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Film and TV Markets

Media Industries 2
by

Catriona Miller

on 11 October 2016

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Transcript of Film and TV Markets

MEDIA INDUSTRIES 2
FILM & TV MARKETS

Today we'll consider:
Film opportunities in the UK
Television opportunities
According to...
Global box office for 2015 was $38.3 billion.
UK box office was $1.9 billion (China $6.8)

Creative Scotland says that just 6 films a year are made in Scotland.
But that takes no account of where films originate. That's just what we went to see at the cinema.
Got an idea for a film?
You need a script.
If you've got a script...
...what about a competition?
'Just do it' Approach
Script Angel a useful blog where you can find a whole list of writing competitions.
What about the 3 minute Script competition at the UK Film Festival sponsored by some top players in UK Film?
Go for the 'no budget' approach - film on an iPhone for the iPhone Film Festival. Lots of other mobile phone film festivals.
No budget - up to $15,000
Micro budget - up to $350,000
Low budget - up to $2.1 million
According to producer Stephen Follows (www.stephenfollows.com)
From the
BFI Statistical Yearbook
for 2015
Medium Budgets
and beyond?
Hollywood is king?
For larger budget films it does seem as if Hollywood holds most of the cards.

A co-production of some kind may be a possibility. Important to bear in mind the overall corporation branding and film label. i.e. Disney and Touchstone

There are UK film production companies but they tend to look for help from support schemes of some kind.
Depends what you're trying to achieve!
INDUSTRY
: the totality of resources for the production of theatrical movies - the studios, laboratories and other services, the craft talents from electricians to special effects people and so on. Precisely what they produce isn’t as important as the fact that they keep working.
What is the point of film making?
CINEMA
: recreates and examines the past of the culture, reflects the present argues about the future - it is an art form, a means of expression, a mirror, a source of shared experience. A cinema is cumulative, it has its own history and is part of the nation’s history. (Hill, 1994, p.35, quoting Philip French)
FILM INDUSTRY
Mésures pour Encourager le Dévelopement de l’Industrie Audiovisuelle
(Measures to Encourage the Development of the Audiovisual Industry).
Started with a pilot scheme of 10 projects in 1988 with the aim of creating ‘cross border synergies’ by establishing networks of co-operation among professionals. It has gone through several incarnations:
MEDIA I, with a budget of €200 million
MEDIA II, with a budget of €310 million
MEDIA PLUS with a budget of €400 million
MEDIA 2007 (till 2013) with a budget of €755 million
Creative Europe (2014-20) - €1.46 billion. MEDIA promised 56% of that budget (around €817 million)
Access to Markets
Audience Development
Co-production Funds
Training
The British Film Institute has a strategy laid out in the
Film Forever
document. It runs until 2017.
Priorities are:
Education and Audiences - the bulk of the budget is going here.
British film and film making (development, production, talent and skills).
Film heritage.
Under the Skin
(Jonathan Glazer, 2013)
Under the Skin
received £2,170,410 from the BFI, a record. But it also got £2m from Film4. Still not enough. After some tough production decisions the budget had come down from about £30m to £15m.

It also got backing from FilmNation (distribution company who presold it for about £3m to other distributors). The gap was filled by Silver Reel (a Cayman Islands investment fund run out of Switzerland, which provides ‘gap finance’). With some help from Creative Scotland and the UK tax credits, the production was at last ready to move into production after nearly 10 years in development - and that was with Hollywood star Scarlett Johansson attached to the project!
Filmed in Glasgow and around Scotland.
They have a strategy in place that will run till 2017 (
Creative Scotland On Screen
) which says they are working “to find the right balance between film’s cultural and economic impact.” They go on to say that films looking for financial support from them “should demonstrate the need for public funding, be relevant to Scotland, connect to audiences at home and internationally and have a strong potential for UK and international distribution.”

Creative Scotland has a wide remit in terms of culture, but in 2010, it took over film related matters from Scottish Screen.
In September 2015, a Production Growth Fund of £1.75m, was announced designed “to help to attract new inward investment, further support home grown productions and will boost Scotland’s economy as well as its international reputation.”
Does it say something interesting about ‘us’ or is it simply an entertaining ‘romp’. It might be both, but where the balance falls would tell you where you might be trying to pitch your film.
How expensive is your film?
Key Questions
TELEVISION INDUSTRY
Quick Quiz
who commissions...?
"BBC Four has a built an unrivalled reputation as the home of television of intelligence, wit and verve.
Channel Branding
The perfect BBC Four programme is rich in content and pleasure but never talks down to its audience. We are always looking to be innovative, to find new forms, approaches and voices that are authoritative yet surprising and approachable
What unifies our audience is not age, wealth or place of origin but attitude - not a type of viewer but one who is drawn by a type of viewing."
(BBC4 Commissioning site)
Gaynor Holmes, BBC Scotland Head of Drama
Is it commissionable?
Leslie Grief said reality based programming offers channels a large volume at a low price point.

Reality $500,000 an hour.
Scripted $4m an hour.

When he said 'reality' he was referring to formats!
TV Formats: the same but different!
“The television format business is the trading of a package of copyrighted calculated formula and well-planned concepts for a television programme that is readily adapted to different cultures.” (Fung in Oakley & O’Connor, 2015: Chapter 9)
Formats can be copyrighted. They can be reproduced. They can be reproduced at a high volume. They can sold and adapted. The same but different.
Creation of Dutch TV company Talpa Media. On the go since 2010. Goes out in 49 countries, including China. ITV1 now hosts it in the UK.
Creation of the Shine Group (partly owned by 21st Century Fox). Started in 2014 for Channel 4. A US version trialled by NBC in 2015. Fourth series due 2017. Much more niche!
Jana Bennett
Their starting point was an audience aged 25-54. They built their brand from there:
Hyphenated - described the idea that we live in a ‘hyphenated world’ where we are [post modern consumers] with many interests.
Perfectly Imperfect
Information Inspiration - Entertainment vs. ‘information conveying’.
Artisinal, Eclectic, Handmade but not too hipster, nor too Middle America.
Subversive Humour

Recognising a generation that don’t have much room or buying power. Celebrating inventive design. A truly global movement.
An edgier show where people go looking for 'the one that got away!'
With just $50 to spend on each meal, the Fung brothers are on a culinary adventure across America.
Formats!
High volume? Returnable? - talent; (cooking); dating; property; beauty; gardens; lifestyle etc. What is going on in
your
life? Are these problems or events that other people might have too?
Who is the audience?
– age, gender, class, income?
Channel Branding
– thinking about the commissioners.

Key Questions
And do you have a script?
Macbeth (2015) had a budget of $15-20 million. Creative Scotland contributed about $250,000.
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