OUR MISSION Sci-Fi Days of Fear and Wonder screening, Jodrell Bank Observatory

The BFI is the lead organisation Our strategic plan for 2012–2017 is responsible for the cultural, creative set out in Film Forever and covers all and economic aspects of film in the UK. BFI activity. Our work is funded by Our mission is to ensure that film is a mix of Government Grant in Aid central to our cultural life. (GiA), National Lottery for Good Causes and our own earned income, We do this by: including fundraising and new – Growing the next generation of entrepreneurial activity. filmmakers and audiences; We are a registered charity governed – Connecting audiences to the widest by a Royal Charter and a distributor choice of British and World cinema; of Lottery funds for film. – Preserving and restoring the most significant film collection in the world for today and future generations; – Championing emerging and world class filmmakers in the UK through investing in creative, distinctive and entertaining work; – Promoting British film, talent, skills, facilities and services to the world; – With a UK-wide focus, delivering education, talent, skills and audience development at a community, local and regional level.

Cover: 2001: A Space Odyssey (Stanley Kubrick, 1968), part of our sci-fi blockbuster season.

2 3 SUPPORTING THE PUBLIC POLICY, CONTENTS FUTURE SUCCESS LEADERSHIP OF BRITISH FILM AND ADVOCACY BY INVESTING IN PAGE 56 INTRODUCTION FILM DEVELOPMENT, PAGE 4 PRODUCTION, TALENT AND SKILLS FUNDRAISING PAGE 33 AND PHILANTHROPY PAGE 63

BFI INCOME & EXPENDITURE PAGE 66

Page 33

Page 28 Page 48

EXPANDING UNLOCKING FILM EDUCATIONAL HERITAGE FOR OPPORTUNITIES EVERYONE IN THE AND BOOSTING UK TO ENJOY BY AUDIENCE CHOICE INVESTING IN ACROSS THE UK PRESERVATION, DIGITISATION, EDUCATION INTERPRETATION AND ACCESS PAGE 6 PAGE 48 AUDIENCES PAGE 10

Page 6 Page 28 Fear and Wonder to over 200 locations and recognised that despite the huge has set up a taskforce to benchmark CHAIRMAN AND up and down the UK, including at Jodrell changes that had taken place, the BFI the BFI’s fundraising activity and to Bank where 1,000 people watched a film had responded quickly to its new role investigate other successful fundraising projected on to the Observatory dish. and is delivering all its core functions models around the world in order to CHIEF EXECUTIVE’S well, making an important contribution inform our strategy and delivery Within the BFI we saw audience growth to supporting the industry. going forward. REPORT across all our activities, with record attendances and box office income for Looking forward there is no doubt that Over the last four years, the BFI has BFI festivals, 1.6m visitors to BFI all publicly funded cultural driven through efficiencies amounting Southbank, and two of the most organisations are facing a challenging to £13m, and at the same time grown successful BFI distribution re-releases financial landscape and the BFI is no earned income by 15%. The BFI staff are Film, television and all digital moving discover a much wider range of exciting ever – the iconic 2001: A Space Odyssey exception. We recognised some 18 the charity’s greatest asset and we pay image are intrinsic to the prosperity of and diverse film voices. Our role is to and Blade Runner. Our social media months ago the need to think tribute to a team of individuals whose our economy and the richness of our look after and make available in the reach grew by a record 200%. differently and welcomed support from professionalism, pragmatism, cultural lives. Recent research shows most compelling way we can the DCMS to help us do this. Following one generosity, expertise and dynamic these sectors are worth £6bn annually national film collections, and to inspire This year the BFI has taken direct of the recommendations from the can-do attitude would be hard to beat. to the UK economy, employ 143,000 the next generation of audiences, action on improving diversity in film Triennial Review, we are looking at our people and that, remarkably, one in ten creators and artists. By carrying out by launching the three ticks scheme. overall asset portfolio, particularly our In 2015–16 we will evaluate Film Forever visitors to the UK come because of these roles we help make the UK one All productions in receipt of BFI Lottery London estate, to explore all options for and, informed by this, develop our next images they have seen on screen. The of the most exciting and dynamic places funding now need to work with us to how this could be better leveraged to four year strategy which will start in tax reliefs for film and more recently anywhere for the creative industries. demonstrate diversity both in front of grow income further and protect as far 2017. Priorities will be focussed on high-end television, animation and and behind the camera. The simplicity as possible funding to our UK-wide growing audiences and helping people video games have played a major part We are three years into our strategy of the scheme’s approach has attracted activities such as regional archives and build a future career in the industry in helping to sustain the UK’s leading Film Forever, and this report illustrates huge support and has subsequently cinemas, and national services such as wherever they live; and supporting position in these competitive global the very rich programme of activity been adapted and adopted by others. certification for the tax reliefs and the our flourishing sector by developing markets and have acted as a catalyst and support that we have provided. Our ambition over the coming year is to National film agencies. capacity and talent across the UK. for further inward investment. As a For young people there are now 12,000 roll the scheme out across all our We will continue to do all we can to result the sector is full of energy and registered film clubs in schools across funding and our own cultural activities. Our cultural programmes are sustain support for film and television bristling with potential and the creative the UK established by Into Film, our dependent on our ability to attract and, depending on the outcome of the interplay between film, television, funded partner, while for those who As part of our commitment to philanthropic support. After a Comprehensive Spending Review, we animation and video games is evolving have aspirations to make a career in supporting the growth of video games, challenging previous year, our will look at what more we can do for rapidly – driven as much by the the industry, the BFI Film Academy we hosted the first BFI Video Games fundraising picked up steam and ended video games, virtual reality and their audience as by the creators. provided over 60 skills and talent Day. It was presented by the BFI the year exceeding target. We are increasing cross-fertilisation with the development courses during the year. Certification Unit which administers grateful to our corporate sponsors, the other screen industries to support For the BFI it is an exciting era, our role Top students from the courses were also and promotes the tax reliefs for all the majority of which returned in the year, innovation and business growth. is more relevant than ever and we are selected for one of three professional screen industries and the day attracted and our newly-established Patrons part of the ‘R&D’ in these industries. residential courses at the National Film over 130 delegates from across the scheme has started to take off, while AMANDA NEVILL CHIEF EXECUTIVE Film is a risky business and our role is and Television School. UK who discussed access to finance, our most loyal and generous donors GREG DYKE CHAIR to find, nurture and motivate emerging diversity, culture representation, and members of the Film Forever Club talent from all backgrounds, and to We have done much to encourage education and practical advice for (which was initiated and sponsored by support people’s careers both in the UK cinemas across the UK to work together accessing the relief. The year also the BFI Chair),have increased their and internationally. Our role is to make to build audiences for British, world and marked our third as a formal annual commitment to the BFI’s it possible for a broad spectrum of heritage film. We also worked with Government Arms Length Body which charitable activities. Nevertheless, British and global cinema to be available exhibition partners UK-wide to bring triggered a Triennial Review. The our targets have by necessity become for audiences everywhere, so they can our latest blockbuster Sci-Fi: Days of review’s findings were broadly positive increasingly ambitious and the Board

4 5 EXPANDING EDUCATION AND BOOSTING AUDIENCE CHOICE

EDUCATION

STRATEGY AND ADVOCACY

Film education is one of the most important investments to be made in securing the future success of film in the UK. Expanding film education and learning opportunities is a key strategic aim for the BFI and is at the core of Film Forever. We are committed to investing in the audiences and filmmakers of the future with a programme of education activities aimed at 5–19 year olds that is based on learning, practical engagement and broadening horizons in film. Our aim is to encourage young people from all backgrounds and wherever they live to have the opportunity to learn about, enjoy and fully appreciate the widest possible range of film and ultimately Shaun the Sheep: The Movie event in Birmingham develop a lifelong relationship with film. We remain closely involved in many areas of research, development, We have a longstanding relationship and the University of York). Both and innovation in learning. Following with the Higher Education sector projects used our archival collections the publication of Screening Literacy and most recently partnered with a and the research will contribute to in 2013, the first Europe-wide survey range of universities to develop major our cultural programme. We have of film education in Europe, we were research projects. In 2014–15 this also taken part in the joint DCMS/DfE awarded European funding to lead a included two projects which received Cultural Education Partnership Group, consortium of 20 agencies from across funding from the AHRC: Fifty Years of provided evidence to the Warwick Europe to create a Framework for Film British Music Video (with the University Commission Report on Enriching Britain: Education: a model of film education to of the Arts, University of Portsmouth Culture, Creativity and Growth, and guide and support film educators all and British Library) and Transformation worked with other stakeholders to over Europe. The Framework will be and Tradition in Sixties British Cinema secure the future of film and media Into Film Festival launch with Carey Mulligan published in June 2015. (with the University of East Anglia studies GCSEs and A Levels.

6 7 FILM AT THE HEART cultural venues, making it the world’s and a weekend of Afro-Futurism in OF LEARNING largest annual free film festival for November as part of the BFI’s Sci-Fi OVER 1m young people. season. Altogether, the 40 events We are working with our key education for diverse audiences reached over CHILDREN IN SCHOOLS partner Into Film to put film at the 5,000 people. And for families, our AND YOUTH CLUBS heart of children and young people’s IN-VENUE EDUCATION programme of activity included mini UK-WIDE REACHED learning and cultural experience in film schools every Saturday, monthly THROUGH FILM CLUBS, the UK. Into Film has been working BFI Future Film events focus on ‘Fundays’, and six weeks of holiday with the education sector and film different areas of film or the industry workshops every year, each directly CLASSROOMS AND FILM- industry to deliver an ambitious and and help young filmmakers aged related to our cultural programme. MAKING PROGRAMMES accessible programme to encourage the between 15–25 years old learn more watching, making and understanding about their craft. Regular activities of film in the classroom and through include a film club on Facebook, film clubs as well as meeting industry monthly screenings and workshops, BFI Film Academy Documentary Residential professionals and undertaking talent an annual festival and a Film development. It also supports teachers Academy. The hugely popular BFI BFI FILM ACADEMY: All graduates from the Film Academy through training and development and Future Film Festival took place in FIRST STEPS ON THE are supported through an alumni providing free resources and materials. February with a packed line up of LADDER TO A CAREER programme which includes access to workshops, masterclasses, networking BAFTA career surgeries, an annual This year Into Film reached more opportunities, screenings and Q&As at Open to young people from anywhere subscription to Sight & Sound, and links than 1 million young people and 12,134 BFI Southbank. This year marked the in the UK and from any background, to an intern programme. A recent after-school film clubs have now been highest number of film submissions by the BFI Film Academy offers evaluation report on the second year registered with over 420,000 members young filmmakers since the festival’s opportunities for talented 16–19 year of operation showed that 86% of the UK-wide. Programming choices in inception, with 1,300 entries up olds to develop new skills and build a second year participants have kept in the film clubs are very varied with from 400 in 2014, and around 1,000 career in film. Now in its third year, the touch or collaborated with the people over half showing British, archive participants joining in the programme. programme has so far awarded places they met on the course; 7% of the or foreign language titles. Into Film Highlights included a case study into to more than 2,400 aspiring young students found work in film; 90% were delivers specific activities aimed at the animation phenomenon Rastamouse filmmakers. We now have 45 courses highly satisfied with the programme hard-to-reach groups and, where and a Q&A with the cast of E4’s hit across the UK (this year attracting and a further 4% satisfied; more appropriate, partners with individuals show Glue. The Festival is part of over 700 participants), and six specialist than three quarters of the courses and organisations that have skills, 500 separate learning events that were week-long residential programmes for were located outside of London; 27% access and experience to help enhance hosted in and around BFI Southbank, 160 filmmakers that cover animation, of participants were from BAME their work in this area. reaching over 45,000 people of all ages. documentary, screenwriting, communities; 7.5% were disabled; The Future Film Festival awards are programming and visual effects and and 12% received free school meals. Into Film’s web-based resources were supported by The Chapman Charitable a two-week craft skills residential downloaded 103,070 times and more Trust and The London School of programme at the National Film and As part of the BFI’s partnership with than 6,000 teachers and youth leaders English/London School trust. Television School (NFTS) for 66 young FutureLearn (Open University), the were trained to use film in their work, filmmakers. Highlights at the NFTS NFTS and the BFI Film Academy a threefold increase from the previous Highlights of our adult community included a series of masterclasses delivered their first free online year. Almost 400,000 young people programme included a mini season delivered by top filmmakers such as filmmaking course. Entitled Filmmaking: and educators took part in the annual of Chinese New Year films; 15 events Noel Clarke, Sue Vertue, Steven Moffatt From Script to Screen, this six week MOOC Into Film Festival, funded by Cinema and screenings for African Caribbean and Justine Wright. We also offered (Massive Open Online Course) proved to First, with a total of 2,700 screenings audiences such as a weekend of bursaries and allowances to ensure be one of the most popular courses of its taking place at 507 venues nationwide, Nigerian cinema; Palestinian and Roma the courses were available to everyone. kind with more than 31,000 applicants. including 133 independent arts and films as part of Refuge in Film week; BFI Film Academy 2014

8 9 OVER

350,000 6,400 976 FAN AUDIENCE FAN SCREENINGS FAN MEMBERS FAN ADMISSIONS ADMISSIONS OF OVER

AUDIENCES the Independent Cinema Office and role in bringing a big screen experience 56,000 Cinema for All, to share ideas, expertise, to local people and this scheme BFI AUDIENCE FUND knowledge and resources to help boost enables them to update equipment access to a wide range of films at local and facilities and bring a quality big Our ambition is to provide a greater venues, particularly for British and screen experience to the community. 897 breadth of films and to increase choice specialised film. So far we’ve awarded £362,000 in SCI-FI SCREENINGS for audiences across the UK. People equipment funding to 96 existing love watching films, however the This year the hubs worked in tandem on community schemes right across the choice of film available to audiences our sci-fi blockbuster season Days of Fear UK and through the touring cinema can be narrow, especially outside and Wonder which saw 897 screenings fund 78 brand new community cinemas of central London where on average take place in 156 locations across the have been set up for people who were 156 78 only 7% of screens are dedicated to UK in a wide variety of contexts and geographically unable to access a LOCATIONS NEW COMMUNITY specialised film. We are working with settings, with audience admissions cinema. The scheme has enabled us ACROSS THE UK CINEMAS a range of partners, regional cinemas, of over 56,000. FAN events were to increase British and specialised

communities and festivals to bring a inspirational and frequently spectacular film programming in hundreds of Screening of Love Is All (Kim Longinotto, 2014) at Chatsworth House, Sheffield Docfest more adventurous and diverse film and ranged from Station X at Bletchley communities UK-wide. programme to people everywhere in Park, presented by the Cambridge Film the UK, whether online, in the home, Trust in association with Independent It can also provide a helpful service in in the cinema or on the move. Cinema Milton Keynes and Watch the difficult to reach local communities. across the UK with a greater choice of Asian and Jewish culture and across films including Ida (2013), ’71 (2014), Skies!, the first ever large-scale outdoor For example, NEAT Flicks in North film, as well as increasing audiences multiple platforms. Lilting (2014), Love Is Strange (2014), BFI FILM AUDIENCE NETWORK cinematic event at the University of East of Scotland supports a network for specialised and independent Two Days, One Night (2014) and The Wind The BFI Film Audience Network (FAN) Manchester’s Jodrell Bank Observatory, of volunteer promoters to screen British film. This year we supported DISTRIBUTION FUND AND PROGRAMME Rises (2014). underpins our audience strategy by presented by Abandon Normal Devices great films in rural venues. The 39 festivals across the UK, including DEVELOPMENT FUND bringing together local venues and right through to Beyond the Infinite: average distance from one of NEAT’s several newer festivals such as This year we launched a new-look The Programme Development Fund other film organisations to collaborate Sci-Fi on Screen at the QFT in Belfast community venues to the nearest Mayhem X (Nottingham), a new Distribution Fund with a budget of is primarily intended to operate in and develop exciting programmes and and Bristol’s Watershed presentation of commercial cinema is 27 miles. Only element within Borderlines to support £4m a year to boost audience choice tandem with innovative programme events to reach and grow audiences eco-themed Silent Running (1971) at the two of the 17 communities that NEAT British Cinema (Hay on Wye), Derby and support the UK-wide distribution ideas from members of BFI FAN. This across the UK. A network of nine Eden Project in Cornwall. works with are served by a train Film Festival and London Comedy of high quality British independent year it supported 26 projects including regional Film Hubs – Broadway line with the remainder relying on Festival (LOCO) plus a number in and specialised films, helping them large scale public screenings for the Nottingham and Cambridge Film Trust; BFI NEIGHBOURHOOD CINEMA infrequent bus services, so its touring more remote and under-served areas. to find new audiences, particularly BFI Sci-Fi season at the Eden Project Chapter, Cardiff; Home Manchester; BFI Neighbourhood Cinema aims to cinema provides a reasonably priced, Admissions increased by 15% overall, outside London. It also encourages in Cornwall, Jodrell Bank in Cheshire, Film London; QFT (Queen’s Film revitalise film at a community level by convenient and sociable option for film with some festivals growing by over UK distribution companies to explore and Bletchley Park in Buckinghamshire. Theatre), Belfast; Scottish Film; the helping existing community cinemas screenings across the region. 30% (notably Edinburgh International new and innovative ways to release The number of screening locations University of Brighton; Watershed, and film clubs to upgrade their Film Festival and London Indian Film key titles, including across Video-On- showing Programme Development Bristol; and Showroom Cinema Sheffield screening facilities with one-off grants. FILM FESTIVAL FUND Festival) and many celebrating a range Demand platforms. Through this we Fund supported programmes rose – are working with organisations in Film societies, community cinemas and The Film Festival Fund supports of genres and interest, from horror, supported a wider release of several by an incredible 951%, leading to an their local areas and alongside the BFI, touring cinema operators play a crucial festivals which provide communities comedy and documentary to African, significant British and international audience growth of 227%.

10 11 12.4m 3.6m VISITS TO BFI.ORG.UK YOUTUBE VIEWS 8.8m 250,000 USERS VIEWS ON BFI PLAYER AFTER FIRST 12 MONTHS

BFI PLAYER Festival and BFI Flare. During Flare we on its most ambitious project to date, worked with the British Council on a Britain on Film, which is supported by The launch of BFI Player marked a sea #FiveFilms4Freedom campaign which the Esmée Fairbairn Foundation. More change in how we could support the saw five shorts from the programme than 10,000 films from the BFI National UK’s film industry by offering new made available internationally on BFI Archive and from significant regional distribution opportunities – especially Player and which were seen in 137 archives are being digitised and will be for independent film distributors – countries. Tying in with our Sci-Fi made available on the BFI Player mostly while also making great film accessible blockbuster season and alongside the for free. The films date from as early as to the widest possible audience. One programming across the regional 1895 to the modern day and they show year on, BFI Player has added choice hub activities, BFI Player featured 66 every aspect of life in communities, and creative diversity to the VOD titles from favourites such as E.T. the villages, towns and cities across the UK marketplace and is helping us bring Extra-Terrestrial (1982) and the Back to over the past 100 years or more. to a nationwide audience the ideas the Future trilogy (1985, 1989, 1990), to and experiences that the BFI already classics such as The Day the Earth Caught generates, such as curated access Fire (1961) and The Man Who Fell to Earth BFI ONLINE to digitised collections from our (1976). BFI Player is currently working national archive. Following an in-depth The BFI YouTube channel was consultation with 1,000 users, BFI revamped this year and as a result Player also underwent a significant traffic grew by 70% to 3.6m views up makeover with enhancements to the from 2.1m the previous year. We aim design, layout and curation of films to continue that steep growth into creating easier access for audiences. this year as our Britain on Film heritage project begins to roll out. The backbone Over the past 12 months we added of the BFI’s digital offer remains our more than 170 titles to complement core website bfi.org.uk and this also our Chinese film season, a programme grew significantly in the year with up of archive films to commemorate to 12.4m visits – a 40% increase on the the centenary of the Great War and Nymphomaniac (Lars von Trier, 2013) previous year. Two Days, One Night (Jean-Pierre and Luc Dardenne, 2014) Distribution supported by BFI Lottery Film Fund Distribution supported by BFI Lottery Film Fund 70 films from the BFI London Film

12 13 65,000 PEOPLE WATCHED 2001: A SPACE ODYSSEY (1968)

THE BFI CULTURAL with our partners across the UK, to infra-red camera similar to the huge PROGRAMME re-appraise a range of themes and ones used to look into deep space. genres which we hope will confound We aim to offer innovative, landmark expectations and engage new Working with our regional exhibition programmes and a rich and diverse audiences. A core ambition of any hubs to reach the widest possible range of programming across all blockbuster is to give access to the range of venues across the UK, we our platforms to bring audiences a collections of the BFI National Archive, screened Ridley Scott’s Director’s Cut real choice of voices from across the telling new stories about British film of dystopian masterpiece Blade Runner world, past and present. Dynamic and television. (1982) and a nationwide re-release partnerships with BFI FAN partners, of Stanley Kubrick’s visionary 2001: the BBC, the British Council, and SCI-FI: DAYS OF FEAR AND WONDER A Space Odyssey (1968), which alone a wide range of rightsholders and In 2014 we presented our biggest reached audiences of more than 65,000 cultural partners in the UK and blockbuster season to date – Sci-Fi: across 170 UK venues. We extended worldwide are critical to extending Days of Fear and Wonder together with O2. UK-wide reach with more than 50 key audience reach. A key element of our The three-month celebration included titles available on BFI player, a special cultural strategy has been to develop over 1,000 screenings of classic films sci-fi selection on YouTube, in our eight an annual blockbuster, together and television programmes at over UK-wide partner Mediatheques and 200 locations across the UK and on BFI exclusive BFI DVD and Blu-ray releases. Player, DVD and Blu-ray. Working with We welcomed new partner O2 to join us our BFI FAN partners, spectacular sci-fi in supporting the sci-fi season and they screenings and events took place at also promoted events to their customer Sci-Fi The Day the Earth Caught Fire at the British Museum some of the UK’s most iconic locations, base through their Priority service and including the British Museum, Bletchley helped us to reach new audiences. Park, the Eden Project, and a special films including ground breaking titles Who, with the 12th Doctor Peter Capaldi There was also an extensive education screening of the Village of the Damned The BFI National Archive presented Metropolis (1927), Things to Come (1936), in attendance. The season also included programme and we published a (1960) in the square in HG Wells’ home restorations of classic sci-fi titles, Brazil (1985), and the original continuity an exclusive preview of The Hunger definitive BFI Sci-Fi Compendium town of Midhurst, West Sussex. One including the first-ever British sci-fi script from Star Wars: Episode IV – A New Games: Mockingjay (2014) and the world (our best selling blockbuster of the stand out events was Watch feature film, A Message from Mars (1913), Hope (1977). premiere of Filmed in Supermarionation compendium to date) plus nine the Skies! at Jodrell Bank Observatory as well as The Day the Earth Caught (2014), the definitive documentary new BFI Film Classics with Palgrave where audiences of more than 1,000 Fire (1961) which was supported by A new, landmark four-part series, about the iconic and world-leading Macmillan, written by high-profile people watched sci-fi films beneath Simon W. Hessel and also screened at Tomorrow’s Worlds, aired on BBC Two puppetry and animation techniques film critics and academics such as stunning Lovell telescope projections. the British Museum. An exhibition at to coincide with the season and BFI devised by Gerry and Sylvia Anderson Mark Kermode, Roger Luckhurst The event also included a discovery fair BFI Southbank included the original Southbank hosted the London premiere and their team of puppeteers in a and Kim Newman. with demonstrations of the Oculus Rift costume designs, photographs, of the first episode of the eighth series Slough warehouse in the 1960s. Blade Runner (Ridley Scott, 1982) Virtual Reality headset and a special posters and publicity material for of BBC One’s highly anticipated Doctor

14 15 Nankin Road, Shanghai (1901)

ELECTRIC SHADOWS: Shadows ran from June to October to the BFI who proved immensely CHINA AND UK FILM 2014, in partnership with Toronto popular with audiences and drew a CELEBRATION 2014 International Film Festival, showcasing capacity Chinese-British audience more than 80 films – the first time in to see him. Out of many education In March 2015 HRH The Duke of more than 30 years that there had been events, a week-long schools’ residency Cambridge presented one of the first any major programme of Chinese film programme for 120 Lambeth 13 year films of China to survive anywhere in the UK. olds in July created dance, music, in the world, Nankin Road, Shanghai animation and film around Zhang (1901) from the BFI National Archive, We worked closely with the China Yimou’s Not One Less (1999). A book to to the President of the China Film Film Archive as no films have ever accompany the Electric Shadows season Corporation. The film is a unique been licensed to the UK for distribution provided an accessible introduction portrait from 115 years ago of what is and as a result we were able to to the long and illustrious history still Shanghai’s busiest shopping street present the great classic of Chinese of Chinese cinema from the early (now known as Nanjing Road 南京路 ). cinema, Spring in a Small Town (1948) silent films to Shanghai’s Golden Age, The presentations were part of an in 50 cinemas UK-wide, on DVD and the Cultural Revolution and ‘Fifth ongoing journey of cultural and on the BFI Player. We also screened Generation’ films of the 1980s, through industrial exchange between the a restoration of the silent classic The to the wildly-popular ‘wuxia’ swordplay BFI and China which began with the Goddess (1934) during the BFI London epics and kung fu spectacles. Electric hugely well-received screenings of the Film Festival with live orchestra. Shadows was made possible thanks to BFI’s restorations of Alfred Hitchcock’s Following a tribute to Feng Xiaogang, Main Sponsor Lycamobile, and Season silent British films and continued with China’s most popular filmmaker, who Sponsors Shangri-La Hotels and Resorts, a year-long programme of activity attended a retrospective of his films and Cathay Pacific Airways; all first with China in 2014: Electric Shadows: and a packed on-stage career interview, time sponsors of the BFI. Spring in a Small Town (Mu Fei, 1948) A Century of Chinese Cinema. Electric we welcomed the great Jackie Chan

16 17 234,345 BFI SOUTHBANK CINEMA ADMISSIONS

BFI SOUTHBANK PROGRAMME

Key elements of our programme at BFI Southbank this year were a major retrospective of the legendary Japanese animation company, Studio Ghibli, focussing on the work of the great Hayao Miyazaki whose Spirited Away (2001) remains the most successful anime film ever; and a focus on women in film and TV and looking at the careers of Maggie Smith, Katharine Hepburn and Vera Chytilova, a pioneer of Czech cinema.

Audiences in every part of the UK can enjoy films from the BFI through cinemas, film clubs, outdoor and pop-up screenings, film festivals, DVDs and on BFI Player. In 2014 over half a million people saw a BFI distributed film in the UK, and more than a quarter of a million internationally. The nine BFI Mediatheques across the UK also attracted 50,000 people to watch films from the BFI National Archive and from partner archives.

This is Now: Film and Video After Punk brought together provocative films made by art students, clubbers and members of the industrial and New Romantic subculture scenes of the early 1980s, while Live Fast, Die Young celebrated the movie icon James Dean. Spirited Away (Hayao Miyazaki, 2001)

18 19 A survey of Hollywood talkies made Guests speaking on stage at BFI dedicated to his entire canon of work, before the censorious Production Southbank alongside preview including an all day screening of Code came into force in 1934 was a screenings and events are essential his masterpiece, Pennies from Heaven very popular season. We marked the to drawing in new audiences and (1978). Our regular programme centenary of World War One with a over the year ranged in breadth from dedicated to highlighting the work of wide-ranging series of programmes of directors like Richard Ayoade to women in the TV industry focused key films, archive television dramas, writers Hossein Amini and Steven on TV director Moira Armstrong and and archival discoveries with a Moffatt; talent manager extraordinaire Jenny Barraclough, and we celebrated dedicated collection of films available Shep Gordon; outstanding British the 50th anniversary of The Wednesday on BFI Player and UK-wide cinema producer Jeremy Thomas; the great Play with a season of very rare and releases, including the newly restored Angela Lansbury; Peter Fonda little known plays from the series. Pennies from Heaven (1978) version of A Farewell to Arms (1932). presenting Easy Rider; and the peerless We aim to make all of these available Al Pacino – accepting a BFI Fellowship, in BFI Mediatheques UK-wide. Our theatrical re-release of Blade Runner: our highest accolade in recognition of The Final Cut (1982) became the BFI’s an outstanding contribution to film Highlights of our TV previews included top-grossing title of all time, taking and television culture. Wolf Hall (2015) with director Peter almost £510,000 at the box office. Kosminsky, Claire Foy and writer Hilary Also, 2001: A Space Odyssey (1968) Television forms an important Mantel; Sky Atlantic’s most ambitious grossed £140,000 at the box office in standalone strand in BFI Southbank’s drama to date, Fortitude (2015); and its first week, with sell-out screenings programme and is a key element Poldark (2015) with writer Debbie at cinemas across the UK and record of our major seasons and our DVD Horsfield, director Ed Bazalgette, and attendances at BFI Southbank. The label offer. Looking ahead, we will be cast Eleanor Tomlinson and Aidan world-renowned Polish film director seeking new partnerships with the Turner. The series was rebooted after Walerian Borowczyk, who directed 40 performers’ unions to be able to build 30 years for a new generation and films over his career, including La Bête television into our BFI Player offer. became one of most popular dramas (1975), was celebrated with a major of recent times. With our celebration UK retrospective of his work in May in Marking the 20th anniversary of of 10 Years of YouTube at BFI Southbank, partnership with the Kinoteka Polish the death of Dennis Potter – one we are beginning to develop our Film Festival. of Britain’s greatest TV writers – programme beyond broadcast TV. Poldark (2015) Jean Harlow in Red-Headed Woman (Jack Conway, 1932) our major TV focus this year was

20 21 COUNTRIES 71 REPRESENTED UK FEATURES 93 AND SHORTS

100 FILMS FROM FEMALE DIRECTORS THE BFI LONDON Opening Night, in partnership with FILM FESTIVAL American Express®, was live streamed online, attracting over 16,500 views The 58th BFI London Film Festival in on the day. There were also 70 12,000 partnership with American Express® simultaneous nationwide screenings CINEMA AUDIENCE celebrated another superlative year of the Documentary Special Feature UK-WIDE of cinema from around the world, of Citizenfour (2014). bringing different voices and different talents not only to audiences in the capital, but increasingly across BFI COMPETITION 396 the UK through new partnerships FEATURES AND SHORTS and initiatives. The festival is a key The Best Film award in Official calendar date in the run up to the Competition went to Andrey Awards season, offering an ambitous Zvyagintsev for Leviathan (2014) with mix of industry, economic and cultural a jury commendation for Céline elements to inspire, develop and grow Sciamma’s Girlhood (2014). The audiences and filmmakers alike. long-standing Sutherland Award for the First Feature Competition was The 2014 programme achieved its presented to Myroslav Slaboshpytskiy highest ever overall attendance for The Tribe (2014), while the with an audience turnout of more winners of the Grierson Award in than 163,000 in London and 12,000 the Documentary Competition were 16,500 at UK-wide cinecast screenings. The Ossama Mohammed & Wiam Simav VIEWS OF OPENING NIGHT festival opened with the European Bedirxan, directors of Silvered Water, premiere of The Imitation Game Syria Self Portrait (2014). The Best British RED CARPET LIVE STREAM (2014) and closed with the European Newcomer award went to Sameena premiere of Fury (2014). Both films Jabeen Ahmed, the lead actor in Catch were also simultaneously screened Me Daddy (2014). A highlight of the to 50 cinemas across the country, Awards ceremony was the presentation 163,000 Keira Knightley and Benedict Cumberbatch attend the with the red carpet action shown via of a BFI Fellowship to the great British opening night gala screening of The Imitation Game (Morten Brad Pitt at the Closing Night Gala screening of Fury AUDIENCE IN LONDON Tyldum, 2014) during the 58th BFI London Film Festival satellite link, while for the first time director, Stephen Frears.

22 23 THE BATTLES OF CORONEL Marines. Guests at the Festival AND FALKLAND ISLANDS screening were treated to a full line up of Royal Navy sailors lining Waterloo This year’s Archive Gala featured the Bridge to guide people to and from the premiere of The Battles of Coronel and event. The restoration was supported Falkland Islands (1927) – a dramatic by Matt Spick and the Archive Gala and reconstruction of two decisive naval Score were supported by Arts Council battles from the Great War. Filmed England, the Band Service Amenities on real battleships supplied by the Fund, the Gosling Foundation, the Admiralty, scenes of naval warfare Hartnett Conservation Trust, PRS for have rarely been captured with such Music Foundation, the Royal Navy and a degree of authenticity. This stirring the Charles Skey Charitable Trust. film was restored by the BFI National Following its premiere at this year’s Archive and was presented with a Festival and its simultaneous BFI Player newly commissioned score composed and theatrical release, the film was by Simon Dobson and performed released on DVD and Blu-ray. by The Band of Her Majesty’s Royal

BFI Head Curator Robin Baker at the dress rehearsal of The Battles of Coronel and Falkland Islands performed by The Band of Her Majesty’s Royal Marines

24 25 23,500 50 AUDIENCES FEATURES 10 0 SHORTS

I Am Michael (Justin Kelly, 2015)

BFI FLARE term festival supporters, the Interbank LGBT forum, was Match (2014), directed BFI Flare: London LGBT Film Festival by Stephen Belber, a poignant drama is the UK’s biggest and boldest film starring Patrick Stewart about the role event for LGBT audiences and one of the we play in other people’s lives. world’s longest established. This year the festival screened in excess of 50 This year two significant new initiatives features and 100 short films, alongside were launched: the inaugural BFI special events, guest appearances, Flare Mentorship programme in discussions, and workshops. Based at partnership with Creative Skillset BFI Southbank, the festival welcomed offering mentoring support to five back Principal Sponsor Accenture and emerging LGBT filmmakers; and a featured rich cinematic insight into ground-breaking partnership between LGBT lives and loves around the world, BFI Flare and the British Council which attracting 23,500 attendances. made five short films available to audiences across the world on BFI Player The Festival opened with the UK as part of the #FiveFilms4Freedom LGBT premiere of I am Michael (2015), directed human rights initiative. The films were and written by Justin Kelly, and closed the most popular titles on BFI Player with the European premiere of Malcolm for the duration of the festival and Ingram’s Out to Win (2015) while the were watched in an extraordinary 137 Centrepiece Screening was Stories of countries, including many countries Our Lives (2014). Our special screening where LGBT people face persecution. Stories of Our Lives (Jim Chuchu, 2014) in partnership with returning and long

26 27 224,000 DVD UNITS SOLD 35,675 BOOKS SOLD

BOOKS 25PUBLISHED

BFI PRESENTS HOME ENTERTAINMENT BFI PUBLISHING

During the year we piloted BFI Presents The BFI’s Blu-ray and DVD label had It is an increasingly challenging – a new initiative to help stand-out a good year with 224,000 units sold environment for magazine publishers independent classic, cult and five-star ranging from British feature film and with traditional sales and advertising films achieve greater market visibility TV archive titles, to new editions of revenues down across the board. and reach wider audiences through classic titles from international cinema. Sight & Sound has bucked the trend event-based preview screenings with Among those releases attracting again this year by maintaining its total the filmmakers and exclusive behind- plaudits from the press and public alike subscriber numbers and improving the the-scenes content beamed live from were some of the best-selling titles take-up for its digital edition, which BFI Southbank to audiences across from the Sci-Fi: Days of Fear and Wonder accounted for 14% of the subscriber the UK. For the pilot we worked with season, including DVD editions of the base by the end of the year. Take-up of Lionsgate UK to present a preview of BBC TV series The Changes (1975) and the premium subscription with access the critically acclaimed Testament of Out of the Unknown (1965–71) and the to the full digital archive has meant Youth (2014) in 270 screens across the Blu-ray release of Val Guest’s The Day that subscription revenues grew year UK, with live introduction, footage from the Earth Caught Fire (1961). on year. behind the scenes and a Q&A with the director and cast. The event was a great Also produced in the Sight & Sound office, success and 94% of the total audience the BFI Compendium to accompany the said they would recommend the overall blockbuster sci-fi season has proved experience to others. to be the most popular edition to date. Our publishing partner Palgrave produced 25 new books, including nine Film Classic Sci-Fi ‘Special Editions’.

Testament of Youth (James Kent, 2014) Supported by the BFI Lottery Film Fund

28 29 BFI ACROSS THE UK SOME KEY ACTIVITIES

UK-wide the BFI funds: BFI Film Audience Network (nine Hub regions with 976 members and their lead centres as shown here); BFI Neighbourhood Cinema; BFI Player; BFI Distribution, Exhibition, DVDs and publishing; 25 BFI Distribution Fund awards; 26 Programme Development awards UK-wide (shown as below benefitting multiple regions); BFI Film Fund (with locations across the UK); Into Film; Creative 2 Skillset; British Film Commission; BFI NET.WORK partners: Creative England, Creative Scotland, Film Agency for Wales, Northern Ireland Screen and Film London.

1 NORTHERN IRELAND BELFAST 2 SCOTLAND EDINBURGH 7 CENTRE EAST NOTTINGHAM, CAMBRIDGE 2 BFI Film Academies 6 BFI Film Academies 1 Programme Development Award 4 Programme Development Awards 3 Programme Development Awards 1 Film Festival Award 2 Film Festival Awards 4 Film Festival Awards 2 Production & Development Awards 14 Production & Development Awards 9 Production & Development Awards 4 Film shooting locations 3 Film shooting locations 2 Film shooting locations 48 FAN members 109 FAN members 79 FAN members 1 Archive Partner 8 BFI LFF screenings 14 BFI LFF screenings 2 Neighbourhood Cinema Awards 1 Archive Partner 1 Mediatheque 1 1 Archive Partner 2 Mediatheques 4 Neighbourhood Cinema Awards 3 2 Neighbourhood Cinema Awards

3 NORTH SHEFFIELD 4 NORTH WEST CENTRAL 8 LONDON MANCHESTER 2 Programme Development Awards 7 Programme Development Awards 6 Film Festival Awards 2 Programme Development Awards 7 Film Festival Awards 8 Production & Development Awards 10 Production & Development Awards 42 Production & Development Awards 2 Film shooting locations 1 Film shooting location 6 Film shooting locations 93 FAN members 93 FAN members 271 FAN members 12 BFI LFF screenings 11 BFI LFF screenings 4 20 BFI LFF screenings 2 Archive Partners 1 Archive Partner 3 Archive Partner 2 Mediatheques 1 Mediatheque 1 Mediatheque 8 Neighbourhood Cinema Awards 3 Neighbourhood Cinema Awards 1 Neighbourhood Cinema Award 7 5 WALES CARDIFF 6 SOUTH WEST & WEST MIDLANDS 9 SOUTH EAST BRIGHTON BRISTOL 1 Programme Development Award 5 1 Programme Development Award 3 Film Festival Awards 1 BFI Film Academy 2 Film Festival Awards 90 FAN members 4 Programme Development Awards 8 Production & Development Awards 2 BFI LFF screenings 9 Film Festival Awards 8 7 Film shooting locations 1 Archive Partner 20 Production & Development Awards 132 FAN members 1 Mediatheque 3 Film shooting locations 14 BFI LFF screenings 3 Neighbourhood Cinema Awards 61 FAN members 12 BFI LFF screenings 6 9 2 Archive Partners 2 Archive Partners 1 Mediatheque 10 Neighbourhood Cinema Awards 8 Neighbourhood Cinema Awards

30 31 45 Years (Andrew Haigh, 2015) SUPPORTING THE FUTURE SUCCESS OF BRITISH FILM BY INVESTING IN FILM DEVELOPMENT, PRODUCTION, TALENT AND SKILLS

DEVELOPMENT and awards success for short films, starring Michael Fassbender, while AND PRODUCTION features and their filmmakers, Louise Osmond’s Dark Horse (2015) including Crocodile (2014) by Gaëlle won the Audience Award in the World 2014 was a standout year for British Denis which won the Canal + Award Documentary competition. Away from film – both critically and commercially for best short film at Cannes; and the competitions, Sundance saw the – with suggestions even of a ‘new the audience appeal of films such as world rights for Brooklyn (2015), the wave’ of creative talent as new films Matthew Warchus’s Pride (2014) and eagerly awaited adaptation of Colm broke records at the box office and Mike Leigh’s Mr. Turner (2014), which Tóibín’s acclaimed novel written for won awards. Many of the features and won a best actor award for Timothy the screen by Nick Hornby, picked up filmmakers developed and supported Spall also at Cannes. Over the course by Fox Searchlight in one of the biggest by the BFI through Lottery funding of the year the BFI made 223 awards to sales deals ever done at the festival. have contributed to this success and a broad range of feature film projects we measure that impact in several across production, development and We await excitedly for the release in ways: helping to discover and establish distribution, amounting to a lottery 2015 of Ben Wheatley’s High-Rise (2015), new talent with first or second features investment of more than £18m. Yorgos Lanthimos’ The Lobster (2015) and such as Yann Demange (’71, 2014), Andrew Haigh’s 45 Years (2015), which Carol Morley (The Falling, 2014), and Four BFI Film Fund-backed titles played in Competition at the Berlinale Daniel Wolfe and Matthew Wolfe (Catch played at the Sundance Film Festival and drew some of the best reviews of FILMS BACKED BY Me Daddy, 2014); backing creativity and 2015, winning a number of awards the festival, as well as winning two 197 risk-taking on projects such as Jane in the World Documentary and Silver Bears for Acting for Charlotte THE BFI LOTTERY FUND ACROSS Pollard and Iain Forsythe’s 20,000 Days World Dramatic Competitions. John Rampling and Tom Courtenay. PRODUCTION, DEVELOPMENT On Earth (2014) and Peter Strickland’s Maclean won the Grand Jury Prize AND DISTRIBUTION The Duke Of Burgundy (2014); festival for his first feature, Slow West (2015)

32 33 SOME KEY BFI-BACKED TITLES

IONA THE SURVIVALIST SCOTT GRAHAM STEPHEN FINGLETON THE DUKE OF BURGUNDY PETER CATCH ME DADDY THE FALLING STRICKLAND DANIEL WOLFE CAROL MORLEY

45 YEARS HIGH-RISE SLOW WEST SUFFRAGETTE ANDREW HAIGH BEN WHEATLEY JOHN MACLEAN SARAH GAVRON

BROOKLYN SUNSET SONG JOHN CROWLEY TERENCE DAVIES

CITY OF TINY LIGHTS PETE TRAVIS QUEEN AND COUNTRY JOHN BOORMAN

34 35 DIVERSITY

The BFI has renewed its commitment to diversity across the industry by introducing new requirements to ensure film productions supported with Lottery funding through the BFI Film Fund reflect and represent the diversity of the UK. Under the new three ticks approach, which has the backing of the UK’s producers’ association PACT, film projects wishing to apply for BFI production funding are assessed against a set of criteria to demonstrate diversity across three areas of their production, ranging from the make up of the crew working on the film, and the onscreen portrayal of story and characters, to the creation of opportunities through diversity internships, training placements and ongoing employment. A Diversity Manager has been recruited to support the rollout of the guidelines across all BFI Lottery funding and to provide guidance to BFI-backed Catch Me Daddy (Daniel Wolfe, 2014) Supported by the BFI Lottery Film Fund productions and the wider industry.

36 37 NET.WORK Executive

Three Brothers (Aleem Khan, 2014) Emotional Fusebox (Rachel Tunnard, 2014 I Am Not A Witch (Rungano Nyoni, 2015)

SUPPORTING NEW TALENT Wales, Film London and Northern England-backed short film by Rachel We have recently launched a The process for developing animated continuing to support a number of Ireland Screen to establish a joined-up Tunnard, is now being made into her BFI NET.WORK online platform where feature films can be lengthy and low budget filmmaking schemes: Developing new talent is the lifeblood network of experienced development first feature; Boogaloo & Graham (2014), writers, directors and producers expensive, limiting the opportunities Microwave, Film London’s low budget of our film industry and introducing teams. We are also offering support a Northern Ireland Screen-backed can showcase their work and get for British filmmakers. To combat this feature filmmaking scheme which new and emerging filmmakers, no for disabled filmmakers through a short film by Michael Lennox, won direct access to NET.WORK talent we have partnered with Aardman produced Hong Khaou’s critically- matter where they live, to industry partnership with 104 Films. the BAFTA for Best Short this year and development executives. The coming Animations, the innovative masters acclaimed Lilting (2014) that opened professionals is crucial for building and was Oscar®-nominated. Michael is now year will also see the launch of the of stop-frame and CGI animated BFI Flare in 2014; iFeatures through maintaining a vibrant, successful and Filmmakers supported by BFI making his first feature A Patch of Fog annual NET.WORK Weekender when 40 filmmaking, and are providing Creative England, which most recently diverse film culture. To provide support NET.WORK have already attracted through our First Features funding. of the best emerging writers, directors Lottery funding over two years for produced Guy Myhill’s The Goob (2014); for new talent UK-wide we launched international attention with various Three Brothers (2014), directed by Aleem and producers will come together with three filmmaking teams to develop and Cinematic, Ffilm Cymru Wales’ BFI NET.WORK in 2013 to work with short films featuring in festivals Kahn and one of Film London’s first some of the most dynamic creative their projects with dedicated support emerging talent scheme for feature national partners Creative England, and earning awards acclaim. BAME-focussed short films, was talent in the industry today. through the BFI Aardman Animation films with budgets of around £300,000. Creative Scotland, Ffilm Cymru Emotional Fusebox (2014), a Creative BAFTA-nominated. Development Lab. We are also

38 39 My Nazi Legacy (David Evans, 2015) Night Will Fall (André Singer, 2014) Supported by the BFI Lottery Film Fund

SKILLS AND TRAINING film schools, including the NFTS, financial and creative autonomy to DOCUMENTARIES director and actress kidnapped by London Film School, the Met Film help them develop film projects, as movie-mad North Korean leader Kim We work in partnership with Creative School, Norwich University of the well as offering opportunities to grow UK documentary filmmaking continues Jong-il and forced to make films in the Skillset to ensure that the UK film Arts and Screen Academy Scotland. their businesses and company profiles to thrive around the world, and we communist state; Iain Cunningham’s and creative industries retain their In recognition of the need for a film both nationally and internationally. are proud to be a major supporter . Irene’s Ghost, produced by Rebecca reputation for exceptional talent and workforce that reflects our society, For the Vision awards 2013–15 we In 2014 we supported new feature Mark-Lawson – a part animated feature skills by continually strengthening the Creative Skillset targeted courses pledged 11 awards of up to £50,000 a documentaries following pitching documentary that follows the moving existing workforce, anticipating future to support women and BAME new year and eight awards of up to £100,000 sessions held in partnership with journey of the filmmaker to build a needs, and supporting world-class film entrants and leaders. a year. Of the companies awarded, six Sheffield Doc/Fest, in Sheffield and picture of the mother he never knew; education. BFI Lottery funding of £4m are based outside London, eight are London. BFI Film Fund Lottery awards and David Evans’ My Nazi Legacy, in the year funded 130 professional female-led companies, and four are will go to: Sophie Fiennes’s Grace Jones written by renowned human rights development programmes and 124 SUPPORT FOR COMPANY animation studios. – The Musical of My Life co-produced barrister Phillipe Sands and produced bursaries, benefitting over 5,200 GROWTH with James Wilson and Katie Holly, by Amanda Posey and Finola Dwyer, individuals in film training – from In addition, Creative England’s Film which creates a cinematic journey into a remarkable film about the inherited development through to exhibition, In 2014 support continued for the Enterprise fund continued to invest the private and public worlds of Grace guilt of two men whose fathers were from new entrant to CEO level – and successful companies who were £2m over four years to improve Jones; Robert Cannan and Ross Adam’s involved in the persecution of Jewish addressing key industry needs. In recipients of the Film Fund’s Vision the growth and sustainability of The Lovers and the Despot, produced people during the holocaust and addition, £5m was ringfenced for awards. The awards are designed to film-related businesses in England by Natasha Dack, which details which premiered at the TriBeCa film capital and equipment projects for give successful companies a level of outside of Greater London. the bizarre love story of a celebrity festival in 2015.

40 41 BFI Head of International Isabel Davis (centre) with UK delegation to Shanghai Film Studios, China

At the same time the BFI joined the China is a priority territory for UK CO-PRODUCTION GREAT Festival of Creativity in Shanghai, film and offers opportunities across TREATY UPDATES organised by the GREAT Britain co-production, export and cultural campaign and UK Trade & Investment exchange to drive growth, creatively, CHINA (UKTI), for a showcase of British creative culturally and commercially. The The UK-China film co-production HRH The Duke of Cambridge with Paddington at the GREAT Festival of Creativity, Shanghai, March 2015 excellence. Rare films from the BFI co-production treaty that was treaty was signed on 23 April 2014 National Archive were presented, negotiated for the UK by the BFI with and ratified in March 2015. celebrating the rich history of Shanghai support from the DCMS and UKTI INTERNATIONAL from the BFI, the British Film 2015, again comprising some of the and showcasing China’s cultural heritage was formally ratified in March 2014, BRAZIL Commission and BBC Worldwide best creative and business minds in from China’s film side-by-side with the allowing qualifying co-productions to Further to the signing of the Brazilian The BFI led a delegation of British met with counterparts industry to the UK, to meet with the emerging industrial potential of film. BFI CEO access national benefits including the treaty in 2012, we await completion producers, distributors, film explore opportunities for building giants of the Chinese film industry, Amanda Nevill chaired a panel on film UK Film Tax Relief and the BFI Film of constitutional procedures in Brazil sales companies, exhibitors and creative and business partnerships grow their knowledge of the Chinese collaboration, inviting UK producer Fund and, in China, not be subject and the UK so that the treaty can be talent agents to Beijing in April between the UK and China. The film market and its audiences, and David Heyman (Harry Potter, Gravity, to the quota on foreign films which ratified and brought into force. 2014, coinciding with the Beijing visit, delivered in close partnership explore opportunities for cultural and Paddington) and the President of the only permits a limited number of International Film Festival (BJIFF) with China Britain Business Council creative exchange, collaboration and Shanghai Film Group, Ren Zhonglun, non-domestic titles to be shown in and marking the first major UK (CBBC), the British Embassy, UKTI business growth. to explore how British and Chinese Chinese cinemas each year. film industry mission to China. The and the British Council, laid the path filmmakers can work together in driving delegation, including representatives for a second delegation in March economic growth and creative success.

42 43 25,000 PEOPLE WATCHED BLACKMAIL OUTDOORS

CULTURAL EXCHANGE THE BRITISH FILM COMMISSION Hitchcock’s nine silent classic films that were restored by the BFI in 2012 Funded by the BFI, the British Film have circumnavigated the globe and Commission (BFC) is the ‘front door’ visited countries in almost every for promotion, particularly in the US, continent, from China, Thailand and of the UK as an inward investment South Korea in the east, to Canada and destination for the production the USA in the west, via Australia and of international feature film and New Zealand, Europe, Morocco and high-end television in the UK. In 2014 South America. They’ve played this inward investment amounted to hundreds of thousands of people to £1.23 billion, buoyed by demand and this year the films continued for our skilled talent and crews, their international tour with high our world-class facilities and great profile screenings in more than locations, alongside the vital tax 30 countries including Russia, Cuba reliefs for the screen industries. and Ukraine, all enabled by BFI The BFC works closely with production partner the British Council. A highlight and locations services teams at the was the screening of Blackmail (1929) at BFI-funded agencies across the UK the Odessa International Film Festival including Creative England, Ffilm set against the backdrop of the city’s Cymru Wales, Film London, Northern famous Potemkin Steps and with Ireland Screen and at Creative live musical accompaniment from Scotland, as well as a network of The Odessa Symphonic Orchestra. film offices and local authorities, to There were spontaneous cheers from facilitate and source locations, studios, the audience as Hitchcock made his facilities and crew and to ensure that cameo appearance in the film and inward investment opportunities are as the film ended on the perfectly disseminated equally across the UK. planned and edited chase across the British Museum roof, everyone erupted into an ovation. The Festival’s president, Viktoriya Tigipko, said the 25,000 strong crowd watching the film had exceeded all expectations and records and to our knowledge it is the biggest audience for a British silent film anywhere in the world and at any point in history. Blackmail (Alfred Hitchcock, 1929) screening in Odessa

44 45 EXPANDED ROLE FOR THE films in European territories were BFI VIDEO GAMES DAY BFI FILM CERTIFICATION UNIT issued. The Unit has assessed 115 high-end television applications and Leading figures from the UK’s The BFI Certification Unit has issued 67 interim certificates and video games sector gathered at expanded its role to certify projects 42 final certificates. In animation, BFI Southbank in November for a as British across the creative sector. it assessed 59 applications, issuing Video Games Day. Hosted by the Following the introduction of tax 36 interim certificates and 24 final Certification Unit, the event saw over reliefs for high-end television (HETV) certificates. Following the expansion 130 delegates representing games and animation programmes in April of its role to certifying video games, companies from across the UK learn 2013, and then for Video Games in 52 games projects received interim more about the benefits of the new April 2014, the Unit has worked closely certification and 22 received final games tax relief and how to access it. with Government and key industry certification from the Unit. Panel sessions and presentations from stakeholders to navigate the new reliefs a range of experts covered topics and from 1 April 2015 it started to Since September 2014, the including access to finance, diversity, implement plans for the new Children’s Certification Unit has also been culture and representation, and the Television tax relief and cultural test. independently assessing the three education and skills development ticks diversity criteria for projects support available to the sector. Key During 2014–15 the Certification applying for production funding speakers included Ian Livingstone Unit processed a record number from the BFI Film Fund. CBE, co-founder of Games Workshop, of applications. Of the 666 film the Government’s Creative Industries applications received, 201 interim Champion and co-author of the certificates/approvals were made Next Gen review; Charles Cecil CBE, and 226 final certificates/approvals founder of Revolution Software and were issued. Also, 90 European a BFI Governor; and Ed Vaizey MP, Certificates of nationality that Minister of State for Culture and the assist filmmakers distributing BFI Video Games Day 2015 Digital Economy.

46 47 UNLOCKING FILM HERITAGE FOR EVERYONE IN THE UK TO ENJOY BY INVESTING IN PRESERVATION, DIGITISATION, INTERPRETATION AND ACCESS

OVER UNLOCKING OUR publicly available 10,000 titles by 2017. FILM HERITAGE The priority this year was to find 1,000 films with public and cultural value TITLES DIGITISED Film archives and major collections and that have strong audience appeal across the UK have been busy across a range of curatorial themes & AVAILABLE TO WATCH digitising and establishing new digital such as Cycling on Film, Chinese in ON BFI PLAYER and cataloguing standards as part Britain, 1915 on Film and Never Mind of Unlocking Film Heritage, the BFI’s the Ballots. Britain on Film, which Lottery-funded project to make as launches in the summer of 2015, much unseen content as accessible is a key element of the project and 1,500 to the public as possible via our will include films from the UK’s key AWAITING VOD platform the BFI Player. £5m film and TV archives that reveal the of Lottery funding is being made histories, lives and forgotten stories RELEASE available over a three year period to of the people and places of Britain. the BFI National Archive and to other Britain on Film is supported by the significant moving image collections Esmée Fairbairn Foundation. Riding on Air (Dudley Birch, 1959) across the UK to digitise and make Part of the UFH Cycling on Film collection available to view on BFI Player

48 49 NATIONAL CATALOGUE as a leader in this field with many OF BRITISH FILM organisations in countries such as the USA, Germany, France and Canada as AWAITING PIC FOR HERE One of the essential steps in making well as the Academy of Motion Picture our film heritage available to everyone Arts and Sciences adopting similar has been the creation of a National collections management systems Catalogue of British Film and we now to the BFI. have for the first time a complete database of every UK-produced, theatrically released feature film ever PREPARING FOR A made, amounting to almost 16,700 DIGITAL FUTURE titles. Every film listed is being given a unique entry in the Entertainment A major element of Unlocking Film Identifier Registry (EIDR), which is a Heritage is to ensure that the BFI global database aimed at establishing National Archive is equipped for a unique references for moving image digital future and our transformation works – the equivalent of the ISBN for from analogue to digital continued books. So far we’ve registered 7,500 apace this year with the project titles and by the end of 2015 that work also offering exciting opportunities will be complete, making the UK’s for film and video conservation. national filmography the first in the We made good progress with our plans world to be assigned unique identifiers for transferring not only this newly in a global registry. digitised material to a central storage and management system, but also the Also during the year we implemented digital files of television programming an innovative European metadata recorded off-air and other digital standard across the BFI Collections material acquired this year, including Information Database (CID), a all the films now receiving BFI Lottery searchable database of everything in funding. We also aim to eventually our collections from film and television digitise around 900,000 television titles material, special collections such as that are currently stored on tape and scripts, stills, posters, designs and add them to the asset management production-related papers belonging system, allowing faster, wider access to filmmakers, to books, journals, to the collections. press cuttings, and periodicals in the BFI Reuben Library. The European standard has recently been adopted by the international archive community Martin Coffill, Conservation Specialist – Projection. (Credit: Adam Bronkhorst, Kevin Meredith) and the BFI is becoming acknowledged

50 51 KEY BFI RESTORATIONS & REMASTERED FILMS

ON THE EVE OF WAR: AROUND THE WORLD THE DAY THE EARTH IN 80 FILMS CAUGHT FIRE (80 PRE-WORLD WAR ONE 1961 FILMS RESTORED & Premiered at the launch of the REMASTERED) BFI sci-fi season with a sell-out screening in the courtyard of the Rare colour footage from a variety British Museum. Restoration generously of locations including New York, supported by Simon W. Hessel. Shanghai, Berlin, Paris, London, the Solomon Islands, the Gobi desert and A MESSAGE Rangoon. Premiered at BFI Southbank and later available on BFI Player. FROM MARS 1913 Restorations supported by The Eric Britain’s first ever sci-fi feature film, Anker-Petersen Charity, The John S The Fall of the House of Usher (Ivan Barnett, 1950) released on BFI Player and BBC Arts Cohen Foundation, The Headley Trust Online, with a new score by composer and The Radcliffe Trust Matthew Herbert, Creative Director of the New Radiophonic Workshop. THE BATTLES OF BBC Arts Online also made a special film report on the story behind CORONEL AND THE the restoration. FALKLAND ISLANDS 1927 THIS IS NOW: Premiered at the BFI London Film FILM AND VIDEO Festival Archive Gala, with live score AFTER PUNK by award-winning composer Simon Dobson performed by the Band of The Day the Earth Caught Fire (Val Guest, 1961) 1979–85 (20 FILMS) From Cairo to the Pyramids (1905) Message from Mars (J Wallet Waller, 1913) Her Majesty’s Royal Marines. The Grayson/Jewels/Flowers (Jennifer Binnie, 1885) Three years in preparation, a season restoration was supported by Matt The Battles Of Coronel and the Falkland Islands (Walter Summers, 1927) of works by artists and filmmakers Spick and the Archive Gala and score such as Grayson Perry, John Maybury, were supported by Arts Council THE FALL OF THE Tina Keane, Christine Binnie, Isaac England, the Band Service Amenities HOUSE OF USHER 1950 Julien and Jill Westwood were Fund, the Gosling Foundation, the digitally remastered for screening Hartnett Conservation Trust, PRS for The only film awarded an ‘H’ (for at BFI Southbank and then toured Music Foundation, the Royal Navy and Horrific) certificate by the British internationally. the Charles Skey Charitable Trust. censor in 1950. Premiered on BFI Player.

52 53 50,446 FILMS FROM THE BFI VISITS TO MEDIATHEQUES NATIONAL ARCHIVE VIEWED ACROSS THE UK 153,000 TIMES ON BFI PLAYER & 72,502VISITS TO THE BFI REUBEN LIBRARY Culture Secretary, the Rt Hon Sajid Javid MP, visits 1.6m TIMES ON the BFI Mediatheque at the Library of Birmingham. BFI’S YOUTUBE CHANNEL

BFI MEDIATHEQUES Jarman’s collaborations with director Exhibitions at BFI Southbank featuring Ken Russell; papers and scripts of material from the national collections Our ninth BFI Mediatheque was continuity supervisor Valerie Booth; included ‘A Hard Day’s Night: Richard opened in the refurbished Manchester and papers of animator Harold Lester and The Beatles’, marking Central Library, offering free access Whitaker (of Halas and Batchelor). 50 years since the release of the film. to highlights from the BFI National Archive and partner archives across the UK. To mark the opening a special collection was launched entitled Once upon a Time in the North West featuring 100 films and TV programmes drawn from both the BFI National Archive and North West Film Archive (NWFA). Across the UK, visits to all Mediatheques topped 50,400. BFI REUBEN LIBRARY hosts study visits by schools and FE colleges from around the UK as The BFI Reuben Library turned 80 in well as programming a lively events ACQUISITIONS the summer and to mark the occasion programme of talks and discussions. AND EXHIBITION we took to Twitter asking people to This year the library also hosted the name their favourite film book and first ever BFI Wikipedia Editathon Key collections acquired into posted a short Vine film. Following the which saw a group of editor volunteers the BFI National Archive included library’s move to BFI Southbank two use BFI collections to improve articles the scrapbooks and photographs years ago, the library welcomes over about British BAME filmmaking for of director Michael Winner; papers 6,000 unique visitors a month and the Wikipedia global website. from the Arts Council England film collection; papers of producer Tony Garnett; papers relating to Derek Derek Jarman Jubilee notebook

54 55 PUBLIC POLICY, £1.47bn LEADERSHIP SPENT ON UK FILM PRODUCTION IN 2014 AND ADVOCACY (THE HIGHEST EVER) MARKET SHARE OF UK INDEPENDENT FILMS REACHED ALMOST AWAITING PIC FOR HERE PUBLIC POLICY AND ADVOCACY ALEX IN RSU FOR IMAGE SUGGESTION. 16% PADDINGTON? SHAUN THE SHEEP? (UP FROM 6% IN 2013)

The BFI’s role is to support British One of the essential pillars in the For the first time we will have an film at home and abroad and one of development of public policy is the evidence base which will consider the the ways we do that, working closely use of evidence-based research and economic and cultural case for public with DCMS and with industry-wide the BFI’s Research and Statistics Unit funding of the sector and help inform partners, is through making (RSU) provides authoritative market what additional support the BFI could representations on public policy intelligence and data on the film provide in line with our remit in the issues to the UK Government and industry and wider screen industries. Royal Charter to support the wider its Devolved Administrations, the In 2014, the BFI in partnership with moving image. European Commission and various Pinewood Group, UKIE, the British Film statutory organisations. Commission and PACT commissioned We hosted an annual stakeholder Olsberg and Nordicity to produce a reception at BFI Southbank for the Areas where the BFI has provided report on the economic impact of Department of Business, Innovation leadership on public policy during the screen industry tax reliefs – film, and Skills. The event was attended the year include the launch of the high-end television, animation and by the Secretary of State and three ticks initiative for BFI-funded video games. With a foreword from ministerial team plus 300 of their films, international engagement George Osborne, the Chancellor of senior industry representatives and such as the development of a screen the Exchequer, the report provided a the event provided a strong signal of industries strategy to help the sector strong evidence base to demonstrate the importance that the Government meet Government international the importance of the tax incentives attaches to film as part of the trade targets, and the European to the growth of the UK economy. thriving creative industries sector. Commission’s proposals to reform In conjunction with other external the digital single market, which partners, we commissioned research have far-reaching implications for to examine the case for public the audiovisual sector particularly investment in video games. Shaun The Sheep Movie around copyright and territoriality. (Mark Burton and Richard Starzak, 2015)

56 57 TRIENNIAL REVIEW its core functions based on the five management of the UK film industry. objectives set out in its Royal Charter. The standard has already provided The Government carried out a It considered that the creation of a the framework for the BFI to manage Triennial Review of the BFI in 2014 for single lead body for film that brought its own environmental, social and the first time. These reviews are part together cultural and commercial economic impacts on an ongoing of the Government’s Public Bodies expertise in one organisation had basis and we achieved many of our reform work that every three years delivered efficiencies and that if any objectives set at the beginning of provides a robust challenge to the of the key functions were moved the year, notably around embedding continuing need for non-departmental to another organisation, these sustainability criteria into our public bodies (NDPBs) such as the efficiencies could be lost. procurement process; encouraging BFI and to review their control and more sustainable commuting to governance arrangements. The review The reviews made 32 recommendations, work by staff through improved received a consistent message from the majority of which have been cycle parks, facilities and cycle skills stakeholders that the creation of a implemented. training; close monitoring of our single lead body for film in the UK carbon footprint; sourcing our energy was welcomed and that the BFI had through a 100% green tariff; and zero performed its role well during a period SUSTAINABILITY to landfill policy. of significant change. The review found that the BFI is a well-respected Our five-year strategy Film Forever In addition to running the and valued organisation, with an includes a statement highlighting greeningfilm.com website with news, important role to play in supporting our commitment to sustainable case studies, advice and links to useful the UK film and television industries development or, put simply, to meet resources for filmmakers, we partnered through education and, as a national the needs of the present without with BAFTA to co-host the Greening the centre of technical expertise, through compromising the ability of future Screen forum, which was well attended its role in collecting and managing one generations to meet their needs. At by professionals and practitioners of the largest national collections of the heart of this commitment was from filmmaking and television film and television. It concluded that a determination to encourage film who discussed experiences and best the BFI should remain an executive organisations to adopt BS 8909 the practice in sustainable production. Paul Williams, Serial Producer, BBC Wonders of the Monsoon, speaking at the joint BFI and BAFTA Greening the Screen NDPB, and that it should maintain official standard for the sustainable 2015 conference

58 59 70 BRITISH FILMS SUPPORTED THROUGH CREATIVE EUROPE CREATIVE EUROPE

The BFI, in partnership with the British Council, hosts the information and promotion office for Creative Europe Desk UK which was established in 2014 to provide support and application assistance to British companies accessing funds from the Creative Europe programme, worth €1.46bn over seven years. During the year 50 UK companies received €9m from the programme and a further €9.2m went to support the distribution of UK films in other European countries and across the Europa Cinemas network, including 52 in the UK.

Warp Films was the first company in Europe to receive a €1 million grant from Creative Europe for its high-end TV drama series The Last Panthers which is a co-production with Paris-based Haut et Court, the producers of The Returned for Sky Atlantic and Canal +. The series will premiere at MIPCOM 2015. The cinema release of Oscar® winning Ida (2013), directed by Pawel Pawlikowski and distributed by Curzon Artificial Eye, was supported through a Creative Europe grant, and Matthew Warchus’ Pride (2014) received a grant of €748,500 to support its cinema release in over 20 European countries. Almost 70 British films have been supported in this way, including Jimmy’s Hall (2014), A Little Chaos (2014) Ida (Pawel Pawlikowski, 2013) and Mr Turner (2014).

60 61 FUNDRAISING AND PHILANTHROPY

Bennett Miller, Vanessa Redgrave, Sienna Miller Terry Gilliam, Al Pacino and Steve Carrell at the American Express Gala and Tom Hooper at the (Jon Furniss, 2014) Al Pacino Fellowship Dinner

YOUR SUPPORT HELPS This year we have secured a number nationwide and delivering unique KEEP FILM ALIVE – FOREVER of significant grants, including one cinema experiences for their customers. from the Esmée Fairbairn Foundation People are often surprised that our towards Britain on Film and one Our Patrons scheme expanded government funding covers just from the Garfield Weston Foundation significantly this year and Film one third of our cultural activities. towards much needed capital Forever Club membership also grew The American Express Gala (Jon Furniss, 2014) The remainder is self-generated redevelopment at the BFI National in number, attracting the generosity income such as from box office, Archive in Berkhamsted. of individuals wanting to provide DVD releases and publishing, as well as philanthropic support towards vital financial support from corporate We have welcomed new corporate specific BFI projects. Thanks to the sponsorships, charitable trusts and partners this year, including IWC extraordinary commitment of our foundations, public sector grants and Schaffhausen, the Swiss luxury watch International Development Council philanthropic donations from patrons manufacturer. Our partnership was member Colin Walsh, we successfully and individual donors. We also benefit launched at a spectacular event on the launched the new American Patrons from in-kind contributions and support eve of the opening night gala of the chapter in San Francisco, with a from media and cultural partnerships. BFI London Film Festival. IWC joins private screening of Mr. Turner (2014) another new partner, Virgin Atlantic, attended by Timothy Spall. We are very grateful to all of these in supporting the festival alongside benefactors as, in a time when public our longstanding partners American funding to cultural bodies nationwide Express. This year we also launched Friends of the BFI Board Member Colin Walsh with Timothy Spall is decreasing, without their support a landmark new partnership with at an exclusive preview of Mr. Turner in San Francisco, 2014 the BFI simply would not exist. O2, focussed around the sci-fi season

62 63 FILM FOREVER CLUB CLASSIC PATRONS Peter & Maggie IN-KIND PARTNERS YOUR SUPPORT HELPS US SECURE  Murray-Smith Donald & Corrine Brydon Stefan Allesch-Taylor Amanda Nevill CBE Air New Zealand Peter Dubens Wayne Anderson Lundi Nyoni Capablue THE FUTURE OF BRITISH FILM Greg Dyke Francis Bennett Si Overson Champagne de Bleuchamp The Fox Family Josh Berger CBE Lucinda Partridge-Hicks Cathay Pacific Airways The BFI warmly thanks the following individuals and organisations John & Jennifer McLellan Nick Blackburn Charlotte Peters Christie for their generous support in 2014–2015: Ian & Beth Mill Felicia Brocklebank Tom Pilla Corinthia Hotel London Charles Morgan Rob Carrington Sir Brian & Lady Pomeroy Digital Cinema Media Col & Karen Needham John Chinegwundoh Paul Price DJI Betsy & Jack Ryan & Mark Wallis Damien Read Drambuie Sir Howard & Lady Stringer Tom Cleaver Phillip Reeves Freixenet GOVERNMENT BFI FUNDRAISING GALA PUBLIC SECTOR The Philip and Irene Toll Peter & Nancy Thompson Alison Cornwell John Reiss Green & Black’s Organic COMMITTEE SUPPORTERS Gage Foundation Cley Crouch Sarah & Philip Richards Heineken The Department for  THAMES (Tower Hamlets DIRECTOR’S CUT Carl Dalby Amy Ricker The Hospital Club Culture, Media & Sport Josh Berger CBE, Chair Arts Council England Arts & Music Education PATRONS Matthew Dean Brenda and Neill Ross Konditor & Cook The Department for Felicia Brocklebank Europa Cinemas Service) Paul Dennis Michael Sandler Latham & Watkins Education. Kate Driver European Commission The Reuben Foundation Eric Abraham Stephan Dilley Joana Schliemann M•A•C Cosmetics Louis Elson The Rose Foundation Ingrid A Beazley Catherine Dougherty Nick Scudamore Renault INTERNATIONAL Hani Farsi TRUSTS AND The Charles Skey Peter Baldwin & Ian Durant Angela Seay DEVELOPMENT Eric Fellner CBE FOUNDATIONS Charitable Trust Lisbet Rausing Sarah & Louis Elson Mark & Lee Shanker FRIENDS OF THE COUNCIL MEMBERS Gerry Fox The Wellcome Trust Enrico and Cristiana Cavallo Gavin Essex Gregory Stone & BRITISH FILM 2014–15 Daniel Friel The Eric Anker-Petersen Garfield Weston Foundation Amanda Eliasch Jeff & Emily Fergus Annabel Scarfe INSTITUTE Amy Gardner Charity David Giampaolo Paola Ferretti-Johnson Danielle Summers Josh Berger CBE, Chair Kathryn Greig Band Service Amenities Fund MAJOR DONORS Keith Haviland Joachim Fleury David and Jan Thomas The Friends of the BFI is a Louis Elson John Hunt Blavatnik Family Foundation Simon W. Hessel Peter & Judith Foy Andrew Tseng California-based US 501(c)(3) Hani Farsi Georges Kern The Chapman Charitable Hani Farsi Alan Smith Paul Gambaccini Karen Veninga-Zaricor non-profit organisation that Eric Fellner CBE Serra Kirdar Trust Simon W. Hessel Lizie Gower Louise L Whitewright supports the work of the Gerry Fox Rena Kirdar Abboud The John S Cohen Foundation Martin Scorsese EPIC PATRONS Claude Green Richard & Astrid Wolman BFI in the UK and the US. Daniel Friel Lynn Lewis Esmée Fairbairn Foundation Matt Spick Louis Greig EIN 95-4334449 Kathryn Greig Isabella Macpherson European Cultural Fund  Simeon Brown Michael Hamlyn CORPORATE PARTNERS Isabella Macpherson Jo Malone MBE The Mohamed S. Farsi And with additional thanks to Eric Fellner CBE Dr David J Hanson Owsley Brown III Caroline Michel Caroline Michel Foundation our anonymous major donors. Daniel & Joanna Friel Duncan Hopper Accenture Bruce Davis & Robert Murray Beth Mill Beth Mill The Film Foundation Lynn M. Lewis Rachael Horsley American Express Deluxe Mike Dillon Sir Alan Parker,CBE Iliane Ogilvie Thompson The Edwin Fox Foundation Fatima Maleki Valentina Jacome Interbank LGBT Forum Greg Lynn & Glenn Risso Joyce Reuben Beatrix Ong MBE The Gosling Foundation Tim & Sylvie Richards Fady Jameel IWC Schaffhausen Alan R. Malouf, DDS Joana Schliemann Sharan Pasricha The Hintze Family Charitable N’Gunu Tiny Alexandra Joffe Lycamobile The Adam S. Rubinson Colin Walsh Sir Alan Parker Foundation Ms Francesca Tondi Linda & Spencer Kahan The May Fair Hotel Charitable Fund  Katrina Pavlos The David Lean Foundation Colin Walsh & David Ederick Nicola Kerr O2 Donald A van de Mark John Reiss The Michael Marks The Stuart and Hilary Stephen & Sigrid Kirk Shangri-La Hotels Joyce Reuben Charitable Trust Williams Foundation Steven Larcombe and Resorts Thanks also to all our other Betsy Ryan The Louis B. Mayer Laura Lonsdale Shell supporters, including anonymous Joana Schliemann Foundation Ms Petra Luckman TV5 Monde donors, BFI Champions, Colin Walsh PRS for Music Foundation Phillippa Miles Virgin Atlantic BFI Members and the Friends Sue Whiteley Jackie Mountain of the British Film Institute.

64 65 BFI INCOME AND EXPENDITURE 2014–15

INCOME EXPENDITURE

BFI GRANT-IN-AID, EARNED INCOME BFI AS A FUNDER BFI EXCLUDING LOTTERY & BFI AS A FUNDER AND PHILANTHROPY INCOME 2014–15* RING-FENCED GRANT IN AID EXPENDITURE 2014–15 INCOME 2014–15* EXPENDITURE 2014–15 £37.6m £61.8m £39.9m** £42.3m

6% 5% 11% 21% 13% 33% 15% 26% 60% 7% 67% 3% 46% 87%

EDUCATION, LEARNING & AUDIENCES £23.9m GRANT IN AID – REVENUE & CAPITAL FUNDING £7.7m SUPPORTING BRITISH FILM £0.6m SUPPORTING BRITISH FILM £28.1m SELF-GENERATED INCOME – CHARITABLE ACTIVITIES, INCLUDING TICKET FILM HERITAGE £10.4m FILM HERITAGE £2.9m SALES, DVD SALES AND FILM DISTRIBUTION £17.4m LOTTERY INCOME £54m** CAPITAL EXPENDITURE £2.5m COST OF DELIVERY £6.4m SELF-GENERATED INCOME – OTHER GRANTS & DONATIONS £12.6m GRANT IN AID – RING-FENCED AWARDS £7.8m COST OF DELIVERY £2m EDUCATION, LEARNING & AUDIENCES £4.9m **Excluding fixed asset depreciation and amortisation.

The BFI recorded total income of £99.4m (2014: £93.5m) with the most Expenditure as a funder is lower than Lottery and GiA income received. This is because in previous years we made a number of significant multi-year significant change being the increase in Lottery proceeds. Revenue Grant Lottery awards using future years’ Lottery income, including 2014/15. These included Creative Skillset (£21m) and Into Film (£26 m). in Aid funding in the year is lower due to the timing of part of our funding, amounting to £7.5m, which was received in 2012–13. In the year this lower **One off increase on previous years due to closure of Olympic Lottery These figures and graphs are unaudited analyses and extracts of the figures included in the audited financial statements for the year, copies of which funding has been matched by an increase in other grants and donations. Fund and re-allocation of surplus funding to each Lottery distributor. are available from our website at bfi.org.uk or in writing to the Board Secretary, BFI, 21 Stephen Street, London W1T 1LN.

66 67 Supported by

The Battles of Coronel and Falkland Islands (Walter Summers, 1927)

68 69 21 Stephen Street London W1T 1LN @bfi bfi.org.uk