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Table of Contents

Executive Summary

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TABLE OF CONTENTS

Executive Summary

Market Definition

MARKET POSITION

MARKET DEFINITION

MARKET TRENDS

Table 1: Leading Centres of European Film Production by Number of Films and Investment ($m), 1993

Table 2: UK Films Produced in 1993 and 1994: Analysis by Creative or Financial Origin

Table 3: Cinema Admissions (million), 1984-1994

Table 4: UK Consumer Spending on Feature Films (£m), 1983-1994

Table 5: Breakdown of UK Box Office Revenue by Country of Origin (£m and percent), 1993

Market Size

THE TOTAL MARKET

THE VIDEO MARKET

Table 6: Number and Value of UK Films at Current and Constant 1993 Prices (£m), 1981-1994

Table 7: Budgets of UK Films Produced (£m and percent), 1993 and 1994

Table 8: Number of Films on Release by Country of Origin ( percent), 1955-1994

Table 9: Number of Cinema Screens per Million of Population in Europe and the US, 1995

Table 10: Overseas Transactions in Respect of Film Companies by Country (£m), 1986-1993)

Table 11: The UK Video Retail and Rental Markets (million transactions and £m), 1990-1994

Industry Background

HISTORICAL BACKGROUND

INDUSTRY FRAGMENTATION

STUDIOS

FILM FINANCE

TRAINING AND EDUCATION

ORGANISATIONS

Competitor Analysis

THE MARKETPLACE

INDEPENDENT COMPANIES

OTHER INDEPENDENT FILM COMPANIES

SMALLER INDEPENDENT COMPANIES

FEATURE FILM MAKERS

ADVERTISING BY DISTRIBUTORS AND EXHIBITORS

Table 12: Categories of Membership of PACT (number of members and percent), 1995

Table 13: Producer Members of PACT, 1991-1995

Table 14: Leading Film and Television Production Companies by Turnover (£000), 1993 and1994

Table 15: UK Feature Films Produced in 1993 and 1994

Table 16: Main Media Advertising Expenditure by Distributors and Exhibitors (£000), Years to June 1994 and 1995

Strengths, Weaknesses, Opportunities and Threats (SWOT)

STRENGTHS

WEAKNESSES

OPPORTUNITIES

THREATS

Buying Behaviour

DISTRIBUTORS

EXHIBITORS

TYPES OF RELEASE

VIDEO BUYERS

Table 17: Distributors' Share of Box Office Returns (number and percent), 1993

Table 18: Ownership of Cinema Circuits (number and percent), July 1994

Table 19: Types of Release for UK Films ( percent), 1983-1992

Figure 1: Number of UK Films Not Released ( percent), 1983-1992

Outside Suppliers to the Industry

STUDIOS

PROPS AND EFFECTS

SPECIAL EFFECTS

SOUND EQUIPMENT/SOUND PROVIDERS

AGENCIES

FILM DEVELOPMENT/EDITING/PRODUCTION

LABORATORIES

FILM MANUFACTURERS

LEGAL ADVISORS

TAX ADVISORS

Current Issues

THE MERGERS AND MONOPOLIES REPORT (MMC)

HOUSE OF COMMONS REPORT

DEPARTMENT OF NATIONAL HERITAGE (DNH) REPORT

FILM STUDIOS

FINANCIAL CONDITION OF FILM MAKERS

MAYFAIR AND ARTIFICIAL EYE

EUROPEAN COMMISSION (EC) SUPPORT

Forecasts

Table 20: Forecast UK Output of Films (number), 1994-1997

Table 21: Forecast Value of Films Made in the UK (£m), 1994-1997

Company Profiles

INTRODUCTION

DEFINITIONS

FURTHER INFORMATION

Further Sources

ASSOCIATIONS

PERIODICALS

DIRECTORIES

GENERAL SOURCES

ICC INFORMATION SOURCES

GOVERNMENT PUBLICATIONS

OTHER SOURCES

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EXECUTIVE SUMMARY

The UK film industry is currently experiencing a renaissance. UK-originated films accounted for 55 percent of the 89 films made in the UK in 1994. While 36 percent were co-productions, the remaining 9 percent were Hollywood productions. However, the average budget per film was as follows: UK productions -- £3.2m; co-productions -- £4.7m; and Hollywood productions -- £22.1m.

Obtaining City finance for UK films is still difficult: the main exceptions include Candover and Electra Venture Capital. The main sources of UK finance for film making are: the British Broadcasting Corporation (BBC), Channel 4, British Screen Finance (BSF) -- which is partly funded by the Government, and now BSkyB.

One big problem for UK-originated films is that in the UK, their distributors make relatively few copies of their films compared to other European countries, which means that their exposure is limited. In 1993, only 38 percent of UK-originated films went on general release, which is something that does worry the industry. In the 1970s, and even in the 1980s, the percentage was significantly higher. Nearly one in three UK films never get shown.

Yet, the biggest market for film makers is not the cinema goers, but the video watchers. In 1994, UK spending on films amounted to £1.9bn, of which a Key Note estimate of only £320m came from box office receipts, while £1.1bn was spent on video purchases or rental. Figures from the British Video Association (BVA) show, unerringly, that outright purchases of videos are growing rapidly.

The future for this industry is going to lie in even more funding from television stations and from continental Europe. The number of European co-productions (involving UK companies) is rising, partly because there is EC money available for this and partly because these co-productions receive government subsidy in France, Germany and Italy.

The industry's hopes are now partly pinned on the November 1995 Budget. The industry is thought to have made a good case for some fiscal assistance. It is not so much looking for subsidy, but for some relaxation in tax.

Key Note forecasts that the value of the UK film industry will grow by 21.5 percent between 1995 and 1997.

Text © 1995 Key Note

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