Posts Tagged 'British Film Institute'

BFI and Government get ‘could do better’ progress report from Smith film policy review team

Follow up reports to Government commissioned reviews can often be rather bland and self-congratulatory but Chris Smith’s Film Policy  Review two year update has rather more teeth and doesn’t hold back from expressing frustration with the BFI, Government and industry’s lack of progress in a number of areas. (The original report can be found here and our 2012 post on it here)

Careful to acknowledge the funding cuts imposed on it by the UK Government and broadly positive about overall progress to date, Smith’s report nonetheless takes the BFI to task on the central plank of its BFI’s ‘Film Forever’ strategy, developing the audience for film and in particular for ‘specialized’ (i.e. UK independent and foreign language) cinema.  Its criticism is directed in part at the rather ‘top down’ way the BFI is working with partners in exhibition and lack of engagement with commercial distributors. The review expresses this is diplomatic terms ‘recognizing’ “the importance for the BFI of capturing and building on the experience and local knowledge in the regions and nations, as well as that of established organisations like the Independent Cinema Office, both in terms of avoiding duplication and spreading best practice” which is code for ‘consult more, command less’.

In relation to Film Education, another key aim of the Film Policy Review and the BFI’s strategy, the review update notes that, compared to England, the other nations and regions seem to have a more-joined up approach and that the designated delivery body, In To Film (until recently known as Film Nation UK or FNUK) on the one hands needs more room (from the BFI) to get on with the job but on the other recommends it “urgently engages with  schools and teachers to achieve capacity and scale for film education  interventions. The Panel stresses the related need for FNUK to engage more  fully with the government, and the Department for Education in particular, in  order to enable this

Although a seemingly arcane subject to most people outside film distribution the mechanics of the Virtual Print Fee mechanism, used to recover the cost of digitalising Britain’s cinemas, are of great significance for low budget filmmakers, distributors and smaller exhibitors.  The review update endorses a proposed alteration to the system which amongst other things would introduce a fee waiver for films released on 99 ‘prints’ or fewer, a considerable saving for distributors and thus venues and thus a help to the indie film-maker in getting their work to audiences.

The review update is pretty positive about the BFI’s roll out of its Development, Production and Distribution responsibilities which it acquired following the demise of the UK Film Council.  However Smith and co. are clearly frustrated at slow progress towards the Joint Venture Initiative between talent, producers and distributors heralded in the original recommendations, implying that PACT, DUK and WGGB are the principal source of the delay.

However the review update reserves its strongest admonition for the Government and its failure to make headway in getting the Broadcasters to do more to support the industry, expressing disappointment that “there has been no progress on the Film Policy Review recommendations concerning Memoranda of Understanding between broadcasters and an investigation into the UK film acquisition market”  and rather archly ‘reminding’ Maria Miller and co “that it accepted and agreed these recommendations, and strongly urges the government to prioritise their implementation as a key strategic component of an effective UK national film policy.”

On Skills and Talent development the update observes that despite considerable new investment and progress on many fronts the BFI isn’t listening to or working in quite as joined up a way as it might with the variety of delivery and strategic bodies across the length and breadth of the UK. Smith recommends that “the BFI, Creative England and Creative Skillset work more collaboratively … and that the BFI facilitates ongoing discussions with leading delivery agencies in UK skills and talent development across the UK’s regions and nations, to enable a more cohesive strategy for the sector. The Panel suggests this could be done most effectively via a steering group,  made up of strategic partners and led by the BFI.”

Summing up the progress of the BFI as Lead Agency for Film the review update reprises its core motif of ‘doing well, could do better, especially by being more collaborative’ and, noting that the BFI is due for a Triennial Review this year concludes:  “As it matures in its role as lead agency for film in the UK, we would encourage it to find an optimum balance between providing strong industry leadership and truly collaborative partnership working that allows partners the necessary licence to deliver against their remit.”

Given the considerable disquiet  in the exhibition and education sector about the BFI’s tendency to be somewhat over-directive in its approach to partnership working one suspects there will be not a few people saying ‘amen’ to that.

Another sunrise for Scottish film?

Some 64 years since a member of parliament first raised the issue of a film studio in Scotland, Angus and Mearns MSP Nigel Don will move a motion in the Scottish Parliament tomorrow noting the imminent arrival of Terrence Davis to shoot his adaptation of Lewis Grassic Gibbon’s masterpiece Sunset Song.  As it happens this was a project I first recommended for funding when I was in charge of development at Scottish Screen exactly 10 years ago, evidence (if any more were needed) of the patience and determination required of filmmakers in raising the money to get from page to screen. (See this earlier post for an analysis of what happened to the Scottish Screen Development slate ‘class of 2001’)

Don’s motion focuses on the absence of ‘proper’ studio facilities in Scotland, one of several factors which has over the years limited the number of incoming feature films that Scotland can attract and the amount that they can spend while they are here.  The absence of a full-scale sound stage and associated facilities has also, arguably, limited the ambition and possibilities of what Scottish-based filmmakers, and indeed television drama producers, can achieve on their own turf.

It has to be said that Scotland has seen the sun rise – and set –  on a studio or at least studio proposals many times since the end of World War 2. Beginning with Scottish National Film Studios (1946-47) through Blackcat (1984 – 1991), a veritable blizzard of competing proposals and sites in the early nougties (from  Gleneagles to Inverness) and most recently the sustained effort led by the redoubtable Gillian Berrie of Film City in Glasgow, the ambition to raise the roof on a studio rarely stays dormant for long.

Enhanced studio facilities alone, however, cannot solve all the problems facing Scotland’s filmmakers, both those trying to get projects of the ground here and those whose livelihoods depend as much if not more on incoming productions and the work they generate for technicians, facilities and service companies (from lighting and transportation to hotels and to catering).  However thanks to its Titanic Studios a single TV series, Game of Thrones, brings  £20m per series to the Northern Ireland economy, which combined with a single feature, Universal’s “Your Highness”, meant that last year N Ireland attracted £30m of spend, significantly more than Scotland’s typical £20 to £25m a year.

In the highly competitive world of mobile film production, and notwithstanding the fantastic work done by our screen locations and film commission staff, the highly-prized skills of our crews and the attractiveness of our diverse locations, cold hard cash plays a very large part in where producers choose to shoot their films.  Location incentives, tax breaks and ‘soft’ financing are the levers nations and regions use to lure productions their way and while Scotland benefits from the UK film tax credit we lack the direct incentives to clinch the deal that more and more countries from familiar players Canada, and Germany to assertive new kids on the block like South Africa, Belgium and individual American States.

Even as differential tax breaks and incentives for non EU productions are currently under scrutiny by the European Commission, Northern Ireland is looking at how it can develop its own tax break which offers producers and policy makers in Scotland some food for thought.

It starts with the audience

But making films and encouraging the making of films isn’t, or certainly shouldn’t just be about helping filmmakers or the economy.  From a public policy perspective the audience matters as much if not more; it deserves to have easy access to the best of the world’s cinema, the best that Scotland’s film makers can provide and the smallest gap between the two.  A key player in that regard is the British Film Institute.  With £98m to spend across the UK on film education, distribution production, talent and heritage it holds most of the purse strings and strategic oversight for a very large part of the UK’s film ecology including, at least for the time being, Scotland.  Following a period of policy reviews (to which the Sottish Goverment contributed) the BFI’s future plan, charmingly titled ‘Film Forever’  was launched a few weeks ago and its senior executives are currently on a tour of Britain, hosting Q&As with ‘stakeholders’, with the (not terribly well attended) Scottish event taking place last week in Glasgow.

The first of the BFI’s three ‘strategic priorities’ is “Expanding education and learning opportunities and boosting audience choice across the UK ” and central to the delivery of that part of the strategy is “A new education offer delivered by a new partner aimed at inspiring young people from 5-19 to watch, understand and make films”.

In practice what this means is a single agency for the UK charged with giving every school the opportunity to establish a ‘film club’; a new online platform; and a youth Film Academy (available in England only in year one).  In pursuing these objectives the BFI has stated its commitment to work with the nations and regions and existing expertise in further and higher education and to play a leading ‘advocacy’ role in, for example, making “the case to Government in Westminster and in the devolved UK administrations for film education to be more firmly embedded in curricula. We will advocate policies which build on pioneering work in Scotland, Wales and Northern Ireland and on the forthcoming national plan for Cultural Education.

Over the horizon…

So far so good and it seems most practitioners, policy-types and concerned politicians welcome the new strategy, even if they may argue the merits of individual budget priorities.  However the key challenge for Scotland is to make sure that the distinctive  legislative and administrative context and structures of education, training, exhibition, audience development etc. are understood, respected and engaged with in the development of truly ‘Scottish solutions for Scottish needs’.  So far the signs are broadly positive both in terms of the BFI’s engagement with the various sectors in Scotland and acknowledgement of the distinct Scottish context by e.g. some of the potential bidders to run the ‘5-19 education offer’.  More importantly, perhaps, the leading players involved in audience development, film education/skills and ‘ specialized’ exhibition in Scotland (organisations like GFT, Filmhouse/CMI, DCA, Regional Screen Scotland, access centres and the film and media academies) are showing real signs of a joined-up approach to making the full range of film, film understanding and film skills as widely available as possible.  At the same time Creative Scotland has embarked on a review of film in Scotland to “inform [its] future priorities for investment and partnership working in and beyond Scotland”.  Ten years have elapsed since the Scottish Executive’s Review of Scottish Screen and nine since the last published study of the economic aspects of film in Scotland (the ‘Audit of the Screen Industries in Scotland’ ) and while recent research on the cultural value of film has touched briefly on Scotland (such as the fascinating BFI report ‘Opening Our Eyes: how film contributes to the culture of the UK’)  there is still some work to be done to show just how important the moving image, and cinema in particular, to our sense of identity (or identities), our ability to make sense of the world around us and to help shape it.  As with a studio, illuminating what we have, don’t have and what we could have on the screen is a potentially important step forward and now is a very good time to let some more light in.

The difference a film (or two) makes – British film bouncing back at the box office

Media coverage (see e.g. The Independent, The Guardian , Televisual) of the latest statistical yearbook from the BFI has focussed on the apparent rude health of independent British film but does the detail back up the hype?

Well the answer is a qualified yes.  There is a discernible upward trend in the share of the box office garnered by UK independents (i.e. not those notionally UK films backed by US studios which include the Harry Potter, Pirates of the Caribbean and X:men First Class franchises).

However while the headlines trumpeted the record 13% UK independents’ share, as regular readers will be aware it’s a truism of film box office patterns that almost all the the spoils go to a very few winners and in that respect independent film is no different.  As Sean Perkins and his colleagues note in their report the annual figure is “dependent on a small number of high grossing titles”.  Just how dependent can be seen in the graph below which shows what the market share of UK independent film over th past three years is with and without the top one, two and three titles.

GRAPH (pdf)  impact of top three films on indie box office share

What the figures also reveal is that just two films accounted for almost all the 2010-2011 year on year difference.  Spool back a couple of years and 2009 was a pretty good year for UK independent  film with the top twenty titles collectively taking £85m in ticket sales and Slumdog Millionaire taking over  a third of that total at £31m.  2010 didn’t sustain that bump and saw the top 20 indie titles take only £50m with the number one UK indie film, StreetDance 3D, taking just under £12m of that. 2011 was another even bigger bumper year than 2009 with not one but two smash hits – The Inbetweeners and The King’s Speech each taking £45m to push the independent total to a record high of £144m.

And there’s the rub – take just two films out of the annual picture and the share of the box office changes by a much more modest +/- 1% point.  Should we be concerned?  Well no, not in the sense that as we know film is largely a ‘winner takes all’ business at every scale (though there are some encouraging signs that the inverted pyramid is getting a little less steep with the top 50 titles taking 74% of the box office in 2011 compared to 84% in 2001) .  But should we treat the unprecedented success of 2011 as a further sign of an independent British film renaissance?

Well here the BFI have been scrutinising the longer term trends and conclude that while the average UK indie share of the UK box-office for the past decade has been 6% there is a discernible upward trend from a low of 3.4% in 2003.

Given that encouraging fact what might the reasons be?  The simplest, almost axiomatic, explanation is that we must be making better films.  But there’s a parallel fact that over the past decade we have also generally been making more films (NB the data used here counts only those films with a budget of £500k and above, but that’s OK as so far no sub-500K film has had a significant box office success).  Has this growth in output had any effect on performance?  Well on the face it no, as our graph below illustrates, over this ten-year period there seems to be no statistically significant relationship between production volume and market share.  While the former has, until pretty recently, steadily increased the latter has fluctuated quite wildly.

GRAPH (pdf) comparison of indie volume and share over ten years

That said it remains interesting that there is an upward trend in both sets of data, the coincidence of which may be entirely accidental or it may mean that higher levels of production are a necessary but not a sufficient condition of higher box office share.  There is an argument that to produce more winners at the film casino your odds will improve, but are not guaranteed, if you make more bets. Clearly if production volumes were to continue to drop over time and box office share was sustained or increased then this suggested ‘ratchet effect’ would be disproved but it would seem worthwhile to at least keep an eye on this particular relationship as its often alluded to in film policy debates about ‘quantity versus quality’.

Film skills and training – who cares, who pays, who benefits?

Film skills strategy is a topic that tends to come round at five year intervals in line with the UK policy cycle which dictates that strategies should run for around five years and film bodies should get merged or abolished every ten years or so (see last post).  With the BFI resurgent as film policy top dog and Skillset re-emerging from an enforced period of silence on its future plans due to their logical dependence on the outcome of the DCMS/Lord Smith film policy review and the BFI’s strategic review, we are entering into a renewed period of deliberation on priorities and purse-strings – hence the EIFF panel session ‘What does the future hold for Skills Training and Development?‘ I’m moderating on Monday at Midday.

Since the era-defining publication of A Bigger Picture in 1998 which put training and skills very firmly in the centre of UK film policy, a lot of time and money has been spent on all kinds of training and education from individual bursaires to a significant (if declining) investment in the UK Screen (now Film) Academies [interest delcared, I’m director of one of them, Screen Academy Scotland].  From construction skills to cinematography and screenwriting to SFX, few aspects of film-making have not been addressed by schemes, short courses, seminars and subsidies.  Has it helped the UK turn a corner in terms of responding to the concern expressed by the British Film Commission that “increasing levels of investment in the training of filmmakers and technicians in other territories, along with improved fiscal incentives, will provide stiffer competition for future UK inward investment”?  Has it consolidated at least the first few rungs of ‘the ladder of opportunity that the Smith Review wants to see extended  “to address the needs of those working on their second or third feature film   and the BFI feels is not yet there when it highlights the need to “Ensure that future skills strategies provide a ladder of opportunity through effective alignment and integration with policies focusing on the development and education of young people “?  These are some of the questions which a panel including the BFI’s Eddie Berg, Creative Skillset’s Dan Simmons, First Light’s  Leigh Thomas and David Pope of Advance Films will be chewing over at Monday’s session.  Hope to see you there and we’ll return with some of the highlights in a later post.

Veteran British Film Institute launches New Horizons for Film

Film support agencies come and they go but at 79 years young the British Film Institute (est. 1933) endures like no other, having last year absorbed its short-lived patron the UKFC (2000 – 2010) .  Its nearest rival in longevity, the Scottish Film Council (established 1934) lasted sixty-four years before it (and three other bodies – Scottish Screen Locations, Scottish Film and Broadcast Training and the Scottish Film Archive – which later became part of the National Libraries of Scotland) gave way in 1997 to Scottish Screen. The latter survived a mere ten years before it too was swept away (with the Scottish Arts Council which began life in 1967) and replaced by Creative Scotland in 2010.

This week week saw the BFI publish its much anticipated future plan ‘New Horizons for UK Film‘ which is open for consultation until 10 June.  Different sections of the industry and the wider film ‘interested parties’ are either smiling, looking anxious or groaning at perceived wins/losses and will be prepping their submissions as I write.  Its not a simple task to unpick the proposed funding allocations and compare them against the UKFC’s budget.  But there are some immediate stand out comparisons such as Festivals, down 500k to £1m from the UKFC’s £1.5m, and ‘Skills & Business’, which at an indicative £4.5m a year is £0.9m (20%) less than the comparable UKFC Film Skills fund of £5.4m.  However the devil is in the detail and the headline figures may or may not be an accurate reflection of where the money will go as, for example, the ‘Talent’ category of £2m may be picking up some of what was covered by the Film Skills Fund.  These and many other questions will doubtless get asked (and one hopes answered) at the regional roadshows the BFI have organised over the next couple of weeks and if the consultation is a genuine one there may be changes ahead.  Watch this space!

A hundred years of investing in Scottish film

On Monday night ‘from an original idea by Mark Millar‘  the First Minister Alex Salmond and Culture Culture Fiona Hyslop and a crowd of potential film investors gathered in Glasgow to hear Claire Mundell and Peter Nichols explain the investment opportunities created by the new MacKendrick Fund.  I was asked to provide some context about the Scottish film industry so here are some excerpts:

“We’ve been making feature films in Scotland for almost exactly a hundred years now.  The first of six film versions of Rob Roy was made here in Glasgow in 1911 in a small studio in Rouken Glen. It was a hit not just at home but around the world. Sadly however the production company behind the 1911 Rob Roy filed for bankruptcy just a year or so later which is perhaps a salutary reminder that one hit doesn’t guarantee future success. 

In the intervening hundred years there have been several attempts to kick start a Scottish film industry, but it wasn’t until the 1980s, following Bill Forsyth’s success with Gregory’s Girlthat we saw a concerted effort to promote Scottish film with the creation of the Scottish Film Production Fund, launched with a very modest £80,000 budget and in the middle of a recession. … [W]e have seen growing levels of investment, both from public (thanks in particular to the National Lottery) and from film industry sources.  But the level of film investment isn’t yet quite enough to secure the real prize which is a critical mass of feature production and a sustainable, profitable, diversified screen industry. Yet that prize is within our grasp if we can achieve the right mix of locally produced films and incoming productions, a decent share of television drama production and, perhaps before too long, the means to offer tax and other incentives. 

So it’s a very important sign of the growing credibility of Scottish film, and of entrepreneurial producers like Claire [Mundell] and the partnership she has forged with Presience and with Creative Scotland, that the MacKendrick Fund has been established … Now of course that’s not to say there aren’t risks investing in film.  Far from it – films themselves are inherently high-risk, the majority of films are unprofitable, the majority of revenues and the vast majority of profits come from a minority of the titles released.  But as with other high risk investments, fortune favours the brave and the smart.  The key to success is spreading and sharing those risks, taking a long rather than a short term view, looking not just at individual films, but at baskets of films and at film businesses.

 In my view the biggest economic challenge facing Scottish film, and by extension prospective investors, is that we simply don’t make enough movies to ensure the hits come frequently enough to offset those that don’t quite hit the spot.

If you look at similar sized countries across Europe, compared to our yearly handful they produce between twelve and twenty five movies annually. As a result they see box office revenues alone ranging from 40 to 200 million pounds a year just in their domestic territories and a market share as high as 25%.  (And of course box office receipts typically account for less than a quarter of a film’s total revenues.)  But what’s equally important to note is that statistically their films are no more likely to be hits than ours.  The ratioof hits to misses is actually remarkably consistent in nearly every territory, regardless of the size of the industry. 

That said last year UK production investment actually dipped by 9% and the number of productions dropped by over a third.  Now while this is undoubtedly a concern it also presents a golden opportunity for producers and investors in Scotland.  Because if we can increase production levels here from the single figures typical of the past decade to something closer to the levels of other small countries, then we are much more likely to produce the hits that can attract audiences, generate real returns for investors, and deliver the sustainable industry that we all want to invest in.

A Future for (Scottish) Film?

A Future for British Film’ (Lord), Chris Smith’s Review of UK Film Policy, is packed with recommendations so inevitably commentaries have tended to focus on a selection  – production, exhibition, culture finance etc. and this one is no different.  The significance for filmmakers of suggested changes to the investment environment and recoupment, getting distributors into the financing process earlier etc have been well covered in the trades and elsewhere so let’s take a moment to ask what does it all mean specifically for Scotland?

Firstly this is an independent report setting out to the Westminster Government, the BFI and others recommendations which they may or may not choose to follow.  While the Scottish Government (and key bodies such as Creative Scotland or the NLS where the Scottish Film Archive now sits) have no formal obligation to pay it any heed, it nonetheless has great significance for film in Scotland, from education and training to production, exhibition and archive as it both sets out key issues and challenges and some of the means by which they might be addressed.  In doing so it has the potential to bolster the case made by various interest groups (not always entirely shared) – from educators to exhibitors – for funding and other interventions.

The Review has direct implications for how the BFI may relate in future to Creative Scotland and other Scottish bodies and, in passing, it prompts not a few questions abut how a future Independent, or at least fiscally independent, Scotland would manage some of the matters which are currently reserved to the UK such as tax breaks for film production, the treatment of co-productions and so on.  (Indeed what the role of the BFI might be post independence or devo-max is an interesting but so far entirely unexamined question.)  In its submission to the Review the Scottish Government, amongst other things, called for film lottery funding to be fully delegated to Scotland and suggested that the BFI could also be made accountable to the Scottish Parliament for its activities in Scotland.

Back to the report then and amidst the welter of recommendations on treatment of producer’s equity, piracy, integration of film education and closer working between producers and distributors (now where have we heard that before? Oh yes, in 1997 when the Lottery Film Franchises were established…or even further back in 1980… plus ca change)  there are some which have specific significance for Scotland, vis:

Recommendation 6. (“The Panel recommends that the BFI should co-ordinate a joined-up UK-wide film festival offer, to promote independent British and specialised film and maximise value for money, utilising a mix of public funding and private investment and sponsorship.”) though it doesn’t mention it by name,  implies the continuing  importance of the Edinburgh International Film Festival to the UK film festival ecology but stresses the need for more to be done ‘to understand the role of local festivals and their relationship to international festivals in the UK’.  Growing festivals like Glasgow’s may take heart from that whereas Edinburgh may need to consider what role it wants to play as Scotland‘s centre of excellence in festival programming, curation and so on outside of the few weeks of the Festival itself.

Several commentators have highlighted the Review’s veiled criticism of UK Broadcasters for not doing enough to support the film ecology it benefits from to the tune  of £1.2bn in ‘economic value’ and the fact that 80% of UK film’s audience is via television.  While it resists calling outright for the statutory quotas for film investment or output which are common in outher parts of Europe, it does dangle them as a plan B if a voluntary solution isn’t found: “the Government initiates immediate discussions with each of the major broadcasters – the BBC, ITV, Channel 4, Channel 5 and BSkyB – with the aim of agreeing a Memorandum of Understanding with each broadcaster setting out its agreed commitments to support British film. Should this approach prove unproductive, then the Government should look at legislative solutions, including new film-related licence requirements to be implemented in the new Communications Act.

From a Scottish perspective the question is whether such voluntary or statutory arrangements can produce a commitment to diversity of material and/or a specific commitment to film investment/output in Scotland by the terrestrial broadcasters.  Given the current scale of opt-out programme budgets and available slots this might seem implausible but STV’s drive to opt out of the ITV network more and more, the declining ‘entry cost’ of (low budget) feature film production, wider partnership opportunities with domestic and overseas co-producers and the greater flexibility over release ‘windows’ all make it much easier to envisage Scottish broadcasters part-funding festures for theatrical and near to simultaneous TV release.  Indeed without them it is difficult to imagine a sustainable Scottish film ecology.

Alongside finance and distribution, skills and talent development are crucial to the ‘supply side’ of film-making.  Sustaining the critical mass of craft skills in Scotland needed to support incoming and indigenous filmmaking and nurturing new talent to the point where it can attract investment from near or far remain high priorities (or ought to).  The Smith Review Panel “recommends that the BFI, in partnership with Skillset and BIS, continues to deliver and strengthen a strategy for skills which represents a ‘gold standard’. Such a strategy will help ensure that skills across the sector remain one of the UK’s great strengths, that our skills base continues to act as a powerful incentive for inward investment, and that the indigenous film sector is able to maximise benefits to audiences.”

Our own research has recently uncovered a worrying downward trend in film skills investment in Scotland over the past five years both in absolute terms (due to the cuts in funding to UK skills body Skillset) but also in percentage terms as the ‘centre’ of the industry has been, relatively speaking, protected.

Skillset Nations and regions spend

The Smith Review recognizes the ‘National and Regional Challenge’, noting that “Despite support for out-of-London film activities from National and Regional screen agencies, the UK film industry remains a London-centric business [which] presents challenges for the development of talent and on-screen representation of the UK’s Nations and Regions.”

In recommendation 44 Smith “recommends that the BFI works with and supports Creative England, the National Screen Agencies, Skillset and others to create a strategy to ensure diverse talent is found, supported and nurtured, outside of London. Ways should be found to help ensure that talented people can work, in a sustainable way, wherever they may wish to locate themselves in the UK.

Fine words though there is not much flesh on them in the report itself.  That said one of the concrete recommendations with a potential direct impact in Scotland (here I must declare an interest as Director of Screen Academy Scotland) relates to film schools:

“42. The Panel recommends that the BFI, together with Skillset, HEFCE and the Scottish Funding Council, undertakes a review of the three Skillset Film Academies, with the objective of establishing their readiness to be considered for the equivalent of ‘Conservatoire’ status for delivering world-class skills and training – similar to that enjoyed by leading music, drama and dance academies.”

Since we established Screen Academy Scotland in 2005, transforming the opportunities for film talent to pursue postgraduate, practice-based training in a well resourced, creative and risk-taking space, the goal of sustained funding at a per capita level commensurate with e.g, the National Film and Television School, has remain frustratingly close but just out of reach.  This recommendation by the Smith Review, if heeded, may finally help us close the gap and ensure that the nation’s film and television school does not have to live from hand to mouth, chasing funding on an annual basis.

All in all the Smith Review has much for filmmakers, educators, audiences and policymakers to welcome but of course the real test is what notice the Government(s) and BFI (whose own strategy is due out in a month or so) take of its recommendations and how much pressure is effectively brought to bear on them by the diverse (and largely disparate) interests that make up the audience for this report.


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