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Prom Oting the Big Screen UK Cinema Association 3 Soho Square London W1D 3HD United Kingdom T +44 (0)20 7734 9551 E [email protected] W www.cinemauk.org.uk @cinema_uk Registration number 5144256 Annual Report 2018 Promoting the big screen UK Cinema Association Annual Report 2018 UK Cinema Association Promoting the big screen Head O ce Introduction 1 Phil Clapp 01 UK cinema performance – an overview 3 James Connor 02 Strategic issues 7 Seema Saujani 03 Legislation and lobbying 13 04 Public advocacy 19 3 Soho Square 05 Promotion and marketing 23 London 06 Operational issues 27 W1D 3HD 07 Partnerships 37 United Kingdom 08 Finance 41 Past Presidents 43 T: 020 7734 9551 Executive Board Members – April 2018 44 E [email protected] W www.cinemauk.org.uk @Cinema_UK Registration number 5144256 Annual Report 2018 1 Introduction 2018 was by any measure an exceptional year But that exceptional performance was also for the UK cinema sector. undoubtedly the result of a strong public response to massive levels of ongoing investment in the Across the full twelve months, the cinema-going big screen experience, including a large number public responded to a diverse film slate and of new openings and significant refurbishments. continued investment by cinema operators in all The year saw over a dozen new sites – representing aspects of the big screen experience. Such was almost 100 screens – open to the cinema-going the strength of this response that by year-end, public, involving venues of all sizes and across all UK cinema admissions were at their highest level business models. for almost 50 years. That is a trend that is set to continue over the Unlike most recent years, no one or two titles enjoyed coming years, confirming the good health of the runaway success. Instead the year saw an unusually UK cinema sector and its ongoing resilience in the large number of strongly-performing films across face of economic uncertainty and the commercial a range of genres and audiences. No fewer than challenges being faced in particular by others eleven titles released in 2018 went on to realise over operating in the leisure and retail spheres. £30 million at the box oce with a definite ‘feel- good’ theme running through many of the most Increasingly urgent preparations for ‘Brexit’ meant successful titles, including The Greatest Showman, that there were comparatively few opportunities to Mamma Mia: Here We go Again! and Bohemian engage with key politicians and policy-makers during Rhapsody. 2018, but where that was possible – on matters as diverse as public health, business rates, unauthorised Film distribution colleagues helped play a major developments and the National Minimum Wage – role here, continuing to observe a 12 months, the Association was able also to reinforce its core 52 weeks of the year release strategy, with films messages around the economic, social and cultural from each quarter of 2018 eventually occupying value of the UK cinema sector. the year’s top ten. During the year, the Association continued to work with its members and colleagues from across the industry on a wide range of strategic and operational issues. Many of these – such as the implementation of the data handling requirements around GDPR and work to reduce levels of consumption of single-use plastics – were wider issues which required specific consideration in the context of the cinema sector. 2 UK Cinema Association In that vein, as in previous years, a significant amount A well-received conference on e-commerce and of Association time was spent on issues around retail in March saw a significant strengthening of disability and access, with the aim of maintaining and links with the Association’s sister trade body REVO, enhancing the reputation of the UK sector as a World representing the commercial retail property sector. leader in accessibility. In particular the year saw the This development underlines increasing joint activity launch of the ground-breaking Technology Challenge between the two sectors on the ground. Fund, an attempt by the Association to stimulate new thinking around the challenging area of subtitled Backed by continuing marketing muscle, 2018 saw screenings for deaf and hard of hearing customers. the Meerkat Movies 2 for 1 cinema ticket promotion – now in its fifth year – continue to grow, providing Eorts to maintain the security of film content further evidence of its value in driving incremental also continued to enjoy great success. While – after cinema admissions for operators of all sizes. almost three years without a film being recorded in a UK cinema – two such incidents in 2018 The Association remains dependent on – and hugely were of course disappointing, that small number grateful for – the support and engagement of its nevertheless pays testament to the hard work of Executive Board, wider membership and partners cinema sta across the country in keeping their sites across the industry as it endeavours to support secure and the Film Content Protection Agency in cinema operators large and small in ensuring that as supporting, advising and investigating in this area. many people as possible choose to see films in their best possible setting – the cinema theatre. Annual Report 2018 3 01 UK cinema performance - an overview 4 UK Cinema Association The year in review 2018 was by any measure an exceptional year The top ten films for the year were as for the UK cinema sector. Across the follows. 1.1 1.3 full twelve months of the year, the cinema-going public responded to a diverse film slate and continued investment by cinema operators in all aspects of the big screen experience. Such was the strength of that response that by year-end, UK cinema admission were at 177 million, their highest level for almost 50 years.. The monthly figures for UK admissions in 2018, 1.2 alongside those for 2017, are set out below. Cinema Cinema Box admissions admissions Change o ce Country 2018 2017 % Title Distributor £m January 16,201,679 14,995,364 +8.0 1 Avengers: Infinity War Walt Disney 66.7 February 16,104,240 16,479,373 -2.3 2 Mamma Mia: Here We Go Again! Universal 60.7 March 13,530,321 16,153,356 -16.2 3 Incredibles 2 Walt Disney 52.2 April 15,499,145 15,642,269 -1.0 4 Black Panther Walt Disney 47.8 May 13,723,204 11,340,178 +21.0 5 Bohemian Rhapsody 20th Century Fox 44.7 June 10,411,163 9,583,856 +8.6 6 Jurassic World: Fallen Kingdom Universal 38.7 July 15,614,626 17,803,869 -12.3 7 Peter Rabbit Sony 38.0 August 19,224,516 14,474,561 +32.8 8 The Greatest Showman 20th Century Fox 37.8 September 10,132,727 10,783,134 +6.0 9 Fantastic Beasts: Warner Bros 31.3 The Crimes Of Grindelwald October 16,047,372 12,106,187 +32.6 10 Deadpool 2 20th Century Fox 30.6 November 14,847,358 14,089,744 +5.4 Source: ComScore December 15,665,130 17,164,883 -8.7 Total 177,001,481 170,616,774 +3.7 Source: Cinema Advertising Association Annual Report 2018 5 2018 began strongly, with The Greatest That 2018 ended up with total admissions 1.4 Showman (which went on to be perhaps 1.7 of 177 million – the highest figure since 1970 the year’s longest-running title) drawing in – is testament therefore to an exceptionally strong enthusiastic audiences, complemented by titles final third to the year, which saw continued success released late in the previous year – Star Wars: the for some Summer titles underpinned by the Last Jedi and Jumanji: Welcome to the Jungle – exceptional performance of Autumn/Winter as well as a number of BAFTA-nominated titles releases such as Bohemian Rhapsody and Fantastic including Darkest Hour and the eventual ‘best film’ Beasts: The Crimes of Grindelwald. winner Three Billboards Outside Ebbing, Missouri. Taken as a whole, 2018 was unusual in While that early momentum tailed o a 1.8 that there were not – as there had been 1.5 little over the next couple of months, there in previous years, one or two runaway leading titles, were nevertheless still a number of titles which kept but instead a wide range of strongly-performing box oce more than ticking over, in particular the releases. Indeed Avengers: Infinity War, the largest ground-breaking Black Panther (which went on film of the year, made less than £70 million at the to be the fourth biggest title of the year), Coco UK box oce. But there were ten other titles that and Peter Rabbit. made more than £30 million, confirming the public’s enthusiastic response to a diverse and Late Spring and into the early Summer year-round slate. 1.6 however saw the year really take o, with the release of Avengers: Infinity War – which Alongside those remarkable 2018 went on to be the biggest title of the year – as 1.9 admissions figures, the sector achieved well as Deadpool 2 and Solo: A Star Wars Story. parity in terms of box oce with 2017, the final Complemented by the subsequent releases of figure coming in at £1,277,122,327. Jurassic Park: Fallen Kingdom, Incredibles 2 and Mamma Mia: Here We Go Again!, the sector entered That performance was underpinned by the latter stages of the Summer level in terms of 1.10 an exceptional contribution to the admissions with 2017, itself a strong year. box oce by British films, where UK independent and UK-qualified content accounted for a record 44.8 per cent of total revenues.
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