BRITISH FILM INSTITUTE GROUP AND LOTTERY ANNUAL REPORT AND FINANCIAL STATEMENTS 2015‐16 HC 427 SG/2016/100 BRITISH FILM INSTITUTE Group and Lottery Annual Report and Financial Statements for the year ended 31 March 2016 Presented to Parliament pursuant to Section 34(3) and 35(5) of the National Lottery etc. Act 1993 (as amended by the National Lottery Act 1998 and the National Lottery Act 2006). ORDERED BY THE HOUSE OF COMMONS TO BE PRINTED 14 JULY 2016 Presented to the Scottish Parliament pursuant to the Scotland Act 1998 Section 88 Charity Registration no: 287780 HC 427 SG/2016/100 © BRITISH FILM INSTITUTE (2016) The text of this document (this excludes, where present, the Royal Arms and all departmental and agency logos) may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context. The material must be acknowledged as British Film Institute copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries regarding this publication should be sent to us at: [email protected]. You can download this publication from our website at www.bfi.org.uk. Print ISBN 9781474134910 Web ISBN 9781474134927 Printed in the UK by The Stationery Office Limited on behalf of the Controller of Her Majesty’s Stationery ID 2818161 07/16 Printed on paper containing 75% recycled fibre content minimum Printed in the UK by the Williams Lea Group on behalf of the Controller of Her Majesty’s Stationery Office CONTENTS BFI ANNUAL REPORT Mission and Values Page 1 Chairman and Chief Executive’s Report Page 2 What we delivered this year Page 5 Public Policy, Leadership and Advocacy Page 23 Fundraising and Philanthropy Page 26 Key Performance Measures Page 33 Financial Review Page 37 Public Benefit Page 41 Environmental Sustainability Page 42 How the BFI is Governed Page 44 Remuneration and Staff Report Page 50 Corporate Information Page 58 GOVERNANCE STATEMENT Page 59 BFI GROUP AND CHARITY FINANCIAL STATEMENTS Statement of Governors and Accounting Officer’s Responsibilities Page 65 Independent Auditors Report Page 66 BFI Group and Charity Financial Statements Page 68 LOTTERY FINANCIAL STATEMENTS Statement of Governors and Accounting Officer’s Responsibilities Page 91 Certificate and Report of the Comptroller and Auditor General Page 92 Lottery Financial Statements Page 94 Schedule 1: Lottery commitments (soft) made by the BFI Page 111 Schedule 2: Lottery commitments (soft) made by delegate bodies Page 117 STATUTORY BACKGROUND Page 120 MISSION AND VALUES The BFI serves a public role which covers the cultural, creative and economic aspects of film in the UK. Founded in 1933, the BFI is a registered charity governed by Royal Charter. Under the Royal Charter, the BFI has five objectives: • To encourage the development of the arts of film, television and the moving image throughout the UK; • To promote their use as a record of contemporary life and manners; • To promote education about film, television and the moving image generally, and their impact on society; • To promote access to and appreciation of the widest possible range of British and world cinema; • To establish, care for and develop collections reflecting the moving image history and heritage of the UK. Film Forever is the BFI’s strategic plan for 2012‐2017, which covers all BFI activity, and focuses on three priority areas: • Expanding education and learning and boosting audience choice; • Supporting the future success of British film; • Unlocking our film and television heritage. In carrying out its duties, the BFI undertakes to: • Consider the views of the industry, our audiences and our partners • Be efficient, effective and accessible • Be honest, open and accountable for our actions • Provide clear and appropriate information, guidance and feedback • Share and learn best practice in order to continually improve the services on offer. 1 CHAIRMAN AND CHIEF EXECUTIVE’S REPORT This year the BFI London Film Festival opened and closed with two standout British films, Suffragette, proudly supported by the BFI and FILM4, opened the Festival with Danny Boyle’s biopic of Steve Jobs bringing the Festival to wonderful conclusion. These two great British films had to really stand out against competition from the rest of the world. The number of distinctive British films winning critical acclaim on the world festival circuit has increased steadily in recent years, and a reminder that success cannot be measured just in economic terms, but driven by creativity – something the Brits have in spades. The BFI’s job is to do all it can to bring forward the next generation of creative people, to give opportunity where it might not exist. It is our role to do all we can to make sure that film, television and all the arts of the Moving Image are central to all our cultural and creative lives. This Report is ample proof that it has been a very exciting year for the BFI, packed with a richness of cultural programmes and creative opportunities which we and our partners have delivered for everyone across the UK, wherever you live, whatever your age. Education is the foundation stone, and this year we led a panel of experts from 18 European countries to publish a single ‘Framework for Film Education'. Meanwhile INTO FILM, celebrated reaching into over 9000 schools with their enthusiastically supported scheme for after school film clubs. A particular honorary note of gratitude should be made here for the 9,000 teacher volunteers leading these great initiatives. Our partners across the Film Audience Network – nine leading not‐for‐profit film theatres around the UK working with their network of over 1000 partners – joined forces with the BFI to bring an astonishing range of dynamic opportunities to enjoy a wide range of film, and not just in cinemas, but through events from Paisley Abbey and Norton Aerodrome to the Nottingham Games Festival’s exploration of amorous storytelling in games. Our pledge to digitise and make available 10,000 titles from the BFI National and Significant Regional archives connected with audiences with a level of exuberant enthusiasm that even the most optimistic could only have dreamed of. In the first nine months following the launch of the first 3,000 titles on our ‘Britain on Film’ platform we had over 10 million views. Having established the size of the public appetite to see and enjoy their own moving history, we are excited about the next instalment, ‘Rural Britain’, to be launched next year. The BFI Film Academy, which operates in every corner of the UK seeking out those young people who are thinking of a career in the industry, was financially supported for a third year by the Department for Education. Proof the initiative, with a focus on creating opportunity where it might not exist otherwise and finding and backing distinctive British voices, is working. Graduates from the first year are finding their way into the Industry either into full time vocational opportunities or in some cases through winning competitive places at the National Film & Television school. Further up the ladder, we work with Creative England, Creative Scotland, Northern Ireland Screen and Film Cymru Wales on a range of initiatives to support talented individuals further their careers and projects. 2 Alongside our mission to find and support future filmmakers, it is a privilege to support those already making a successful way in the industry. Many BFI backed films have achieved critical success, with BAFTA and Oscar nominations, as well as international audiences, such as Brooklyn, High Rise Lobster, and 45 Years. With a firm look to the future, the BFI made a major commitment to Diversity, understanding that this is the heartbeat of creativity and opportunity, by introducing the Diversity Standards for all those seeking funding from us. The scheme has received Government recognition and received solid support from the industry as an important agent for change, making opportunity available where it didn’t always exist before. In the year there was a particular emphasis on gender, with a series of events at the BFI London Film Festival, buoyed by the female led opening film Suffragette and, for the first time ever outside the US, the Festival hosted the Geena Davies Symposium. Looking at the year overall, in terms of producers funded it is a 50/50 gender split and over 30% of films funded by the BFI were directed by women. Nevertheless, we have the ambition to reach a 50/50 position in as short a time as possible. In a continuing challenging financial environment, it has been pleasing to see the growth in earned income from all our charitable activities. We set ourselves tough targets, growing existing activities and drawing on our strengths to create new income sources, such as an international learning course in modern film archive care, which attracted paying participants from countries as far afield as China, Russia and Japan. Of particular note is sponsorship and philanthropy where ever increasing value is placed on the importance of our activities by individuals, corporate partners and trusts and foundations. In a competitive environment the festival was supported by increased sponsorship and the bi‐annual fundraising Gala ‘Luminous’ far exceeded our expectation. A big thank you to all our supporters. We would like to record our thanks to the Department for Culture Media and Sport, who supported our income generating ambitions with a capital grant to further commercialise our estate at Stephen Street and BFI Southbank. As we approach the end of Film Forever, our five–year strategy for film 2012‐17, we have begun the process of developing our direction for the next five years.