Creative England: A Consultation on Strategic Priorities ... · 2.4 Creative England has identified...

Creative England: A Consultation on Strategic Priorities for Film for 2011/12

February 2011


Contents

1. Chairman‟s Introduction

2. Executive Summary 4. Creative England – Background 5. Creative England‟s Film Strategy – Proposed Strategic Priorities 2011/12 13. Your Views 14. Annex One – Further Information

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1. CHAIRMAN’S INTRODUCTION

1.1 Creative England‟s purpose is to support the sustainable

growth of independent creative businesses, and support the

talent that feeds them, in every part of England outside

London. It is built on the work of the Regional Screen

Agencies who, for the last ten years, have assisted the

development of the film industry, and the growth of film

culture in England. As changing audience behaviour,

technologies and business practice drove the convergence of film, television,

games and other digital media, the Regional Screen Agencies extended their remit

to include a broader range of creative businesses. Creative England takes that

process further by focusing on the needs common to nearly all independent creative

businesses;- finding and retaining talent; developing skills; business development;

access to finance; and access to national and international markets.

1.2 As a body in receipt of public funds Creative England will give practical support to

government policies for growth, recognising the need to build on England‟s well-

established centres of creative excellence while retaining sufficiently broad-ranging

networks to reach out to new talent wherever it is located in the country, and to help

industry reach out to new audiences and new markets. By reducing the duplication

of resources and functions that was inevitable with eight separate Screen Agencies,

Creative England will be able to provide a more cost-effective service to the sectors

it serves, bring specialist skills and resources to bear where they can most make a

difference and by building partnerships that combine the creative energy of local

initiatives with the scale and reach of national strength.

1.3 This document sets out the new organisational arrangements for Creative England

and our plans to deliver support for film in 2011/2012 working in partnership with the

BFI as the Government‟s lead strategic body for film. It is limited to film because it

describes how we intend to use that portion of Government and Lottery funding

made available specifically for film. And it is limited to 2011/12 because the

government proposes a major review of film policy during the course of this year.

1.4 Creative England will be based in three “Hubs” which will operate from Birmingham,

Bristol and Manchester but its activities will cover all the English Regions. These

hubs will be constituted as companies limited by guarantee and will jointly own

Creative England, also a company limited by guarantee. This document does not

go into detail about the structure of Creative England, however, further information

can be found in Annex One.

John Newbigin, Chairman, Creative England


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2. EXECUTIVE SUMMARY

2.1 Creative England, which will formally commence operations in October 2011,

replaces the previous network of Regional Screen Agencies (RSAs) which

operated across England. The organisation will be based in three “Hubs” which

will operate from Birmingham, Bristol and Manchester but its activities will cover

all the English Regions.

2.2 Creative England is now consulting on its priorities for film for 2011/12 only.

During this period, the organisation will participate in the review of film policy

which is to be led by the Government. The outcomes of that review will

determine Creative England‟s strategy for film from April 1, 2012 onwards.

2.3 DCMS have confirmed that for the year 2011/12, Creative England will have an

initial budget of circa £2.5m Grant in Aid and circa £2m Lottery funding for film

from the BFI. Creative England will use this core support to leverage additional

funds from other public and private sources.

2.4 Creative England has identified three strategic priorities for its film activities in

2011/12, which build on the work of the RSAs. These are:

2.4.1 Developing creative talent - A strategy across England to develop new

creative talent and distinctive voices, in conjunction with the BFI, Skillset,

Film London and industry partners.

2.4.2 Nurturing film culture - A network of cultural programmes delivered at a

local level across England, in partnership with the BFI, Arts Council

England and other partners, which supports innovative approaches to the

exhibition and distribution of film, increases choice and grows audiences.

This will include a focus on film heritage, film festivals and increased

access to and exploitation of, film archive material.

2.4.3 Helping to maximise inward investment - A joined up approach to

attracting film production and the provision of a nationwide service to

support production in partnership with Film London (which will have an

expanded remit taking over the Office Of the British Film Commissioner)

and UK Trade and Investment (UKTI).

2.5 In addition:

Partnership, with a wide range of organisations and companies from

across the public and private sectors will be integral to Creative

England‟s work. Similarly, Creative England will be committed to


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ensuring diversity and reach across all its programmes.

Creative England will focus on stimulating innovation across its

priorities, responding to the opportunities presented by the digital age.

Effective and efficient delivery of the priorities will be key, thereby

ensuring that overheads are minimised and maximising the value of

Creative England‟s activities to the benefit of audiences and the film

sector across all the English Regions.


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3. CREATIVE ENGLAND – BACKGROUND1

3.1 Rationale

3.1.1 The Coalition Government has made a clear commitment to support the

UK‟s film and wider creative industries as a sector which contributes

significantly both culturally and commercially to the UK's wealth and

sense of well-being. Alongside this, the Coalition is committed to cutting

public sector spending, duplication and waste.

3.1.2 The Government has made plain that it believes that the film sector has

clear market failures, and delivers significant cultural value, which means

that the case for public intervention is strong and enduring. As such,

Exchequer funding, for the film tax reliefs and other film activities, and

Lottery support, will remain at the heart of the Government‟s commitment

to film.

3.1.3 Following the announcement in July 2010 of the proposed abolition of the

UK Film Council, the DCMS made clear their strong and continuing

support for the functions performed by the Regional Screen Agencies

(RSAs). Ed Vaizey, Minister for Culture, Communications and Creative

Industries said that the Government wanted to “build on the success of

the Regional Screen Agencies” and that the establishment of Creative

England “offers the possibility of more focused support for a wider range

of businesses;- helping small companies grow, helping new talent

establish itself and mobilising public and private investment to grow

England‟s creative industries” and noted that the BFI would establish a

strategic partnership with Creative England. 2

3.1.4 However, the Government was clear that the model of nine separate

organisations was unlikely to be viable in an environment in which there

is severe pressure on the public purse, and urged the RSAs to develop a

more feasible proposition. Creative England will, when it launches in

October 2011, replace the current network of RSAs in the English regions

beyond London.3

3.1.5 In looking at how best to establish a new model, it became evident that

the previous RSA model, whilst effectively connecting at the local level,

1 For more information on the functions and operation of Creative England see Annex One.

2 http://www.culture.gov.uk/news/ministers_speeches/7602.aspx

3 Film London will formally sit outside Creative England, although it will receive an allocation of Grant-In-Aid

from the BFI. Some other RSAs are likely to continue to exist under their current trading names but the network of nine agencies, previously funded by the UK Film Council, is being replaced by Creative England which will receive its money from the BFI. Screen England, an informal grouping of the RSAs, will also disappear.

http://www.google.com/url?q=http%3A%2F%2Fwww.culture.gov.uk%2Fnews%2Fministers_speeches%2F7602.aspx&sa=D&sntz=1&usg=AFQjCNFFomtI0-jRhRKxzPqpyySqdWuKKw


















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too often failed to co-ordinate on the national level – sometimes resulting

in duplication or unnecessary competition.

3.1.6 The RSAs did not just provide funding – they developed clear strategies

for the growth of film and the broader creative industries across England,

and provided a source of expertise, advice and support for businesses

and individual practitioners. Creative England will build on this work and

deliver a focused, consistent, efficient and effective support service

across the country at reduced cost. Like the RSAs, it will focus on talent

development, business development, access to finance and access to

markets as part of a cohesive strategy to help to grow the creative

industries in the UK.

3.1.7 The Creative England hubs will be responsive to both local and regional

needs, while also taking account of the broader ambitions for the creative

industries across the Nations of the UK. It will be built around three

centres of excellence (hubs) which are able to reach out to businesses

and talent right across the geographic areas they cover. The

development of strong and enduring relationships with Local Enterprise

Partnerships, central Government departments (such as BIS and CLG),

the BFI, Skillset, the British Federation of Film Societies, parallel

agencies in the Nations and many others will be key to the success of

Creative England.

3.1.8 Although this document focuses specifically on film, the broader ambition

is to grow Creative England beyond the film agenda by developing an

over-arching strategy for the development of the creative industries

throughout the English regions.

3.2 Creative England’s Film Strategy – Proposed Strategic Priorities 2011/12

3.2.1 In its first year, Creative England‟s film strategy will focus on three core

priorities for film. These three core priorities have been identified because

they address clear areas of market failure, they build on the existing work

and achievements of the RSAs and they are consistent with the broad

areas which the Government has committed to support at a UK-wide level

through the BFI as the new lead strategic body.

3.2.2 It is recognised, of course, that the three identified priorities for the first

year may need to change in subsequent years, depending on the

outcome of the consultation on film policy to be led by the Government

and the BFI later in 2011.


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3.2.3 The three strategic priorities are developing creative talent, nurturing film

culture and helping to maximise inward investment. The aims and

objectives which underpin each priority are set out below.

3.2.4 In the current, rapidly changing media landscape there is a clear need for

the UK film sector to respond to the opportunities and challenges

presented by digitisation. Within all three strategic priorities therefore,

Creative England will focus on innovation as a cross-cutting theme.

3.2.5 From digital distribution to the digitisation of archive it is essential that

those working across the film sector continue to innovate if they are to

remain competitive in the British, European and global marketplaces.

3.2.6 By focusing on these three strategic priorities, Creative England is

seeking to help maximise the economic impact of the film sector in

England and to help ensure that audiences throughout England have

access to the widest possible range of films.

3.3 Developing creative talent

3.3.1 Aim: To help foster outstanding creative talent for film throughout the

English regions.

3.3.2 Objectives:

● Create a clear ladder of progression for strong creative talent which

reflects the diversity of England.

● Invest in films which provide opportunities for new creative talent to

develop their voices and showcase their skills to a range of

audiences.

● Nurture “cross over” opportunities between film and other parts of

the creative industries (television, games, design etc ) to support the

development of talent and to encourage new creative and

entrepreneurial approaches to filmmaking.

3.3.3 Training and skills development for individuals and companies working in

the creative industries is essential, not an optional extra. In particular,

rapidly changing technologies / new content devices and new platforms

are leading to cheaper, faster methods of production, distribution and

changing business models. Shifting revenues and the emergence of new

converged sectors are increasing the need for new converged skills.

Technical talent alone is no longer enough to bring a product or service to


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market. Distribution, design, specialist domain knowledge and an

understanding of customer/audience needs are all required.

3.3.4 The RSAs have played a significant role in helping to develop talent

across the English Regions in the last decade. Directors such as Andrea

Arnold and Shane Meadows and producers such as Mark Herbert and

Rachel Robey, have all benefitted from the specific, targeted support

provided by the RSAs. 4

3.3.5 Skillset, the Sector Skills Council for Creative Media, is the industry-led

body responsible for leading the national strategic approach to supporting

skills and training for people and businesses throughout the UK‟s creative

industries.

3.3.6 Creative England will work in partnership with Skillset to deliver on the

national film skills strategy and, along with other partners (e.g. Public

service broadcasters, Film London, Creative Scotland, Film Agency for

Wales etc), a fully integrated UK-wide national talent development

programme, which incorporates the following key elements:

● A genuinely integrated, nationwide approach to talent development

that provides equality of opportunity across all regions.

● Opportunities tailored to individual need.

● A clear map of entry and progression routes, which identifies the

different gatekeepers and their roles.

● Training and production opportunities which are co-ordinated with

opportunities in the production sector.

● Individuals provided with support and a protected environment to

test their skills; failure is accepted as part of a learning curve.

3.3.7 Building on the successful track record of the RSAs, Creative England will

identify and nurture the best creative talent in England to ensure ideas

are developed into films which have a clearly identifiable audience.

Creative England will also play a critical role in the financing of films,

building on the proven track record of the RSAs in developing talent, and

their successful history of generating commercial returns from the

investment of public funds.

4 See detailed case studies in Annex 7 of

http://www.ukfilmcouncil.org.uk/media/pdf/r/5/Talent_Development_Review-FINAL-24May10.pdf

http://www.google.com/url?q=http%3A%2F%2Fwww.ukfilmcouncil.org.uk%2Fmedia%2Fpdf%2Fr%2F5%2FTalent_Development_Review-FINAL-24May10.pdf&sa=D&sntz=1&usg=AFQjCNGdjQvM5Vnx65-eyGBtdSEeRR0Wpw




























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3.4 Nurturing film culture

3.4.1 Aim: To champion and help nurture film culture in all its variety to the

benefit of audiences across the English Regions.

3.4.2 Objectives:

● In partnership with the BFI to broaden audiences throughout

England for film and the moving image, in particular by working with

local communities and other partners to ensure the vibrant film

festival culture across the Regions is maintained and strengthened.

● In partnership with the BFI and the Screen Heritage UK (SHUK)

initiative to increase the accessibility of archive content for the

public, and to ensure that cost-efficient ways are developed to

preserve, digitise and make publicly accessible our rich moving

image heritage throughout the English Regions.

● To work in partnership with the Cinema Exhibitors Association‟ UK

Digital Funding Partnership (UKDFP), the Cross Art-form Venues

(CAVs) and independent cinemas across the country to help to

ensure that the country's independent film exhibition sector

(including key cultural venues) is able to maximise the potential

benefits of digital delivery.

3.4.3 Creative England will continue to support the Rural Cinema pilot schemes

in Yorkshire, Shropshire and Wiltshire and the Test Valley. It will use

experience gained from these pilots to help develop a strategy for

broadening access to film across other areas of England. A dedicated

Lottery strand will be launched to support audience development

initiatives, in particular by encouraging people to take risks whether this is

in viewing unfamiliar work or producing new content. In doing this,

Creative England will work closely with the Cross-Artform Venues

(CAVs), to maximise the effectiveness and efficiency of public funding.

3.4.4 The independent sector faces the significant challenge of converting from

35mm to digital over next 2-3 years, since many cinemas do not have

immediate access to the financial resources to support this transition.

Creative England will work with the Cinema Exhibitors Association‟ UK

Digital Funding Partnership (UKDFP) to help address this challenge. It

will also work with the CAVs to help develop a sustainable infrastructure


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for cultural exhibition and distribution, including film festivals, across

England.5

3.4.5 Digital technology provides the cultural sector with opportunities to

develop innovative, new business models and reach new audiences.

Creative England will provide targeted investment and dedicated

business advice along with access to most creative and academic

thinking to help stimulate innovation.

3.4.6 Local film societies, film festivals, and community events are all vital

mechanisms for engaging new audiences; Creative England will seek to

support established and new ways in which the public are able to see a

broader range of moving image material.

3.4.7 Through this joined-up approach, Creative England will ensure Lottery

investment has even greater impact for local communities and national

partners across the Regions.

3.4.8 Across these activities, Creative England will work closely with the

Lottery-supported distribution and exhibition fund at the BFI to ensure that

its strategy aligns with UK-wide priorities.

3.4.9 Throughout England there is a rich tapestry of film festival activity. The

majority of these festivals are locally-focused and an opportunity for

audiences to watch films they wouldn‟t ordinarily be able to access. In

contrast, some film festivals are internationally significant – such as the

Sheffield DocFest and Wildscreen - and attract thousands of delegates

from across the globe and at which key commissioning and financing

deals are struck. Creative England will work closely with the BFI during

the forthcoming review of film policy to produce a rationale and

investment strategy for film festivals to ensure that a balance is struck

between supporting festivals that promote access and offer new exciting

cultural experiences and those which play a strategic industrial role and

have an established cultural pedigree.

3.4.10 There is very significant interest among audiences and users in

accessing the UK‟s film heritage. However, this sector is significantly

under-capitalised and lacks sustainable business models. Coupled with

the overall reduction in available public funds, there is an immediate need

to develop a more cost efficient/aggregated out of London network of

Regional Film Archives (RFAs) and to continue the work of the Screen

5 See study by Tom Fleming on the opportunities around the CAVs at

http://www.ukfilmcouncil.org.uk/media/pdf/q/6/Final_final_report_20_May_version.pdf

http://www.google.com/url?q=http%3A%2F%2Fwww.ukfilmcouncil.org.uk%2Fmedia%2Fpdf%2Fq%2F6%2FFinal_final_report_20_May_version.pdf&sa=D&sntz=1&usg=AFQjCNEQ-3qTgOT24CNO0nKn13csPwCq6A




























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Heritage UK strategy which has sought to improve the infrastructure for

film archives. Creative England will seek to explore new ways of

increasing public access to film archive content, developing new revenue

streams and new commercial opportunities.

3.4.11 Creative England will work in partnership with the BFI and other key

archive bodies to deliver Lottery investment and support for the archive

collections in the English regions. Its priorities in this area will align with

the Screen Heritage UK Strategy (SHUK) which will continue throughout

2011/12. Screen Yorkshire will retain the lead role for the delivery of this

strategy.

3.5 Helping to maximise inward investment

3.5.1 Aim: To maximise film production throughout England supported by a

first class production infrastructure optimising investment and developing

the talent base.

3.5.2 Objectives:

In partnership with Film London and the BFI, deliver a single

strategy for the national and international promotion of England as a

film location, thus providing a clear and comprehensive offer

throughout the country.

Provide a comprehensive production liaison and locations service,

managed by each Hub, aimed at production and companies in the

UK and overseas, and thereby ensuring England remains an

attractive and cost effective place to film.

Manage relationships to ensure that local commitments to film-

friendly partnerships are delivered effectively and provide value for

money.

3.5.3 The existing RSA network annually services, free of charge, over 5,000

individual enquiries for support in finding locations and crews for

production throughout England. Approximately 90% of these projects are

domestic film and TV productions, a total market estimated to be worth in

excess of £11bn per year. Inward investment feature film production was

worth an additional £1.6billion in 2010. Primetime dramas and

entertainment formats including, Spooks, Shameless and Midsummer


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Murders (all shot outside London) earned the UK economy, £1.3bn in

export sales in 2009.6

3.5.4 Over the last 10 years the regional RSAs have supported over a

thousand feature films shoot all across the country, ranging from

domestic features, such as Fish Tank, This is England, and The King’s

Speech to Hollywood studio productions such as Captain America and

Pirates of the Caribbean 4.

3.5.5 The provision of a one-stop-shop production liaison service across the

country, which includes assistance finding locations and securing

permissions to film, a brokering service between the production

companies and local authorities/public agencies and a regional crew and

facilities service, provides a crucial and cost effective offer for film

production. It is also an established and integral part of the domestic

production support for television, commercials and other productions.

3.5.6 Production budgets are falling year-on-year (Ofcom reported that the

medium-term trend between 2005 and 2009 showed that spend on first-

run, UK-originated PSB programmes has fallen by 16% from £2.8bn to

£2.3bn) and a first class, cost effective and coordinated countrywide

service is an increasingly valuable asset to the industry.7

3.5.7 Working in partnership with Film London, Creative England will bring

together the services currently offered by the individual RSAs. It will

provide a coordinated and streamlined service which will ensure that the

delivery of support, knowledge and expertise to productions shooting in

England, outside London, continues seamlessly. Creative England‟s

Inward Investment and Production Liaison departments will provide a

unified national offer, whilst allowing each region to capitalise on its own

assets.

3.5.8 The three Hubs‟ activities will be streamlined to operate in complete

collaboration. All activities and structures will deliver the best possible

value for money, will strive to avoid duplication and will always work to

ensure effective delivery for the benefit of the production industry.

3.5.9 Creative England‟s service will provide significant costs savings to

productions, from free scouting services to negotiating reduced costs for

regional services - allowing more of the budget to go on screen. This will

help ensure that, where possible, costs to productions remain low and

6 International Communications Market Report 2010, OFCOM, December, 2010

7 Public Service Broadcasting Annual Report 2010, OFCOM


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productions can shoot with ease wherever they film in England. In

addition facilitating film and TV productions to shoot all across England

means the rich cultural landscapes and diverse identities of every region

are represented on the large and small screen, with significant resulting

benefits for tourism.

3.5.10 In addition, we will:

Develop a marketing strategy to promote the work of Creative

England‟s Inward Investment and Production Liaison departments to

publicise its achievements and outputs to national partners. – To

raise awareness of the national film and TV industry and its

impact on the national economy and workforce.

Implement an online „shop-window‟, as part of Creative England‟s

website, to promote England‟s locations around the world and to

provide information and contact details for local offices. - To

improve access and understanding of the services and

locations offered to national and international production.

Implement a standardised and robust model for tracking productions

and recording the value of filming for reporting purposes and

benchmarking. – To show the impact on GVA and jobs created

from production across England.

Merge crew databases across each pan-region, as has been

successfully proven by the Northern Exposure initiative in the north

of England. To improve the service to productions and support

the development of the national supply chain.

Explore options, where possible, to take the functions of previously

established local authority run film offices into the relevant Hub to

ensure parity of delivery; or to establish a formal working agreement

to provide a collaborative approach. – To improve and unify the

service offered across the whole of England.


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Your views

We would like to hear your views on our proposed strategic priorities for film for 2011/2012. Please tell us

● Do you agree that the strategic priorities are the right ones?

● What comments do you have on the aims and objectives attached to each

priority?

● How can Creative England best build upon the work of the Regional Screen

Agencies in supporting these priorities?

● What are the key challenges, in addition to funding?

● How can Creative England best ensure that these priorities are delivered in a

way that meets the needs of all the English Regions?

Please feel free to respond to all or some of these questions. It would help us if you would give us as full a response to our questions as possible.

How to respond Creative England: A Consultation on Strategic Priorities for Film for 2011/12 is available online on the Creative England website at http://www.creativeengland.co.uk. The consultation questionnaire can be completed online at: http://www.surveymonkey.com/s/creativeenglandfilmconsultation. Please give your full name, position (if relevant) and organisation (if any) in your response. We would be grateful if you could preface your views with a short statement about your organisation (if you represent one) and how it relates to our role and activities. Please indicate clearly if you wish your response to remain confidential. Please send us your response by Thursday 31 March 2011. A number of consultation forums will also take place over the consultation period. Thank you for your time.

http://www.creativeengland.co.uk/

http://www.surveymonkey.com/s/creativeenglandfilmconsultation


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Annex One: Further Information

1. Why does there need to be a new structure?

The network of regional screen agencies was established by the UK Film Council in

2002 to deliver film culture and nurture talent across the country. Since then, the

independent screen agencies have grown and diversified to work across the full range

of creative media industries, in many cases attracting significant funding from other

sources for a range of projects. Their activity has supported both the „screen-related‟

sector of film and television, as well as the wider creative industries such as games,

digital, new media, design and fashion.

Following the announcement of the abolition of the UK Film Council in July 2010, the

Government confirmed continued support for the film and media industry outside of

London. The agencies have since been working with DCMS to decide on the best

structure of this support, in order to secure a strong future for the UK‟s creative

industries.

With public expenditure severely constrained, it was recognised that the existing

network of screen agencies should be re-configured to provide a new national delivery

arm to build creative companies and talent.

On 29 November 2010, the Minister for Culture, Communications and Creative

Industries Ed Vaizey announced that the BFI will become the lead strategic body on film

and the distributor of Lottery funds to UK film makers from April 2011. The BFI will also

take over responsibility for the work in support of tax credit certification of UK films;

overseeing the strategy and public funding to support film in the nations and the regions

and audience development and education. It was confirmed that the share for film of

Lottery funds will increase from around £27 million to around £43 million annually by

2014. It was also confirmed that Film London will manage the UK‟s national inward

investment function for film.

The Minister also announced that the English Regional Screen Agencies outside

London will transform their network into Creative England, “a simpler, more efficient

structure with an expanded remit to support the creative industries across England.”

Creative England will ensure an England-wide delivery network for film, whilst laying the

foundations for a longer-term solution, connecting creative and digital SMEs with

national and international markets, public and private funding.

2. What is the proposed structure of Creative England?

We propose that Creative England should be a new nationwide network based on three

key hubs; Creative North, Creative Central and Creative South. These three hubs will

work with local business networks and sector organisations, to deliver cultural and

business-development objectives.


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3. What will Creative England do?

Creative England will build on the screen agencies‟ well-established expertise linking

together the economic, educational and social benefits of digital inclusion and cultural

engagement in creative media, whilst also reducing expenditure and overheads,

resulting in the streamlining of public funds into the creative sector.

Creative England will support the content industries of Film, Television, Games, and

Digital and Creative Services.

Working with the BFI, the new flagship body for the delivery of film policy, and Film

London, which has been given the national remit to manage the UK‟s inward investment

strategy, Creative England will continue to deliver the out of London film provision that

the RSAs have historically put in place, including a nationwide talent development

network, locations services, and exhibition support, film festivals and audience

development.

In addition, Creative England will aim to:

● Provide responsive solutions to challenges faced by creative businesses

● Link together supply chains and broker business relationships, connecting

companies to new markets;

● Provide specialist advice and support to build the capacity of creative

businesses, helping them grow and adapt to changing market conditions;

● Facilitate access to finance and progress development of new financial models;

● Work with universities and research bodies to link high level research

developments with practical implementation by businesses;

● Deliver practically-based skills development for individuals and companies;

● Deliver services to, and liaise with, Local Enterprise Partnerships;

● Connect with local partners such as open learning centres and community

organisations to pioneer digital education and inclusion.

Creative England will also work with other lead bodies in the creative industries, such as

the Arts Council of England, Skillset, the Design Council, NESTA and the Technology

Strategy Board.

A key objective of Creative England will also be to work with businesses and sector

organisations to stimulate and encourage private investment into the creative industries.

Many of the screen agencies are already delivering strategies that are hinged upon this

with the aim to make the sector more competitive, better resourced and more

sustainable.

4. How will Creative England be funded?

DCMS has confirmed that Exchequer and Lottery funding will be available to film in the

regions. We are now in discussion with the BFI, the new flagship body for the delivery of


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film policy, to finalise a funding agreement. We are also discussing with Government

about how we can leverage financial support for the wider content industries from a

number of sources, for example local business and government (LEPs), delivering

national Government programmes, private sector/industry finance and European

money.

5. What will happen next?

The screen agencies will work together to recalibrate into the three hubs of Creative

North, Creative Central and Creative South. We are now consulting on proposed

strategic priorities for film activity for 2011/12 via an online public consultation where we

are inviting views from the film industry across the UK. Feedback will then be taken

forward to shape the first phase of the Creative England business plan. Phase two of

the business planning process will take place in the early part of the new financial year,

as discussions with Government about additional finance to support the wider content

industries evolve.

We will publish our long term business plan by September 2011, which will outline

Creative England‟s aims, objectives and delivery strategy. 2011 will be a year of

transition for the screen agencies as they develop into the new structure, but we will

keep the industry informed of key developments as they happen.

6. Where will the three hubs be?

We propose that the three hubs be located in the three cities outside of London, which

form the strongest centres for the creative media industries in the northern, central and

southern regions; Manchester, Birmingham and Bristol.

Why Manchester?

Manchester is the economic centre of the North West, and Europe‟s second largest

media hub after London. The creative, digital & new media sector in Greater

Manchester employs 61,000 and is worth £2.6 billion8.

With MediaCityUK taking shape and the BBC move bringing 5 major departments and

flagship shows such as BBC Breakfast to Salford Quays; Granada and production

companies such as Company Pictures (Shameless), Shed (Waterloo Road) Red, RSJ,

Libra, Nine Lives, its broadcast heritage is unquestionable. Manchester has an

internationally renowned digital and creative agency landscape, (from Mcann

Manchester to LOVE and digital shops such as Code Computerlove); key music

festivals such as In The City and arts/media centre Cornerhouse. Manchester sits

centrally between Liverpool and Leeds; both have strong creative industries clusters

and interlocking supply chain and talent/workforce base across the M62 corridor.

8 Greater Manchester Forecaster, Oxford Economics, 2009


Page 17 of 19

Why Birmingham?

Birmingham is a hotbed for creative talent and accounts for two thirds of all media

activity within the West Midlands, with the BBC, ITV and Channel 4 all operating within

the city9. It also has the second largest number of creative industry job roles of the eight

English Core Cities and is a home to a fifth of all creative employment in the core

cities10. The Creative Industries turnover within the West Midlands stood at £7bn in

2007, a 36% increase from 2004.11 The level of growth in the region‟s creative

industries is significantly higher than the national rate of growth (by +13%).12 In addition

to this the West Midlands accounts for 18% of the national total workforce in the games

sector.13

Why Bristol?

Bristol is the largest city in the South West, a region highlighted as a Creative Industries

National Exemplar in the Government‟s 2008 „Creative Britain‟ strategy. The creative

industries in Bristol employ around 11,500 people, accounting for more than 12% of all

employees in the city14, and generating £727m, or 6% of the city‟s GVA15. Bristol‟s

2,190 creative businesses16 include the TV and film production companies, Tigress

Productions, Icon Films and Testimony Films, as well as the digital media firms Sift, E3

and Rockpool Digital. The city is also home to the multiple Oscar®-winning Aardman

Animations and the BBC's world-renowned Natural History Unit. Bristol boasts particular

strength in creativity radio & TV, film & video, music, publishing, computer games and

software, and has recently been named by NESTA as one of the UK‟s top ten creative

hotspots17.

Bristol also boasts a strength in creative sectors unmatched by most other European

regional cities - design and architecture, books and publishing, visual arts, theatre and

performing arts, including a profusion of festivals and carnivals throughout the year,

comedy clubs, street theatre and Europe's leading circus school. Creative quarters such

as the Watershed Media Centre, Jamaica Street Studios, Knowle West Media Centre,

Mivart Studios, Paintworks, Pervasive Media Studio, Spike Island and the Tobacco

Factory are examples of Bristol's vibrant creative community, contributing to its

accolade of 'Second Media City' in recent years.

9 „Birmingham - Creative City : Analysis of Creative Industries in the City of Birmingham‟, Birmingham City

Council,2002 10

„Why the Creative Industries Matter to Birmingham‟, BOP Consulting, 2010 11

„Culture & Prosperity : The Economic Role of Culture in the West Midlands‟, Culture West Midlands, 2009 12

„Culture & Prosperity : The Economic Role of Culture in the West Midlands‟, Culture West Midlands, 2009 13

Skillset Census, 2006 14

DCMS analysis of the Creative Industries, 1995-2008 15

Bristol Sector Summaries, Bristol City Council, April 2010 16

DCMS analysis of the Creative Industries, 1995-2008 17

„Creative Clusters and Innovation‟, NESTA, November 2010


Page 18 of 19

There are 39,400 employed in South West core creative industries, working in 9,000

businesses. Looking at 2005-2007 trends, research shows South West creative

businesses increased by 10.2%, compared to an England average of 7.7%.18

7. How will the new model operate across the regions?

The new network will work on a „hub and spoke‟ model. Each hub will work with

networks of locally-based businesses and sector organisations to deliver film culture,

talent development and business growth. By working with these networks, the hubs will

be able to reach out to businesses in their part of the country.

Creative England will reach and support more companies across the wider creative

industries, addressing the convergence that has already led to these companies

working more closely together.

8. What about locations support and inward investment?

In light of the closure of the UK Film Council, the DCMS has confirmed that Film London

will be given the responsibility of leading the UK wide inward investment strategy and

promoting the UK as the best place to invest in film. This builds on its existing filming

locations service and work to support exports of British films internationally. Film

London will employ the knowledge and expertise of an advisory board, which will be

drawn from industry partners, representatives from Creative England and the nations,

and relevant stakeholders. Film London will develop a strategic partnership with the BFI

and work closely with Creative England to form strong links providing film-makers with

access to the riches and talent on offer throughout the entire country.

9. Why does there need to be support for film and the creative industries outside of

London?

The creative industries are hugely important to our economy. They are one of the

fastest growing sectors in the UK, and will play a hugely important role in economic

recovery. These vital, knowledge-based businesses help drive our country forwards,

contributing £60 billion – or 6.2% – to the economy every year.19

We need to keep investing in our core content industries to ensure we compete at the

highest level internationally, that we keep generating the best creative output and that

we don‟t get left behind in the digital future. We need to support new talent, whether

from individuals or companies, and whether from the film or television industry, games

development, or digital and creative services.

From 2006-9, the RSAs supported over 13,500 SMEs and safeguarded 2,749 jobs -

these activities included business advice, capacity development and investment, R&D

18

„The State of the South West„, South West Observatory, 2010 19

DCMS Creative Industries Economic Estimates, Feb 2010


Page 19 of 19

innovation, skills and training.20 It is this kind of entrepreneurial activity that has

become a hallmark of the RSAs and Creative England will build on this to create a

structure that further champions the digital and creative industries.

10. Is Creative England going to be the same structure as before under a new name?

No, Creative England will not be a new „quango‟. It will be a joint venture company of

existing agencies with no extra costs or staffing. Through its constituent parts of private

limited companies Creative North, Central and South, we anticipate that it will work with

existing networks and growth hubs to join up delivery and reduce duplication;

connecting businesses to, for example, international markets, innovation opportunities

and match-making; supporting them to grow and develop. With limited public resources,

this new model will build on the best elements of the RSA network and deliver targeted

intervention to create genuine growth and support.

11. What happens in the meantime?

2011 will be a year of transition as the Regional Screen Agencies reform into Creative

England. In the meantime, it will be 'business as usual' for the agencies, so if you have

queries about regional funding, production, locations, skills, training, audience

development or exhibition, please contact your local agency. You can view the full list at

http://www.creativeengland.co.uk/contact.

Keep informed

To join the Creative England mailing list and receive the latest news and developments,

please register at http://www.creativeengland.co.uk/content/sign-updates.

For more information

If you have a question about Creative England, please email

[email protected].

20

„Combined performance and achievements of the Regional Screen Agencies‟, Olsberg SPI 2009

http://www.creativeengland.co.uk/contact

http://www.creativeengland.co.uk/content/sign-updates

mailto:[email protected]







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