““Given independence for Scotland, and if I were appointed Minister for Fine Arts, I should ban all American films for two years” said Mr Compton Mackenzie, the novelist, speaking to members of the Edinburgh Film Guild.” The Scotsman 4th February 1931
Archive for May, 2011
Tags: creative scotland, development, film investment, film production, scottish film, scottish screen, talent, television, TV
Back in 2001 there were 53 feature film projects in funded development at Scottish Screen – a cumulative investment of just under £700,000 – I know this because back then I was the Executive in charge of script and project development. The agency was established in 1997, inheriting the functions of (and not a few projects from) its predecessor the Scottish Film Production Fund. Scottish Screen in its turn gave way last year to Creative Scotland which has taken on the mantle of investment in Scotland’s screen talent and championing its screen production.
Of those fifty-odd scripts (one or two quite literally so) to the best of my knowledge five have been produced. A couple of these you will probably have heard of and may well have seen: Young Adam, David Mackenzie’s 2003 adaptation of the Alexander Trocchi novel starring Tilda Swinton and Ewan Macgregor, or The Flying Scotsman, the true story of cycling ace Graham Oberee starring Johnny Lee Miller in the title role. The others you might not have encountered: Stewart Svassand’s One Last Chance (2004), Paul Pender’s Evelyn (2002) and Sergio Casci and Don Coutts American Cousins (2003). Together though, these were ‘the ones that succeeded’ out of the class of 2001, confirming that rule of thumb that one in ten funded developments will make it to the screen.
Was the remainder of the investment (roughly £600K) in those projects that didn’t get made wasted?
No and here’s why:
Firstly as William Goldman sagely observed, no-body knows anything and a one in ten production ratio is par for the course.
Secondly, whether you are a studio, a public agency or an independent producer, development isn’t just about having a punt on a project – it’s an investment in talent and relationships. This project may or may not pay off but through the process of working on it a collaboration is developed, tested and if it gels may be the seed of future success. For the individual company or studio the hope is that the talent will stick to you and eventually the right project will get green-lit. For the public agency however the payback need not be so direct. If the talent goes onto to make a contribution to the industry/culture as a whole – the common good as it were – then the investment will have been worthwhile.
So what happened to the ‘unmade’ talent of 2001? Here’s a selection of those attached to the projects that didn’t get made:
Craig Ferguson – now a star of US TV. Morag MacKinnon –TV directing career (Nice Guy Eddie, Buried, The Innocence Project)and first feature (Donkeys co-written by 2001 writer partner Colin Mclaren) released in 2010. Jack Lothian –TV writing career (Totally Frank, Doc Martin Shameless) Patrick Harkins has a TV writing and directing career including Sea of Souls and Taggart). Mark Greig has written for The Inspector Lynley Mysteries, Life On Mars, Ashes to Ashes and Paradox. Eleanor Yule has been directing documentaries including Crimes that shook the world and drama documentaries on Dennis Nilsen and Ian Brady. David Kane has had a successful career in television as a writer (Sea of Souls, Rebus, Foyles War, Taggart) and recently director (The Field of Blood). Brian Kirk – went on direct TV in Ireland (Pulling Moves) England (Murphy’s Law, Funland) and the US (Father and Son, Dexter, Boardwalk Empire, Game of Thrones). Robert Murphy has written for Murder City, Cape Wrath and DCI Banks: Aftermath.And then there’s Gilles Mackinnon, Ian Sellar, Brian Elsley, Mike Cullen, Karen McLachlan and Margy Kinmonth.
So all in all at least half of the people that Scottish Screen backed in 2001 have and continue to make an important creative and commercial contribution to film or TV here and abroad. That’s the bigger picture of public investment in screen project development and a salutatory reminder that ‘getting it made’ isn’t the only relevant measure of whether an investment has been worthwhile. That said its notable how the careers of the class of 2001 depend on television and, by the same token, how restricted Scottish feature film production remains (a point regular readers will be familiar with). With the average age of a first time feature director in Scotland remaining stubbornly around the 40 mark and the competition for the more prestigious, high budget single or 2-part TV dramas at least as intense as it has ever been, the creative bottleneck facing the class of 2010 is unlikely to get much looser any time soon. So talent development remains a risky game which, for the time being at least, only pays off in the long run. Good luck to the class of 2010!
Tags: cinema, co-finance, co-production, coproduction, development, ENGAGE, film production, international, MEDIA, scottish film, UK film
While the world’s media were heading to Cannes to traipse the Croisette and the red carpet (where, incidentally, our own Lynne Ramsay’s adaptation of We Need to Talk About Kevin has been very well received), MEDIA, the EU’s support scheme for pan-European collaboration last week announced the results of its latest round of funding.
The good news is that Accidental Media, a Scottish based company founded by Tomas Sheridan (an Edinburgh Napier graduate and 2009 participant in ENGAGE, Screen Academy Scotland’s European coproduction workshop which is itself funded by MEDIA) has secured Single Project Development funding for ‘Babel’s Market’ which was a runner-up in the 2009 ENGAGE competition.
Accidental’s €11,488 award amounts to 3% of the total €413,393 in single project funds awarded to UK-based companies so far this year.
The less good news is that Accidental are the only Scottish beneficiaries out of nineteen UK companies awarded a total of €1.6m across all of the MEDIA schemes from single project and slate development to interactive projects and TV distribution. That makes the Scottish share of MEDIA funds thus far (there’s a second call whose results will be announced later in the year) less than 1% of the UK total and would appear to the confirm the trend over the last decade which we noted here last October .
In itself the share of MEDIA funding secured by Scottish companies needn’t automatically be cause for concern, but taken together with the seeming absence of much recent co-production activity across film or TV there are clear signs that the Scottish production sector is not securing the international finance or distribution that it arguably needs to ensure growth or indeed sustainability. Cinema is almost inherently international these days as the UK domestic market is simply too small to finance anything other than ultra low budget films. In television, while there is undoubtedly plenty of scope for Scottish companies to grow within the context of UK network commissions, co-production is an increasing opportunity if not a pre-requisite in higher-end factual programming in genres like natural history, history, science and arts.
While of course it’s gratifying that ENGAGE has helped at least one Scottish company on the road to international co-production, it would be good to see more alongside it The development support available from the MEDIA programme is a very valuable aid to getting projects off the drawing board and into serious development and if there are reasons Scottish companies aren’t applying or are relatively less successful in securing support these clearly need to be addressed.
Eschewing this column’s usual modesty we would just like to point out that our Culture test (see last post) more or less accurately predicted the 45% SNP share of the vote in yesterday’s election (based on the 47% share of the use of the terms creative/culture/arts in their manifestos).
MORI and the other pollsters better watch out!