set-top boxes consoles, internet protocol television or dedicated may also go directly to television sets via games personal computer or mobile device. Downloads officially or unofficially) from the internet to a A digital version of a film transferred (either Film download minutes duration film made for television, and usually of at least 80 A film made for cinema release, rather than a Feature film

GLOSSARY BFI Statistical Yearbook 2016 273 Mainstream programming Category films of aimed the at general audience Mbps one of rate transfer data A second. per Megabits second per bits million In Scotland, the Intermediate was one of the the of one was Intermediate the Scotland, In qualifications certificate school secondary national Authority. Qualifications Scottish the by offered National by replaced been have These Qualifications Inward investment feature Statistics and Research BFI the by used term A substantially is which film feature a denote to Unit UK the outside from controlled and financed script by UK the to attracted is which and UK’s the and/or locations) (eg tax requirements film UK and/or infrastructure filmmaking relief ISBA TV regions the by developed regions classifying for System use for Advertisers British of Society Incorporated (www.isba.org.uk) industry advertising the by Local box office or country particular a describes Typically given films from revenue and office box territory’s territory or country that in release theatrical a that of perspective the from referenced when countryterritory. or See officeDomestic box In Scotland, the Higher is one of the national national the of one is Higher the Scotland, In university and exams certificate school-leaving Scottish the of qualifications entrance Scottish the by offered Certificate Qualifications Authority Qualifications HMRC The Customs. and Revenue Majesty’s Her collecting with charged department Government Crown the of behalf on revenue HMT Government The Treasury. Majesty’s Her and formulating for responsible department and financial Government’s the implementing policy economic filmIndependent A film without creative produced financial or These companies. studio US major the from input Universal, NBC Group, Entertainment Fox are: Pictures Sony Group, Pictures Motion Paramount Group Pictures Motion Disney Walt Entertainment, Entertainment Bros Warner and Intermediate (Scottish) Higher (Scottish)Higher High-end television (HETV) television High-end programme television high-end the Yearbook, this Within have which those are to referred UK programmes relevant the access to intend or relief accessed the access To relief. tax industry creative British as qualify must programme HETV an official an as or test cultural relevant the under includes (which drama a be must it on co-production, broadcast for intended documentary or average comedy) an have and internet, the and/or less not television of length slot of hour per expenditure HETV to core relation in length slot (The million. £1 than minutes) 30 than greater be must programmes GVA – Gross Value Added Added Value Gross – GVA industries businesses, individual that amount The Broadly, economy. the to contribute sectors or the by generated income the by measured is this intermediate their less sector or industry business, order in used services and goods of consumption labour of consists GVA output. their produce to an and salaries) and wages example, (for costs good a is latter The loss). (or surplus operating capital of cost The profits. to approximation to dividends and charges financial investment, shareholders are from met the operating surplus Grant-in-aid a (normally funder sector public a by payment A or all finance to department) Government central part the of costs the of body in the receipt of grant- Government the where paid is Grant-in-aid in-aid. controls, parliamentary to subject decided, has arm’s at operate should body recipient the that length Global box office office box Worldwide See A style or category of film defined on the basis basis the on defined film of category or style A (eg conventions cinematic and story common of action, crime, drama, etc) Genre A measure a country’s GDP and output. of income final all of value market total the as defined is country the within produced services and goods of sum the also is GDP time. of period given a in production the of stage each at added value the GDP that fact the to refers ‘Gross’ process. subtract not does but investment capital includes depreciation GDP – Gross Domestic Product Domestic – Gross GDP GCSE – General Certificate of Secondary Secondary of Certificate General – GCSE Education specific a in awarded qualification academic An 14-16 aged students by taken generally subject, and Wales England, in education secondary in the is equivalent (Scottish Ireland Northern Standard Grade) 274 BFI Statistical Yearbook 2016 GLOSSARY at source by the employer and remitted to HMRC and national insurance where these are deducted Pay as you earn. A method of collecting income tax PAYE typically in a large shopping developmentCinema located on the outskirts of a town, Outcinema of town ons.gov.uk) (www. UK the in statistics official of production the UK Statistics Authority, responsible for the Office for National Statistics. Executive office of ONS delivery Selecting and renting DVDs via a website for postal OnlineDVDrental deduction after of VAT takings Box office office box Net colleges, including adult learners of secondary school (S4 to S6) and learners in are usually taken by learners in the senior phase certificate qualifications. National Qualifications have replaced Intermediate and Standard Grade by the Scottish Qualifications Authority. These the secondary school certificate exams offered In Scotland, the National Qualification are(Scottish) one of Qualifications National One, BBC Two, ITV, Channel 4 and Channel 5) excluding the main networkfive channels (BBC cable or freeview delivery systems, in this case Digital television programming carried by satellite, television Multi-channel cinema with five or more screens Defined by Dodona Research as a purpose-built site Multiplex cinema with 20 or more screens Defined by Dodona Research as a purpose-built Megaplexsite and plays basis alongside other activities such as concerts An arts venue which screens films on a part-time Mixed-use venue median the median, and half of the values fall above the ordered set of values. Half of the values fall below an in value middle the meaning term A statistical Median then dividing by the count of the values which is calculated by summing the values and A statistical term for the average of a set of values, Mean production pre-production from and post- distinct as rolling, movie is filmed, with actors on set and cameras The phase of film production in which the Principal photography cut final a preparing visual special effects and sound effects and editing the picture, adding the soundtrack, adding shooting of raw footage. These typically include: All stages of film production occurring after the Post-production ray, etc video can be distributed, such as VHS, DVD,Refers Blu-to the various physical formats on whichvideo Physical See Digital video recorder (DVR) (PVR) recorder video Personal frequently networked in office environments) operating independently of a network (although A lap-top or desk-top computer capable(PC) computer of Personal content including feature films viewers pay a subscription to access television A satellite or cable television system in which TV Pay communicate data internet that uses internet digital protocols to set or set-top A television the to connected box TV Smart Individual cinema premises Sites download-to-rent (DTR). See Video on Demand title for a limited period of time, also knowninvolves as a one-off rental of an individual film A type of Video on Demand business model which RentalVoD integrity, voice and vision of the film project to all relevant parties while preserving the A film producer oversees and delivers a film Producer scheduling and construction set scouting, location crew, of raw footage. This typically includes: recruitment film has been greenlit and before Allthe stages shooting of film production of occurring once a Pre-production GLOSSARY BFI Statistical Yearbook 2016 275 US studio film studio-backed See UK film UK UK the by such as certified is which film A Sport and Media Culture, for State of Secretary the via 1985, Act Films the of 1 Schedule under bilateral UK’s the of one under Test, Cultural European the or agreements co-production Co-production; Cinematographic on Convention certification for applied not has which film a or its of basis the on British obviously is which but the (in or talent; and finance producers, content, official the met which film a re-release) a of case time the at prevailing film British a of definition be to considered generally was or made was it British at that time spend UK The value of production expenditure, from pre- production through to completion, on activity programmes and films for UK the in incurred reliefs tax sector creative the of one for applying relevant the under production qualifying UK a as qualifying programmes and films For test. cultural treaties bi-lateral UK’s the of one under British as or (for films only) the European Convention onspend UK the Co-production, Cinematographic UK the by incurred costs production all includes production company The five main free-to-air channels: BBC One, BBC BBC One, BBC channels: free-to-air main five The 5 Channel and 4 Channel ITV, Two, cinema Traditional screens five than fewer with generally cinema A Often product. mainstream more shows that and suburbs or centres city in located building older an (TVoD) VoD Transactional business Demand on Video of description A titles individual of transactions on based models download-to-own. or download-to-rent as such Demand on Video See Turnover its from receives company a that revenue The time, of period a during activities business normal to services and goods of sale the from usually customers Ireland of Republic and UK UK the comprising territory distribution The publication this Where Ireland. of Republic and and UK the ‘in released been filmhas a indicates distribution the to refers it Ireland’ of Republic in release actual an to necessarily not and territory countries both Terrestrial television television Terrestrial Subscription VoD (SVoD) based model business Demand on Video of type A in monthly) (usually payment subscription a on Video See content. to unlimited returnaccess for on Demand Studio-backed film financial and/or creative with produced film A These companies. studio US major the from input Universal, NBC Group, Entertainment Fox are: Pictures Sony Group, Pictures Motion Paramount Group Pictures Motion Disney Walt Entertainment, Entertainment Bros Warner and The transmission of audiovisual content that that content audiovisual of transmission The a to presented and by received constantly is by delivered being is it as time same the at user start can player media client The provider. the been has file entire the before data the playing transmitted Streaming Statistically significant quantitative a of result the is that finding A be to unlikely is that analysis data or investigation due to chance Standard Industrial ClassificationStatistics (SIC)National for Office the by used system A of type the to according businesses classify to activity economic their Generally, non-mainstream films. This category category This films. non-mainstream Generally, films, subtitled and language foreign includes and productions ‘arthouse’ documentaries, feature audiences niche at aimed films Specialised films films Specialised Films originating from South Asia, for example example for Asia, South from originating Films exclusively, not though generally, and Bollywood, South a in and audience Asian South a at aimed language Asian South Asian films films Asian South Social group / Social grade grade Social / group Social group class by defined population the of section A classification a on based status, employment and The Society. Research Market the by used Upper the in people to refers group social ‘AB’ and higher in groups, class Middle and Middle social ‘C1’ The jobs. managerial intermediate Middle Lower the in in people to refers group managerial junior or supervisory with group, class the in people to refers group social ‘C2’ The jobs. Skilled Working class group, who aregroup categorisedsocial ‘DE’ The workers. manual skilled as or group class Working the in those to refers are who subsistence, of level lowest the at those state a of receipt in workers, manual semi-skilled lowest the or employment casual in pension, jobs grade 276 BFI Statistical Yearbook 2016 GLOSSARY See Digital video free/advert-supported VoD from catch up services. access to content for a fixed monthly sum; and through (EST); subscription VoD (SVoD) unlimited as known also electronic-sell- (DTO), to-own as download-to-rent and (DTR), retail or download- includestypes rentalbasic VoD, which a one-off(TVoD) three rental,transactional also model: knownemploy business of UK the in services VoD the time they want over an interactive network. films on a television set, PC or mobile device at A system that allows users to select and watch (VoD) Demand on Video under the video games cultural test the relief a video game must qualify as British that are played through a video device.) To access games are defined by HMRC as electronic games the relevant UK creative industry tax relief. (Video are those which have accessed or intend to access Within this Yearbook, the video games referred to game Video live action material imagery is created and/or manipulated outside of Visual effects. The various processes by which VFX interchangeably with global box office this Yearbook, worldwide box office is used and total global box office revenues. Within Refers to the boxoffice office acrossbox all global territories Worldwide instead of analogue printfilm distribution associated with using digital print distribution that distributors will benefit from cost savings by distributors. This is based on the assumption exhibitors’ costs of digital cinema equipment, paid equipment. The VPF is a contribution towards to helpcinema exhibitors purchase digital film The commercial joint funding model designed Fee (VPF) Print Virtual ACKNOWLEDGEMENTS BFI Statistical Yearbook 2016 277 Design: Design Incorporate Editorial management: John Murray Jim Barratt Eldridge Pip Simon Fathers Friend Matt ChrisHalliday Mansi Anna Russell Pippa Jen Sobel Topping Angela Additional material: Written by: Written Ian Cade Perkins Sean Tosta Alex Attentional Attentional Dodsworth Beacon Bigger Picture Research (BASE) Entertainment Screen for Association British British Board of Film Classification (BBFC) Broadcasters’ Audience Research Board (BARB) (CAA) Association Advertising Cinema All For Cinema comScore Skillset Creative (DCMS) Sport and Media Culture, for Department Media Cinema Digital Research Dodona European Audiovisual Observatory (EAO) European Film Agency Research Network (EFARN) Film Into (HESA) Agency Statistics Education Higher Her Majesty’s Revenue and Customs (HMRC) Her Majesty’s Treasury (HMT) IHS Joint Council for Qualifications (JCQ) Worldpanel Kantar Nielsen Media Research (NMR) Ofcom (ONS) Statistics National Officefor (OCC)Official Charts Company (PwC) PricewaterhouseCoopers Authority Qualifications Scottish Wales Hub Film YourLocalCinema.com ACKNOWLEDGEMENTS this Yearbook: contributions to for their various following organisations like to thank the would We 278 BFI Statistical Yearbook 2016 SOURCES HM Treasury, GDP deflators Findanyfilm.com database European Audiovisual Observatory, Lumière Dodona Research, cinema list 2016 2015 Ireland, March Dodona Research, film certification data Department for Culture, Media and Sport, British reports andbox office comScore,international UK weekly database comScore, month by admissions Cinema Advertising Association, cinema region TV ISBA by admissions Cinema Advertising Association, cinema Cinema For All, classifications database of film British Board of Film Classification (BBFC), database awards The British Academy of Film and Television Arts, Fund Film BFI Unit Certification Film BFI database Information and Collections BFI TV region, 2013 Beacon Dodsworth, UK population data by ISBA 2015 Attentional, database of film on UK television, Academy Awards The Academy of Motion Picture Arts and Sciences, distribution andexhibition UK talentandawards, release historyofUKflms, classifcation, specialisedflms,UKflmsworldwide, hapters 1to10oxofce,topflms,genre and SOURCES International Box Office Essentials Community Exhibitor Survey 2014/15 ® database Cinema industry research: UK and media outlook2016-2020,June 2016 PricewaterhouseCoopers, Company, Charts Official video charts Report 2015 Ofcom, Ofcom, (unpublished) – amarket study report for theBritishFilm Institute McIntyre, Hargreaves Morris Kantar Worldpanel, 2016 Intelligence 2015 Intelligence, Video Intelligenceand Broadband Media IHS, Of Films In VOD CataloguesIn The EU, November 2015 Observatory, Audiovisual European and Cinema Advertising Association, Service Measurement Audience Broadcasters’ Audience Research Board, Television 2015 Yearbook Entertainment, Screen of Association British Sources from previous chapters, plus: and audiences ideo andteleision,theUKflmmarketasawhole hapters 11to15Filmonphysicalideo,digital YourLocalCinema.com Screenbase, The European Film Index by high level areas forOffice National Statistics, population estimates reports Nielsen Media Research, monthly media spend market statistics Motion Picture Association of America, theatrical IMDb IHS, 2016 Global MediaIntelligence(monthly), Cinema Intelligence Children and Parents: Media Use and Attitudes Adults’ MediaUseand Attitudes Report2016 Global entertainment and Measuring Your Reach Film Monitor Film Note 4 – Origin TV

BASE 2015

BFI Statistical Yearbook 2016 SOURCES 279 Attainment Attainment Provisional Results Results Provisional nnual Business Business nnual ize Analysis of UK UK of Analysis ize 2011 International International Survey, Labour Force Annual Business Business Annual Population Annual Departmental Inter in Trade International 2016

Scottish Qualifications Authority, Authority, Qualifications Scottish Statistics Attainment 2008, (December) Statistics (December) 2015 the now – (UKTI) Investment & Trade UK Trade International for Department Office for National Statistics, Statistics, National Officefor industries television and film UK the of transactions Statistics, National Officefor 2015 S Statistics, National Officefor data), and PAYE Businesses (VAT National Film and Television School (NFTS) Lottery National National/Regional Development Agencies National Screen Agencies A Statistics, National Officefor Inquiry Statistics, National Officefor 2014 Survey, Statistics, National Officefor 2015 Survey, Statistics, National Officefor Business Register Statistics, National Officefor Services Her Majesty’s Revenue and Customs (HMRC) Her Majesty’s Treasury (HMT) HESA Limited, Agency Statistics Education Higher Record Student Film Into Joint Council for Qualifications, and Results 2015 Full Course 2015 Yearbook 2015 Foreign and Commonwealth Office FILMCLUB, Film Clubs, 2012 and 2013 and 2012 Clubs, Film FILMCLUB, Film Education, National Schools Film Week Week Film Schools National Education, Film attendance European Audiovisual Observatory, Devolved administrations Devolved Department for Education for Department Department for Business, Innovation and Skills and Innovation Business, for Department & Energy Business, for Department the now – (BIS) IndustrialStrategy Department for Culture, Media and Sport (DCMS) Sport and Media Culture, for Department Creative Skillset Creative Creative Europe Desk UK Desk Europe Creative Channel 4 Channel British Film Commission British Council British Broadcasting Corporation (BBC) Bigger Picture Research BFI Research and Statistics Unit production and certificationtracking BFI Education BFI Film Academy statistics, 2015/16 BFI Business Performance and Project Support Support Project and Performance Business BFI tracking performance Arts Council England Council Arts Sources from previous chapters, plus: chapters, previous from Sources hapters 16 to 22 flm education, screen sector sector screen education, 22 flm 16 to hapters inestment in public and certifcation, production economy the UK flm UK, flm companies, flm in the and employment Research & Statistics Unit 21 Stephen Street, London W1T 1LN bfi.org.uk/statistics