Tag Archives: UK Film Council

The UKFC: What comes next?

Like many others, I was taken by surprise by the coalition government’s announcement about the demise of the UK Film Council. While the UKFC’s funding would certainly have been a likely target for the cost-cutting coalition, the idea that it would be swept away entirely was more of a shock – even to the UKFC themselves.

In the event, the UKFC will be in existence until 2012, albeit gradually winding down, so existing projects and commitments will not be casually brushed aside (like some kind of school building programme). But what happens after that?

The DCMS has said that lottery funding for UK production will continue. However, it has given no indication of how large that funding will be, or how it would be administered (my guess is that it will return to the Lottery itself, who presided over the fund prior to the UKFC’s formation, and gave the green light to films including Billy Elliott and Bend it Like Beckham). Inevitably, this will stall productions that might otherwise have gone ahead, as filmmakers and production companies wait in limbo for some kind of announcement.

Plenty of people have been lining up to dance on the UKFC’s grave. No surprise there: any body which holds the strings of so significant a purse is going to have to turn down a lot of projects, some of which deserved better, and make a lot of enemies. And every time it makes a bad call (Sex Lives of the Potato Men is the one most people bring up) it gives its vocal enemies more ammunition. Even so, there is plenty that the UKFC can be criticised for – the reluctance to fund more personal projects, the failure to develop a new generation of arthouse directors, the generously paid executives, the initiatives allowed to peter out (I’ve had my rant about the Digital Screen Network previously on this blog). But the good work should not be forgotten: whatever one may feel about the creative accounting that allows the UKFC to claim Harry Potter and James Bond movies as British, they have helped to encourage overseas – predominantly Hollywood – productions to come to this country, spending their budget on British crews, cast and locations.

They’ve also made some good choices when it comes to investing in production; commercially oriented films from The Last King of Scotland to The Duchess. The Prints and Advertising Fund is also worthy of praise, a scheme which allowed distributors of arthouse films with wider than usual audience potential (Pan’s Labyrinth, Downfall etc) to apply for funding to increase the number of prints available, taking advantage of critical and/or audience buzz.

That last is significant, because one of the major bugbears I have with the UKFC is that its avowed aim of increasing audiences to what it terms specialised film has repeatedly failed to materialise. It’s fine that Lottery funding should go to things like St Trinian’s or StreetDance – I have no problem with people enjoying shite, at least it’s 100% British shite – but the likes of Fish Tank have been given minimal support.

But the question remains: who is going to administer financial support for film production, and how much will they have to spend? This is significant to me as an exhibitor: a hefty percentage of the films I rely on to bring people to my venue enjoyed UKFC support. Among their upcoming projects which I would anticipate being hits for my business are Tamara Drewe, Another Year, Made in Dagenham and The King’s Speech. Will the supply of films like this dry up after 2012? And what will happen to excellent schemes like First Light?

For the future, I hope that whatever replaces the UKFC looks not just at funding film production but at getting it into cinemas, and getting audiences to come and see it. This means taking on the mantle of distributor as well as producer; working to persuade cinemas to book their product. This body needs to look carefully at each of its films and make judgements about who the audience is, and how best to get the film to them. If you have a mixed slate of (say) Wilderness, The Duchess, and Fish Tank, then you’re looking at three different films with different marketing and distribution needs. A genre piece will work better in the multiplexes; something by Andrea Arnold or Lynn Ramsey will pass through Vue unnoticed, but will flourish in city centre independents like the Picturehouse chain; and The Duchess will have a shot in both markets.

For the more specialised arm of the market, the body needs to offer some excellent financial deals to distributors, some of whom have been severely pissed off by the UKFC’s mishandling of the DSN. They might care to look at the work being done by Soda Pictures and the New British Cinema Quarterly, who are currently touring Skeletons with the support of Q&As from the cast and crew.

Oh, and it would help if the films are good. Did I mention that?

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What Went Wrong with the Digital Screen Network

Unless you live in a major city, it’s never been easy getting to see arthouse films in the UK. London may be well served, and the bulk of the foreign language films to reach these shores do get round the larger conurbations, if only briefly. But anywhere else? Not so lucky.

The Digital Screen Network (http://www.ukfilmcouncil.org.uk/dsn) was an attempt by the UK Film Council to tackle this. The idea was to kickstart the growth of digital projection in the UK, enabling smaller films to appear on more screens at once, and encouraging cinemas to play more specialised product, thereby encouraging more people to try them.

It sounded good in theory. 35mm prints are very expensive, and for a lot of foreign language/arthouse films distributors can only afford to risk investing in a handful. This means the films take forever to make their way round the country’s arthouse and indie cinemas, whereas a major Hollywood release can play everywhere at once. And if an art release does start generating word of mouth and becomes unexpectedly popular, there aren’t enough copies to meet public demand. With digital, a hard drive can be sent round any number of cinemas, the film downloaded and played at each one. Popular films can be shown wherever there’s a demand, and the wider distribution encourages mainstream audiences to take a risk on something from beyond Hollywood.

A network of 240 screens was set up, with a new digital projector provided for each participating cinema. The deal was each venue would play an agreed percentage of specialised films in return for this very expensive bit of new kit – one which also allows a variety of other events (noticed any opera, theatre or comedy events showing at your nearest Picturehouse? All thanks to digital). Naturally, a lot of cinemas leaped at this. And that’s where things started to go wrong.

Far more cinemas applied than could be included in the network. And by making the application process competitive – cinemas needed to promise an increasing number of specialised screenings across the 5 year timescale of the scheme – the UKFC encouraged people to make major promises that they wouldn’t have to worry about for a few years. This included some of the UK’s major arthouse venues, as well as independently owned small town venues and multiplexes.

That’s right, multiplexes were included. Now, I’ve no issue with such venues being encouraged to show a wider range of films, but some might question the wisdom of a publically-funded body to subsidise digital conversion for the commercial sector. In addition, I would be very interested to know just how big an increase those venues promised; the UKFC’s definition of ‘specialised’, which you can see at http://www.ukfilmcouncil.org.uk/media/pdf/r/2/Defining_Specialsied_Film_Update_20_04_08_.pdf , is broad enough to include Bollywood (which is utterly mainstream for some venues), as well as the likes of Inglorious Basterds, Fantastic Mr Fox, and Slumdog Millionaire: all product that would have made it to the Odeons and Cineworlds without any encouragement.

But still, you can see the UKFC’s thinking on this. It’s not really where they went wrong. Their mistake – and it’s a massive one – is that having set up the DSN, they then proceeded to do exactly jackshit with it. For about two years.

I’ve spoken to or corresponded with a number of cinema managers about this, and they all tell much the same story. Initially, the UKFC asked for records of specialised films shown by spreadsheet, but that soon stopped, with the promise that all reporting would soon be done over the internet. Then they went quiet. No feedback was received on the programming to date (at least, not to any venue Uncle Frank contacted). No sign of the promised internet reporting. No contact at all over a year.

I don’t think it takes a genius to see that if you want over 200 cinemas to increase their specialised programming – which could potentially be a commercial risk for them – you don’t just leave them to get on with it. You keep an eye on them, you maybe flag up films they might like to consider, keep them up to date with any specialised titles that have proven to do well with audiences. If cinemas are failing to keep up their end of the bargain, you might like to ask them what the problem is, and see if you can come up with a solution. What you do, in other words, is nurture your creation.

But the UKFC didn’t do that. They just clammed up, and left most of the cinemas to assume they’d lost interest and had stopped taking notes.

Eventually, the long-promised online reporting system appeared, and venues were asked to check and confirm a couple of years of programming. Hardly a surprise that many had underperformed, mostly through no fault of their own. And someone at the UKFC must have woken up at around this time, because they started making very bullish noises; Peter Buckingham, the UKFC’s Head of Distribution, was telling industry conferences that “if you don’t meet your contractual commitments, you will lose your digital projector.”

This helpful attitude was carried on to a letter sent out to underperforming cinemas in summer 2009, threatening to find any cinemas failing to meet their required number of specialised screenings in breach of contract, meaning they could lose their digital projector. Having trouble? Need to run popular films to pay the bills? Discovered your audience prefers Mamma Mia and Sex and the City to non-stop arthouse? Tough.

With hindsight, one has to wonder how much of this hard-ass posturing (because nobody seriously believed the UKFC was going to have all these projectors removed from cinemas up and down the country – aside from being a very public admission of the DSN’s failure, it would be a massive pain in the arse) was down to the impending budget cuts at the UKFC, and the publically raised possibility of a merger with the British Film Institute. Were I of a cynical bent, I might wonder if people were suddenly feeling the need to justify their continued employment.

Eventually, the UKFC blinked. Having stated that they would not renegotiate any venues’ contracted specialised levels, they sent out a letter carefully worded so as not to sound like a complete reversal of that position. Instead, the agreements have now been extended by a year, and underperforming venues are being asked to keep to a noticeably lower average number of screenings per week. This will allow them to ‘catch up’, apparently.

It won’t, obviously, but it saves face all round. The UKFC may even withdraw a few projectors, just so that they can look tough. But really it just hides the fact that the aims of the DSN have been spectacularly missed. Just by how much is difficult to tell – the UKFC to date have not published the numbers. Their annual statistical yearbook is due out in a couple of months – can we perhaps hope for some hard info on how much specialised film provision has increased in the UK compared to the pre-DSN days, whether that increase is taking place across the commercial and independent sector equally, and who the biggest underperformers are.

I suspect they’ll keep that to themselves. It’s a shame; the objectives of the DSN were laudable and ambitious. Pity that the UKFC didn’t seem all that interested in following them through in practice.