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Statistical Yearbook 2019

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STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema 7 UK screens 82 Facts in focus 8 Screen location 83 Admissions 9 Screen density and admissions per head of UK box office earnings 15 population – international comparisons 84 Film releases and box office revenues in the UK and Screen density and admissions per head of Republic of Ireland 15 population in the UK 85 Widest point of release 19 Type of cinema screens by nation and region 87 Country of origin of film releases 20 Mainstream, specialised and Asian programming 88 Top films at the box office in 2018 24 Exhibitors 90 The top 3D films 28 Exhibitor revenues 91 Best weekend performance of UK films 29 Digital projection 91 Top 20 films at the UK box office, 1975-2018 30 Accessible cinema 91 Releases and box office by genre 34 3D and event cinema 92 Releases and box office by classification 36 Specialised releases at the UK box office in 2018 41 Home entertainment 94 Trends in specialised film 42 Facts in focus 95 Non-English language films 42 Film on physical video 96 Documentaries 46 Film in the physical video retail market 96 Re-releases 48 Top films on physical video 101 Film in the physical video rental market 105 UK films and British talent worldwide 49 Film on digital video 106 Facts in focus 50 Film in the digital video market 107 UK films at the global box office 51 Popularity of on-demand streaming services 108 UK films in North America 55 The audience for SVoD 109 UK films in Europe 57 The audience for film on SVoD 110 UK films in Latin America 59 Top films on SVoD 111 UK films in Asia 59 Film on television 113 UK films in Australasia 61 Programming on the terrestrial channels 113 UK talent and the global box office 61 Film on terrestrial television, 2009-2018 114 UK source material 62 The audience for film on terrestrial television, 2009-2018 116 UK actors 63 Top films on terrestrial television 117 UK directors 64 Film on multi-channel television 119 International awards for UK films and talent 65 Film broadcasts and audience for film on all television channels, 2009-2018 122 Distribution and exhibition 68 The value of feature film to broadcasters 123 Facts in focus 69 Distributors 70 The UK film market as a whole 124 Width of release 74 Facts in focus 125 Weekend box office 76 UK filmed entertainment market revenues 126 Release costs 78 The evolution of UK film revenues, 2009-2018 127 Exhibition 81 The UK film market in the global context 128 UK cinema sites 81 5 Audiences 131 The value and volume of children’s Facts in focus 132 television production 189 Data on the UK film audience 133 The value and volume of video games development 190 Audiences for film in the UK by platform 133 Audiences for film amongst other demographic Public investment in film in the UK 191 groups 134 Facts in focus 192 Cinema audience by age 136 Public funding for film in the UK by source 193 Cinema audience by gender and Spend by agency 195 socio-economic status 137 Activities supported by public spending on film 196 Cinema audience for UK films 138 Spend across the UK nations 197 Audiences for film on television 141 Creative Europe investment in the UK 198 Film preferences by age 142 BFI Lottery awards 2018 199 Film preferences by gender 146 Leading public investors in British film Genre preferences by age and gender 148 production, 2016-2018 200 Film preferences by socio-economic group 149 Film preferences by nation 150 Film education and industry Subscription Video on Demand 153 employment 201 User profile for selected SVoD services 154 Facts in focus 202 Film preferences on SVoD platforms 155 Learning about and through film 203 Audience profile comparative analysis 158 Film education in formal education settings 203 Film education as a progression route 212 Screen sector certification and Other film education activity 213 production 160 Employment in the film industry 214 Facts in focus 161 The gender of writers and directors of UK films 216 Qualifying as an official British production 162 The workplace location 217 Films with final certification, 2009-2018 163 The scale of the workplace 219 Budget distribution of films with final certification, 2009-2018 165 The UK film economy 222 High-end television programme final Facts in focus 223 certifications, 2013-2018 168 Film industry turnover, 2008-2017 224 Animation television programme final Film industry contribution to GDP, 2008-2017 228 certifications, 2014-2018 170 Film exports, 2008-2017 231 Children’s television programme final certifications, 2016-2018 170 Film imports, 2008-2017 232 Video games final certifications, 2015-2018 171 The film trade balance, 2008-2017 233 Screen sector production in the UK 172 Film export markets 233 The value of UK film production 172 UK film exports compared with the global market for filmed entertainment 234 The volume of UK film production 174 The geographical distribution of the UK’s film Film productions by genre, 2016-2018 176 trade surplus 235 Budget trends 178 Film industry companies 2014-2018 236 Size distribution of budgets 179 Number of companies in the film industry 236 Big budget productions, 2009-2018 180 Size distribution of film companies 238 UK spend as percentage of total production budget 181 National/regional distribution of film companies Domestic UK productions by territory of shoot 182 in the UK 240 Co-productions by territory of shoot 183 Leading film production companies in the UK 242 Production company activity levels 184 The value and volume of high-end Glossary 243 television production 184 Sources 249 SVoD-backed high-end television production 185 Acknowledgements 251 Genre of high-end television productions 187 The value and volume of animation television production 187 6 FILM AT THE CINEMA Image: Avengers: Infinity War ©Marvel Studios 2018 Facts in focus UK BOX OFFICE RECEIPTS IN 2018 UK CINEMA ADMISSIONS IN 2018 177 million Up 3.7% on 2017 The highest attendances since 1970 Up 0.2% on 2017 ORIGIN OF FILM RELEASES BOX OFFICE SHARE OF UK FILMS Rest of the world 68 All UK films USA 212 46.1% All UK films India 37.4% 158 787 feature films released in the UK and Republic of Ireland UK independent films 13.2% UK independent Other Europe films 9.6% UK 197 152 2017 2018 TOP GROSSING FILM RELEASES BY GENRE 48% 19% 12% OF BOX OFFICE OF BOX OFFICE OF BOX OFFICE Darkest 10% 6% 31% Avengers: Hour OF RELEASES OF RELEASES OF RELEASES Infinity War £24m £71m Action Animation Drama TOP GROSSING UK INDEPENDENT FILM Top three most popular genres RELEASES BY CLASSIFICATION SPECIALISED FILMS ‘12A’ films had Documentaries, foreign the largest language films and re- £531 releases of classic/archive box office titles made up 58% of all million gross film releases; they grossed £39.5 million, a 3% share Films classified as ‘15’ accounted of total box office 42% for the largest share of releases 8 Film at the cinema ADMISSIONS 2018 was a stand-out year for cinema admissions in the UK with ticket sales reaching 177 million, up 3.7% on 2017, and the highest total since 1970. The figure points to a growing appetite among British audiences for the big screen experience at a time when the range of competing entertainment options continues to multiply. In six of the 10 years between 2009 and 2018 (Figure 1) annual cinema visits topped 170 million, compared to only two out of 10 in the previous 10-year period. Figure 1 Annual UK cinema admissions, 2009-2018 Number of admissions (million) 200 173.5 177.0 180 169.2 171.6 172.5 171.9 168.3 170.6 165.5 157.5 160 140 120 100 80 60 40 20 0 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 Source: CAA, comScore Total admissions Of the five major European Union (EU) territories, the UK was the only one that saw an increase in admissions compared with 2017. Attendances were down in France (-4.0%), Germany (-13.9%), Spain (-2.9%) and Italy (-7.0%).
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