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Pp9 financing films (1)

Pp9 financing films (1)






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    Pp9 financing films (1) Pp9 financing films (1) Presentation Transcript

    • Financing Films
    • Film Financing
      • The producer (e.g. the studio or Production Company) must secure funding before the production of the film, before filming starts.
      • The problems with this is that it is hard to predict how much (if any) money a film will make.
      • Thee are various legal and procedural problems in securing rights to a film property.
    • Government Grants
      • Grants are provided by Government Schemes designed to encourage creativity and new talent.
      • A film production can benefit a country in a number of ways:
        • Employment opportunities
        • Development of Culture
        • Advertising a location to an international audience.
    • Government Grants
      • The UK Film Council offers subsidises to filmmakers in the UK meeting certain criteria.
      • The National Lottery also offer subsidises and grants to UK-based filmmakers.
      • The Escapist (2007) Parallel Films was funded by the UK Film Council, National Lottery and Irish Film Council.
    • Tax Schemes
      • As mentioned before, there are benefits to a country in having a major film release shot on their shores.
      • The UK introduced the Producer’s Tax Credit in 2007 to help entice film producers to the UK.
      • The Producer’s Tax Credit offers a direct cash subsidy to producers choosing to shoot in the UK.
      • This has helped to bring large scale productions like to the UK.
    • Tax Shelters
      • Tax shelters in the UK allow those who invest in UK Films to pay less tax, provided the film is shot in Britain and employs a far proportion of British Actors and crew.
      • As a result of this, many American Films choose to shoot at British Studios such as Pinewood and Shepperton.
      • This also helped to attract large scale US productions to the UK.
      • The UK Tax Shelter for Film Investment was discontinued in 2007.
    • Pre-Sales
      • Pre-Sales involves the producers selling the right to distribute the film before it is made – this is the most common method of Film Financing.
      • In order to secure their investment, distributors (usually Major American studios like Universal) will expect certain elements that are likely to guarentee success.
    • Pre-Sales
      • These may include ‘Marquee’ names (Star System) or some kind of change to a film to make it more commercially tenable.
      • If a ‘Star’ leaves the film for any reason, this would often result in the funding for a film being pulled, as with Terry Gilliam’s ‘The Man Who Killed Don Quixote’ (2002)
    • Pre-Sales
      • Pre-sales are usually done by territory; e.g. Europe, Australia…
      • Pre-Sales can also be made of DVD or TV Distribution Rights
      • This is especially likely to be the case if the movie studio distributing the film is part of the same conglomerate as a TV Station.
    • Working Title Films
      • Tim Bevan and Eric Fellner (Working Title CO-Chairman) have said for a long part of their history ‘90% of the time [was] spent trying to secure financing.’
      • Working Title Films funds their films primarily through Pre-Sales, which is made much easier as they are part of the same conglomerate as their distributor, Universal Pictures.
    • Working Title Films
      • Working Title Films are also able to secure Pre-Sales because their films contain many ‘commercially sound’ elements:
        • Popular main stream genres (Rom-Com)
        • Big name stars (Hugh Grant, Julia Roberts)
        • Brand name recognistion
        • They are also increasingly known as ‘Prestige’ filmmakers, with films such as Atonement (2007)
    • Warp Films
      • A small, independent company such as Warp Films cannot offer secure returns on any large investments, as they do not make films featuring ‘Marquee’ names
      • As a result, they are likely to secure funding from sources like the National Lottery or the UL Film Council.
    • Warp Films
      • This lack of funding may mean that such companies can only make films in ‘low-budget genres’ such as ‘social realism’, as they cannot afford the effects and casts of genres such as Sci-Fi
      • However, this is not necessarily a limitation – low budget films of this kind are often seen as more artistically pure’ and are perhaps more likely to receive Critical Acclaim.
    • The British Film Institute (BFI) divides films into the following categories.
      • Category A: films made with British money, personnel and resources.
      • Category B: films co-funded with money from Britain and from foreign investment, but the majority of finance, cultural content and personnel are British. Category C: Film with mostly foreign (but not USA) investment and a small British input, either financially or creatively.
      • Category D: films made in the UK with (usually) British Cultural content, but financed fully or partly by American companies.
      • Category E: American films with some British involvement.
    • I.S Hand in next Monday
      • Develop a case study into
        • The Boat that Rocked
        • This is England
          • Release date/Primary audience?
          • How were these films financed?
          • What was the BFI film classification and why?
          • Who distributed them?
          • Success?
      • Be as detailed as you can