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CREATIVE EUROPE IN THE UK 2014 - 2015 Support for the UK’s audiovisual sector @CEDUK_MEDIA #creativeeurope

Front cover image: The winner of the Palme d’Or at Cannes Festival 2016, I, Daniel Blake, directed by Ken Loach, is one of the projects funded through the Slate Development scheme. Image courtesy of Sixteen Films.

CONTENTS INTRODUCTION Creative Europe’s MEDIA sub-programme PRODUCING FOR THE INTERNATIONAL MARKET Development TV Programming Video Games

EXPORTING UK FILMS AND IMPORTING EUROPE’S BEST Selective Distribution Automatic Distribution Sales Agents Investment in UK Films Online Distribution


10 14 18

22 24 26 28 30


Training 34 Markets and Industry Events 36


Festivals 40 Cinema Networks 42 Film Literacy and Audience Development 44

CREATIVE EUROPE DESK UK What we do and how we help Get in touch

48 50

INTRODUCTION Creative Europe launched in 2014 with a budget of €1.46 billion to support the cultural, creative and audiovisual sectors across Europe until 2020. With a 9% budget increase, this European Union programme builds on the legacy of the previous Culture and MEDIA programmes, which ran from 2007 to 2013. During its first two years (2014 to 2015), Creative Europe has supported 230 UK cultural and creative organisations and audiovisual companies as well as the cinema distribution of 84 UK films in other European countries with grants totalling €40 million.

From 2016, Creative Europe’s cross-sector strand will offer a €121 million Cultural and Creative Sector Guarantee Fund, which is expected to improve access to finance for cultural and creative SMEs and unlock €600 million in affordable loans from the private sector.

Creative Europe offers support to European projects with the potential to travel, reach new audiences and encourage skill-sharing and development. The programme is strengthened by the coming together of the cultural, creative and audiovisual sectors and the addition of a new guarantee fund. Its new priorities, such as audience development and digital innovation, have made it fit for the converging, globalised world.

In this publication we outline how the UK has benefitted from the first two years of Creative Europe’s funding and opportunities, and we spotlight some of the many successful projects involving UK-based organisations and companies.

Creative Europe’s MEDIA sub-programme supports film, television, new media and video games. It offers funding, training and networking opportunities for producers, video game developers, distributors, sales agents, audiovisual training providers, organisers of festivals, markets and networks, film education specialists and cinema exhibitors. Meanwhile, Creative Europe’s Culture sub-programme supports the cultural and creative sectors, and funds collaborative projects and initiatives across all art forms, such as visual arts, dance, theatre, literature, performance, music, heritage, architecture, design, circus, festivals, craft and fashion. There is also support for publishers to translate European fiction. 4

Thanks to our team members and the support from our partners, Creative Europe Desk UK has been able to promote Creative Europe in England, Scotland, Wales and Northern Ireland better than even before. As a result, each nation has benefitted from funding from Creative Europe’s MEDIA and Culture sub-programmes. Over the coming years, we aim to encourage a more diverse range of applicant organisations from across the UK, whilst continuing to work closely with the beneficiaries of the programme. Agnieszka Moody, Director, Creative Europe Desk UK





CULTURE €11.3m

of funding received by the UK

MEDIA €28.5m






UK organisations supported

Image: © Linda Nylind


CREATIVE EUROPE’S MEDIA SUB-PROGRAMME Creative Europe’s MEDIA sub-programme responds to the needs of Europe’s audiovisual sector by supporting a wide range of players in the audiovisual industry across the entire value chain. Europe produces around 1,600 films a year and yet only around 30% of the screen space is filled with European audiovisual content. The programme’s objectives are to enhance and protect cultural diversity and to improve the sector’s competitiveness by creating opportunities for working internationally.


UK RESULTS 2014 AND 2015 The UK’s creative industries are thriving and are estimated to be worth £9.6 million an hour to the UK’s economy.* Creative Europe can help to further strengthen these industries and enable them to fully realise their international potential by producing content for international markets and by increasing audience choice. During the first two years of Creative Europe, €28.5 million was invested in the UK’s audiovisual sector: -

82 UK companies and 53 UK cinemas in the Europa Cinemas network benefitted from grants totalling €16 million.


84 British films had their distribution supported in other European countries with €12.5 million of investment.

* Source:






MEDIA €28.5m



FILM & TV €7.8m




VIDEO GAMES €625,000 SALES AGENTS €440,000



PRODUCING FOR THE INTERNATIONAL MARKET Over half of the direct income awarded to the UK went to film and TV producers or video game developers through four different funding opportunities: • • • •

Animated film Jasia was supported through the Single Project Development scheme. Image courtesy of ArthurCox.

Development Single Project Development Slate Funding TV Programming Video Games

DEVELOPMENT €2 MILLION AWARDED TO UK PRODUCERS TO HELP THEM FIND FINANCE FOR THEIR PROJECTS During the first two years of Creative Europe, 16 UK production companies secured nearly €2 million of funding for the development of their film, TV and digital platform projects. Nine companies received Slate Funding, sharing a total of €1,497,914. This included Baby Cow Films, Belfast-based animators Sixteen South and documentary producers Spring Films. Animation projects dominated the Single Project selections, receiving 89% of the €470,000 awarded to the UK through this scheme. The south-west of England proved to be a hub of animation activity, with selected projects coming from Aardman Animations, King Rollo Films and Arthur Cox, all of whom are based in the region.

2014 YEAR




Single Project 1973 Films England Hettie Makebelieve (Animation) Single Project Aardman Animations England Village Idiot (Animation) Single Project Blue Zoo Productions England Planets: The Greatest Show in the Universe (Animation) Slate Funding Film & Music Entertainment England Fiction Slate Slate Funding Matador Pictures England Fiction Slate Single Project Optimism Film England Step Thirteen (Fiction) Single Project Red Star 3D Productions England The Good, the Bad and a Horse (Animation) Slate Funding Spring Films England Documentary Slate Single Project The Illuminated Film Company England Story Story (Animation)


of development funding awarded to UK producers 10

AMOUNT € 60,000 60,000 60,000 185,017 183,278 50,000 60,000 76,000 60,000 794,295

2015 YEAR



Single Project ArthurCox England Slate Funding Baby Cow Films England Slate Funding Ecosse Films England Single Project King Rollo Films England Slate Funding Number 9 Films England Slate Funding Sixteen Films England Slate Funding Sixteen South Northern Ireland Slate Funding The Illuminated Film Company England

PROJECT TITLE (PROJECT TYPE) Jasia (Animation) Fiction Slate Fiction Slate Gnora & Nibs (Animation) Fiction Slate Fiction Slate Animation Slate Animation Slate

AMOUNT € 60,000 200,000 147,500 60,000 180,000 172,828 173,291 180,000 1,173,619

2014 and 2015 also saw the releases of several critically acclaimed and award-winning films that had received development funding through the previous MEDIA Programme (2007 to 2013) including Jimmy’s Hall, Half of a Yellow Sun, Mr. Turner, Brooklyn, Carol and High-Rise.

Courtesy of Lionsgate.

Courtesy of StudioCanal.

Courtesy of StudioCanal.


DEVELOPMENT: CASE STUDIES 1973 Films – Hettie Makebelieve 1973 Films is a UK-based production company founded by multiple Emmy and BAFTA-honoured producer Tim Goodchild and director Louise Scott. Their stop-motion animated series Hettie Makebelieve is about a collection of toys who come to life and create amazing new worlds of adventure. Aimed at 3 to 5 year-olds, the series is planned to be produced in the UK by award-winning stop-motion animation studio and model makers Mackinnon and Saunders, whose work has contributed to Wes Anderson’s Fantastic Mr. Fox, Tim Burton’s Corpse Bride and Frankenweenie, as well as TV series such as Twirlywoos, Bob the Builder, Postman Pat and The Clangers, and many more. After securing a Single Project development grant in 2014, 1973 Films went on to submit a successful TV Programming application the following year.

Hettie Makebelieve. Image courtesy of 1973 Films.

“Creative Europe Desk UK gave us prompt and extremely helpful advice for both of our applications. The Creative Europe development grant has helped us to create new creative material and concept artwork, and has been a vital part of our strategy to convince broadcasters and other potential partners to support our project.” Tim Goodchild, Producer, 1973 Films


Spring Films – Documentary Slate Spring Films is an award-winning, London-based production company specialising in international co-productions and high-end documentaries for television, cinema, and multimedia platforms. Previous collaborations include Joshua Oppenheimer’s Oscar nominated The Look of Silence and The Act of Killing. The three projects funded through this slate include the story of one Canadian woman’s quest for salvation in the form of Islamic jihad, a feature-length documentary about British artist Francis Bacon, and a Werner Herzog production on the relationship between volcanoes, our planet and human society.

Into The Inferno. Image courtesy of Spring Films.

“Spring Films submitted three projects to the 2014 MEDIA Slate Development fund. So far, one is still looking for investment, another is fully funded and is currently in production, and the third has been completed and broadcast on CBC Canada. A success rate of 2/3 is extremely rare in the factual production industry and it would not have been possible without a MEDIA grant for the development phase.” Ed Dallal, Development Producer, Spring Films


TV PROGRAMMING UK BENEFITS FROM NEW €1 MILLION GRANTS FOR HIGH-END TV DRAMA €5.9 million was awarded to UK companies through the TV Programming scheme in 2014 and 2015, helping to co-finance international animation, documentary and drama programmes. This equates to 23% of the total amount awarded EU-wide and is a 90% increase on the UK’s average results for this scheme under the previous MEDIA programme. This significant increase is mostly due to the introduction of €1 million grants for high-end, internationally co-produced TV series, which two UK-based shows, The Last Panthers and Spotless, both benefitted from. Of the 18 projects supported, nine were animations, six were documentaries and three were TV dramas. Companies in the UK’s nations were also supported, with Cardiff-based drama producers Fiction Factory and Edinburgh’s Red Kite Animation both receiving grants.


of TV Programming funding awarded to UK producers






Aardman Animations England Shaun the Sheep: The Farmer’s Llamas Animation 190,983 APT Film & Television England Sour Grapes Documentary 109,000 Beakus England Toggle Animation 254,885 Brook Lapping England America in the Obama Years Documentary 300,000 Coolabi Productions England Scream Street Animation 400,000 Monster Paw Productions England Monster School Animation 350,000 Orange Eyes England Stick Man Animation 194,457 Red Kite Animation Scotland Bradley and Bee Animation 356,350 Spotless Productions England Spotless Fiction 1,000,000 Springshot Productions England Europe: Who do you think EU are? Documentary 96,991 Urban Canyons England Samurai Warrior Queens Documentary 54,454 VooDooDog England Swan Lake Animation 150,000 Warp Films England Barbarians: The Last of the Pink Panthers Fiction 1,000,000 4,457,120







1973 Films England Hettie Makebelieve Animation 500,000 Brakeless England Tokyo Girls Documentary 75,955 Hinterland Films 3 Wales Hinterland Series 3 Fiction 500,000 Magic Light Pictures England Revolting Rhymes Animation 300,000 Rise Films England The Love Commandos Documentary 19,280 1,395,235 In addition to the projects led by UK producers above, three successful applications also came from projects led by other European companies with a UK co-beneficiary. YEAR





2015 2014 2014

Cwmni da Dercan Media Klikk Productions

Wales Northern Ireland England

Europe’s Last Nomads Gladiators. A Different World 360º of Being Human

Documentary Documentary Documentary

LEAD PRODUCER Interspot Film, Austria Studio Nominum, Lithuania K.O. Framleidsla, Iceland

Audiences in the UK also benefitted from Creative Europe as many successful TV drama imports have been funded through the TV Programming scheme. New hit foreign language shows such as the Icelandic crime series Trapped (BBC4) and Norwegian political thriller Occupied (Sky Arts) have both been supported, as well as returning shows such as The Bridge Season 3 (BBC4) and The Returned Season 2 (Channel 4).

The Bridge Season 3. Image courtesy of Filmlance International © Baldur Bragason.


TV PROGRAMMING: CASE STUDIES Warp Films – The Last Panthers The Last Panthers is a six-part drama based on the true story of an international crime gang that emerged from the former Yugoslavia after the Balkan war. Starring Samantha Morton, Tahir Rahim and John Hurt, the series is a co-production between the UK’s Warp Films (This is England) and France’s Haut et Court (The Returned) for Sky Atlantic and Canal+, and was the first project to be awarded the new maximum grant of €1 million through the TV Programming scheme.

“Creative Europe funding helped to enhance the production value and ensure we could shoot in genuine locations Europe-wide rather than be dictated solely by economic criteria. In a highly-competitive international marketplace, quality and distinctiveness are essential for the European audiovisual production sector to remain competitive and the Creative Europe programme and personnel understand and support that to the full.” Peter Carlton, Producer of The Last Panthers and Co-CEO of Warp

Samantha Morton in The Last Panthers. Image courtesy of Warp Films.


Fiction Factory – Hinterland/Y Gwyll Fiction Factory is a Cardiff-based production company making high-quality, original and popular drama. They have produced over 150 hours of programming, distributed their work to over 100 countries, and developed strong and successful relationships with broadcasters. Shot back-to-back in English and Welsh, crime drama series Hinterland/Y Gwyll received support for its third series. Sold to more than 30 countries and available on Netflix worldwide, the programme is scheduled to be first broadcast in Welsh on S4C in autumn 2016, followed by a bilingual version on BBC One Wales in early in 2017. The first series of Hinterland/Y Gwyll was also funded through the previous MEDIA Programme.

Richard Harrington in Hinterland/Y Gwyll. Image courtesy of Fiction Factory.

“Without support from the MEDIA programme Hinterland/Y Gwyll would not have been produced. The fact that we are currently shooting our third series is testament to the massive benefit the company has derived from our partnership with Creative Europe. Celebrating and nurturing the diversity of culture and language across Europe is vital, and our partnership has given a voice to a small country, its culture and its people.” Ed Thomas, Creative Director, Fiction Factory 17

VIDEO GAMES NEW FUNDING OPPORTUNITY SUPPORTS SIX NARRATIVE-LED VIDEO GAMES The introduction of the new support for video games was quickly embraced by the UK’s dynamic games sector. Six UK developers received €625,043 in 2014 and 2015 to support the development of their video game titles. The grants support the early stages of a game’s development, from concept to the first playable prototype. 2015 also saw the UK receive the highest total allocated to a single country from the EU-wide budget of €3.4 million. Successful companies include multi-BAFTA award winners The Chinese Room, Belfast-based company Italic Pig and Revolution Software, developers of the popular Broken Sword series. YEAR





2014 2015 2015 2015 2015

Plug-in Media SFB Games Italic Pig Revolution Software The Chinese Room

Create World Detective Grimoire 2 Mona Lisa The Enemy Within Total Dark

England England Northern Ireland England England

78,039 150,000 122,501 150,000 124,503 625,043

€625,000 awarded to UK video game developers

Total Dark concept artwork. Image courtesy of The Chinese Room.


Mona Lisa concept artwork. Image courtesy of Italic Pig.

CASE STUDIES The Chinese Room – Total Dark Brighton-based developers The Chinese Room, who saw recent success with their multi-BAFTA winning release Everybody’s Gone to the Rapture, were one of the five companies to receive support through this new funding opportunity. The grant received helps them to develop the early stages of their next project Total Dark, allowing them to experiment with the story, mechanics and gameplay of this isometric RPG and create the first playable prototype of the game.

“The funding we’ve received is invaluable at this early stage of development, where it’s hugely important to be able to experiment and iterate - you are laying the groundwork for production and it’s critical that you are able to take the time you need to get it right. Early prototyping funds are a valuable resource for UK games developers and it’s been great to work with Creative Europe Desk UK.” Dan Pinchbeck, Creative Director, The Chinese Room

“We are so excited to be diving into our next wild adventure game so hot on the heels . of our last one. As a company which believes that the story is the key element to a great game, it’s wonderful to know that Creative Europe is providing funding specifically for original stories and ideas in games and other media. In a world where match-3s, endless-runners and shoot-em-ups are saturating the market, it’s so great to know that there’s an organisation out there that still believes in the importance of a good story.” Kevin Beimers, Director, Italic Pig

Italic Pig – Mona Lisa Italic Pig is an indie game developer based in Northern Ireland. Their debut release - Schrödinger’s Cat and the Raiders of the Lost Quark (published by Team17 for Xbox, PS4 and Steam) - was nominated by the Writers’ Guilds of both Great Britain and Ireland for Best Game Script in 2015. Thanks to successful applications to Creative Europe and Northern Ireland Screen, they are now in development on a new heist and forgery adventure game entitled Mona Lisa. The mysterious Mona Lisa is Renaissance Italy’s greatest art thief, using the gadgets of Da Vinci to break into 16th century strongholds to steal iconic works of art from the great masters of the time. Italic Pig describes the adventure as “Dan Brown meets Terry Pratchett with a twist of steampunk.”


EXPORTING UK FILMS AND IMPORTING EUROPE’S BEST Creative Europe’s MEDIA sub-programme commits nearly 40% of its annual budget to helping European films travel across borders through four funding opportunities: • Selective Distribution • Automatic Distribution • Sales Agents • Online Distribution

Thomas Vinterberg’s Kollektivet (The Commune) received both Selective and Automatic distribution support for its release in the UK. Image courtesy of Curzon Artificial Eye.



In 2014 and 2015, 11 UK-based distributors received grants totalling over €1.2 million to release 31 European films in the UK through this scheme. These grants resulted in a greater number of prints, more generous marketing campaigns and consequently, larger audiences. Oscar winners Ida and Saul fia (Son of Saul) were both supported, as were box office successes Deux jours, une nuit (Two Days, One Night) and Tourist (Force Majeure). All four were released in the UK by Curzon Film World.

of Selective Distribution funding awarded to UK distributors






Amour fou Arrow Film Distributors 35,700 06/02/2015 16,604 Clouds of Sils Maria Curzon Film World 45,700 15/05/2015 217,831 Deux jours, une nuit (Two Days, One Night) Curzon Film World 45,700 22/08/2014 714,974 En chance til (A Second Chance) Hammingden Pictures/Vertigo Films 45,700 20/03/2015 11,621 Fehér isten (White God) Metrodome 64,400 27/02/2015 60,571 Ida Curzon Film World 45,700 26/09/2014 514,319 Il capitale umano (Human Capital) Arrow Film Distributors 13,200 26/09/2014 23,217 La sel de la terre (The Salt of the Earth) Curzon Film World 35,700 17/07/2015 294,613 Le meraviglie (The Wonders) Soda Pictures 35,700 17/07/2015 50,982 Macondo New Wave Films 22,800 TBC n/a Sacro gra Soda Pictures 13,200 07/11/2014 4,130 Svecenikova djeca (The Priest’s Children) Cinefile 22,800 18/09/2015 The 100-Year-Old Man Who Climbed Out the Window and Disappeared StudioCanal 64,400 04/07/2014 429,810 Timbuktu Curzon Film World 13,200 29/05/2015 307,436 Turist (Force Majeure) Curzon Film World 45,700 10/04/2015 593,432 Vi är bäst! (We are the Best!) Metrodome 64,400 18/04/2014 125,617 Violette Soda Pictures 35,700 03/10/2014 48,445 649,700






A Pigeon Sat on a Branch Reflecting on Existence Curzon Film World 45,700 Bande de filles (Girlhood) StudioCanal 22,800 Das große museum (The Great Museum) Matchbox Films 13,200 Eden Metrodome Distribution 45,700 Fasandræberne (The Absent One) Picturehouse Entertainment 13,200 Kollektivet (The Commune) Curzon Film World 64,400 Le tout nouveau testament (The Brand New Testament) Metrodome Distribution 35,700 Les combattants (Love at First Fight) Curzon Film World 35,700 Marguerite Picturehouse Entertainment 45,700 Mia madre Curzon Film World 45,700 Phoenix Soda Pictures 35,700 Retour à Ithaque (Return to Ithaca) Network Distributing 35,700 Saul fia (Son of Saul) Curzon Film World 64,400 Victoria Curzon Film World 64,400 568,000


24/04/2015 169,469 08/05/2015 232,511 12/12/2014 24/07/2015 08/04/2016 01/07/2016

6,646 126,078 n/a n/a

22/03/2016 19/06/2015 25/03/2016 25/09/2015 08/05/2015 TBC 01/04/2016 29/04/2016

n/a 38,287 n/a 134,159 122,540 n/a n/a n/a

Posters courtesy of Curzon Home Cinema/Curzon Artificial Eye.

As well as supporting foreign language releases in the UK, this scheme helps UK films to reach audiences in other European countries. Four UK titles had their European releases enhanced by the Selective Scheme: 20,000 Days on Earth, A Long Way Down, Jimmy’s Hall and Pride, sharing a total of €2,389,500.


AUTOMATIC DISTRIBUTION Every year distributors across Europe report to the MEDIA sub-programme on cinema admissions for the non-national European films they released in the previous year. These admission figures form the basis for the calculations of the Automatic Distribution scheme grants, which can be used to pay minimum guarantees or print and advertising costs of new non-national European acquisitions. During the first two years of Creative Europe, nine UK distribution companies were allocated grants totalling €707,683.

COMPANY Alliance Films UK Curzon Film World Entertainment One UK Metrodome Distribution New Wave Films Peccadillo Pictures Picturehouse Entertainment Soda Pictures StudioCanal

2014 AMOUNT €

2015 AMOUNT €

- 10,205 194,852 217,893 - 100,865 13,710 37,001 15,432 18,025 15,223 - 28,869 42,476 13,132 297,627 410,056

With these grants, UK distributors acquired distribution rights and released a range of European films including: Jim Jarmusch’s Only Lovers Left Alive, Paweł Pawlikowski’s Ida, Jacques Audiard’s Dheepan and László Nemes’ Son of Saul.

€700,000 of Automatic Distribution funding awarded to UK distributors


“Creative Europe support makes all the difference for certain titles we acquire. It allows us to be more confident while launching them on the UK market, and consequently they reach wider audiences. In an increasingly busy release calendar the risk that distributors are taking with every film is growing. The grants help to mitigate this risk and support us in pursuing more ambitious release strategies. Dheepan is a case in point, as it was released on 48 screens and has so far attracted box office revenues of £357,913, which is a really good result for a foreign language film in the UK.”

Dheepan, directed by Jacques Audiard. Image courtesy of StudioCanal.

Danny Perkins, CEO, StudioCanal


SALES AGENTS This scheme allocated €5.5 million over the two years to European sales agents and it is linked to an agent’s performance in selling European films. The funding awarded depends on the amount of cinema admissions generated by the films sold in the previous calendar year and can be used for acquisitions (sales guarantees) as well as the promotion and marketing costs of non-national European films. Three UK sales agents, Bankside, HanWay and WestEnd shared grants totalling €437,953. Examples of films that have benefitted from these grants since 2014 include Matteo Garrone’s Tale of Tales and Kasper Barfoed’s Summer of ‘92.


2014 AMOUNT €

Bankside Films HanWay Films WestEnd Films


Summer of ‘92, directed by Kasper Barfoed. Image courtesy of HanWay Films.

2015 AMOUNT €

21,761 24,419 248,455 91,423 26,761 25,134 296,977 140,976

€440,000 awarded to UK sales agents

Tale of Tales, directed by Matteo Garrone. Image courtesy of HanWay Films.

“HanWay came on board at script stage for Tale of Tales and, with the support of Creative Europe, we were able to elevate the market launch of the film by investing in the sales and creative materials. The continuing support we receive from Creative Europe allows HanWay to be at the forefront of investing in new and existing talent worldwide across a range of projects.� Thorsten Schumacher, Managing Director, HanWay Films


INVESTMENT IN UK FILMS BRITISH FILMS SOUGHT AFTER BY EUROPEAN DISTRIBUTORS European distributors and sales agents decide themselves which non-national European films they wish to invest their Creative Europe grants in. The Automatic Distribution scheme alone allocated nearly €35 million EU-wide in the two years, out of which 24% was used for British films. Through three Creative Europe funding opportunities (Automatic Distribution, Selective Distribution and the Sales Agents scheme), the distribution of 84 UK films on the continent was supported by a total of €12.5 million. The films that benefitted the most included Pride (€1,012,579), Jimmy’s Hall (€961,180) and Paddington (€661,455).

€12.5m awarded to UK films for their theatrical distribution in other countries


FILM TITLE ‘71 20,000 Days on Earth 45 Years A Little Chaos A Long Way Down A Man at Sea A Royal Night Out Absolutely Anything Albatross Amy Broken Byzantium Calvary Catch Me Daddy Desert Dancer Diana Dom Hemingway Early Man Eisenstein in Guanajuato Exhibition Filth Florence Foster Jenkins Get Santa God Help the Girl Goltzius and the Pelican Company Good Vibrations Hector and the Search for Happiness High-Rise

AMOUNT € 65,031 388,813 273,926 538,172 649,619 45,000 83,323 187,003 1,600 106,418 3,154 3,002 36,125 55,987 37,801 305,011 10,000 9,000 51,212 6,500 74,273 614,465 3,024 45,172 26,770 10,000 106,136 115,862

FILM TITLE How I Live Now Hyena Icon I Want to be Like You In Fear Jimmy’s Hall Light Years Lilting Locke Love Punch Love, Rosie Macbeth Man Up Metro Manila Moonwalkers Mr. Turner Next Goal Wins Now is Good Our Kind of Traitor Paddington Philomena Pride Queen and Country Rush Shaun the Sheep Slow West Snow in Paradise Song for Marion Soy Negro Starred Up

AMOUNT € 10,149 49,000 21,233 20,597 9,244 961,180 21,126 58,352 27,079 123,302 81,107 357,554 81,857 44,976 34,265 259,879 37,733 3,906 246,379 661,455 344,046 1,012,579 11,600 219,990 441,972 41,877 82,800 22,600 12,000 106,442



Still Life 348,537 Suffragette 123,093 Suite Francaise 214,635 Sunset Song 1,680 Testament of Youth 116,258 The Devil’s Violinist 25,000 The Double 6,124 The Duke of Burgundy 101,072 The Face of an Angel 9,203 The Gunman 67,404 The Invisible Woman 17,523 The Program 530,533 The Quiet Ones 73,317 The Riot Club 132,409 The Selfish Giant 3,591 The Trip to Italy 28,385 The Woman in Black 2: Angel of Death 263,259 The Zero Theorem 98,301 Two Faces of January 660,073 Under the Skin 60,259 Unlocked 172,914 Viceroy’s House 27,000 Walking on Sunshine 118,356 Waste Land 18,000 What We Did on Our Holiday 30,165 X+Y 14,772 12,520,541


“Curzon is proud to be a forward-thinking integrated content group that has AUDIENCES ENJOY ACCESS TO been quick to respond to the audience’s EUROPEAN FILMS AT HOME changing behaviour and also one of the In response to the changing behaviours of audiences, early adopters of day-and-date releases. the MEDIA sub-programme offers support to We are grateful to Creative Europe support distributors making European audiovisual content for allowing us to experiment in this area. available online through VoD services. It also The selling point of Curzon Home Cinema is encourages experimentation with new distribution that it gives our customers the choice to see models such as day-and-date releases. new releases in the comfort of their homes. Curzon Film World and the Scottish-based company Distrify The content on our service is meticulously continued to receive support from Creative Europe for their Video curated and Curzon Home Cinema has on Demand services, sharing a total of €1.4 million to help secure a become a trusted destination for high percentage of European content on their platforms. discerning cinema lovers.”


In addition, in 2015 Curzon Film World also received a grant to experiment with the simultaneous release of Matteo Garrone’s Il racconto dei racconti (Tale of Tales) across multiple platforms simultaneously. The film is due to be released in the UK and Ireland on 17 June 2016. COMPANY


Philip Mordecai, Director, Curzon Home Cinema

2014 AMOUNT €

2015 AMOUNT €

Curzon Cinemas Curzon Home Cinema 450,000 350,000 Curzon Film World Tale of Tales D&D - 345,763 Distrify 380,000 300,480 830,000 996,243


awarded to UK online distribution companies 30

Victoria, directed by Sebastian Schipper, was released on the Curzon Home Cinema platform and in cinemas simultaneously. Image courtesy of Curzon Home Cinema/ Curzon Artificial Eye.


Notes on Blindness was selected for several Creative Europe-funded initiatives including Good Pitch Europe, MeetMarket and Documentary Campus Masterschool. Image courtesy of Curzon Home Cinema/Curzon Artificial Eye.

Nearly 120 initiatives were funded to bring audiovisual professionals together to learn, exchange ideas, raise finance, build networks and make connections through two different funding opportunities: • Training • Access to Markets


TRAINING THREE NEW COURSES OFFERED BY UK TRAINING PROVIDERS Each year the MEDIA sub-programme supports around 60 international training programmes for audiovisual professionals. Seven UK-based training providers received nearly €1.5 million in 2014 and 2015 to impart their expertise to international participants. Out of the seven organisations, three are newly supported by Creative Europe, and they focus on varied topics such as how to enhance the social impact of a documentary project, how to skill up artist filmmakers to produce their first feature film, and how to support the development and progression of feature film talent. TRAINING PROVIDER


2014 AMOUNT €

2015 AMOUNT €

BRITDOC Foundation Impact Producers Lab 50,000 50,000 Creative England Talent X 53,600 53,600 HOME (Greater Manchester Arts Centre) Feature Expanded 80,000 80,000 Independent Cinema Office Developing Your Film Festival 75,000 75,000 National Film and Television School Inside Pictures 217,716 217,716 Peaceful Fish Productions Enter Europe 49,363 49,363 Power to the Pixel The Pixel Lab: Cross Media Workshop 222,601 222,601 748,280 748,280 Two further UK organisations received grants as partners Participants at Feature Expanded. Image courtesy of HOME. on non-UK led initiatives. These courses received grants totalling €241,000 across the two years.


awarded to UK-based training providers

Training Course Lead organisation, Provider Name Country Creative Cross Channel Le Groupe England Film Lab Ouest, France London The Film Garage Scuola Holden, International Italy Film School In addition to the UK training providers benefitting from the support, in 2014, 114 UK audiovisual professionals took part in many of the 60 courses on offer.


CASE STUDY “Feature Expanded provided a great platform for understanding tools and strategies Feature Expanded is an international professional training that helped me build a precise frame for programme for filmmakers from a visual arts background who my project. Through the online sessions and are looking to make the transition to film. Spanning six months the masterclasses I learned to work with and two locations, the programme combines masterclasses, established frameworks which allowed me to case studies, workshops, screenings, one-to-one meetings and crystallise an otherwise broad and niche subject, pitching sessions. The course is run as a partnership between such as the history of alternative publishing and HOME, Manchester’s brand new cross-art centre, and censorship, into a feature-length proposal. Lo Schermo Dell’Arte Film Festival, Florence’s unique artist During the course, I also learned about all film festival. The aim is to deliver a tailored set of activities aspects of publishing practices and production, that respond to the important trend of visual artists bringing and developed tools and strategies that new vision and strong innovation to feature film production. helped to communicate the project in a simple and clear form to industry professionals.” “Feature Expanded is the Clara Casian, first course aimed specifically at Feature Expanded participant the development of feature films by visual artists. This wouldn’t have happened without the innovative approach by Creative Europe to fund and support this initiative. The response to Feature Expanded from industry, artists, press and academics has all been incredibly positive, and we are really proud that all of the first year’s 12 artists are still developing their films. It’s also important that this is a major collaboration between two key non-capital cities, with additional partnerships with University of Salford, Nederland Filmfonds, Creative Scotland and Toscana Film Commission.”

HOME (Greater Manchester Arts Centre) – Feature Expanded

Professor Sarah Perks, co-director Feature Expanded, Artistic Director, HOME

Clara Casian Feature Expanded participant. Image courtesy of HOME.


MARKETS AND INDUSTRY EVENTS UK ORGANISATIONS AWARDED GRANTS TO RUN INTERNATIONAL INDUSTRY EVENTS Four England-based organisations were awarded grants totalling €782,192 in 2014 and 2015 to organise events that allow professionals to seek finance for their projects. ORGANISATION


2014 AMOUNT €

2015 AMOUNT €

BRITDOC Foundation Good Pitch Europe 75,000 75,000 Film London Production Finance Market 99,315 99,315 Power to the Pixel The Pixel Market 87,077 87,077 Sheffield Doc/Fest MeetMarket 129,703 129,704 391,096 391,096



awarded to UK-based markets and pitching forums

Sheffield Doc/Fest – MeetMarket MeetMarket is a documentary pitching event held at Sheffield Doc/Fest, where filmmakers pitch their project ideas to UK and international broadcasters, funders and distributors. It was introduced to Doc/Fest in 2006 and has been supported by MEDIA and then Creative Europe since 2008. Since its introduction, 7,300 meetings have taken place, raising £30.5 million for 433 documentary and digital projects (as of July 2015). Notable films to achieve funding through MeetMarket include Joshua Oppenheimer’s The Act of Killing and The Look of Silence, Searching for Sugarman, Jeanie Finlay’s The Great Hip Hop Hoax, Ping Pong, 5 Broken Cameras and God Loves Uganda.


“Throughout the development of Notes on Blindness we were fortunate to attend two Creative Europe-funded initiatives Doc/Fest’s MeetMarket and Britdoc’s Good Pitch Europe. Both were formative experiences and played an integral role in helping us put together the finance for the project.” Pete Middleton and James Spinney, Writers/Directors, Notes on Blindness

“In essence, MeetMarket facilitates a way to connect directors and producers with funders, commissioning editors and distributors. It’s about giving a platform to new ideas and new work and helping people to realise that work. We work really hard to create an intimate meeting space where both sides of the table are empowered and inspired. There’s a real buzz in the room over those two days and it works – so many of the films go on to achieve great things and this wouldn’t be possible without Creative Europe support.”

Participants at Sheffield Doc/Fest’s MeetMarket. Image © Maria Patagiotidi.

Anna Parker, Marketplace Manager, Sheffield Doc/Fest


ATTRACTING AUDIENCES Audience development is a key priority of Creative Europe’s MEDIA sub-programme, with specific support for projects that aim to attract new and more diverse audiences through three different funding opportunities: • Festivals • Cinema Networks • Audience Development

In 2015, The Lobster achieved the highest number of admissions for a non-national European film in the Europa Cinemas network in the UK. Image courtesy of Picturehouse Entertainment.

FESTIVALS TWO UK FILM FESTIVALS CONTINUE TO BE SUPPORTED Creative Europe supports over 80 film festivals every year because they play an important role in expanding audiences for European film. The two UK film festivals supported through the previous MEDIA programme continued to receive funding through Creative Europe. Collectively they were awarded €141,000 across 2014 and 2015 for placing a strong emphasis on films from other European countries and delivering various outreach and audience development activities both during and outside of their festivals. ORGANISATION


Encounters Festivals Encounters Short Film & Animation Festival Leeds City Council Leeds International Film Festival

2014 AMOUNT €

2015 AMOUNT €

33,000 33,000 37,500 37,500 70,500 70,500

€140,000 awarded to UK film festivals

Leeds International Film Festival at Leeds Town Hall.


Leeds International Film Festival. The 2015 film festival catalogue.

CASE STUDY Leeds City Council – Leeds International Film Festival A qualifying event for both the Oscars and the BAFTAs, with over 4,000 submissions from 98 countries in 2015, Leeds International Film Festival (LIFF) is a major national platform for the work of worldwide filmmaking talent. LIFF is also a leading driver of audience development for film culture in the North of England, and an innovating curator of new film experiences. Organised by Leeds City Council and taking place for 16 days every November, LIFF presented 326 films last year in 304 screenings and events at 18 venues for a total audience of over 40,000. LIFF celebrates its 30th anniversary in 2016.

“LIFF has received funding from the MEDIA programme for film festivals since 2000, which has enabled us to present over 3,000 European films and helped us to grow the audience significantly for European film culture in the city and the Yorkshire region. This consistent funding from the EU, alongside excellent support from Creative Europe Desk UK, has led to very strong demand for European film from a constantly expanding LIFF audience. We experience high attendance across the diverse selection and increasing participation in our year-round activity in Leeds and beyond, including in Hull, the UK City of Culture in 2017.” Chris Fell, Director, Leeds International Film Festival


CINEMA NETWORKS 53 CINEMAS ACROSS THE UK ARE PART OF THE EUROPA CINEMAS NETWORK Creative Europe supports the European cinema exhibition sector through the co-financing of Europa Cinemas, a pan-European network of 902 cinemas totalling 2,130 screens in 547 cities in 31 countries. 60% of the films screened across the network are European, which is a much higher percentage than in other commercial cinemas. 53 cinemas are members of the Europa Cinemas network, spread across 40 cities in all four nations of the UK. Jointly they received €492,459 in 2014 and 2015. YEAR



2014 52 UK Cinemas 2015 53 UK Cinemas

236,262 256,197 492,459

€490,000 awarded to UK members of the Europa Cinemas network


NAME CITY NAME CITY NAME CITY Aldeburgh Cinema Barbican Cinema Belmont Filmhouse BFI Southbank Broadway Nottingham Media Centre Cambridge Arts Picturehouse Chapter Arts Centre Chelsea Cinema Chichester Cinema at New Park Ciné Lumière Cinema City

Aldeburgh Eden Court Theatre

Inverness Queen’s Film Theatre


London Filmhouse Edinburgh Reading Film Theatre


Aberdeen Forum Cinema London Glasgow Film Theatre Nottingham Gloucester Guildhall Cambridge Gulbenkian Theatre

Northampton Rio Cinema Glasgow Saffron Screen

Gloucester Shortwave London Canterbury Showroom

Cardiff HOME Manchester Stoke Film Theatre London Hyde Park Picture House Chichester ICA Cinema London Ipswich Film Theatre Norwich Light House

London Saffron Walden

Leeds Strode Film Theatre London The Barn Cinema Ipswich The Courtyard Wolverhampton The Dukes

Curzon Bloomsbury

London Ludlow Assembly Rooms

Curzon Mayfair

London mac Birmingham The Lexi Cinema

Ludlow The Gate

Curzon Richmond

London National Media Museum

Curzon Soho

London Phoenix Leicester Tyneside Cinema

Bradford Tricycle Cinema

Sheffield Stoke-on-Trent Street Dartington Hereford Lancaster London London London Newcastle upon Tyne

DCA Dundee Phoenix Cinema

London Watermans Arts Centre

Derby Quad Cinema

Oxford Watershed Bristol

Duke of York’s Picture House


Derby Phoenix Picturehouse Brighton Plymouth Arts Centre



“Being part of Europa Cinemas is much more than receiving a grant for European programming. Bringing together nearly a thousand European independent cinemas, the network helps in exchanging know-how, adapting to digital shift and changing customer habits and business models. Each cinema is a small business – together we are a strong voice for independent exhibition.” Jaki McDougall, Chief Executive, Glasgow Film Theatre Glasgow Film Theatre. Image © Eoin Carey/Glasgow Film.


FILM LITERACY AND AUDIENCE DEVELOPMENT UK AWARDED NEARLY 25% OF TOTAL FUNDS AVAILABLE IN FIRST YEAR OF AUDIENCE DEVELOPMENT SCHEME Introduced in 2014, the Audience Development scheme supports activities aimed at increasing audiences’ knowledge of, and interest in, European audiovisual works (including archive works) as well as facilitating the circulation of European films worldwide on all distribution platforms via international cooperation projects in the audiovisual sector. This scheme supported three UK-led initiatives in 2014, which were cumulatively awarded €439,396, amounting to nearly a quarter of the €1.9 million available Europe-wide that year. Projects supported include: • A framework to support film educators across Europe in designing, managing and evaluating film education programmes • An initiative that used radio in an innovative way to increase awareness and understanding of European film among young people • A pilot project to test new models that could help with the development of film clubs in Europe. YEAR




2014 British Film Institute European Framework for Film Education Film Literacy 2014 Emerald Clear Fred at School Film Literacy 2014 Film Literacy Europe European Film Club Pilots Film Literacy

€440,000 awarded to UK-led

film literacy and audience development projects


AMOUNT € 69,396 200,000 170,000 439,396

CASE STUDY British Film Institute – European Framework for Film Education In 2012/13, the British Film Institute led a group of film education experts from across Europe in a survey of film education practice – the biggest of its kind ever attempted. One of the findings of Screening Literacy, the report of the survey, was that there are a multitude of competing and overlapping conceptions of film literacy in Europe. The report recommended the creation of a model, or models, of film education, that covered appreciation of film as an art form, critical understanding, access to national heritage, both world cinema and popular film, and included creative film-making skills. In June 2014, a consortium of film education experts (the Film Literacy Advisory Group, or FLAG) were awarded funding from Creative Europe to create a Framework for Film Education, that would synthesise the various approaches into a single page – to support and encourage film educators, NGOs and government agencies, national cinematheques and archives into speaking a ‘common language’ for film education. The Framework was launched at the Cinémathéque Française in Paris, on 18 June 2015.

“Since its launch, the Framework has been presented at numerous gatherings of film educators, and been discussed in and shaped to different national contexts. It is being used and cited across Europe, as a policy document, a pedagogic tool, and as a point of convergence. Several of the partners have joined with others in designing new projects that follow the principles of the Framework.” Mark Reid, Head of Education and Learning, British Film Institute

European Framework for Film Education. Image © Christina Compton for BFI Education.


FILM LITERACY AND AUDIENCE DEVELOPMENT Two of the UK-led projects, Fred at School and the European Framework for Film Education, had additional UK partners. Seven further projects were led by organisations in other European countries and featured the involvement of a UK partner. YEAR ORGANISATION



2014 Watershed 2014 The Children’s Media Conference 2014 Creative Scotland 2014 Creative Scotland 2014 Sub-ti 2014 University of Roehampton 2015 Centre for the Moving Image 2015 SDI Productions 2014 SDI Productions 2014 Regional Screen Scotland 2014 Soda Pictures

ABCinema European Children’s Children’s Film First European Children’s Film Catalogue European Framework for Film Education Fred at School Fred at School Moving Cinema Moving Docs

Film Literacy

Cineteca di Bologna, Italy

Film Literacy

Film Association, Belgium

Film Literacy

Cinekid, Netherlands

Moving Docs

Audience Development

North by Northwest Film on the Fringe Scope 50

Audience Development Audience Development


Film Literacy Film Literacy Film Literacy Film Literacy Audience Development


British Film Institute, UK Emerald Clear, UK Emerald Clear, UK A Bao A Qu, Spain European Documentary Network, Denmark European Documentary Network, Denmark Fis na Milaoise Teo, Ireland Moving Scope, France

Moving Docs screening of Bikes vs Cars. Image courtesy of Scottish Documentary Institute.

CASE STUDY Scottish Documentary Institute – Moving Docs Moving Docs aims to engage urban and rural audiences across Europe through regular and simultaneous screenings of the best European and international documentary films. This is achieved through the joint action of six innovative and pioneering organisations in conjunction with the expertise and leadership of the European Documentary Network (EDN). The initiative is structured around ‘European Screening Days’, unique media moments which connect diverse European audiences. These screening days consist of the simultaneous European screenings of documentaries that have already premiered at important festivals or received significant awards. Taking place in multiple locations and on multiple platforms across Europe, they engage audiences through issues relevant to contemporary life, communicated through theme-led European campaigns. Special attention is given to films that promote inter-cultural understanding, sustainable living and human rights.

“Moving Docs is a very special initiative that enables us to further promote creative documentary in Scotland while remaining connected to the rest of Europe. We have access to bold storytelling from a diverse mix of filmmakers. By creating unique screening campaigns around each film, we are ensuring that new audiences are getting to see documentaries in unique circumstances and collectively with European audiences.” Rebecca Day, Production and Outreach, Scottish Documentary Institute


CREATIVE EUROPE DESK UK WHAT WE DO AND HOW WE HELP With our MEDIA sub-programme team based at the BFI, Creative Scotland, Welsh Government and the Arts Council of Northern Ireland, we work with these partners to reach out to new audiences and provide expert support to applicants. In 2014 and 2015, we have helped companies in all four UK nations to secure funding for their ambitious audiovisual projects. With the arrival of the new video games funding, we established connections with the sector by attending a range of industry events such as EGX, the BFI Video Games Day, Wales Games Development Show, Gameopolis and Games Republic workshops to promote the scheme. A strong turnout at our video games application workshops and webinars resulted in UK games companies securing the highest share of the European funding in 2015.

To encourage television producers to make the most of the increase in funding available for TV Programming and to take part in international co-productions, we set up a French-UK industry day and producer speed-dating at London’s TV series festival Totally Serialized. We also hosted a session on European TV drama co-production and had a stand at the Guardian International Television Festival in Edinburgh. Encouraging networking is a key part of our role and we organised an annual networking dinner for British and international producers attending the Creative Europe-funded Sheffield Doc/Fest. We facilitated networking events at Celtic Media Festival in Glasgow and the Edinburgh International Film Festival, and took part in The Producers Forum in Cardiff. Furthermore, we brought together over 100 audiovisual professionals and 20 Creative Europe-funded international training providers, including EAVE and Berlinale Talents, at Back to School with Creative Europe, which was a day-long event introducing professionals to a wide range of courses on offer. Collaborating with a range of partners and peers is a great way to extend our audience and meet new prospective applicants. For example, we worked with BAFTA Cymru to hold Drama and Children’s Commissioner Panel events in Cardiff, and took part in Wales Doc Day and Belfast Film Festival.


Panel discussion organised by Creative Europe Desk UK at the Guardian Edinburgh International TV Festival in 2014. Image © Rob McDougall.

Panel discussion at the Back to School with Creative Europe event organised by Creative Europe Desk UK in 2015. Image © Linda Nylind. Meet the Commissioners event in Cardiff in 2015, organised by Creative Europe Desk UK – Wales. Image © Natasha Hodge.

We have also worked with successful beneficiaries of Creative Europe in the UK to raise awareness of international opportunities. This includes speaking at and attending various funded training programmes, such as Screen Leaders’ training course in Glasgow, The Pixel Lab in Inverness and Fred at School’s conference in London. Our team have responded to around 6,000 enquiries by phone, email and in person across the UK and we have advised companies on the MEDIA sub-programme’s 14 funding opportunities. Applying for public funding may be a daunting prospect, especially for first-time applicants, and we have been on hand to help hundreds of companies through the application process. Our online audiences went from strength to strength, with the launch of Creative Europe Desk UK’s website and a range of film content to inspire and assist UK applicants, from video tutorials and application workshops to producers in conversation about their Creative Europe-funded projects. Follow us on Facebook and Twitter (@CEDUK_MEDIA) to get the latest updates on our events and activities. We look forward to working with many more of you in the years to come. Creative Europe Desk UK


GET IN TOUCH Creative Europe Desk UK offers free advice and support to UK creative professionals. Come to one of our regular workshops, seminars and networking events, drop us an email or call us for a chat to discuss your ideas and get application advice. Our team of specialists is based across the UK, in London, Manchester, Edinburgh, Glasgow, Cardiff and Belfast: Visit our website to browse funding opportunities, be inspired by funded projects and keep up-to-date with the latest deadlines via our e-newsletter: Follow us on Twitter: @CEDUK_MEDIA Like us on Facebook: /CEDUKMEDIA #creativeeurope The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. This report was published by Creative Europe Desk UK in May 2016.

Read our other report on the the Creative Europe Culture sub-programme’s support for the cultural, creative and heritage sectors: publications


INVESTMENT IN FILM (page 28) Image credits: Pride, directed by Matthew Warchus. Poster courtesy of Swedish distributor TriArt Film. The Trip To Italy, directed by Michael Winterbottom. Poster courtesy of Dutch distributor, September Film. 20000 Days on Earth, directed by Iain Forsyth and Jane Pollard. Poster courtesy of Polish distributor Gutek Film. Philomena, directed by Stephen Frears. Poster courtesy of Hungarian distributor Mozinet. A Long Way Down, directed by Pascal Chaumeil. Poster courtesy of Czech distributor A-Company Czech.

Under the Skin, directed by Jonathan Glazer. Poster courtesy of Italian distributor BiM Distribuzione. 45 Years, directed by Andrew Haigh. Poster courtesy of Finnish distributor Future Film. Jimmy's Hall, directed by Ken Loach. Poster courtesy of Hungarian distributor Mozinet. Paddington, directed by Paul King. Poster courtesy of Hungarian distributor A Company.

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With support from the UK Department for Culture, Media and Sport and the European Commission.

Profile for Creative Europe Desk UK

Creative Europe in the UK - 2014-15 - MEDIA sub-programme report  

Creative Europe Desk UK's biennial report on Creative Europe's MEDIA sub-programme support for film, TV and video games sectors in the UK.

Creative Europe in the UK - 2014-15 - MEDIA sub-programme report  

Creative Europe Desk UK's biennial report on Creative Europe's MEDIA sub-programme support for film, TV and video games sectors in the UK.


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