+Successful Independent Filmmaking in BritainKen Loach
+The Angels‟ Share is partly financed by the BritishFilm Institute.Carrying on the work of the UK Film Council, the BFIallocates lottery funds to an array of British Filmprojects.The UK Film Council was abolished in 2011However, in January 2012 the Prime Minister statedthat „...the film industry should support “commerciallysuccessful pictures.”‟
+Questions Read through this webpage from the BBC:www.bbc.co.uk/news/entertainment-arts-16495095 ■ What problems can you see with the Prime Minister‟sstatement? Think about the process of a film‟s development. ■ How did filmmakers react to the PM‟s statement? ■ What examples of commercially successful British picturescan you think of from the last few years?
+The Kings Speech Would not have been possiblewithout the support of the UK FilmCouncil. Both Film 4 and the BBCturned it down. Head of the UK Film Councils Film Fund,said "The rise of The Kings Speech froma British independent film to a worldwidecommercial and critical phenomenon is ahuge testament to the creators…Its amagnificent final chapter for the UK FilmCouncil.“ The film won 4 Oscars, including BestPicture. Buget: £15 Million Box Office: £250 Million
+Four Lions Directed by Chris Morris The project was originally rejected byboth the BBC and Channel 4 as beingtoo controversial. Morris suggested in a mass email, titled"Funding Mentalism", that fans couldcontribute between £25 and £100 eachto the production costs of the film andwould appear as extras in return. Funding was secured in October 2008from Film 4 Productions and Warp Films. At the BAFTAs 2011, Chris Morris wonthe award for Outstanding Debut By ABritish Writer, Director Or Producer. Box Office: £3 Million
+Ken LoachA 75-year-old auteurLoach was recruited by the BBC in1963 as a television director.This launched a long career directingfilms for television and thecinema, from “Cathy Come Home”and “Kes” in the sixties to “Land AndFreedom”, “Sweet Sixteen”, “TheWind That Shakes The Barley” and“Looking For Eric”.
+Cathy Come Hone Loach has always been a politicalfilmmaker using his films to championthose on the margins of society andillustrate social injustices In 1964 Loach made Cathy Come Homefor BBC television Its indictment of the treatment ofhomeless mothers led to a public outcryand a change in the law In order to capture a “real” feel Loachusually casts unknown actors and oftenlots of the scenes in his films areimprovised.
+In the 1990s Loach returned tofeature filmmaking with greatcritical success.Hidden Agenda 1990Riff-Raff 1991Raining Stones 1993Land and Freedom 1995Carla’s Song 1996My Name is Joe 1998
+Bread and Roses 2000Sweet 16 2002A Fond Kiss 2004The Wind that Shakes the Barley2006It’s a Free World 2007Looking for Eric - June 2009Route Irish 2010
+Paul Laverty Paul Laverty is a writer who has workedwith Ken Loach since 1996. He first worked with Loach on “Carla‟sSong” and most recently he wrote thescreenplay for “The Angels Share”
+Rebecca O’BrienLoach and his producer RebeccaOBrien have constructed a uniquelydurable business model, which hassustained his remarkableproductivity over the past quartercentury.Loachs films never cost more than£5 million, and they often cost muchless."Ken is very particular aboutthis, and very clued in to theeconomics," OBrien notes. “Nobodyis getting huge fees, and we allshare equally in the costs of makingthe films."
+ProductionIn his early career, Loachs work was typically financed by the BBC or Channel 4.However, Loach and O‟Brien soon realised that sourcing finance in Europe was a muchbetter strategy.Loach and O‟Brien formed “Sixteen Films“ in 1992
+Co-production/European Success Loachs films have increasingly become European co-productions, A co-production means access to financial support from othercountries. Loach has a number of regular partners, particularly inGermany, Spain and France. The international funding of Loachs films also reflects theirappeal abroad, and a number of them have attracted biggeraudiences in countries such as France than at home.
+Pre-sales O‟Brien also pre-sold “Land and Freedom” to distributors inFrance and Italy. This made sure they had enough finance toproduce the film. This became O‟Brien‟s financial template for the next 15 years. Presales are based on the script and cast, selling the right todistribute a film in different territories before the film iscompleted. Typically, upon signing a pre-sale contract, the buyer will pay a20% deposit, with the balance (80%) due upon the filmsdelivery to the foreign sales agent
+Distributors O‟Brien says "InFrance, Germany, Spain, even Switzerland, the samepeople have stuck with us Its the backbone of ourfinancing. The one place wehavent managed to find aconsistent partner is theU.K."
+The Angel‟s Share - Finance A co-production with Italy, Belgium, UK and France, Pre-sales to Spain and France and the UK Support from the BFI, France 2 and Studio Canal. “A lot of the money for our films comes from France. But that isout best territory so it makes economic sense for it to comefrom the people who appreciate our films most.” O Brien
+Cannes Film Festival The film premiered at the 2012 Cannes Film Festival It was nominated for and then won the Jury Prize
+Box Office UK - $3,028,569 Total - $6,687,338
+Loach and OBrien also work hard to engage directly with audiences,building the Loach brand on DVD, online and with social media."We need to nurture our audience, if we want them to come back for thenext film," says OBrien.A ModernApproach
+A Modern ApproachOBrien is bringing Loachs oldwork to new audiences.She created two DVD box setsby simply buying andrepackaging 2,500 copies ofeach titleShe started a Ken LoachYouTube channel, andlaunched Sixteen Films onTwitter.
+A Modern Approach O‟Brien explains "We just want to keep up with whatever ishappening and be part of the action. Its a triumph of ours thatweve manage to make so much of Kens work available, onDVD and online. When a new film wins new supporters, itmakes sense to service them with our back catalogue."
+Exhibition In the same innovativespirit, "Route Irish" wasreleased simultaneously inU.K. cinemas and on satellitepay-per-view. Loach wasdelighted, because the TVlaunch reached his desiredaudience of young soldierswho were the subject of thefilm but would never haveseen it in an art house. Thats the key to Loachslongevity -- using his long-termrelationships to fund a restlessexploration of new subjectsand new audiences.
+Loach on distribution.... How do you feel about the changing distributionlandscape? You’ve adopted the digital revolution far moreheartily than many other filmmakers, with your YouTubechannel for example… Personally I‟d much sooner it was shown on 35mmfilm, projected on to a screen in a cinema, but the world ismoving on. Particularly with this film, because we‟ve had astruggle with the subject matter, and people thinking they‟veseen it all before, we probably only have around 20 screens, soif we didn‟t work with new technology and pay-per-viewtelevision then we would lose. The plan is for the film to be ableto reach people who otherwise wouldn‟t get a chance to see it. From an interview with “Little White Lies”
+Loach on Exhibition... Exhibition is in an interesting place at the moment… Cinema distribution is so narrow. If you think of the range offilms that are made across the world, and then what you havethe opportunity to see if you live near a multiplex, it‟s a tiny, tinyfragment. If you walk down a city high street you will find aChinese restaurant, an Indian restaurant, a chippie, a pizzaplace, you‟ll find a whole range of restaurants, and a bloodyMcDonalds! But in cinemas, the only thing you‟ll find is theMcDonalds. Imagine if you went in to an art gallery, and insteadof a selection of works from across the world, and from acrossdifferent periods all you had was two or three garish popularAmerican painters! It wouldn‟t be much of an art gallery, yetthat‟s what we do with cinemas.