DOCSLIB.ORG

UK Film Council Annual Report and Accounts 2003-2004 Part 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UK Film Council Annual Report and Accounts 2003-2004 Part 1 Intro_2004_14.qxd 19/11/04 2:32 pm Page 3 (formerly Film Council) Group and Lottery Annual Report and Financial Statements for the year ended 31 March 2004 Company no: 3815052 Intro_2004_14.qxd 19/11/04 2:32 pm Page 4 Contents Chairman’s foreword Chairman’s foreword ................................................................................................................. 5 Welcome to our fourth annual report of the UK Film Council. policy objectives for the UK film industry and for UK film culture and education over Chief Executive Officer’s review ................................................................................................ 6 The Board of Directors spent a good deal of time during the next few years. the year looking forward, formulating our second strategic Summary of activity ................................................................................................................... 9 plan which sets the compass for our activities over the During the year, we unveiled a new strategy in next three years. The plan builds on the priorities set partnership with Skillset for developing the film The role of the UK Film Council ............................................................................................... 10 out at our inception, seeking to consolidate what we’ve workforce backed with serious investment; saw already achieved – for example, through continuing direct a fundamental review of the British Film Institute; Diversity and inclusion .............................................................................................................. 10 support for script development and film production – worked with industry and Government to secure a while developing the basis for new and expanded policy new tax mechanism for film; and implemented a radical Nations and regions .................................................................................................................. 11 interventions. These include policies that address the support scheme for the distribution of specialised films. increasing problem of film piracy, that help us deliver Culture and education .............................................................................................................. 11 on our commitment to cultural diversity and inclusion, However, a great deal more remains to be done and that will help enhance media literacy among the UK to maximise the potential of UK film at home and Skills training ............................................................................................................................ 12 population as a whole. around the world. As I said in my presentation at BAFTA in November 2002, the UK Film Council exists to serve Developing better scripts .......................................................................................................... 13 The development of strategy is, of course, informed by our industry and to advise Government. But we can’t be an analysis of the current performance of the UK film the industry, or define film culture: the UK Film Council Film production ........................................................................................................................ 13 industry and the impact of UK film culture. That is one exists only to encourage an environment in which reason why the statistics produced by our Research and industry and culture can flourish and thrive. First Light – young people making movies ................................................................................ 15 Statistics Unit are so invaluable. Over the next four years, therefore, the task of Stewart Supporting quality, popular films............................................................................................... 15 The statistics are also a crucial tool in enabling those Till CBE, the new Chair, and the entire Board will be to within the industry and working in film culture and build upon what we’ve already achieved and I wish The production franchises ......................................................................................................... 16 education to plan and develop their business and them every success. I think it is true to say that whilst policies. The provision of these statistics is an excellent the funding landscape is clearer and more equitable Distribution and exhibition ....................................................................................................... 17 example of the way in which the UK Film Council is than ever before, the real prize – closer integration now delivering significantly enhanced value to its across the industry, and in particular, stronger lines The UK’s position as an international business ‘hub’ ................................................................. 17 external stakeholders. between the finance, production and distribution sectors – is still to be won. The USA .................................................................................................................................... 18 This is the last introduction I shall be writing to this publication. And by the time it is published, I shall have For the moment the ‘cottage industry’ of production still Europe ...................................................................................................................................... 18 retired from the Board after five years as UK Film Council prevails and until that structure changes there will always chair. I look back with considerable pride on what we be a need for a UK Film Council to stimulate change and Film export promotion and international marketing ................................................................. 19 have achieved in a relatively short space of time and I’m to challenge the industry to raise its game. extremely grateful for the work put in by all my fellow Monitoring and evaluation ..................................................................................................... 20 Board members and by the UK Film Council staff – effort that has paid real dividends. Operating and financial review .............................................................................................. 21 We have brought structural coherence to the landscape Employment statistics ............................................................................................................. 24 of policy and public funding for UK film – something ___________________________________ that was clearly absent when we began our work. We Sir Alan Parker CBE Group Annual Report and financial statements ..................................................................... 26 have made targeted and effective interventions in Chairman virtually every part of the film sector from developing 30 July 2004 Lottery Annual Report and financial statements .................................................................. 70 new creative talent through to cinema exhibition. And we have laid out a clear path for the delivery of public Statutory background ........................................................................................................... 116 4 GROUP AND LOTTERY ANNUAL REPORT AND FINANCIAL STATEMENTS 2003/04 GROUP AND LOTTERY ANNUAL REPORT AND FINANCIAL STATEMENTS 2003/04 5 Intro_2004_14.qxd 19/11/04 2:32 pm Page 6 Chief Executive Officer’s review As this publication goes to print, we are releasing promote the production of lower budget British films However, supporting film production is only one way Offering opportunities for people to learn more about our second three–year strategic plan (available at and to complement the ongoing Section 42 incentive of helping to achieve our objectives, where success film in a variety of ways and environments is also central www.ukfilmcouncil.org.uk) which sets out the that attracts bigger, mainly US studio-backed, British will not be determined solely by investing relatively to developing film in the UK. Our key strategic partner funding and policy priorities for the UK Film films into the UK. That case was made effectively during small amounts of public money. Three big problems, in achieving these goals is the British Film Institute (bfi), Council for the next three years (2004 to 2007). 2003 with the result being the announcement of a new which have held back the development of the UK film which announced in 2004 the results of a strategic tax credit to support indigenous UK film productions industry, were outlined by our Chairman, Sir Alan review, setting out how the organisation will become During our first three years (2000/03), we totally which will pass into law during 2004/05. Parker CBE, at the end of 2002. Put simply, these more outward-looking and work in partnership with restructured the way that public funding is invested in are to improve the effective distribution of UK films, others in order to promote film appreciation and to a range of film initiatives, including script development, The Government has also noted a structural disconnection at home and abroad; to create a favourable operating broaden the availability of our television and film film production, and the development of film in the between the production and distribution sectors which environment for the UK film industry (including fiscal culture and heritage. English regions. That first stage of our work has been continues to inhibit industry growth. Discussions aimed incentives and a more strategic approach to co-production); successfully completed so now
Load more

Recommended publications
  • Darrol Blake Transcript
    Interview with Darrol Blake by Dave Welsh on Tuesday the 21st of September 2010 Dave Welsh: Okay, this is an interview with Darrol Blake on Tuesday the 21st of September 2010, for the Britain at Work Project, West London, West Middlesex. Darrol, I wonder if you'd mind starting by saying how you got into this whole business. Darrol Blake: Well, I'd always wanted to be the man who made the shows, be it for theatre or film or whatever, and this I decided about the age of eleven or twelve I suppose, and at that time I happened to win a scholarship to grammar school, in West London, in Hanwell, and formed my own company within the school, I was in school plays and all that sort of thing, so my life revolved around putting on shows. Nobody in my family had ever been to university, so I assumed that when I got to sixteen I was going out to work. I didn't even assume I would go into the sixth form or anything. So when I did get to sixteen I wrote around to all the various places that I thought might employ me. Ealing Studios were going strong at that time, Harrow Coliseum had a rep. The theatre at home in Hayes closed on me. I applied for a job at Windsor Rep, and quite by the way applied to the BBC, and the only people who replied were the BBC, and they said we have vacancies for postroom boys, office messengers, and Radio Times clerks.
    [Show full text]
  • The Finance and Production of Independent Film and Television in the UK: a Critical Introduction
    The Finance and Production of Independent Film and Television in the UK: A Critical Introduction Vital Statistics General Population: 64.1m Size: 241.9 km sq GDP: £1.9tr (€2.1tr) Film1 Market share of UK independent films in 2015: 10.5% Number of feature films produced: 201 Average visits to cinema per person per year: 2.7 Production spend per year: £1.4m (€1.6) TV2 Audience share of the main publicly-funded PSB (BBC): 72% Production spend by PSBs: £2.5bn (€3.2bn) Production spend by commercial channels (excluding sport): £350m (€387m) Time spent watching television per day: 193 minutes (3hrs 13 minutes) Introduction This chapter provides an overview of independent film and television production in the UK. Despite the unprecedented levels of convergence that characterise the digital era, the UK film and television industries remain distinct for several reasons. The film industry is small and fragmented, divided across the two opposing sources of support on which it depends: large but uncontrollable levels of ‘inward-investment’ – money invested in the UK from overseas – mainly from the US, and low levels of public subsidy. By comparison, the television industry is large and diverse, its relative stability underpinned by a long-standing infrastructure of 1 Sources: BFI 2016: 10; ‘The Box Office 2015’ [market share of UK indie films] ; BFI 2016: 6; ‘Exhibition’ [cinema visits per per person]; BFI 2016: 6; ‘Exhibition’ [average visits per person]; BFI 2016: 3; ‘Screen Sector Production’ [production spend per year]. 2 Sources: Oliver & Ohlbaum 2016: 68 [PSB audience share]; Ofcom 2015a: 3 [PSB production spend]; Ofcom 2015a: 8.
    [Show full text]
  • Board Membership
    Board Membership Film London wishes to appoint two new members to the Board of Film London chaired by Daniel Battsek. As the terms of two of our Trustees are coming to a close in September 2021, Film London is keen to attract three to four candidates to replace the skills and expertise these board members are bringing to our Board. We are therefore looking for outstanding candidates who have a substantial knowledge and experience at a very senior level in one or more of the following areas: Cinema Exhibition Film and TV Content Distribution / Streaming In addition, candidates should bring a strong commercial background in the creative industries across film, TV, animation and games. We strongly encourage applications from under-represented groups, including black, Asian and minority ethnic groups, and those with disabilities. About Film London Film London is the capital’s screen industries agency. We connect ideas, talent and finance to develop a pioneering creative culture in the city that delivers success in film, television, animation, games and beyond. We work to sustain, promote and develop London as a global content production hub, support the development of the city’s new and emerging filmmaking talent and invest in a diverse and rich film culture. Film London is funded by the Mayor of London, the National Lottery through the BFI, and receives significant support from Arts Council England and DIT. Film London also has a national division, the British Film Commission and co-owns Games London with Ukie. Film London is a registered charity, No. 1163968. Based at Film London, the British Film Commission is the government backed national body responsible for globally promoting the UK as the best place to produce feature films.
    [Show full text]
  • UK@Kidscreen Delegation Organised By: Contents
    © Bear Hunt Films Ltd 2016 © 2016 Brown Bag Films and Technicolor Entertainment Services France SAS Horrible Science Shane the Chef © Hoho Entertainment Limited. All Rights Reserved. ©Illuminated Films 2017 © Plug-in Media Group Ltd. UK@Kidscreen delegation organised by: Contents Forewords 3-5 KidsCave Entertainment Productions 29 David Prodger 3 Kidzilla Media 30 Greg Childs and Sarah Baynes 4-5 Kindle Entertainment 31 Larkshead Media 32 UK Delegate Companies 6-53 Lupus Films 33 Accorder Music 6 MCC Media 34 Adorable Media 7 Mezzo Kids 35 Animation Associates 8 Myro, On A Mission! 36 Blink Industries 9 Blue-Zoo Productions 10 Ollie’s Edible Adventures/MRM Inc 37 Cloth Cat Animation 11 Plug-in Media 38 DM Consulting 12 Raydar Media 39 Enabling Genius 13 Reality Studios 40 Eye Present 14 Serious Lunch 41 Factory 15 Sixth Sense Media 42 Film London 16 Spider Eye 43 Fourth Wall Creative 17 Studio aka 44 Fudge Animation Studios 18 Studio Liddell 45 Fun Crew 19 The Brothers McLeod 46 Grass Roots Media 20 The Children’s Media Conference 47 History Bombs Ltd 21 The Creative Garden 48 HoHo Rights 22 Three Arrows Media 49 Hopster 23 Thud Media 50 Ideas at Work 24 Tiger Aspect Productions 51 Illuminated Productions 25 Tom Angell Ltd 52 ITV PLC 26 Visionality 53 Jellyfish Pictures 27 Jetpack Distribution 28 Contacts 54 UK@Kidscreen 2017 3 Foreword By David Prodger, Consul General, Miami, Foreign and Commonwealth Office I am delighted to welcome such an impressive UK delegation to Kidscreen which is taking place in Miami for the third time.
    [Show full text]
  • Unseen Horrors: the Unmade Films of Hammer
    Unseen Horrors: The Unmade Films of Hammer Thesis submitted by Kieran Foster In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2019 Abstract This doctoral thesis is an industrial study of Hammer Film Productions, focusing specifically on the period of 1955-2000, and foregrounding the company’s unmade projects as primary case studies throughout. It represents a significant academic intervention by being the first sustained industry study to primarily utilise unmade projects. The study uses these projects to examine the evolving production strategies of Hammer throughout this period, and to demonstrate the methodological benefits of utilising unmade case studies in production histories. Chapter 1 introduces the study, and sets out the scope, context and structure of the work. Chapter 2 reviews the relevant literature, considering unmade films relation to studies in adaptation, screenwriting, directing and producing, as well as existing works on Hammer Films. Chapter 3 begins the chronological study of Hammer, with the company attempting to capitalise on recent successes in the mid-1950s with three ambitious projects that ultimately failed to make it into production – Milton Subotsky’s Frankenstein, the would-be television series Tales of Frankenstein and Richard Matheson’s The Night Creatures. Chapter 4 examines Hammer’s attempt to revitalise one of its most reliable franchises – Dracula, in response to declining American interest in the company. Notably, with a project entitled Kali Devil Bride of Dracula. Chapter 5 examines the unmade project Nessie, and how it demonstrates Hammer’s shift in production strategy in the late 1970s, as it moved away from a reliance on American finance and towards a more internationalised, piece-meal approach to funding.
    [Show full text]
  • The British Film Industry
    House of Commons Culture, Media and Sport Committee The British Film Industry Sixth Report of Session 2002–03 Volume I HC 667-I House of Commons Culture, Media and Sport Committee The British Film Industry Sixth Report of Session 2002–03 Volume I Report, together with formal minutes Ordered by The House of Commons to be printed 9 September 2003 HC 667-I Published on 18 September 2003 by authority of the House of Commons London: The Stationery Office Limited £0.00 The Culture Media and Sport Committee The Culture, Media and Sport Committee is appointed by the House of Commons to examine the expenditure, administration, and policy of the Department for Culture, Media and Sport and its associated public bodies. Current membership Mr Gerald Kaufman MP (Labour, Manchester Gorton) (Chairman) Mr Chris Bryant MP (Labour, Rhondda) Mr Frank Doran MP (Labour, Aberdeen) Michael Fabricant MP (Conservative, Lichfield) Mr Adrian Flook MP (Conservative, Taunton) Alan Keen MP (Labour, Feltham and Heston) Miss Julie Kirkbride MP (Conservative, Bromsgrove) Rosemary McKenna MP (Labour, Cumbernauld and Kilsyth) Ms Debra Shipley (Labour, Stourbridge) John Thurso MP (Liberal Democrat, Caithness, Sutherland and Easter Ross) Derek Wyatt MP (Labour, Sittingbourne and Sheppey) Powers The Committee is one of the departmental select committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No 152. These are available on the Internet via www.parliament.uk. Publications The Reports and evidence of the Committee are published by The Stationery Office by Order of the House. All publications of the Committee (including press notices) are on the Internet at http://www.parliament.uk/parliamentary_committees/culture__media_and_sport.
    [Show full text]
  • FOI Request/Question Responding Email 1) the Full Breakdown of Tim Cagney’S Contract and Benefits Surrounding His Appointment to the UK Film 1
    FOI Request/Question Responding Email 1) The full breakdown of Tim Cagney’s contract and benefits surrounding his appointment to the UK Film 1. The BFI does not hold any records in relation to Tim Cagney’s employment at the UK Film Council, except that the BFI is aware that Mr. Cagney Council, the termination of his contract at the UK Film Council, his appointment to the BFI. 2) Full details of the waived his right to a redundancy payment from the UK Film Council. The contract of employment for Tim Cagney is considered to be personal data current status of British Screen Group and any material relating to the BFI’s plans for it. 3) Full details of the and therefore is exempt under Section 40 of the Freedom of Information Act 2000, however details of Tim Cagney’s renumeration for 2011-12 will current status of Creative England, including details of managerial departures, and any material relating to the be detailed on the BFI website as part of its transparency agenda, at a later date; 2. At the time of your request, the British Screen Group of BFI’s plans for it. 4) Of those people who have received redundancy money from the UK Film Council, how many companies were owned by the UK Film Council. However, since your request the BFI acquired the British Screen Group on 28 June 2011 and has no and which of them are now employed by or working with the BFI or Film London in some capacity? 5) How immediate plans to change the operation of the group.
    [Show full text]
  • Ealing Studios and the Ealing Comedies: the Tip of the Iceberg
    Ealing Studios and the Ealing Comedies: the Tip of the Iceberg ROBERT WINTER* In lecture form this paper was illustrated with video clips from Ealing films. These are noted below in boxes in the text. My subject is the legendary Ealing Studios comedies. But the comedies were only the tip of the iceberg. To show this I will give a sketch of the film industry leading to Ealing' s success, and of the part played by Sir Michael Balcon over 25 years.! Today, by touching a button or flicking a switch, we can see our values, styles, misdemeanours, the romance of the past and present-and, with imagination, a vision of the" future. Now, there are new technologies, of morphing, foreground overlays, computerised sets, electronic models. These technologies affect enormously our ability to give currency to our creative impulses and credibility to what we do. They change the way films can be produced and, importantly, they change the level of costs for production. During the early 'talkie' period there many artistic and technical difficulties. For example, artists had to use deep pan make-up to' compensate for the high levels of carbon arc lighting required by lower film speeds. The camera had to be put into a soundproof booth when shooting back projection for car travelling sequences. * Robert Winter has been associated with the film and television industries since he appeared in three Gracie Fields films in the mid-1930s. He joined Ealing Studios as an associate editor in 1942 and worked there on more than twenty features. After working with other studios he became a founding member of Yorkshire Television in 1967.
    [Show full text]
  • 'A British Empire of Their Own? Jewish Entrepreneurs in the British Film
    ‘A British Empire of Their Own? Jewish Entrepreneurs in the British Film Industry’ Andrew Spicer (University of the West of England) Introduction The importance of Jewish entrepreneurs in the development of Hollywood has long been recognized, notably in Neil Gabler’s classic study, An Empire of Their Own (1988). No comparable investigation and analysis of the Jewish presence in the British film industry has been conducted.1 This article provides a preliminary overview of the most significant Jewish entrepreneurs involved in British film culture from the early pioneers through to David Puttnam. I use the term ‘entrepreneur’ rather than ‘film-maker’ because I am analyzing film as an industry, thus excluding technical personnel, including directors.2 Space restrictions have meant the reluctant omission of Sidney Bernstein and Oscar Deutsch because the latter was engaged solely in cinema building and the former more significant in the development of commercial television.3 I have also confined myself to Jews born in the UK, thus excluding the Danziger brothers, Filippo del Giudice, Menahem Golan and Yoram Globus, Alexander Korda, Harry Saltzman and Max Schach.4 I should emphasize that my aim is to characterize the nature of the contribution of my chosen figures to the development of British cinema, not provide detailed career profiles.5 The idea that Jews controlled the British film industry surfaced most noticeably in the late 1930s when the undercurrent of anti-Semitic prejudice in British society took public forms; Isidore Ostrer, head of the giant Gaumont-British Picture Corporation (GBPC) was referred to in the House of Commons as an ‘unnaturalised alien’ (Low 1985: 243).
    [Show full text]
  • Title: Get the London Look: Anna Neagle As the Emblem of British Fashion and Femininity in Maytime in Mayfair (1949). Between 19
    Title: Get the London Look: Anna Neagle as the Emblem of British Fashion and Femininity in Maytime in Mayfair (1949). Between 1947 and 1952, the top British female star at the domestic box office was Anna Neagle. She had displaced Margaret Lockwood, who had achieved the top position during the war years with her turns as dangerous and subversive women in Gainsborough pictures such as The Man in Grey (Arliss, 1943) and, most famously, The Wicked Lady (Arliss, 1945). In both films Lockwood co-starred with James Mason, the brooding, somewhat sadistic idol to a legion of female fans. Mason, mirroring Lockwood’s popularity, was the top male star of 1945 and his appeal was a ‘combination of romantic allure and Sadean fascination’ (Evans 2001: 108) – an appeal that meshed with Lockwood’s ‘unity of transgression and sexual appetite’ (Babington 2001: 94). Aimed at a largely female audience, the Gainsborough melodramas provided escapism and the danger and sexual allure of the characters and stars resulted in a skewing of ‘moral logic’ (Leach 2004: 67), which Jeffrey Richards reads as revelatory of the wartime dislocation of moral values (Richards 1985: 292). With the end of the war, however, there came a reclamation of traditional values, not least in British cinema. In the years immediately following the war, there was a distinct pattern in British films that foregrounded ‘the British people’ as hero, a pattern following the wartime work of Humphrey Jennings in providing images of a united Britain; and the idea image of a Briton was a figure of restraint, good-humour and self-deprecation.
    [Show full text]
  • The Decline of the British Film Industry: an Analysis of Market Structure, the Firm and Product Competition
    The decline of the British film Industry: an analysis of market structure, the firm and product competition. A thesis submitted for the degree of Doctor of Philosophy By Stephen Romer Brunel University Department of Economics 1993 For John Carrol Romer and Dorothy Romer ACKNOWLEDGEMENTS I would like to thank Dr. David Burningham and Dr. Peter Swann of the Department of Economics at Brunel University for their careful supervision and for their tactful advice. CONTENTS Page Index to Tables and Figures 3 Chapter 1. Introduction to the Thesis 6 List of Interviewees 15 Chapter 2. An Overview of the British Film Industry 16 2.1 Demand Profile 17 2.2 The Industry's Output 36 2.3 The Structure of the Industry 56 2.4 Government Policy 68 Chapter 3. The Problems of the Industry 84 3.1 An Environment of Decline 85 3.2 The New Wave 112 3.3 The Performance of the Duopolists 127 3.4 Contemporary Case Studies 164 3.5 Structure, Conduct, Performance 182 Chapter 4. The Firm 199 4.1 Sources of Finance 200 -1- 4.2 The Financing Process, Risk and Film Investment 226 4.3 The Structure and Control of Production Costs 250 4.4 Surveys of Production Costs 274 4.5 The Economics of the Firm 291 Chapter 5. Product Competition 314 5.1 Background 315 5.2 Clustering Analysis 1: Genre, Budget and Censorship Certification 326 5.3 Clustering Analysis 2: Nostalgic and Literary Attributes in the 1980s 344 5.4 Clustering Analysis 3: Nostalgic and Literary Attributes in the Post War Period 361 5.5 The Economics of Product Competition 378 Chapter 6.
    [Show full text]
  • Tv & Film Industry Guide
    TV & FILM INDUSTRY GUIDE Updated May 2017 This is a guide to some of the resources available through Business & IP Centre Hull relevant to the TV & Film industry. Inside you will find sources of information such as market research (statistics, trends, developments), key companies, trade magazines, newsletters, and Internet sources. This guide will be useful to anyone starting a business within the TV and Film industry and also for those wanting to further their knowledge within this area. 1 Julie Boadilla (amended Hull Libraries) Start-Up Information The Cobra database contains practical fact-sheets on all aspects of starting, running and managing a small business – including information on writing business plans, marketing, company structures etc. It also covers the practical aspects of how to start and run particular types of businesses – such as outlining necessary skills, regulations, licences & legislation and highlights other sources of information and advice available. Available in all Libraries and via Library website for members Business Opportunity Profiles (BOP) Entertainment Agency BOP375 Performing Arts Company BOP383 Videographer BOP020 Actor MBP307 DVD and Video Game Hire MBP 198 Business Information Fact Sheets A Guide to Using Copyright to Protect Your Work BIF218 A Guide to Using the Copyright of others BIF157 Small Business Help Books This is a collection of books with practical information aimed at those starting and running a business. The documentary filmmakers handbook (Genevieve Jolliffe and Andrew Zinnes, 2012) This text features interviews with industry professionals on subjects as diverse as interview technique, setting up your own company, pitching your proposal, editing and distribution. It also includes in-depth case studies of successful documentary films.
    [Show full text]