19905 Another British Revival?

1990s dominated by increase in use of the internet and new technologies.Estimated 13 million film fans seek out film information and film relatedwebsites. Corporate studio sites, fan home pages, academic discussionnetworks, personality/star sites, resources lists & entertainment news.Range of sites allows for independent film, obscure film location andinformation exchange as well as the dominant 18-30 age range. One ofmost frequently visited sites Internet Movie Database (IMDb) free up todate access to filmographic details for more than 150,000 film titles.Over 45 million page viewers visit each month.

Interactivity is the key attraction as you can go to film school or take afilm appreciation class online and collaborate in the creation of databases.Whilst entertainment film sites provide reviews, gOSSip and news, localcinema listings, video and merchandising sales, users' reviews anddiscussion forums and networks.

DVD

High picture quality, CD sound quality and potential for interactivity.Huge step away from linear experience of watching video, or film atcinema; on screen menus, instant access to any scene, to particularframes, to perfect stills framing, supplementary materials, "making of"documentaries, trailers, director/star interviews.

Odyssey Video (est. 1981) moving into DVD with 3 Merchant Ivory films.·We hope that the DVD will do to films what the CD did to music-it revived the wholeindustry...The technical qualities of these intimate dramas, rich in texture, work reallywell on DVD.H Adrian Munsey Managing Director of Odyssey Video, Screen International(July 23 1999).

The DVDs will include interviews with writers, directors and stars. TheLondon Foreign Office is using DVD to promote British Film IndUstry,aimed at senior Hollywood execs and key film centres and containsinterviews with major industry players such as Anthony Minghella,director of "the EngliSh Patient" (1996) etc.

Government Intervention

New Labour government appointed a minister with special responsibilityfor film industry who set up Film Policy Review Group 1997 asking for agovernment and industry based action plan. The result was"A BiggerPicture" produced March 1998 at request of Chris Smith Minister ofState for Culture Media and Sport, to provide comprehensive review ofnational film policy, looking at how to produce, distribute and exhibitmore British films to bigger and more diverse audiences.

Discusses successful American model "dominated by distribution-led integratedstructures, the big studios, where the processes of development, production and

distribution are financed and carried out by a single company" and how by contrastthe UK industry is "production-led and fragmented. The production process isseparate from the distribution process, which is dominated by big US companies.Production remains essentially a "'cottage industry"."

The strategy for dealing with this situation .....we need to encourage the

emergence of <l distribution-led process..." In other words the British FilmIndustry should spend more time and money on the energetic marketingof its products.

Industry and Culture

Nick Roddick, former editor of Screen International and Moving Picturessays although the business aspect of film making is important, but everymemorable achievement to come out of Uk cinema since the war wasabout someone's desire to say something, not to sell it.

National Lottery

June~rtsCouncil announced winners in its distribution of £92million of lottery money to film production companies- aimed atstrengthening the link between production and marketing in British filmindustry and may be one of the most important influences on filmproduction in Britain.

37 groups applied for the 4 film franchises on offer and applicants had tooffer ways in which producers could combine with distribution, sales andloan finance to form "mini studios", Each bidder could apply for between£6 million and £39 million of lottery money and had to demonstrate thatit could raise match funding from other sources. Franchises run for 6

years (hope that studios able to stand on own to feet after that) and nomore than £2 million of lottery money can be spent on any 1 film.

3 of the applicants met Arts Council criteria;Path'e Productions-made up of 6 UK producers and backed by French filmcompany received £33 millionFilm Consortium-made up of names like director Ken Loach, producer NikPowell (former head of Palace Pictures) and backed by Virgin Cinemasreceived £30 millionDNA Films Ltd-set up by "Four Weddings.." producer Duncan Kenworthyand "Trainspotting" producer Andrew Macdonald received £29 million.

"We tend to be very good at producing one-off movies...We're less good at developinglong runs of success and franchises will, I hope, put some of this problem right. The linkbetween production and distribution is crucial. You have to aim for both and thesefranchises do so." Chris Smith Minister of State for Culture Media and Sport

Criticisms of the awards are:• Largest share of money to French company I but it does have to be

channelled into GB film.• Belief lottery money may create unrealistic expectations of

success as 6 out of every 10 films made lose money and only 3 breakeven.

• Belief lottery money should really be going in smaller proportions tomore people, younger film makers and smaller budget films.

Industry &Audiences

Production

No Hollywood studio would've gone bust due to the failures that broke 2British production companies

GoldcrestPalace Pictures

in the 1980s. After a run of relatively successful films they were ruinedby 1 or 2 box office flops. Larger corporations can suffer considerablelosses as they have a constant stream of successes and this allows thehits to subsidise the flops. The occasional blockbuster pays for the rest.

No such companies in Britain. A few medium sized production companieswhich are usually subsidiaries of larger groups ego "Working Title Films"the producer of "Four Weddings" owned by the Dutch organisationPolgram (now sold to Seagram/Universal).

This kind of company works on a film by film basis but can makedistribution deals with sister companies.

More common are the small production companies consisting of 1 or 2enterprising and energetic producers who are working on the productionof a single film. This type of production is very risky financially.In 19805 454 GB films were produced by 342 companies and as mostdidn't make a profit I the companies went out of business.

Production Models

2 major models

A) US studio system - a factory system encompassing large scaleproduction, distribution &exhibition with a huge number ofdomestic outlets for its products and a very large export market.

B) State subsidised model which is basically a European initiative.System of state support designed to make sure that nationalaudiences can be supplied with films that speak the country'slanguage and reflect the country's social and cultural concerns.France and Sweden operate with this system.

In the UK neither of these systems is emulated and up until the 1990sthe film industry in Britain has been expected to survive commercially in avery small market place without fitting the Hollywood style or havingmuch government support.

Even with successful GB films there's argument about how production anddistribution can be analysed.

"The English Patient" (Anthony Minghella 1996) won 9 Oscars 1997. Inindependent terms a film with a very large budget, in Hollywood terms it'sa medium budget movie. With no big studio system in GB every film madein Britain whatever its subject or degree of risk can be considered anindependent film of sorts.

1 successful model for 1990s has been relationship between MacDonald(producer) Hodge (writer) and Boyle (director), makers of "ShallowGrave" (1994) and "Trainspotting" (1995) - encouraging for ethic of smallproduction company.

Already looked at significance of British Broadcasters in film industry in1980s - probable that Channel 4 responsible for the survival of Britishfilms during that period. But amount of money available from Channel 4,the BBC and Granada is small (and both Channel 4 and Granada no longerrun production sides in 2000). Are developments in satellite and cable likeFilm Four Channel (no longer producing in 2000) but BskyB, which earnsmore from films through their Movie Channels subscription in the UK thancinema box office, video sales or rental together isn't currentlyinterested in film production and Carlton, which acquired the largestBritish feature film archive from Rank has withdrawn ·from releasingfilms in cinemas.

Distribution

Distributors purchase the right to rent films to cinema operators(exhibitors) in specific territory (usually UK and Ireland). Further rights(to TV and video) are often purchased separately and can be sold on tosubsidise the cinema release. As with many other countries there aremore films made than can be shown on the current number of screensavailable.

In 1997 5 out of 6 distributors in GB with the largest market share wereHollywood owned- 20th Century Fox, Buena Vista International (UK) Ltd.,United International Pictures (UIP), Columbia Tristar and Warner Bros.Along with Entertainment and Polygram (UK). There were, in that year,about 20 smaller independent distribution companies including Pathe, FilmFour, First Independent and Metro/Tartan.

In 1998 the oldest British owned film distributor, Rank Film Distribution,closed and 3 new UK distributors were set up either through beingpurchased by, or in association with, larger companies outside of the UK.This enables them to purchase and distribute more films which aren'tproduced by Hollywood.

Distributors owned by studios will prioritise films their parent companieshave an interest in (usually films made in Hollywood). They will alsoprioritise films they think will make the most money - often "formula"titles with stars. Profits from these go back to the US and support theUS film industry.

Current problem for distributors wanting to show foreign language filmshas been fact broadcasters are buying fewer foreign language titles andthis has impact on distributors who may want to buy them to show inBritain. Distributors usually defray costs of foreign films by selling onthe TV rights, but with BBC and Channel 4 buying fewer...• ...we have no leverage at all...The carrot of a good TV deal is gone and because of thatfilms are sometimes taking years to get here, if they do at aiL" Andy Engel of ArtificialEye (one of oldest independent distributors).

GB audiences not getting to see modern foreign masterpieces becauseprize winning films from Cannes are failing to get British distribution(notable exception- "Life Is Beautiful" Roberto Benigni 1998).Cinema chains "fear of foreign language filmsH and nation's televisioncompanies are blamed according to the industry.European film makers frustrated by poor showing they get in Britain.

Marketing

This can have huge effect on box office success and films that lackstudio support of big distributors rely heavily on good reviews, publicityand marketing by cinemas themselves. Trailer advertising on TV iseffective for mass audiences but is usually beyond the budget of smallerindependent companies who concentrate on posters as their strongest

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marketing tool. "Trainspotting" and "Lock Stock and Two Smoking Barrels"(Ritchie 1998) had strong poster campaigns which contributed to theirbox office success. "Notting Hill"'s (MitcheIl1999) poster campaignresponded to new star Rhys Ifans' appeal to the lads by adding him toalready familiar poster in certain locations after the release of the film.

Exhibition

Multiplexes, technological improvements and more comfortable andinteresting environments for audiences have been responsible for revivingcinema going since 1985. Lowest point in 198454 million - 1997 139.30million. Also made cinemas more attractive to women who've accountedfor half audience in 1990s.

Multiplexes in direct competition with each other in similar locations andwith same service and films shown there reflect mainly tastes of 16-24range. Rare successes set in contemporary context "Four Weddings","Trainspotting", "The Full Monty" (Catteneo 1997), but mass multiplexaudience seem to want the"Star Wars" (Lucos 1977) kind of film. Don'tgo to see more realist titles that reflect the times and the culture of thecountry's population or what we might call national cinema. For manymultiplexes it's more profitable to run the same blockbuster type filmacross 3 screens than chance a lower budget release.

1997US owned multiplex and megaplex chains ego UCI, Warner Village,Showcase had 58 sites and 612 screens.GB owned chains plus smaller sites ego Odeon, ABC, Virgin, Cineworldoccupied 187 sites and 866 screensOther commercial independent exhibitors occupy 502 sites and 905screens

The independent exhibition sector includes mainstream exhibitors, arthouse exhibitors (individual and small chains), publicly subsidisedindividual exhibitors like local arts centres or town halls or Regional FilmTheatres (SF! supported arthouses).

The increase in the number of sites and screens hasn't been matched by agrowth in the number and range of films coming into distribution - thepoor film production to cinema release ratio is cause for concern amongstBritish film makers.

1996only 19cro of UK films got release on over 30 screens around the UKonly 13cro got a "limited release" in selected cinemas68cro did not get to the cinemas at all in the year following theirproduction.

199765 films listed in BF! handbook as being wholly British - only 26 of themreceived any kind of theatrical release.

Only a few British films have made an impact in 1999 including "TheGoverness" (Goldbacher 1998) "Hilary and JackieH (Tucker 1998) and"Plunkett and Macleane" (Scott 1999).

Loach says-It's no good having a really lively distribution company if the exhibitors have alreadyblocked off all their screens. It is like the soccer Premier League; how do you make theother divisions popularr

Peter Buckingham head of Film Four Distributors the theatricaldistribution arm of Channel 4 says that Film Four could become asuccessful studio for the millennium. Long term he wants to change theway films are distributed and marketed in the UK."The industry is structured to react very quickly to mainstream product. If I pick up thephone (to exhibitors) with "Rugrats", I would be locked into the marketing system and allthe doors would swing open. With a more specialised release, where I have to pick offmy audience, you can't get the machine to move."

He planned to release 15 films in 1999, mostly low to mid-budget titlesfrom Film Four with other acquisitions. His biggest film in 1999 was"Hilary and Jackie"."It is a very difficult and interesting audience to reach: older women...The film businessat the moment is geared to heavy cinema-goers and the first three days (of release)..."

Art Cinema

Bordwell defines it as "distinctive mode of film practice characterised byrealism, authorial expressivity and ambiguityf'. Could include not onlyLoach, Leigh, Jarman and Greenaway, but also the "heritage" cinema ofMerchant/Ivory associated with "culture" of literature and theatre.

It often achieves recognition as national cinema by being circulatedinternationally rather than nationally. Often do better outside Britain like

Loach's "Riff Raff" (1990) which won European Film Award for Best Filmin 1991 and had been seen by more people in France than in the Uk. With"heritageH film US is the bulk of the box office revenue. Sometimes theyeven open in the US before they do here ego "Sense and Sensibiliryn (AngLee 1995) and "The Madness of King George" (Nicholas Hytner 1994).

Films on TV

Global decline in cinema going matched with fact watching films is morepopular than ever,

1994 total cinema admission in GB 123 million but in same year videorentals were 194 million and there were 66 million video retail sales.

More films on TV than in cinema.1994 299 features released in Uk cinemas 35 wholly British but in sameyear 1,910 films screened on terrestrial TV, 413 British productions.

1994 total viewing figures for top ten films on TV matched total audiencefor all 299 films shown at cinemas. Films, including British films, seen bymore people on TV than in cinemas. In some respects therefore TV andvideo audiences are more reflective of the "nation· as a whole. Groupmost represented in cinema (16-24) less represented on TV and groupsthat are less frequent cinema-goers are more likely to see films on 1V egocountry dwellers.

Channel 4's first screening of "Four Weddings" in 1996 got an audience of12.38 million.

Print Coverage

Increase in film viewing =increase in mass media and consumer press filmcoverage. More listings mogs, wider range of mags, TV programmes andinternet resources to explain, promote, assess and celebrate film andexplain the workings of the industry.More film mags with "extras" like posters or scripts, vouchers orsoundtrack CDs. Distributors have their own mags that don't justadvertise now but run articles and editorials also. Others highlight Britishfilms and stars in special issues. Most people get their film news fromnewspapers or magazine listings, or TV review shows rather than fromfilm industry publications.

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19905 British Film?

What exactly is a British film is harder to answer in the 1990s than ever.The British film industry is a very fragmented one. Increasing confidencein British film making around the world, major box office successes with"Shakespeare In Love" (Madden 1998) £1.82 million in its openingweekend and defeating "The Full Monty" record take for a GB film in its1st 3 days in the home market.

Seems positive. Large profits from small budget films seen as learningexamples by larger organisations. 1st milestone was box officeperformance of "Four Weddings" in 1994 which grossed $262 millionworldwide,

1997 Saw 2 successes "The Full Monty" biggest British film of all time andcinema admissions rose to 139 million highest since 1974.Also saw end of one hit wonder trend companies producing "Trainspotting"and "Four Weddings" had previous and subsequent successes and "TheEnglish Patient" swept the board at the Academy Awards.

"The English Patient" raises questions around issue of Britishness anddefinition of British film. Made after the "independent" Americancompany Miramax (subsidiary of Disney) provided a budget of £27 million,producer American and writer Sri Lankan. Director was British and sowere the 2 leads and "The English Patient" is perceived as an British filmso isn't that enough to make it one?

•Shakespeare In Love" also funded by Miramax with 2 American leadsPaltrowand Affleck. Director John Madden is British and the content isBritish and isn't it cultural content that counts in notions of nationalcinema?

How British Is It? Sight and Sound March 1999 discusses Britishness inan editorial March 1999."_.what's interesting about the...British flavour of so many Oscar nominations - especiallythe way the titles "Elizabeth" and "Shakespeare In Love" prod the idea of a British"renajssQnce~ back to lite - is the extent to which they are perceived as "British",

And

"It's been well documented that ·Shakespeare In Love" ...was wholly funded by Miramaxto the tune of $25 million.....Elizabeth· ...was produced by London's Working Title. fundedin the UK. and stars Cate Blanchett (...Australian) "Hilary and Jackie"".had Rachel

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Britishness Today

• Costume Dramas, or films that convey an outsiders view of GB• Social realism type films presenting uncompromising views of those

on the outside of society

"Notting HiW (Michell 1999) - Successful GB film:>

Opened Odeon Leicester Sq May 21st 1999 took $250,000 in 3 daysConfirms GB product can compete with Hollywood by prodUcing follow upsSuccessful in US took $27.7m over opening 4 day weekend May 28-31Went out on more screens in its 2nd week and took more than half the UKbox office -$6.9m in 3 daysMade in GB, creative team and talent mostly GB (writer &producer)Original backers Polygram, Dutch, based in LondonPolygram sold to SeagramlUniversal so now US owned distributed byUniversal International Pictures and profits will go to the US (as withnThe Full Monty" in 1997).

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