Memorandum submitted by DNA Films
The British Film industry has always been something
of an anomaly. Britain's excellence in film is generally recognised
at the production level through our writers, directors, actors
and technicians. Yet with the rare exception of a low budget "hit"
movie (Four Weddings and a Funeral, Trainspotting,
The Full Monty, Billy Elliot), Britain does not
have a large enough domestic market to make British movies commercially
viable in the home market alone. Fiscal support in terms of subsidies,
tax incentive schemes and broadcaster contributions underpin the
industry, especially during difficult times, but in order to be
self-sufficient, flourish and grow, our small industry must attract
international finance, distribution and box office appeal. This
fact was reflected in Sir Alan Parker's key-note speech to the
industry on the 5 November 2002. He said: "we have to stop
worrying about the nationality of money. We want to encourage
investment into our film industry from anywhere in the world,
without tearing up the roots of cultural film production."
He went on to discuss the importance of "maintaining cultural
interest" while achieving the Holy Grail of world-wide distribution.
Only rarely can a British movie compete head-to-head
with a "Hollywood movie": namely a blockbuster, a franchise
film or a film which attracts a global audience through its A-list
star. Generally a British film will only find an international
audience if it is well made, works here first and is carefully
and skilfully marketed to its target audience (28 Days Later,
Bend it Like Beckham, About a Boy).
For a British company this can only be achieved
by having a relationship with a creatively sympathetic distributor
with the expertise and ability to distribute films internationally.
At DNA, we feel this is the key to the future of our industry—at
least in terms of domestic production. Make UK films, and get
them properly distributed globally. Apart from the clear commercial
imperative, this would also ensure that the different views of
Britain in British films are presented in cinemas around the world.
As arguably the most powerful of all modern media Britain should
be represented in all its diversity (from Notting Hill,
Trainspotting to East is East etc) alongside the
US, France and the rest.
In order to build a film business that has real
value and can grow there has to be more ambition than just another
production company struggling both financially and creatively
from one film to another and hoping that each individual film
will be a hit. Too often the UK independent producer stands behind
a distributor, sales agent and a bank. Although there are one
or two strong independent production companies in the UK, most,
invariably do not survive. The major, very notable, exception
is Working Title which is of course, ultimately owned by Universal,
a Hollywood company, which can provide finance and in our opinion
just as crucially, world-wide distribution. But most importantly,
Working Title is perceived as being a very successful "independent"
British company which finds and nurtures the best of British talent
to make British movies for audiences world-wide.
The international sales business is not in good
shape and so the UK film industry needs distributor investment
more than ever. Look at the list of top grossing UK films (see
below), how many would be possible without that kind of investment?
At DNA we are building a business which produces,
and finances an on-going slate of films for world-wide distribution.
It's not easy to find the kind of partner who shares both financial
and creative objectives and a willingness and belief that British
Film can succeed. British films are expensive. The home market
is difficult, and often films don't work internationally. Andrew
has produced four British films that have grossed over £5
million in the UK. All those films have opened in the UK first.
The films have treated the UK as domestic but make financial sense
because of their international success. Although the US has never
been a huge market for those films, without it they would be doomed,
for that opens up all the other international territories. And
this is the main point, if we can retain our independence and
form a relationship with a company offering world-wide distribution
which invests in DNA alongside the Film Council, we are confident
we can build a British company that can continue to produce and
finance films which benefit the British production, distribution
and exhibition economies. Without our financial support from the
Film Council we know that this would be impossible to deliver.
It is therefore true to say that lottery funding applied in this
way has the potential to "create a sustainable business"
which was the Council's original objective for the franchises.
Recently the UK business has suffered several
blows including the closure of FilmFour, Granada Film, Sky Films,
Mill Film and Signpost. It's time for some good news. There are
few places to raise finance and distribution and our proposed
plan will be open to all producers to seek funding on a "one
stop" and "world-wide distribution deal" basis.
DNA is building a British business, with British
talent through a company incorporated and controlled in Britain,
committed to making British films for British and international
audiences that have access to a global distribution company.
We think that is the way forward for our industry.
2 June 2003
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