The UK’s producer trade body and actors union have called on the government to rejoin the AI debate and consider legislation before it is too late.
AI is set to play a central role in the upcoming contract negotiations between Pact and Equity but John McVay, who runs the former, and Lynda Rooke, who is president of the latter, concurred on the need for government to protect the industry via legislation.
“They’ve kicked the can down the road [on AI],” McVay said of the government at today’s Creative Cities Convention. “There is case law established in America about AI copyright. On the one hand you’ve got the [UK] government saying ‘let’s wait and see’ but if you go further down the road then they will say ‘we don’t like it, it’s going to go more extreme’. And then they will chill investment.”
McVay, whose body represents...
AI is set to play a central role in the upcoming contract negotiations between Pact and Equity but John McVay, who runs the former, and Lynda Rooke, who is president of the latter, concurred on the need for government to protect the industry via legislation.
“They’ve kicked the can down the road [on AI],” McVay said of the government at today’s Creative Cities Convention. “There is case law established in America about AI copyright. On the one hand you’ve got the [UK] government saying ‘let’s wait and see’ but if you go further down the road then they will say ‘we don’t like it, it’s going to go more extreme’. And then they will chill investment.”
McVay, whose body represents...
- 4/23/2024
- by Max Goldbart
- Deadline Film + TV
Pact has issued a set of principles for using generative artificial intelligence (AI) in TV and film production, urging members to champion human talent above the technology.
While the body welcomes the ways in which generative AI can create efficiencies in the creative process, it urges productions not to allow human creativity and artistic talent be replaced by it in the production process.
Pact also wants members to help minimise the creative bias of AI models by using generative AI tools that have been developed to express diversity.
The principles also urge members to be transparent over the use of...
While the body welcomes the ways in which generative AI can create efficiencies in the creative process, it urges productions not to allow human creativity and artistic talent be replaced by it in the production process.
Pact also wants members to help minimise the creative bias of AI models by using generative AI tools that have been developed to express diversity.
The principles also urge members to be transparent over the use of...
- 3/13/2024
- ScreenDaily
The world’s first law governing artificial intelligence (AI) was today adopted by European lawmakers — a move that could have significant impact on film and TV production.
The Artificial Intelligence Act are an attempt to government how companies and individuals use AI, as use of generative systems such as ChatGPT becomes more widespread, creating issues around image manipulation and misinformation.
After three years of work, 523 European Union lawmakers voted for the proposed agreement and just 49 voted against it (with 49 abstaining). Formal approval is now set to follow in March. Legislation will then begin early next year and apply from 2026.
Among the governing principles of the AI Law, “general purpose AI systems” (GPAIs) and the models they rely on must reach transparency thresholds that comply with EU copyright law. They will also have to publish “details summaries” of the content used to train the AI. The larger GPAIs will face tougher scrutiny,...
The Artificial Intelligence Act are an attempt to government how companies and individuals use AI, as use of generative systems such as ChatGPT becomes more widespread, creating issues around image manipulation and misinformation.
After three years of work, 523 European Union lawmakers voted for the proposed agreement and just 49 voted against it (with 49 abstaining). Formal approval is now set to follow in March. Legislation will then begin early next year and apply from 2026.
Among the governing principles of the AI Law, “general purpose AI systems” (GPAIs) and the models they rely on must reach transparency thresholds that comply with EU copyright law. They will also have to publish “details summaries” of the content used to train the AI. The larger GPAIs will face tougher scrutiny,...
- 3/13/2024
- by Jesse Whittock
- Deadline Film + TV
UK Chancellor Jeremy Hunt has been told to use his forthcoming Spring budget to make an “urgent intervention” to support the UK indie film sector in a letter published by Caroline Dinenage MP, chair of the influential Culture, Media and Sport Committee.
The letter follows the second evidence session of the Committee’s inquiry into British film and high-end TV, which featured Sixteen Films producer Rebecca O’Brien alongside Film4 and BBC Film heads Ollie Madden and Eva Yates. The letter outlines the committee’s concerns that the British film industry is increasingly reliant on investment from overseas productions, resulting in what it describes as a “vulnerable domestic sector,” and asks the Chancellor to introduce enhanced tax relief for independent British films in the Spring budget.
“To address this issue, we urge the Government to introduce enhanced tax relief for British films within a budget range of approximately £1 million to £15 million,...
The letter follows the second evidence session of the Committee’s inquiry into British film and high-end TV, which featured Sixteen Films producer Rebecca O’Brien alongside Film4 and BBC Film heads Ollie Madden and Eva Yates. The letter outlines the committee’s concerns that the British film industry is increasingly reliant on investment from overseas productions, resulting in what it describes as a “vulnerable domestic sector,” and asks the Chancellor to introduce enhanced tax relief for independent British films in the Spring budget.
“To address this issue, we urge the Government to introduce enhanced tax relief for British films within a budget range of approximately £1 million to £15 million,...
- 2/23/2024
- by Zac Ntim
- Deadline Film + TV
Apple TV+ European creative director Jay Hunt is the first streamer executive to take up the mantle.
There has been a mixed reaction to the appointment of Jay Hunt, Apple TV+ European creative director, as the next chair of the British Film Institute (BFI), at a time when the independent UK film community is grappling with acute challenges, from a dampening of production funding options to soaring costs impacting both filmmaking and exhibition.
Calls for the introduction of a levy of some kind on the US streamers to invest in the homegrown independent sector have been growing louder due to...
There has been a mixed reaction to the appointment of Jay Hunt, Apple TV+ European creative director, as the next chair of the British Film Institute (BFI), at a time when the independent UK film community is grappling with acute challenges, from a dampening of production funding options to soaring costs impacting both filmmaking and exhibition.
Calls for the introduction of a levy of some kind on the US streamers to invest in the homegrown independent sector have been growing louder due to...
- 1/12/2024
- by Mona Tabbara
- ScreenDaily
Exclusive: A producer wryly tells us that they arrived to Channel 4 HQ in late 2023 to discover a boarded-up front, feeling their way around to a narrow door on the side of the building “where there stands a huge f***ing bouncer.”
If ever there was a metaphor for the British broadcaster’s relations with the indie sector in recent months, surely this is it. After pulling up the commissioning drawbridge and passing on the financial pain of a disturbingly prolonged ad crisis, producers have oscillated between rage and disillusionment when the subject of Channel 4 rears its head.
There has been an inescapable sense that Channel 4 has not been listening to the concerns of its suppliers, even if this is hotly disputed by the broadcaster itself. But the mood music has now changed. Channel 4 is, for the first time, publicly acknowledging that it must share in the pain being felt by producers.
If ever there was a metaphor for the British broadcaster’s relations with the indie sector in recent months, surely this is it. After pulling up the commissioning drawbridge and passing on the financial pain of a disturbingly prolonged ad crisis, producers have oscillated between rage and disillusionment when the subject of Channel 4 rears its head.
There has been an inescapable sense that Channel 4 has not been listening to the concerns of its suppliers, even if this is hotly disputed by the broadcaster itself. But the mood music has now changed. Channel 4 is, for the first time, publicly acknowledging that it must share in the pain being felt by producers.
- 1/11/2024
- by Max Goldbart
- Deadline Film + TV
Updated with Pggb statement, 7.25am Pt: The Production Guild of Great Britain has joined the celebrations following news of the agreement between SAG-AFTRA and the AMPTP. Pbbg CEO Lyndsay Duthie said: “A deal being reached and strikes ending is such good news for the industry. This has been a long and challenging road for everyone. We look forward to reading the deal in full, but we are absolutely delighted and relieved that Pggb members can soon get back to what they do best, creating world class content.”
The strike officially ended at 12.01am Pt today after 118 days of industrial action.
Updated with Equity statement, 3.28am Pt: Equity has now issued a short statement on the strike deal. In a post on X, the union said: “We’re pleased to hear that our sister union SAG-AFTRA has approved a tentative agreement with the AMPTP and that the strike has been suspended.
The strike officially ended at 12.01am Pt today after 118 days of industrial action.
Updated with Equity statement, 3.28am Pt: Equity has now issued a short statement on the strike deal. In a post on X, the union said: “We’re pleased to hear that our sister union SAG-AFTRA has approved a tentative agreement with the AMPTP and that the strike has been suspended.
- 11/9/2023
- by Jesse Whittock
- Deadline Film + TV
The U.K. Government has promised a “package of new safeguards” for the country’s independent production industry following the introduction of the Media Bill, which has begun to makes its way through the U.K. Parliament.
The bill, once it becomes law, will enable publicly-owned broadcaster Channel 4 to make its own content for the first time — a move that has worried the U.K. production sector, who in the last few years have been rocked by the Covid-19 pandemic and subsequent economic downturn.
Among the safeguards promised by the Government are increasing the requirement for independent U.K. commissions from 25% to 35% and enabling media regulator Ofcom to review how Channel 4 uses its newfound ability to make its own shows.
John McVay, CEO of U.Kl. producing body Pact, said: “Pact welcomes the fact that Government has listened to many of our proposals to ensure the regulation of Channel 4’s commercial production arm.
The bill, once it becomes law, will enable publicly-owned broadcaster Channel 4 to make its own content for the first time — a move that has worried the U.K. production sector, who in the last few years have been rocked by the Covid-19 pandemic and subsequent economic downturn.
Among the safeguards promised by the Government are increasing the requirement for independent U.K. commissions from 25% to 35% and enabling media regulator Ofcom to review how Channel 4 uses its newfound ability to make its own shows.
John McVay, CEO of U.Kl. producing body Pact, said: “Pact welcomes the fact that Government has listened to many of our proposals to ensure the regulation of Channel 4’s commercial production arm.
- 11/8/2023
- by K.J. Yossman
- Variety Film + TV
Exclusive: Jobs are under threat at ITV Studios-backed Scared of the Dark and Come Dine With Me producer MultiStory Media as the indie kickstarts a formal consultation process.
Deadline understands a handful of the producer’s circa-80 staff could be made redundant as part of the process that started last week. If there are layoffs, the number leaving will be in the single figures, we understand.
A MultiStory spokesman said: “We can confirm that we have entered into formal consultation with colleagues and are supporting them during this time. As you can imagine, it would be inappropriate to share any further details at this stage, and as such, we will not be making any further comment.”
The news comes several months after Channel 4 abruptly canceled MultiStory’s high-profile reboot of former Sky reality series Four Weddings.
The ITV Studios-backed company rebranded from Shiver around four years ago to...
Deadline understands a handful of the producer’s circa-80 staff could be made redundant as part of the process that started last week. If there are layoffs, the number leaving will be in the single figures, we understand.
A MultiStory spokesman said: “We can confirm that we have entered into formal consultation with colleagues and are supporting them during this time. As you can imagine, it would be inappropriate to share any further details at this stage, and as such, we will not be making any further comment.”
The news comes several months after Channel 4 abruptly canceled MultiStory’s high-profile reboot of former Sky reality series Four Weddings.
The ITV Studios-backed company rebranded from Shiver around four years ago to...
- 11/7/2023
- by Max Goldbart
- Deadline Film + TV
Good afternoon Insiders, Max Goldbart here with your weekly dose of the biggest headlines, analysis and deep-dives of the week. Read on, and sign up here.
Boom Then Bust (Then “Shaky”)
Records don’t last long: There was a bittersweet feeling after UK producer trade body Pact’s Census 2022 press briefing on Tuesday. Spotlighting full-year 2022, the briefing showed how the UK TV production sector hit record highs of nearly £4B ($5B) last year, driven by the streamers, who upped spend by a whopping 133% to £700M. Big hits to land included Heartstopper and The Crown Season 5. Multiple records were broken in a year in which the UK TV industry was virtually at full employment, but, during the briefing, most questions to Pact CEO John McVay focused on the here and now, as things feel very different today for many producers. McVay was honest in his assessment of 2023 and years to come,...
Boom Then Bust (Then “Shaky”)
Records don’t last long: There was a bittersweet feeling after UK producer trade body Pact’s Census 2022 press briefing on Tuesday. Spotlighting full-year 2022, the briefing showed how the UK TV production sector hit record highs of nearly £4B ($5B) last year, driven by the streamers, who upped spend by a whopping 133% to £700M. Big hits to land included Heartstopper and The Crown Season 5. Multiple records were broken in a year in which the UK TV industry was virtually at full employment, but, during the briefing, most questions to Pact CEO John McVay focused on the here and now, as things feel very different today for many producers. McVay was honest in his assessment of 2023 and years to come,...
- 9/15/2023
- by Max Goldbart
- Deadline Film + TV
Broadcasting union Bectu has waded into the U.S. labor dispute with an open letter to the AMPTP, urging it to financially support UK crew who are “suffering hardship” and to “resume negotiations” with the WGA and SAG-AFTRA.
“It is time to address the huge inequalities within our industry and it is time for you to support crew through this shutdown,” said the letter penned by Bectu Head Philippa Childs.
The move comes after a Bectu survey found 80% of the UK’s freelance workforce had been impacted by the WGA/SAG strikes, while a petition is currently circling calling on the UK government to financially help those who have lost work.
Childs wrote to AMPTP boss Carol Lombardini today, taking the AMPTP to task for leaving freelancers “paying the price of your failure to reach an acceptable agreement with our colleagues in the WGA and SAG-AFTRA.”
“It is they who...
“It is time to address the huge inequalities within our industry and it is time for you to support crew through this shutdown,” said the letter penned by Bectu Head Philippa Childs.
The move comes after a Bectu survey found 80% of the UK’s freelance workforce had been impacted by the WGA/SAG strikes, while a petition is currently circling calling on the UK government to financially help those who have lost work.
Childs wrote to AMPTP boss Carol Lombardini today, taking the AMPTP to task for leaving freelancers “paying the price of your failure to reach an acceptable agreement with our colleagues in the WGA and SAG-AFTRA.”
“It is they who...
- 9/15/2023
- by Max Goldbart
- Deadline Film + TV
John McVay, the boss of the UK TV producer trade body, has ignited a war of words with the British actors union as the pair prepare to thrash out a new deal that could be influenced by events Stateside.
Pact and Equity are sitting down over the coming months to negotiate and the union has similar demands to SAG-AFTRA, with Equity General Secretary Paul Fleming recently saying there could be industrial action in the UK in the next year, while he branded Pact the “AMPTP of the UK.”
Speaking to UK press at the unveiling of the Pact 2022 Census yesterday, McVay labeled Fleming’s comments “unhelpful.”
“We’re always in the room with the unions and guilds and we’re already in the room with Equity,” said McVay. “[Fleming’s comments] may have warmed the cockles of his union colleagues but we’re always trying to fix things and want to keep everyone working.
Pact and Equity are sitting down over the coming months to negotiate and the union has similar demands to SAG-AFTRA, with Equity General Secretary Paul Fleming recently saying there could be industrial action in the UK in the next year, while he branded Pact the “AMPTP of the UK.”
Speaking to UK press at the unveiling of the Pact 2022 Census yesterday, McVay labeled Fleming’s comments “unhelpful.”
“We’re always in the room with the unions and guilds and we’re already in the room with Equity,” said McVay. “[Fleming’s comments] may have warmed the cockles of his union colleagues but we’re always trying to fix things and want to keep everyone working.
- 9/12/2023
- by Max Goldbart
- Deadline Film + TV
The UK TV production sector grew rapidly in 2022 to a near-£4B ($5B) high, but Pact boss John McVay has forecast a “tough” full-year 2023 and “shaky” 2024.
The producer trade body’s annual Pact Census, which covered the 2022 calendar year, found indie revenues to have risen by 21% – comfortably besting the previous record of £3.3B in 2019. International TV revenue skyrocketed by 70% to £1.6B and spend from the streamers rose by a whopping 133% to £700M – both smashing previous records.
Unveiled yesterday during a press briefing, the heady numbers will come as little surprise, given that 2021 was hit by Covid-19 and 2022 saw a rush back into production. Figures from across the UK TV sector regularly reported virtually full employment levels in 2022, and there were big increases in commissioning by both local networks and U.S. giants.
McVay labeled 2022 a “boom year,” adding: “Clearly the UK is a place where large sums of money are...
The producer trade body’s annual Pact Census, which covered the 2022 calendar year, found indie revenues to have risen by 21% – comfortably besting the previous record of £3.3B in 2019. International TV revenue skyrocketed by 70% to £1.6B and spend from the streamers rose by a whopping 133% to £700M – both smashing previous records.
Unveiled yesterday during a press briefing, the heady numbers will come as little surprise, given that 2021 was hit by Covid-19 and 2022 saw a rush back into production. Figures from across the UK TV sector regularly reported virtually full employment levels in 2022, and there were big increases in commissioning by both local networks and U.S. giants.
McVay labeled 2022 a “boom year,” adding: “Clearly the UK is a place where large sums of money are...
- 9/12/2023
- by Max Goldbart
- Deadline Film + TV
The U.K. TV industry delivered a total sector revenue of almost £4 billion ($5 billion) in 2022.
The figure comes from a new production census report by local producers body Pact, which showed last year was a booming time for the industry, driven by both internal and international commissions and particularly an increased in streaming commissions.
“2022 was clearly a big boom year, both domestically and internationally,” said Pact CEO John McVay during a press briefing to unveil the results of the census. “Clearly the U.K. is still looked at as a place where large sums of money are being invested in content and that’s good news not just for my members but for everyone in the supply chain and the value chain for that as well”
Domestic TV revenues grew to £2.2 billion while international revenues came in at £1.6 billion, representing a 70% increase. Pact suggested the growth was partly down to...
The figure comes from a new production census report by local producers body Pact, which showed last year was a booming time for the industry, driven by both internal and international commissions and particularly an increased in streaming commissions.
“2022 was clearly a big boom year, both domestically and internationally,” said Pact CEO John McVay during a press briefing to unveil the results of the census. “Clearly the U.K. is still looked at as a place where large sums of money are being invested in content and that’s good news not just for my members but for everyone in the supply chain and the value chain for that as well”
Domestic TV revenues grew to £2.2 billion while international revenues came in at £1.6 billion, representing a 70% increase. Pact suggested the growth was partly down to...
- 9/12/2023
- by K.J. Yossman
- Variety Film + TV
The Creative Diversity Network’s sixth annual report on inclusivity in the U.K. TV industry reveals a generally sorry state of affairs with some sparks of progress.
The report analyzes data collected through the Diamond diversity monitoring system, used by the BBC, ITV, Channel 4, Paramount (which owns U.K. broadcaster Channel 5), UKTV and Sky to obtain consistent diversity data on programs they commission, revealing several areas of concern within the industry, particularly in off-screen and senior roles.
A significant finding is that women are making fewer contributions compared to four years ago, primarily due to a decline in senior roles. The number of female writers and directors remains alarmingly low, contributing to the overall decrease. Disabled individuals and individuals from Black, Asian and Minority Ethnic (Bame) backgrounds also continue to be underrepresented in senior positions, while craft roles remain largely segregated.
Except for the role of commissioning editor,...
The report analyzes data collected through the Diamond diversity monitoring system, used by the BBC, ITV, Channel 4, Paramount (which owns U.K. broadcaster Channel 5), UKTV and Sky to obtain consistent diversity data on programs they commission, revealing several areas of concern within the industry, particularly in off-screen and senior roles.
A significant finding is that women are making fewer contributions compared to four years ago, primarily due to a decline in senior roles. The number of female writers and directors remains alarmingly low, contributing to the overall decrease. Disabled individuals and individuals from Black, Asian and Minority Ethnic (Bame) backgrounds also continue to be underrepresented in senior positions, while craft roles remain largely segregated.
Except for the role of commissioning editor,...
- 7/6/2023
- by Naman Ramachandran
- Variety Film + TV
With the news that SAG/AMPTP negotiations could push into next week, international acting unions are for the most part taking a cautious approach to supporting a potential actors strike.
Unlike writers guilds around the world, which came out in support of the WGA’s labor action prior to it being called, unions in English-speaking countries are being conservative.
With more than 1,000 actors now urging SAG-AFTRA’s leadership to take a tough line in negotiations with the Alliance of Motion Pictures and Television (AMPTP), and talks on a knife edge, questions have arisen over how other nations might respond and what guidance local actors will receive around working on projects from ‘struck’ U.S. companies.
Related: SAG-AFTRA “Prepared To Strike” Letter Hits 1,000 Signatures, Including Guild President Fran Drescher
Canadian actors guild Actra declined comment beyond saying the strike “has not yet happened and is currently speculative,” while the Brussels-based International...
Unlike writers guilds around the world, which came out in support of the WGA’s labor action prior to it being called, unions in English-speaking countries are being conservative.
With more than 1,000 actors now urging SAG-AFTRA’s leadership to take a tough line in negotiations with the Alliance of Motion Pictures and Television (AMPTP), and talks on a knife edge, questions have arisen over how other nations might respond and what guidance local actors will receive around working on projects from ‘struck’ U.S. companies.
Related: SAG-AFTRA “Prepared To Strike” Letter Hits 1,000 Signatures, Including Guild President Fran Drescher
Canadian actors guild Actra declined comment beyond saying the strike “has not yet happened and is currently speculative,” while the Brussels-based International...
- 6/29/2023
- by Jesse Whittock and Max Goldbart
- Deadline Film + TV
2022 was a gangbuster year for the U.K.’s unscripted TV sector. Rates soared as productions struggled to find crew such as editors and producer-directors because of the sheer amount of work available. “You were fighting over staff,” said one producer with almost 20 years experience, who spoke on condition of anonymity.
This year, he says, is the complete opposite. WhatsApp and Facebook groups are awash with freelancers desperately searching for a gig. Some have been out of work for months and, in a few cases, since last year. They are terrified about how to pay their rent or mortgages. Many have applied for government welfare. Others have taken work outside television until things pick up. Those who haven’t left the industry already are considering it.
“For a lot of people, this is a dire situation,” says James Taylor, a series producer in factual entertainment and co-chair of the unscripted branch at Bectu,...
This year, he says, is the complete opposite. WhatsApp and Facebook groups are awash with freelancers desperately searching for a gig. Some have been out of work for months and, in a few cases, since last year. They are terrified about how to pay their rent or mortgages. Many have applied for government welfare. Others have taken work outside television until things pick up. Those who haven’t left the industry already are considering it.
“For a lot of people, this is a dire situation,” says James Taylor, a series producer in factual entertainment and co-chair of the unscripted branch at Bectu,...
- 5/25/2023
- by K.J. Yossman
- Variety Film + TV
Film Fund (Exclusive)
Bitpix TV and Myco have partnered on a feature film development fund. Open to filmmakers worldwide, the fund, which was launched on Friday at the Cannes film market, aims to support three films a year each with a budget of up to $2 million per feature.
Bitpix TV is the official streaming arm of HollyShorts Film Festival while Myco is a decentralized content ecosystem formerly known as MContent
A number of short-form genre films will be showcased on Myco’s streaming platform where viewers can vote on their favorites, which will be selected for feature film development with the fund’s help. Among the package of help available is funding, consulting, mentorship, and production support from finance and production company Goldfinch.
The finalists and winners will be unveiled at this year’s HollyShorts, which is set to run from Aug. 10-19 at the Tcl Chinese Theatre in Hollywood.
Bitpix TV and Myco have partnered on a feature film development fund. Open to filmmakers worldwide, the fund, which was launched on Friday at the Cannes film market, aims to support three films a year each with a budget of up to $2 million per feature.
Bitpix TV is the official streaming arm of HollyShorts Film Festival while Myco is a decentralized content ecosystem formerly known as MContent
A number of short-form genre films will be showcased on Myco’s streaming platform where viewers can vote on their favorites, which will be selected for feature film development with the fund’s help. Among the package of help available is funding, consulting, mentorship, and production support from finance and production company Goldfinch.
The finalists and winners will be unveiled at this year’s HollyShorts, which is set to run from Aug. 10-19 at the Tcl Chinese Theatre in Hollywood.
- 5/19/2023
- by K.J. Yossman
- Variety Film + TV
Ben Whishaw Unveils First Project Since BAFTA TV Win
Exclusive: Ben Whishaw has unveiled his first project since being awarded his latest BAFTA TV Award. The This Is Going to Hurt star is leading short film Good Boy, the directorial debut from Mainstream co-writer Tom Stuart, which filmed on the Glastonbury Festival site in April. In Good Boy, Whishaw stars with Marion Bailey (The Crown) as a son and mother whose attempt to rob a bank is scuppered by bizarre manifestations from their past. Inspired by the writer-director’s own experience of bereavement, the personal film explores the insidious malleability of grief and the unexpected ways it asserts itself in daily life. “The pandemic has brought us an unprecedented amount of death and behind it a dark wave of grief,” said Stuart. “I’ve learnt that it’s only by talking about my grief that I’m able to loosen...
Exclusive: Ben Whishaw has unveiled his first project since being awarded his latest BAFTA TV Award. The This Is Going to Hurt star is leading short film Good Boy, the directorial debut from Mainstream co-writer Tom Stuart, which filmed on the Glastonbury Festival site in April. In Good Boy, Whishaw stars with Marion Bailey (The Crown) as a son and mother whose attempt to rob a bank is scuppered by bizarre manifestations from their past. Inspired by the writer-director’s own experience of bereavement, the personal film explores the insidious malleability of grief and the unexpected ways it asserts itself in daily life. “The pandemic has brought us an unprecedented amount of death and behind it a dark wave of grief,” said Stuart. “I’ve learnt that it’s only by talking about my grief that I’m able to loosen...
- 5/19/2023
- by Max Goldbart
- Deadline Film + TV
The strike has begun, Insiders. The industrial action, the first in the U.S. since 2007-08, dominated news coverage in film and TV this week but there’s been plenty more going around the world. Jesse Whittock here to take you through. Be sure to sign up for the newsletter here.
Strike, Camera, Action! Queen Charlotte
Shows of solidarity: The moment is upon us. Following several weeks of failed negotiations, the WGA is striking for the first time in 15 years over issues including compensation and streaming residuals, mini-rooms, late-night streaming shows and pensions. As writers across the U.S. hit the picket lines, attention here at Deadline International has been focused on the ripple effects being felt globally. Multiple writers unions around the world were swift in their shows of support. Australian, Canadian and UK guilds have already urged their own writers to down tools and refuse to work on U.
Strike, Camera, Action! Queen Charlotte
Shows of solidarity: The moment is upon us. Following several weeks of failed negotiations, the WGA is striking for the first time in 15 years over issues including compensation and streaming residuals, mini-rooms, late-night streaming shows and pensions. As writers across the U.S. hit the picket lines, attention here at Deadline International has been focused on the ripple effects being felt globally. Multiple writers unions around the world were swift in their shows of support. Australian, Canadian and UK guilds have already urged their own writers to down tools and refuse to work on U.
- 5/5/2023
- by Jesse Whittock
- Deadline Film + TV
New projects include UK series ‘Black Doves’, ‘Department Q’ and ‘Bank Of Dave: The Sequel’
Netflix has outlined its investment in the UK creative economy since 2020, totalling £4.8bn from making series and films.
Almost £1.2bn a year is now spent, an increase of nearly 50% each year between 2020 and 2023.
The US streamer has also set details of three new UK commissions. Rory Kinnear-led Bank Of Dave is getting a sequel, produced by Tempo Productions and Future Artists, and directed once again by Chris Foggin. It sees Dave Fishwick take on a new and more dangerous adversary in the shape of payday lenders,...
Netflix has outlined its investment in the UK creative economy since 2020, totalling £4.8bn from making series and films.
Almost £1.2bn a year is now spent, an increase of nearly 50% each year between 2020 and 2023.
The US streamer has also set details of three new UK commissions. Rory Kinnear-led Bank Of Dave is getting a sequel, produced by Tempo Productions and Future Artists, and directed once again by Chris Foggin. It sees Dave Fishwick take on a new and more dangerous adversary in the shape of payday lenders,...
- 4/26/2023
- by Mona Tabbara
- ScreenDaily
Netflix will have invested almost $6Bn in UK content over four years by the end of 2023, the streamer has revealed.
Unveiling the news at a London Showcase tonight, Netflix said it has been spending an average of around $1.5Bn on films and TV series each year since 2020. In 2020, it spent $1Bn, which means the figure would likely have been higher in 2021, 2022 and for this year. Netflix did not provide a year-by-year breakdown of the figures.
According to Netflix VP, Content for the UK Anne Mensah, the $6Bn figure represents “an increase of nearly 50% on what we originally anticipated.”
Prime Minister Rishi Sunak hailed the investment, saying: “It is hugely welcome to see Netflix significantly increase its investment in the UK, demonstrating the sheer strength of our TV and film industry as the largest in Europe.”
Netflix has commissioned high-profile, big-budget shows such as Sex Education, The Crown and Heartstopper since...
Unveiling the news at a London Showcase tonight, Netflix said it has been spending an average of around $1.5Bn on films and TV series each year since 2020. In 2020, it spent $1Bn, which means the figure would likely have been higher in 2021, 2022 and for this year. Netflix did not provide a year-by-year breakdown of the figures.
According to Netflix VP, Content for the UK Anne Mensah, the $6Bn figure represents “an increase of nearly 50% on what we originally anticipated.”
Prime Minister Rishi Sunak hailed the investment, saying: “It is hugely welcome to see Netflix significantly increase its investment in the UK, demonstrating the sheer strength of our TV and film industry as the largest in Europe.”
Netflix has commissioned high-profile, big-budget shows such as Sex Education, The Crown and Heartstopper since...
- 4/26/2023
- by Jesse Whittock
- Deadline Film + TV
UK broadcasters and streamers have “not been understanding or tried to help with costs” since the recession started biting, according to nearly half of UK producer respondents to a Pact survey, with indies reporting costs rocketing by 10 to 20.
Around 42 of respondents to the trade body’s Increased Cost Of Living And Cost Of Production Report chided the broadcasters and streamers for failing to provide the necessary help as prices continue to rise.
The BBC was called out as the biggest culprit, with 39 saying the pubcaster had “not been helpful”, followed by Channel 4 (34) and Paramount-owned Channel 5 (27). Netflix was below the 20 mark.
In the networks’ defense, 35 said the opposite, that they “had been understanding and tried to help with costs,” while the rest of the respondents were in the middle.
Pact, which represents hundreds of UK indies, provided one of the starkest illustrations yet that the cost of living crisis,...
Around 42 of respondents to the trade body’s Increased Cost Of Living And Cost Of Production Report chided the broadcasters and streamers for failing to provide the necessary help as prices continue to rise.
The BBC was called out as the biggest culprit, with 39 saying the pubcaster had “not been helpful”, followed by Channel 4 (34) and Paramount-owned Channel 5 (27). Netflix was below the 20 mark.
In the networks’ defense, 35 said the opposite, that they “had been understanding and tried to help with costs,” while the rest of the respondents were in the middle.
Pact, which represents hundreds of UK indies, provided one of the starkest illustrations yet that the cost of living crisis,...
- 12/14/2022
- by Max Goldbart
- Deadline Film + TV
Following almost a year of intense negotiation, UK indie trade body Pact and broadcasting union Bectu have cleared the path for a new UK TV Drama Agreement to be struck with the union’s members finally voting in favor although narrowly.
Just shy of 60% of the Bectu voters accepted the new terms and conditions, which are in full below and set terms and conditions for the next three years from January 1. Scroll down to read them.
A third ballot has taken place over the past 10 days and broadcasting union Bectu this time indicated it will accept Pact’s compromise on the agreement, which governs areas including working conditions, hours and wellbeing.
“This will provide stability for the industry at a time of economic challenge,” said a Pact statement. “The agreement covers all scripted including regional/nations drama, kids and comedy – productions that can be difficult to finance but are fundamental...
Just shy of 60% of the Bectu voters accepted the new terms and conditions, which are in full below and set terms and conditions for the next three years from January 1. Scroll down to read them.
A third ballot has taken place over the past 10 days and broadcasting union Bectu this time indicated it will accept Pact’s compromise on the agreement, which governs areas including working conditions, hours and wellbeing.
“This will provide stability for the industry at a time of economic challenge,” said a Pact statement. “The agreement covers all scripted including regional/nations drama, kids and comedy – productions that can be difficult to finance but are fundamental...
- 12/12/2022
- by Max Goldbart
- Deadline Film + TV
Another extension has been agreed between Pact and Bectu for the pair’s UK TV Drama Agreement, with the saga now looking set to rumble on for almost a year.
Broadcasting union Bectu was supposed to be balloting its members from 14 October to 23 October with a result due today but instead the five-year agreement, which has already been extended twice and was due to lapse on September 1, will be balloted in late November and December. Negotiations between the pair over the working agreement that has stood since 2017 first broke down in February 2022.
The move will give indie trade body Pact the opportunity to draft an agreement in full so as to avoid any doubt and draw up sufficient detail, according to a Bectu spokeswoman and Pact CEO John McVay.
The issue has already been balloted on, with Bectu’s members “overwhelmingly” rejecting Pact’s terms over the summer.
The pair...
Broadcasting union Bectu was supposed to be balloting its members from 14 October to 23 October with a result due today but instead the five-year agreement, which has already been extended twice and was due to lapse on September 1, will be balloted in late November and December. Negotiations between the pair over the working agreement that has stood since 2017 first broke down in February 2022.
The move will give indie trade body Pact the opportunity to draft an agreement in full so as to avoid any doubt and draw up sufficient detail, according to a Bectu spokeswoman and Pact CEO John McVay.
The issue has already been balloted on, with Bectu’s members “overwhelmingly” rejecting Pact’s terms over the summer.
The pair...
- 10/24/2022
- by Max Goldbart
- Deadline Film + TV
UK’s Film & TV Charity Launches Cost-Of-Living Tools
The UK’s Film and TV Charity has launched a range of financial tools to help the sector with the impending cost-of-living crisis. Designed for freelancers who may experience less certainty with their income, and for those in employment who may also be experiencing significant pressures, the resources will provide advice and tips in the face of unprecedented financial uncertainty, according to the Charity, which has partnered with MoneyHelper. Tools include a Budget Planner, Bills Prioritiser and Savings Calculator. As with much of the rest of the world, the nation is preparing itself for a crisis, with gas bills skyrocketing and inflation still on the rise. Sky and ITV have already given staff bonuses and indie trade body Pact CEO John McVay has urged broadcasters to help producers with inflated budgets. “Our new financial tools aren’t a magic bullet to the cost-of-living crisis,...
The UK’s Film and TV Charity has launched a range of financial tools to help the sector with the impending cost-of-living crisis. Designed for freelancers who may experience less certainty with their income, and for those in employment who may also be experiencing significant pressures, the resources will provide advice and tips in the face of unprecedented financial uncertainty, according to the Charity, which has partnered with MoneyHelper. Tools include a Budget Planner, Bills Prioritiser and Savings Calculator. As with much of the rest of the world, the nation is preparing itself for a crisis, with gas bills skyrocketing and inflation still on the rise. Sky and ITV have already given staff bonuses and indie trade body Pact CEO John McVay has urged broadcasters to help producers with inflated budgets. “Our new financial tools aren’t a magic bullet to the cost-of-living crisis,...
- 9/14/2022
- by Max Goldbart, Zac Ntim and Jesse Whittock
- Deadline Film + TV
Project Funding
The Asian Cinema Fund, a bursary scheme for film and documentary projects operated alongside the Busan International Film Festival, has announced six Korean recipients and seven hailing from elsewhere in Asia. The fund was put on hiatus during the two years of Covid, which also reduced the festival in size and turned the Asian Contents & Film Market into a virtual event. Three winners – “In the Land of Brothers,” by Raha Amirfazali, “Life I Stole,” by Putri Purnama Sugua and “Smart City,” by Rohin Raveendran – each receive KRW10 million for script development and are invited to participate in the Acfm’s Asian Project Market. Three films currently in post-production — “Birth,” by Yoo Jiyoung, “Juhee from 5 to 7,” by Jang Kunjae and “Mariam,” by Arvind Pratap — will receive in-kind support for digital intermediates, Dcp production, sound mixing and sub-titling, and are expected to premiere as finished works at the Busan festival.
The Asian Cinema Fund, a bursary scheme for film and documentary projects operated alongside the Busan International Film Festival, has announced six Korean recipients and seven hailing from elsewhere in Asia. The fund was put on hiatus during the two years of Covid, which also reduced the festival in size and turned the Asian Contents & Film Market into a virtual event. Three winners – “In the Land of Brothers,” by Raha Amirfazali, “Life I Stole,” by Putri Purnama Sugua and “Smart City,” by Rohin Raveendran – each receive KRW10 million for script development and are invited to participate in the Acfm’s Asian Project Market. Three films currently in post-production — “Birth,” by Yoo Jiyoung, “Juhee from 5 to 7,” by Jang Kunjae and “Mariam,” by Arvind Pratap — will receive in-kind support for digital intermediates, Dcp production, sound mixing and sub-titling, and are expected to premiere as finished works at the Busan festival.
- 7/15/2022
- by Patrick Frater
- Variety Film + TV
Endemol Shine Finland Hires ‘The Woodcutter Story’ Line Producer Paria Eskandari
Exclusive: Endemol Shine Finland, the Banijay-owned producer behind upcoming Netflix and Yle drama Dance Brothers, has hired film producer Paria Eskandari to bolster its scripted arm. Starting in August, she will become Producer at the firm, reporting to Head of Scripted Max Malka. Eskandari joins from Aamu Film Company, where she was line producer on Cannes Critic Week title The Woodcutter Story. She has the same role on Cannes Grand Prix winner Compartment No. 6 and award-winner Any Day Now. She has also worked on young adult drama series Zone-b for Finnish public broadcaster Yle, and several docs and short films. “Paria is well-known as a dedicated filmmaker who focuses on both the story and the people,” said Malka. “She has a fantastic reputation within the film community, and her expertise will ensure we further grow our scripted slate and...
Exclusive: Endemol Shine Finland, the Banijay-owned producer behind upcoming Netflix and Yle drama Dance Brothers, has hired film producer Paria Eskandari to bolster its scripted arm. Starting in August, she will become Producer at the firm, reporting to Head of Scripted Max Malka. Eskandari joins from Aamu Film Company, where she was line producer on Cannes Critic Week title The Woodcutter Story. She has the same role on Cannes Grand Prix winner Compartment No. 6 and award-winner Any Day Now. She has also worked on young adult drama series Zone-b for Finnish public broadcaster Yle, and several docs and short films. “Paria is well-known as a dedicated filmmaker who focuses on both the story and the people,” said Malka. “She has a fantastic reputation within the film community, and her expertise will ensure we further grow our scripted slate and...
- 5/26/2022
- by Max Goldbart and Jesse Whittock
- Deadline Film + TV
The Creative Diversity Network’s fifth annual report on inclusivity in the U.K. TV industry shows a marginal improvement in diversity representation, but not in senior roles, while disability representation remains poor.
Diamond is a single online system used by the BBC, ITV, Channel 4, ViacomCBS, UKTV and Sky to obtain consistent diversity data on programs they commission. The Diamond report notes that “despite well-meaning initiatives across the industry and improvements in some areas, there is still a lack of real progress in terms of increasing representation by previously (and currently) under-represented groups.”
Of particular concern is disability, with representation by disabled people both on and off-screen remaining consistently lower across all genres, all broadcasters, and all job roles than the 18% of the U.K. population who declare a disability. Disabled people are making fewer than 6% of contributions across most senior roles and over the past three years, there...
Diamond is a single online system used by the BBC, ITV, Channel 4, ViacomCBS, UKTV and Sky to obtain consistent diversity data on programs they commission. The Diamond report notes that “despite well-meaning initiatives across the industry and improvements in some areas, there is still a lack of real progress in terms of increasing representation by previously (and currently) under-represented groups.”
Of particular concern is disability, with representation by disabled people both on and off-screen remaining consistently lower across all genres, all broadcasters, and all job roles than the 18% of the U.K. population who declare a disability. Disabled people are making fewer than 6% of contributions across most senior roles and over the past three years, there...
- 3/14/2022
- by Naman Ramachandran
- Variety Film + TV
Diverse representation in the UK TV industry’s most senior ranks remains poor, according to the latest landmark Diamond diversity report, which showed representation of disabled people at the top is going backwards.
The report, which is the fifth since the Diamond project was launched to monitor diversity across all broadcasters, indies and genres, showed signs of progress but mostly at lower and mid level.
Representation of disabled people in senior roles over the past five years has fallen from 6.6% to 4.5%, miles behind the circa-17% national average and coming at a time when disability representation is firmly in the spotlight.
Black, Asian and Minority Ethnic people, meanwhile, make up 11.4% of these senior roles, quite a way behind the 14% national average. Although it increased slightly last year, that figure has fluctuated over the past few years.
The most crucial roles to productions are simply not being filled by people from minority groups,...
The report, which is the fifth since the Diamond project was launched to monitor diversity across all broadcasters, indies and genres, showed signs of progress but mostly at lower and mid level.
Representation of disabled people in senior roles over the past five years has fallen from 6.6% to 4.5%, miles behind the circa-17% national average and coming at a time when disability representation is firmly in the spotlight.
Black, Asian and Minority Ethnic people, meanwhile, make up 11.4% of these senior roles, quite a way behind the 14% national average. Although it increased slightly last year, that figure has fluctuated over the past few years.
The most crucial roles to productions are simply not being filled by people from minority groups,...
- 3/14/2022
- by Max Goldbart
- Deadline Film + TV
U.S. networks spent almost 25% more on British shows and co-productions last year to hit a record £574M ($757M), as the UK TV export market weathered the Covid storm to decline by just 3%.
For the year to 31 March 2021, the U.S. made up 40% of all UK exports, according to indie trade body Pact’s annual UK TV Exports Report that was compiled by 3Vision, with North America (including Canada) comprising almost half.
With the pandemic taking its toll on production last summer, U.S. buyers were especially keen on UK distributor’s back-catalogues, as the likes of MasterChef and Who Wants To Be A Millionaire? sold well. Almost all respondents (93%) to Pact’s survey said there had been an increase in demand for library content.
The growth was fuelled by new U.S. streamers, with 56% of UK distributors saying they had sold a show to Discovery+ in the past year...
For the year to 31 March 2021, the U.S. made up 40% of all UK exports, according to indie trade body Pact’s annual UK TV Exports Report that was compiled by 3Vision, with North America (including Canada) comprising almost half.
With the pandemic taking its toll on production last summer, U.S. buyers were especially keen on UK distributor’s back-catalogues, as the likes of MasterChef and Who Wants To Be A Millionaire? sold well. Almost all respondents (93%) to Pact’s survey said there had been an increase in demand for library content.
The growth was fuelled by new U.S. streamers, with 56% of UK distributors saying they had sold a show to Discovery+ in the past year...
- 12/20/2021
- by Max Goldbart
- Deadline Film + TV
Global sales of British TV shows in 2020/21 declined 3.3% to £1.4 billion ($1.8 billion), the TV Exports Report from U.K. screen sector trade body Pact reveals.
Covid-19 affected production in the U.K., but producers enjoyed robust back catalogue sales. Library content more than four years old accounted for a third of sales, a 22% uptick from the previous year.
Drama proved to be the most popular genre, accounting for 53% of export revenues, an increase of 5% compared to the previous year. “I May Destroy You” and “It’s a Sin” were among the most popular titles. Factual shows accounted for 15% of exports with shows like like “Masterchef,” “Who Wants to Be a Millionaire,” and “Dragon’s Den” remaining popular.
Sales to streamers accounted for 44% of all finished program sales, up from 38% in 2019/20, with more than half of distributors surveyed having sold a program to Amazon Prime Video or Netflix.
The U.S. remains the U.
Covid-19 affected production in the U.K., but producers enjoyed robust back catalogue sales. Library content more than four years old accounted for a third of sales, a 22% uptick from the previous year.
Drama proved to be the most popular genre, accounting for 53% of export revenues, an increase of 5% compared to the previous year. “I May Destroy You” and “It’s a Sin” were among the most popular titles. Factual shows accounted for 15% of exports with shows like like “Masterchef,” “Who Wants to Be a Millionaire,” and “Dragon’s Den” remaining popular.
Sales to streamers accounted for 44% of all finished program sales, up from 38% in 2019/20, with more than half of distributors surveyed having sold a program to Amazon Prime Video or Netflix.
The U.S. remains the U.
- 12/20/2021
- by Naman Ramachandran
- Variety Film + TV
Across film and TV, the scheme supported over 600 productions.
52 independent films have gone into production in the last year with support from the UK government’s film and TV Production Restart Scheme (Prs), according to statistics published by the government today.
The 52 films had a combined budget of £190.8m.
This formed 10% of the £1.9bn total production budgets of the 640 UK independent film and TV projects supported by the Prs since it was launched in July 2020. The government said this represents 55,000 jobs that may otherwise have been lost.
Titles that secured insurance through the scheme include Eva Husson’s Mothering Sunday,...
52 independent films have gone into production in the last year with support from the UK government’s film and TV Production Restart Scheme (Prs), according to statistics published by the government today.
The 52 films had a combined budget of £190.8m.
This formed 10% of the £1.9bn total production budgets of the 640 UK independent film and TV projects supported by the Prs since it was launched in July 2020. The government said this represents 55,000 jobs that may otherwise have been lost.
Titles that secured insurance through the scheme include Eva Husson’s Mothering Sunday,...
- 7/28/2021
- by Ben Dalton
- ScreenDaily
The UK’s Film and TV Production Restart Scheme has backed a total of 640 projects in its first year of operation, supporting some $2.6Bn (£1.9Bn) worth of production on Brit shores since it was rolled out.
The initiative was introduced only July 28, 2020 to plug the gap left after coronavirus insurance became effectively impossible to acquire from regular insurers. The fund underwrites Covid-related delays, allowing producers to avoid potentially crippling financial exposure.
Films backed include Mothering Sunday starring Odessa Young, Josh O’Connor, Olivia Colman and Colin Firth, which just premiered at Cannes, and Terence Davies’ Benediction, which is set to screen at Toronto and San Sebastian. TV shows include Peaky Blinders and Gentleman Jack.
The British Film Institute, which administers the fund, said 55,000 screen sector jobs had been supported thanks to the Restart Scheme. Back in March, it was announced that the initiative would be extended until the end of December this year.
The initiative was introduced only July 28, 2020 to plug the gap left after coronavirus insurance became effectively impossible to acquire from regular insurers. The fund underwrites Covid-related delays, allowing producers to avoid potentially crippling financial exposure.
Films backed include Mothering Sunday starring Odessa Young, Josh O’Connor, Olivia Colman and Colin Firth, which just premiered at Cannes, and Terence Davies’ Benediction, which is set to screen at Toronto and San Sebastian. TV shows include Peaky Blinders and Gentleman Jack.
The British Film Institute, which administers the fund, said 55,000 screen sector jobs had been supported thanks to the Restart Scheme. Back in March, it was announced that the initiative would be extended until the end of December this year.
- 7/28/2021
- by Tom Grater
- Deadline Film + TV
Michaela Coel’s BBC/HBO series I May Destroy You was the big winner at the UK’s Broadcasting Press Guild Awards on Friday.
The limited series, about a woman piecing together the events of her sexual assault, won Best Drama Series, beating competition from the likes of BBC/Hulu series Normal People and Sky’s I Hate Suzie. Coel also walked away with Best Actress and Best Writer.
Collecting her gongs, Coel said: “Receiving this from the Broadcasting Press Guild is particularly meaningful to me, because this is awarded by journalists, the best of which scrutinize the topic, their opinion of it, and interrogate both the world and themselves, as writers within it. I can identify with this, particularly because I May Destroy You was inspired by my own experiences of sexual assault.”
Elsewhere, David Tennant won Best Actor for portraying serial killer Dennis Nilsen in ITV’s Des,...
The limited series, about a woman piecing together the events of her sexual assault, won Best Drama Series, beating competition from the likes of BBC/Hulu series Normal People and Sky’s I Hate Suzie. Coel also walked away with Best Actress and Best Writer.
Collecting her gongs, Coel said: “Receiving this from the Broadcasting Press Guild is particularly meaningful to me, because this is awarded by journalists, the best of which scrutinize the topic, their opinion of it, and interrogate both the world and themselves, as writers within it. I can identify with this, particularly because I May Destroy You was inspired by my own experiences of sexual assault.”
Elsewhere, David Tennant won Best Actor for portraying serial killer Dennis Nilsen in ITV’s Des,...
- 3/12/2021
- by Jake Kanter
- Deadline Film + TV
Hello International Insiders, hope you’re getting into the Christmas spirit. Tom Grater here delivering a sack full of attention-grabbing headlines from this week of film and TV news.
Insuring The Future
World-beating lifeline: Deadline hears that other nations look on enviously at the UK’s £500M ($665M) coronavirus production insurance scheme, so it’s little wonder that British producers want more of a good thing. Led by Pact CEO John McVay, the film and TV industry is in talks with the government to extend the initiative so that shoots are covered up until June next year, rather than the current cut off of February. Given how receptive ministers have been so far, it will be a surprise if the discussions are not successful.
Why the extension matters: The hope is that it will capture a rush of productions that get cameras rolling during the longer daylight hours of spring...
Insuring The Future
World-beating lifeline: Deadline hears that other nations look on enviously at the UK’s £500M ($665M) coronavirus production insurance scheme, so it’s little wonder that British producers want more of a good thing. Led by Pact CEO John McVay, the film and TV industry is in talks with the government to extend the initiative so that shoots are covered up until June next year, rather than the current cut off of February. Given how receptive ministers have been so far, it will be a surprise if the discussions are not successful.
Why the extension matters: The hope is that it will capture a rush of productions that get cameras rolling during the longer daylight hours of spring...
- 12/18/2020
- by Tom Grater
- Deadline Film + TV
UK producer body Pact has revealed that indies were in truly swaggering form before the pandemic upended the global entertainment business.
The group’s annual UK Production Census found that producers generated record revenues of £3.3 billion ($4.3B) last year, up 11% on 2018. Beneath that headline, international revenue blasted past £1B for the first time in the history of the census, rising 30% to £1.25B, according to research compiled by Oliver & Ohlbaum.
Netflix and Amazon’s push into the UK market continued to be felt, with producers being commissioned to the tune of £337M by streaming services. This was up 20% on 2018 thanks to shows like Netflix hit Sex Education, which is made by Sony-owned Eleven.
Domestic revenues also reached a new high of £1.9B, with drama accounting for 40% of commissioning spend following the success of shows including Line Of Duty and Chernobyl. Drama was 13 percentage points higher than the next biggest genre: entertainment.
The group’s annual UK Production Census found that producers generated record revenues of £3.3 billion ($4.3B) last year, up 11% on 2018. Beneath that headline, international revenue blasted past £1B for the first time in the history of the census, rising 30% to £1.25B, according to research compiled by Oliver & Ohlbaum.
Netflix and Amazon’s push into the UK market continued to be felt, with producers being commissioned to the tune of £337M by streaming services. This was up 20% on 2018 thanks to shows like Netflix hit Sex Education, which is made by Sony-owned Eleven.
Domestic revenues also reached a new high of £1.9B, with drama accounting for 40% of commissioning spend following the success of shows including Line Of Duty and Chernobyl. Drama was 13 percentage points higher than the next biggest genre: entertainment.
- 10/1/2020
- by Jake Kanter
- Deadline Film + TV
The U.K.’s independent television production sector generated a record £3.3 billion ($4.2 billion) in 2019, driven by international revenues that broke £1 billion ($1.3 billion) for the first time.
The Pact U.K. Production Census, an annual survey conducted by the country’s trade org for producers, showed that international work proved to be the most lucrative for British program makers in 2019, generating £1.3 billion ($1.6 billion) — an increase of 11% on 2018 revenues (£962 million), and a 30% growth over the past five years.
“The growth is in original commissions, which basically means that U.K. indie creativity is at a premium, not just domestically but also internationally,” said John McVay, CEO of Pact, who described a “long story” getting to this point over the last 10 years.
“First of all, we started selling formats, then we started selling direct to the networks in North America, and that’s grown year on year to the point where, now, British...
The Pact U.K. Production Census, an annual survey conducted by the country’s trade org for producers, showed that international work proved to be the most lucrative for British program makers in 2019, generating £1.3 billion ($1.6 billion) — an increase of 11% on 2018 revenues (£962 million), and a 30% growth over the past five years.
“The growth is in original commissions, which basically means that U.K. indie creativity is at a premium, not just domestically but also internationally,” said John McVay, CEO of Pact, who described a “long story” getting to this point over the last 10 years.
“First of all, we started selling formats, then we started selling direct to the networks in North America, and that’s grown year on year to the point where, now, British...
- 10/1/2020
- by Manori Ravindran
- Variety Film + TV
Updated: The U.K.’s film and TV production restart scheme may have finally opened for applications, but it still requires State Aid approval from the European Union — a process that’s still ongoing, with no clear end date in sight.
“I was hoping it would be several weeks ago, I hope it’s tomorrow, but I just don’t know,” John McVay, CEO of U.K. producers trade org Pact, told Variety on Thursday.
The fund opened for applications late on Thursday, but makes clear that it is not yet live. Meanwhile, the European Union Commission is planning legal proceedings against the U.K. for breaching its obligations under the Withdrawal Agreement from the European Union, though it’s unclear whether that initiative will impact the fund in any way.
The £500 million ($644 million) scheme is designed to help U.K. productions that have been suspended and aren’t able to secure insurance going forward,...
“I was hoping it would be several weeks ago, I hope it’s tomorrow, but I just don’t know,” John McVay, CEO of U.K. producers trade org Pact, told Variety on Thursday.
The fund opened for applications late on Thursday, but makes clear that it is not yet live. Meanwhile, the European Union Commission is planning legal proceedings against the U.K. for breaching its obligations under the Withdrawal Agreement from the European Union, though it’s unclear whether that initiative will impact the fund in any way.
The £500 million ($644 million) scheme is designed to help U.K. productions that have been suspended and aren’t able to secure insurance going forward,...
- 10/1/2020
- by Manori Ravindran
- Variety Film + TV
The UK government has published the awaited eligibility criteria and guidelines for its £500M ($646M) film and TV production restart program.
The scheme is aimed at helping UK productions that have been suspended and are not able to secure insurance going forward, or are yet to start because of no existing insurance, get back underway before the end of the year.
Following industry lobbying, the government committed to an emergency Covid insurance fund back in July. It will be available to compensate productions after they have restarted, and only where costs are then incurred due to delays or abandonment as a result of coronavirus.
Among productions that won’t be eligible are news and current affairs, live events broadcasts such as sports or theater or musical screenings, and productions in front of a paying live audience.
The program has been set up as a temporary measure, supporting productions which begin...
The scheme is aimed at helping UK productions that have been suspended and are not able to secure insurance going forward, or are yet to start because of no existing insurance, get back underway before the end of the year.
Following industry lobbying, the government committed to an emergency Covid insurance fund back in July. It will be available to compensate productions after they have restarted, and only where costs are then incurred due to delays or abandonment as a result of coronavirus.
Among productions that won’t be eligible are news and current affairs, live events broadcasts such as sports or theater or musical screenings, and productions in front of a paying live audience.
The program has been set up as a temporary measure, supporting productions which begin...
- 9/17/2020
- by Andreas Wiseman
- Deadline Film + TV
The U.K.’s Department for Digital, Culture, Media and Sport (Dcms) and the Treasury have revealed the rules for the country’s £500 million ($648.5 million) film and TV production restart program.
The program is designed to help U.K. productions that have been suspended and are not able to secure insurance going forward, or are yet to start because of the lack of insurance but can begin principal photography before the end of the year. The go-live date for the program is not yet announced.
The program is open to eligible productions that will incur at least 50% of the production budget on U.K. expenditure and pass the cultural test that qualifies them as “British.”
Several categories of production are excluded from the program, including news and current affairs programs that are broadcast live; productions that provide coverage of live events, including sport, or theatrical, musical or artistic performances given...
The program is designed to help U.K. productions that have been suspended and are not able to secure insurance going forward, or are yet to start because of the lack of insurance but can begin principal photography before the end of the year. The go-live date for the program is not yet announced.
The program is open to eligible productions that will incur at least 50% of the production budget on U.K. expenditure and pass the cultural test that qualifies them as “British.”
Several categories of production are excluded from the program, including news and current affairs programs that are broadcast live; productions that provide coverage of live events, including sport, or theatrical, musical or artistic performances given...
- 9/17/2020
- by Naman Ramachandran
- Variety Film + TV
The Dcms published draft rules and explanatory notes to support the scheme.
The UK government has published its plan to support insurance for film and TV productions during the Covid-19 pandemic, paving the way for many productions to restart in the coming weeks.
It has released draft Scheme Rules and Explanatory Notes on the website of the Department for Culture, Media, and Sport (Dcms) for the £500m Film and TV Production Restart Scheme, which was announced at the end of July.
The draft Rules state compensation will be made available to “to both pre-existing eligible productions (which have had to...
The UK government has published its plan to support insurance for film and TV productions during the Covid-19 pandemic, paving the way for many productions to restart in the coming weeks.
It has released draft Scheme Rules and Explanatory Notes on the website of the Department for Culture, Media, and Sport (Dcms) for the £500m Film and TV Production Restart Scheme, which was announced at the end of July.
The draft Rules state compensation will be made available to “to both pre-existing eligible productions (which have had to...
- 9/17/2020
- by Ben Dalton
- ScreenDaily
Exclusive: The British government is edging closer to making a decision that could open the floodgates to hundreds of film and TV shoots returning to production following the coronavirus shutdown.
Deadline hears that Treasury ministers are expected to make a call shortly on whether to establish an emergency insurance fund, which will effectively underwrite the cost of productions closing in the event of a second lockdown.
It follows constructive talks with a BFI-assembled task force, chaired by Pact chief executive John McVay, which has been lobbying for the emergency safety net, potentially worth hundreds of millions of pounds.
The Treasury has provided feedback on the proposals and McVay is hopeful a decision will be made “soon.” He said: “The government has been really engaged and active in finding a solution, but ultimately it’s a political decision.”
A Treasury spokesman echoed McVay’s constructive tone. “We are aware of the...
Deadline hears that Treasury ministers are expected to make a call shortly on whether to establish an emergency insurance fund, which will effectively underwrite the cost of productions closing in the event of a second lockdown.
It follows constructive talks with a BFI-assembled task force, chaired by Pact chief executive John McVay, which has been lobbying for the emergency safety net, potentially worth hundreds of millions of pounds.
The Treasury has provided feedback on the proposals and McVay is hopeful a decision will be made “soon.” He said: “The government has been really engaged and active in finding a solution, but ultimately it’s a political decision.”
A Treasury spokesman echoed McVay’s constructive tone. “We are aware of the...
- 7/2/2020
- by Jake Kanter
- Deadline Film + TV
UK Producers Battling For Payouts On 500 Insurance Claims After Shoots Were Shut Down By Coronavirus
British TV and film producers are fighting to secure insurance payouts running to “many many millions” of pounds after the coronavirus pandemic shut down shoots.
Pact CEO John McVay revealed that he is working to help producers with more than 500 claims lodged when the lockdown was introduced in March, and has been in regular discussions with insurers and brokers in recent weeks over payouts.
“I wasn’t much of an expert on production insurance a few weeks ago, but I’ve become very familiar now. Some of the brokers and [insurance] companies are now my best friends,” McVay joked during a virtual industry production panel organized by the Royal Television Society.
The work is in addition to proposals he has submitted to the UK government to create a multi-million-pound emergency insurance fund, which would underwrite the cost of productions closing in the event of a second lockdown.
McVay described the idea...
Pact CEO John McVay revealed that he is working to help producers with more than 500 claims lodged when the lockdown was introduced in March, and has been in regular discussions with insurers and brokers in recent weeks over payouts.
“I wasn’t much of an expert on production insurance a few weeks ago, but I’ve become very familiar now. Some of the brokers and [insurance] companies are now my best friends,” McVay joked during a virtual industry production panel organized by the Royal Television Society.
The work is in addition to proposals he has submitted to the UK government to create a multi-million-pound emergency insurance fund, which would underwrite the cost of productions closing in the event of a second lockdown.
McVay described the idea...
- 6/17/2020
- by Jake Kanter
- Deadline Film + TV
Physical safety, mental health, and diversity are three primary concerns.
Physical safety, mental health, and diversity are the three major concerns of Bectu members as productions in the UK move towards restarting, according to Philippa Childs, head of the UK creative industries union.
The union consulted its members on how production for film and high-end TV can resume within coronavirus-related restrictions, with its initial consultation closing at the end of last week and the results feeding in to documents sent to the Department for Digital, Culture, Media and Sport (Dcms).
Members were concerned about “the physical safety around the set...
Physical safety, mental health, and diversity are the three major concerns of Bectu members as productions in the UK move towards restarting, according to Philippa Childs, head of the UK creative industries union.
The union consulted its members on how production for film and high-end TV can resume within coronavirus-related restrictions, with its initial consultation closing at the end of last week and the results feeding in to documents sent to the Department for Digital, Culture, Media and Sport (Dcms).
Members were concerned about “the physical safety around the set...
- 5/12/2020
- by 1101321¦Ben Dalton¦26¦
- ScreenDaily
Organisation trying to provide clarity on ‘force majeure’ clause in contracts.
UK producers’ body Pact is calling on the government to support the country’s broadcasting and film and TV production sector as if faces unprecedented disruption caused by the Covid-19 pandemic.
Pact, which is headed by chief executive John McVay, has outlined a range of measure it is urging the government to adopt to safeguard ” one of the UK’s most successful domestic and export industries”.
They are:
- to support SMEs, suspend all payments of Hmrc liabilities for Vat, Paye, Ni and corporation tax and a business rates...
UK producers’ body Pact is calling on the government to support the country’s broadcasting and film and TV production sector as if faces unprecedented disruption caused by the Covid-19 pandemic.
Pact, which is headed by chief executive John McVay, has outlined a range of measure it is urging the government to adopt to safeguard ” one of the UK’s most successful domestic and export industries”.
They are:
- to support SMEs, suspend all payments of Hmrc liabilities for Vat, Paye, Ni and corporation tax and a business rates...
- 3/17/2020
- by 1101315¦Max Goldbart Broadcast¦0¦¬88¦Louise Tutt¦0¦
- ScreenDaily
Organisation trying to provide clarity on ‘force majeure’ clause in contracts.
Just hours before UK prime minister Boris Johnson’s diktat initiating a virtual nationwide shutdown, producers’ body Pact contacted its members to try and get a grip on the crisis impacting independent producers in the film and TV sector across-the-board.
The indie trade body run by chief executive John McVay grouped together information on the ‘force majeure’ clauses inserted into contracts from all the major broadcasters, along with information on suspense provisions under terms of trade and collective agreements.
‘Force majeure’ – or ‘acts of god’ - is a clause...
Just hours before UK prime minister Boris Johnson’s diktat initiating a virtual nationwide shutdown, producers’ body Pact contacted its members to try and get a grip on the crisis impacting independent producers in the film and TV sector across-the-board.
The indie trade body run by chief executive John McVay grouped together information on the ‘force majeure’ clauses inserted into contracts from all the major broadcasters, along with information on suspense provisions under terms of trade and collective agreements.
‘Force majeure’ – or ‘acts of god’ - is a clause...
- 3/17/2020
- by 1101315¦Max Goldbart Broadcast¦0¦
- ScreenDaily
Even at Cannes, there’s no escaping Donald Trump. The president’s entertainment diet skews towards cable news and probably doesn’t include a whole lot of Terrence Malick, so it’s unlikely that he’s spending much time thinking about who is going to capture the Palme d’Or.
And yet many of the movies being exhibited in the South of France and the filmmakers whose works are being celebrated at the two-week long festival are responding to the tide of populism that lifted Trump into the presidency and similar nationalist movements across the world. At a press conference on Tuesday, jury president Alejandro González Iñárritu summoned his inner Cassandra to sound a warning about what Trump’s policies mean for the world.
“In the United States, or in Mexico — where you isolate nationalistically, people just identify with themselves, and it is a very dangerous thing,” Iñárritu said. “Because...
And yet many of the movies being exhibited in the South of France and the filmmakers whose works are being celebrated at the two-week long festival are responding to the tide of populism that lifted Trump into the presidency and similar nationalist movements across the world. At a press conference on Tuesday, jury president Alejandro González Iñárritu summoned his inner Cassandra to sound a warning about what Trump’s policies mean for the world.
“In the United States, or in Mexico — where you isolate nationalistically, people just identify with themselves, and it is a very dangerous thing,” Iñárritu said. “Because...
- 5/17/2019
- by Brent Lang and Stewart Clarke
- Variety Film + TV
Concerns around market impact of a BFI-endorsd Eis fund.
Key figures in the UK film industry have given a generally positive response to the report from the BFI’s Commission on UK Independent Film which was published this week. However concerns were raised about some aspects.
John McVay, the chief executive of UK producers’ association Pact, suggested the Commission came into being partly as a result of Pact’s own report last year, ‘The State of the UK Independent Film Sector’, which highlighted the “parlous” state of the sector and recommended the UK’s film tax credit should be...
Key figures in the UK film industry have given a generally positive response to the report from the BFI’s Commission on UK Independent Film which was published this week. However concerns were raised about some aspects.
John McVay, the chief executive of UK producers’ association Pact, suggested the Commission came into being partly as a result of Pact’s own report last year, ‘The State of the UK Independent Film Sector’, which highlighted the “parlous” state of the sector and recommended the UK’s film tax credit should be...
- 7/19/2018
- by Geoffrey Macnab
- ScreenDaily
By the time the TV and film worlds descend on Cannes for next April’s MipTV and the film festival in May, Britain will no longer be a member of the European Union. “Brexit” officially happens March 29, 2019.
But less than 11 months before that seismic event, the likely impact on the film and TV business in Blighty and Europe remains almost a complete unknown. As in so many divorce cases, negotiations between British and EU officials have been slow and acrimonious.
“It’s schizophrenic,” Adrian Wootton, head of the British Film Commission and Film London, says of the mood in entertainment circles. “On one hand … there is a real fear in the independent film industry and television about issues around whether [British] film and TV qualifies as European, the circulation of that material around Europe and status of EU citizens working here.
“On the other hand, with the exchange rate being what...
But less than 11 months before that seismic event, the likely impact on the film and TV business in Blighty and Europe remains almost a complete unknown. As in so many divorce cases, negotiations between British and EU officials have been slow and acrimonious.
“It’s schizophrenic,” Adrian Wootton, head of the British Film Commission and Film London, says of the mood in entertainment circles. “On one hand … there is a real fear in the independent film industry and television about issues around whether [British] film and TV qualifies as European, the circulation of that material around Europe and status of EU citizens working here.
“On the other hand, with the exchange rate being what...
- 5/3/2018
- by Stewart Clarke
- Variety Film + TV
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