The scanner has been working overtime this week digitising some pre-web documentation of Scotland’s film history and this delightful epistle from Bill Forsyth in the 1986 Edinburgh International Film Festival Programme is just one example
Tags: BFI, box office, filth, scotland, scottish film, statistics, sunshine on leith, top ten films, trainspotting
The latest and, as ever, fascinating annual statistical handbook from the BFI allows the elves here at The Producer’s Cut to update the all-time top Scottish films at the UK Box office (NB Adjusted for inflation) with not one but two films making it into the list from 2013. Not surprisingly perhaps Sunshine on Leith and Filth, having briefly occupied the number 2 and 3 spots at the UK box office in 2013 have quickly joined the all time Scottish top ten at number 4 and 6 respectively. Trainspotting remains the undisputed top dog with 25% of the total box office garnered by the ten films and indeed all but one of the top five films are from the 1990s. Inevitably the definition of ‘Scottish’ used here is subjective – both Rob Roy and Last King of Scotland could be ruled out on production origin terms (as could even Mrs Brown for that matter) but allowing for that caveat we can see that there’s no real pattern to the best-selling Scottish movies other than that from thrillers to a musical they managed to strike a chord with the film-going public.
|UK Box Office £ (adjusted for inflation)|
|The Last King of Scotland (2006)||5,680,951|
|Shallow Grave (1995)||5,101,342|
|Sunshine on Leith (2013)||4,600,000|
|Rob Roy (1995)||4,352,000|
|This Year’s Love (1999)||3,600,636|
|Mrs Brown (1997)||2,647,037|
|Magdalene Sisters (2002)||2,138,934|
|The Angels Share (2012)||1,928,376|
Tags: filming the list, Jennifer Tremblay, Morag Mckinnon, robin macpherson, stellar Quines, The list, theatre and film
After an absurdly long time (ten years to be precise) I’m pleased to reveal that I’ve got a new film premiering at Filmhouse in Edinburgh next month (or two if you count executive producer credits which of course I don’t :) ) Advising the unquestionably Stellar Quines on the transfer of their hit play The List to the big screen gave me the opportunity to shoot a behind the scenes doc on the collaborative process between film director Morag McKinnon, theatre director Muriel Romanes and Maureen Beattie, star of the one woman play by Canadian dramatist Jennifer Tremblay, translated from the French by Shelly Tepperman. The collaboration was supported by an ‘innovation follow on’ award from the Scottish Funding Council which allowed me to advise Stellar Quines on the creative, commercial and practical aspects of turning theatre into cinema and connect them up with the right talent and skills to realise their ambitions. As it turned out the film director of The List is an Edinburgh Napier graduate, as was the film production manager Lili Sandelin, DIT Mihail Ursu and Karel Dolak the online editor of ‘Filming The List’. Former staff member Rob Walker recorded and mixed the sound for The List while current staff member Ross Buchanan mixed ‘Filming…’. So all in all the whole project has been a shining example of collaboration, both between theatre and film and between university and the arts. Tickets for the Filmhouse screening are on sale now and the films will be in Dundee at DCA on Tuesday 5th. Further dates and venues t.b.c.
Tags: creative industries, dcms, Scottish Government
The DCMS have just released their nations/regions breakdowns of creative industries employment in the UK and the Scottish picture is, relatively speaking, somewhat disappointing even if the figures show the number of creative industries and creative economy jobs (more on that distinction later) in Scotland to be more than most recent Scottish estimates calculate.
Across the UK creative industries jobs (creative and support) grew 10% between 2011 and 2013, while in Scotland there was a slight drop from 103,000 to 102,000 according to the DCMS count. In the wider ‘Creative Economy’ (which includes creative jobs in non-creative industries) every sub-sector bar two (Architecture and IT) recorded falls in employment with the total dropping from 166,000 in 2011 to 163,000 in 2013. The sectors recording the highest falls were Advertising and Marketing ( -2000 jobs) Crafts (-2000) and Design (-2000) with the highest riser being IT, software and computing services (+8000). The presence of the latter in Creative Industries statistics is a continuing issues as many of these jobs are not in fact creative industries related at all and as this sector accounts for one third of the total jobs its increase of 7000 jobs over the two years masks the falls elsewhere.
Whereas every other area in the UK shows an increase in creative industries employment as a proportion of total employment between 2011 and 2013 averaging 0.5% and up to 1.2% in the East of England, only Northern Ireland and Scotland record a drop, albeit a statistically insignificant 0.1%.
Scotland’s 102,000 creative industries jobs (NB jobs in the creative industries only, the creative ‘economy – see below) account for 6.3% Scottish employment total compared to the 8.5% UK average (a total of 1.7m jobs). However setting aside London (16.2%) and the South East (10.1%) that’s on a par with most of the rest of the UK barring the East of England (8.3%) and the South West (7.6%).
With 163,000 of the 2.6m UK Creative Economy jobs (NB ‘Creative Economy’ counts creative jobs in non-creative Industries) Scotland’s share has fallen more (-0.6%) than anywhere other than the East of England (-0.8%).
That these figures are very different from those used in recent discussion of Scotland’s creative industries comes as no surprise to those of us with an unhealthy interest in comparative methodologies but is a real problem in trying to get to any sort of coherent policy discussion about what needs to be done to support both overall growth and the specific needs of individual sectors.
Tags: film history, joris ivens, mashup, radical film
Readers with long memories will recall this 2012 post on how Jean Renoir started film crowd funding. Well the ever fascinating media historian Bert Hogenkamp has uncovered another bit of ‘nothing new under the sun’ in his contribution to the BFI/McMillan ‘The Documentary Film Book‘. This time it’s an early example of what we would think of as a video ‘mashup’ by renowned activist documentarian Joris Ivens.
Tags: creative education, creative industries, creative scotland, scotland, Scottish Government
[If you missed it or have difficulty accessing it on the Scotsman site here’s my Tuesday opinion piece on Creative Education with added LINKS TO SOURCES. This article is one of various to be debated at a late June RSA Fellows’ Media, Creative Industries, Culture & Heritage Network event “Visions, Irrespective” [of the Referendum].]
If Scotland post-referendum is to fully realize the cultural, economic and social potential of the arts and creative industries we will have to work harder to encourage young people’s creativity both inside and outside education.
Though no-one seems quite able to agree the precise scope and definition of the creative industries, one thing is indisputable – individual talent and creativity is central to their growth and sustainability. The UK creative industries as a whole grew at a rate three times that of any other major economic sector between 2008 and 2012. But such a prodigious growth rate won’t be achieved in Scotland without more attention being paid to how we identify, nurture and retain the content producers of the future. Indeed, over that same four year period Scotland’s creative industries have stood still or declined in terms of turnover, gross value added and employment.
Politicians of all stripes continue to assert the importance of creativity – from Jack McConnell’s St Andrews Day speech in 2003 “placing culture at the heart of Government” to Culture Secretary Fiona Hyslop’s belief that “an independent Scotland will be a place where our arts, our creativity and our heritage is collectively celebrated, valued, nurtured and supported across the public, private and third sector”. But are we doing enough to make that vision a reality, particularly in and around our schools and institutions of further and higher education?
The introduction of the Curriculum for Excellence has been an important step towards an environment in which creativity is valued both for its intrinsic value and its growing significance to our economic future while the recent Government and multi-agency ‘Scotland’s Creative Learning Plan’ is a vital step forward but needs real additional investment to achieve its commendable vision.
A good gauge of how seriously an education system, and learners, take a subject is which qualifications are studied. In Scotland, around 9% of Higher entries in 2012 were in ‘creative industries’ subjects (advertising, marketing, drama, media, music photography, visual arts), the same proportion as in 2008. Over the same period in England and Wales A-level entries in creative industries subjects rose from 13 to 14.5% of the total – a significantly higher proportion. If Scotland is to avoid falling further behind in educating the people who will fuel our creative economy as well as sustain our arts and cultural life, then we need to address our School provision with more determination – and resources.
What happens outside school is equally important and here too there are signs of progress, but still a great deal more to do. The recently launched National Youth Arts Strategy and the development of regional youth arts hubs will do much to spread Government resources more evenly around the country. But disciplines which bridge arts and the wider creative industries – such as design or architecture – are still too easily overlooked in strategies focused on visual and performing arts. Many hope that when the V&A Dundee eventually opens it will stimulate greater interest amongst young people in design as a career. However, without a truly Scotland-wide commitment to providing young people with access to inspiring design and designers in their local area, we risk failing to mobilise their imaginations and aspirations.
Similarly, Government investment in the Youth Music Initiative has helped mitigate the long term decline in local authority support for instrumental tuition. But we could do a lot more, nationally, to develop the interface between musical talent, technical and commercial skills – for example ensuring young artists, producers and audio specialists have opportunities to come together to develop, record and market their work. There is great work of this kind going on, for example between Shetland College and the multi-arts centre Mareel, but many parts of Scotland lack this kind of joined up provision.
Across the country our Further and Higher Education Institutions offer a wealth of opportunities for young creative talent. And talent we undoubtedly have, as my own university’s arts and creative industries degree show, and those of other universities and colleges, will publicly showcase this spring. Nonetheless, the sector remains relatively poorly resourced, while the system which feeds them is still something of a postcode lottery. The long awaited Skills Development Scotland Investment Plan for the Creative Industries should help focus energies in the skills sector. Rightly so. Because both for their intrinsic value and their potential to contribute much more to Scotland’s economy, creative talent can and should be placed much more firmly on the education agenda.
Tags: BBC, BFI, Denmark, film investment, film production, Ireland, scottish film
(this is the slightly longer original version of the piece published today in The Sunday Herald http://www.heraldscotland.com/politics/referendum-news/how-we-can-put-scottish-talent-into-a-starring-role.24235648)
There are many reasons why film and television in an independent Scotland could be bigger, better and benefit audiences, the economy and our wealth of creative talents much more than it currently does. For the best part of a century our screen culture and industry have depended on the resources and perspectives of London decision-makers. At times this relationship has indeed been beneficial but mainly it has been debilitating. It is true that at some key moments in our screen history, for want of a stronger domestic infrastructure, we have profited from enlightened regimes at the BBC, the British Film Institute (BFI) or Channel 4 who have given Scottish stories and talent support and screen time. Without them Bill Douglas, Bill Forsyth, John McKenzie, Lynne Ramsay or Paul Wright might never have reached our screens.
But we shouldn’t have to rely on those occasionally benign decisions which expose precisely the highly dependent nature of the relationship. Despite thirty-five years of effort since Bill Forsyth’s That Sinking Feeling burst onto the screen, we still lack the size and shape of screen industry that can consistently develop, employ and retain talent in front of or behind the camera without first looking to SoHo or W1A for approval.
As a result, unlike our literature, music or theatre we still import virtually all of our screen culture, more than any comparable western European country. Indeed it seems that we have almost lost the capacity to imagine any other arrangement, tending to assume that Scottish must mean pawky, parochial or poor quality. Lacking a sense of what a distinct Scottish audience might want, from say its screen dramatists, it’s little surprise that producers focus hard on meeting the expectations of financiers, distributors, BFI and TV executives for whom Scotland will always be small part of a bigger picture with no enduring claim on their time or resources.
The queue for film finance is so long and the local pot so limited that the average age of a first time feature director in Scotland remains stubbornly close to forty. It can take ten years to get a film like Sunset Song (even with Terrence Davies attached as Director) or a TV series like Katie Morag from development to production (both first supported with development finance by Scottish Screen in 2000).
Meantime Scotland’s share of network TV production has edged up from 3% by value in 2003 to just over 4% in 2012 – far from the 9% that our population share would suggest is a reasonable expectation of our public service broadcasters. Under pressure to deliver more for the ‘nations and regions’ valiant producers turn creative cartwheels to plausibly relocate a secondary school from Rochdale to Greenock while we wait patiently for a Scottish originated volume drama to be commissioned for the network – any network.
What would make things better in an independent Scotland?
Since no country’s screen industry has succeeded internationally without a strong and growing home audience we could work harder to grow domestic demand. Not by forcing audiences to watch home-grown movies through import tariffs or blocking Eastenders but rather by ensuring we have the capacity to offer real choice in the living room, in the cinema or on tablet PCs. That will take time. A Scottish Broadcasting Channel that, like most European public broadcasters, was mandated to support domestic film production (with investment and screening slots) alongside commissioned TV drama would be a powerful aid to growing production, jobs and facilities. Of course it would have to compete, as in Ireland, with UK networks – just as UK networks now have to compete with Netflix, Amazon and iTunes. But it would also be a crucial platform to develop Scottish talent and companies for whom these new distribution channels are real opportunities. In the same way people often overlook the fact that Grand Theft Auto originates in Scotland, not many people realize that international TV hit The Tudors was developed in Ireland, giving several new Irish directors their big break as well as employing legions of crew and facilities.
I’ve written elsewhere about how Scotland’s film success is patchy and stop-start compared to other countries because we operate well under the critical mass required to produce hits with any sort of consistency. If we invested the levels of public finance per head that other similar sized European countries do we could transform the environment for Scottish film and TV. Where we spend around one pound a year per person on funding film, Ireland spends two and Denmark ten, resulting in a far bigger share of the domestic market than Scotland has. Add control of tax reliefs and incentives and the full range of studio facilities to attract more inward productions like US series Outlander filming in Cumbernauld and we can see how Scotland could reach Irish levels of production and perhaps, in the longer term, Danish.
An independent Scotland in the EU would qualify for country of ‘smaller audiovisual capacity’ status which would bring the same advantage when applying for Creative Europe MEDIA funding as every other small country in the EU enjoys. And like those countries if we joined EURIMAGES, the European Cinema Support Fund, our producers would have access to coproduction funds which the UK, as a non-member, does not.
Fiscal and regulatory measures to stimulate production are only part of the picture. Alongside a commitment to grow production levels, investment in skills and talent development is crucial. For too long we have waved goodbye to talents in front of and behind the camera that, once established in London, New York or LA then have precious little opportunity to pay return visits. Conversely when high value productions arrive from elsewhere they quickly max out the available expertise or worse, because of unfamiliarity with our abundant talent and skills, bring up their favoured cast and crew anyway.
Our screen ecology suffers from a long term depression of demand. In contrast Denmark’s equivalent of BBC Scotland, home to The Killing and Borgen, employs 40 people in its Drama Department. Its Head of Drama Piv Bernth cites their close relationship with the Danish Film School as “one of the secrets of our success – With The Killing 3 for instance, we had five young student cinematographers for three weeks on the set.” A revitalised film and TV industry in Scotland could offer similar opportunities, providing many more rungs in the career ladder, not just the step up to a plane south but an open return ticket too.
None of this means severing our links with industry, institutions or audiences south of the border. Rather it means reframing those relationships so that we can enter into creative and commercial partnerships on a more equal basis, bringing more to the table and having more say on how audiences here are served and industry supported. For example the Irish Film Board gets along very well with the British Film Institute and they regularly co-finance films in much the same way that Creative Scotland and the BFI do.
Of course there are risks: for instance we might not grow our domestic TV production base fast enough to compensate for the loss of ‘lift and shift’ procurement that is currently propping up the BBC’s commissioning record in Scotland. There might be additional transaction costs that could work against co-production or co-investment. We might discover it’s too late, culturally, to reverse audience expectations of wall-to-wall imported screen content. Or we might just not bother to take our screen culture and industry seriously enough to give it the investment it requires. But none of these things are inevitable. As the recent Creative Scotland Film Sector Review shows, we have the potential, the talent and the skills to make a difference. If we have the will there is a way in an independent Scotland.