HOW BREXIT COULD IMPACT ON DOCUMENTARIES · Exodus: Our journey to Europe ‐ part funded by the...

EuropeanDocumentaryNetwork 1

EDN‐EuropeanDocumentaryNetworkVognmagergade10,1floor

DK1120CopenhagenKDenmark

HOW BREXIT COULD IMPACT ON DOCUMENTARIES

EDNsubmissiontotheCulture,MediaandSportCommitteeinquiryintothe

impactofBrexitonthecreativeindustries December29th2016

1.INDEXTOSUBMISSION

2.WhatistheEDN……………………………………………………………………… P1 3.Whydocumentariesmatter.…………………………………………………... P2 4.Britishdocumentariestoday+whomakesthemandwhopays P4 5.Whatittakestogetdocumentariesmade……………………………... P6 6.HowtheEUsupportsdocumentaries……………………………………… P8 7.Therisksofa“hard”Brexit.……………………………………………………… P11 8.Recommendations…………………………………………………………………… P12Appendix1:Documentarycourses……………P13Appendix11:BrookLappingevidence………..P172.WhatistheEuropeanDocumentaryNetwork? EuropeanDocumentaryNetwork(EDN)isaglobalnetworkforprofessionalsworkingindocumentarieswhethermadeforcinema,televisionoronline.Ithasjustunder1000members,threequartersofwhomarefromEUcountries(8%fromtheUK).Membersarefreelancefilmmakers,staffofindependentproductioncompanies,commissionersandnewcomerstotheindustry. EDN[www.edn.network]providesdocumentaryconsultingservicesandinformsmembersonfunding,financing,development,co‐production,distributionandcollaborationpossibilitiesacrossborders.Thisisdoneviaindividualconsultancytomembersondocumentaryprojects,aswellasthroughworkshops,seminarsandconferences.EDNpublishestwoindispensableresourcepublications:TheEDNFinancingGuideandTheEDNCo‐productionGuide;itlobbiesonbehalfofmembersandprovidesprofessionaltrainingandaccess‐to‐marketadvice. WethereforehaveauniqueperspectiveonhowBritishdocumentariesoperateinaEuropeancontextandofmanyinternationalcollaborationswhichunderpinmanyofthedocumentarieswhichBritishviewersseeonTV,ontheinternetandinthecinema.


3.WhyDocumentariesMatter

Thewaywetelltruestoriesisimportantfordemocracyandfreedomofspeech. Ithelpsanationtoseeitselfandalsotochangelegislationandattitudes.Withtoday’splethoraofscreensallcompetingforaudiencevia24hournews,gameshowsandbigbudgetdramas,documentariesandtheintimateviewtheygiveusintothelivesofothershavebecomethewaywegettoknowourworld

“Documentaries”,saysNickFraser,formereditorofStoryville„havebecomeanirreplaceableculturalformofourtimes….Theyarethequestfortheperfectnonfictionstory,withenduringcharacters,avarietyofpowerfullysignalledmessages,andsomesortofconclusionshortofclassicalcatharsisbutnonethelessoverpowering1

Iarguefortherecognitionthatdocumentariesareapublicgood,comparable(inthisrespectandinothers)toseriousreporting.Theyhavebecomeoneofthemeansbywhichweconnecttothecontemporaryworld,makingsenseofit.They…occupyanimportantplaceincontemporarymediaculture,notjustinEuropeandNorthAmericabutglobally.”2

Theimpactofadocumentarycanbemeasuredinthreeways: a.Itsabilitytoimpactpublicpolicy,corporatepolicyorpublicattitudes b.Itsimpactonthecareersofpeoplewhomadeitc.Itsabilitytoearnmoney 3a.ImpactonpublicpolicyandattitudesDocumentarieshavehadahugeimpactonpublicpolicyovertheyears.Notablefilmscanexposecover‐upsandbadpracticebytheauthorities.EarlyexamplesincludeRogerGraef’s1982observationalseriesontheThamesValleyPolicewhichexposedthepolice’sinsensitivetreatmentofrapevictimsorhis1965filmabouttheThalidomidescandalOneofthemisBrett.CurrentaffairsdocumentariesincludingGranadaTV’sWorldinAction,BBCPanoramaorChannel4’sDispatcheswere/areinthistradition. Thenon‐profitBRITDOCFoundation[https://britdoc.org]believesthatdocumentaryfilmisoneofthemosteffectivetoolsincreatingempathyandinspiringpeopletoengageasactivecitizensatalocal,nationalandinternationallevel. The2012filmTheEndoftheLinetransformedpublicattitudestowardsover‐fishingandbroughtaboutachangeofpolicyinsalesoftunaatPretaManger,Waitrose,M&Saswellasacommitmentbyleadingrestaurants,theSushiAwardsandthe2012 1https://www.theguardian.com/film/2016/mar/27/nick‐fraser‐storyville‐documentaries‐2http://reutersinstitute.politics.ox.ac.uk/publication/why‐documentaries‐matter


LondonOlympicstousesustainabletuna.TheUKgovernmentalsosupportedacallforabanoninternationaltradeinbluefintuna.3The2014BritishdocumentaryVirungafeaturedtheworkofrangersprotectingmountaingorillasintheDRCWorldHeritageSiteVirungaNationalParkandthreatstotheirsurvivalfromwar,poachingandoilexploration,particularlytheactivitiesofaBritishoilexplorationcompanySoco.4Itslaunchwasaccompaniedbyacampaigntoalertinvestors,businessleadersandgovernmenttothesituation.Bytheendof2015thecompanyhadannounceditnolongerheldastakeintheexplorationlicenceinthepark5. BritishdirectorLesleeUdwin’s2015Storyvillefilm,India’sDaughter,wasasoberingaccountofagangrapeinDelhi.Itwasdescribedas“necessaryviewing”byVarietywhilstTheGuardiansaid“thisfilmdoeswhatthepoliticiansshouldbedoing”.ThefilmwasquicklybannedfromairinginIndiayetwasuploadedtoYouTubeandsoonwentviralwithseveralsharesonSocialMedia.6ThefilmbroughtUdwinaccoladesandinternationalawardsandcontinuestomakewaves.3b.ImpactoncareersTheBritishdirectorKevinMcDonald’scareerwaslaunchedthroughthesuccessofthe2003featuredocumentaryTouchingtheVoid.DirectorAsifKapadiamadehisnamethroughtheboxofficesuccessofhisdocumentarySenna.Bytheendof2015hisdocumentaryAmy,hadbecomethebestperformingBritishdocumentaryofmoderntimes,grossing$5.8millionininternationalcinemasalesandwinninginternationalawards.3c.ImpactonBritain’seconomyandexportsMeasuredin“grossvalueadded”BritishdocumentariesarepartofBritain’s£11bn“film,TV,video,radioandphotography”economy.TVdocumentarieswereamongstthe£1billionofinternationalTVsalesin2015andcontributedtoourfeaturefilmexports.(Between2013and2015183featuredocumentarieswereproducedintheUK.7)Theyhaveoneofthestrongesttraditionsintheworld.TheyarefrequentwinnersofOscars,Baftas,PeabodysandotherawardsandformahighprofilepartofBritain’screativeindustryexports 3d.Documentaries’contributiontoBritishinfluenceoverseasWiththeirhighprofileintelevision,internetandcinemascreeningsaroundtheworld,Britishdocumentarieswiththeirstrongtraditionsandmanyawards,havethusbecomeakeypartofBritain’sinternationalinfluence.

3http://endoftheline.com/impact‐report4http://www.docimpactaward.org/files/virunga.pdf5http://www.upi.com/Business_News/Energy‐Industry/2015/11/04/SOCO‐gives‐up‐oil‐license‐in‐proteced‐DRC‐park/50814466394366http://variety.com/2015/film/reviews/indias‐daughter‐review‐1201624571/7http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi‐screen‐sector‐production‐in‐2015‐2016‐04.pdf


4.BritishDocumentariestoday+whomakesthemandwhopays Documentariesintheirpureformaresinglefilms,authoredandcreativeintheirstyle.Theirpurposeistoexplainandtopromotelevelsofempathyandunderstanding.4a.Televisiondocumentaries AlthoughdocumentarieshavelongbeenastapleofTVschedules,todaycommissioningpatternshavechangedand“factual”(asopposedtonon‐fiction)televisionnowfavoursrepeatable“formats”(e.g.TheApprentice)andlongrunningaccessorpresenterledseries(e.g.OneBorneveryMinuteorTheMet:PolicingLondon).Thesecompeteforamassaudiencethroughusingfamiliarpresenters,charactersorthroughanticipationofasatisfyingoutcome.Therearefewersingledocumentariesontelevisionandfewerfilmsfollowingindividualscaughtupincontemporarystories.8TheBBC’sExodus:OurjourneytoEurope‐partfundedbytheOpenUniversity‐wasanotableexception.Publicservicetelevisioncontinuestocommission“specialistfactual”documentaries‐suchasbigbudgetnaturalhistoryseries(e.g.PlanetEarth11);historyseries(egInsideObama’WhiteHouseorBlackandBritishaforgottenHistoryorChannel5’sRevealedstrand),andsciencefilms(e.g.Horizon)‐howeverscienceandhistorywiththeirheavyuseofarchivefilmandhighcostsonlyreachourscreensbecauseoffundsraisedoutsidetheUK. Singledocumentariesandserieswhichmaybelessentertainingoramoredifficult“watch”oftenonlymakeitontotelevisionscreensthesedayswiththehelpofsubstantialfundingandsupportfromnon‐broadcastsources,grantsandpre‐salesdealswithmanyoverseasbroadcasters.JohnPilger’srecentITVfilmTheComingWaronChinawaspart‐fundedbyhundredsofindividualdonations.9TheBBCpaidonlyhalfthecostofInsideObama’sWhiteHouse10.

4b.Independentdocumentaries Independentdocumentariesarefilmswhichoriginateseparatelyfromtelevisionbroadcastersbutwhichmaybepart‐financedbybroadcasters.Thepoweroftheinternethasseentheirnumbersgrowinthelastfewyears.Theytendtocoverissuesofcontemporarysocialandculturalconcernandaimtohaveanimpactonpublicattitudesorpolicy.Manyfollowasinglenarrative,anindividualorsmallgroupsofcharactersovertime.NotablerecentindependentdocumentariesincludeIndia’s

8Opensourcedatabasesrecordsome374documentarieswereshownacrossalltheBBCchannelsin2015,includingfilmspurchasedabroad.Channel4commissionedover200hoursofdocumentaries(e.g.CuttingEdge,TheRomaniansareComing,Bedlam,EducatingYorkshire,Skint9http://thecomingwarmovie.com/donors‐wall10SeeBrookLapping’ssubmissiontothisinquiry‐appendixll


Daughter,NotesonBlindness,OneMileAway,VirungaandTheDivideaswellascinemaboxofficesuccessesAmyandSenna.Thefundingforthesetendstobedrawnfromavarietyofsources‐acombinationoffoundations,nationalfilmfunds,corporateandphilanthropic,investors,distributorsandcrowdfundingsources.Manyaremadefortheatricexhibitionfirstandthemajorityareover70minutesinlength.Someareshortform(20minutesinlength)filmsmadefortheinternet–suchasthosebytheinternetchannelViceorTheGuardian.EventheaudiopodcastsSerialandUntold:theDanielMorganMurderwhichbothfollowedcrimemysteriesareconsideredtobeinthemodeofindependentdocumentary.Theyhavealargereachasboththeirproductionandtheirdistributionisinternational.

4c.Theriseofdocumentaryinthecinema Therewerearecord117documentariesshowninBritishcinemasin2015‐upfrom34in2006.Theserepresented15%ofalltheatricalreleases.Britishmadefeaturedocumentariesaccountedforover20%offeaturefilmsmadeintheUK(althoughlessthan2%oftheircost).Butfewproducersmakesignificantmoneyfromdocumentarycinemareleases.ChristopherHird,MDofDartmouthFilms,saysItcostthecompanyover£45,000toshowtheirrecentfilmTheDividein200theatricalandcommunityscreenings11.Oncethey’dpaidforcopiesandpublicity,therewasnothinglefttoputtowardsthefilm’sproductioncosts.

4d.Documentaries‐afreelanceindustry Veryfewdocumentariesthesedaysaremadebyproductionteamsemployedbybroadcastersonstaffcontracts.Productionteamsaregenerallyfreelancersemployedforafixednumberofweekseitherbyindependentproductioncompaniesordirectlybybroadcasters.Theyaredrawnfromalargepooloffreelancefilmmakers(producers,assistantproducers,researchersanddirectors)andassociatedprofessionals(productionco‐ordinators,productionmanagers,cameraandsoundoperators,datawranglers). TheBFIestimatesthatofthe47,000peopleworkinginfilmandvideoproductionintheUK2015,morethanhalf,24,000wereself‐employed.Inaddition,documentarieshavecometorelyheavilyonyoungnewcomerstotheindustry–manyofwhomhavegonethroughoneofthecountry’s45documentarydegreeortrainingcourses.Unpaidinternships,volunteeringandworkexperienceoffernewcomersachancetogainexperienceandlearnvitalskills‐opportunitieswhichtheycanrarelygetelsewhere. 11InterviewwithChristopherHird18thDecember


5.WhatittakestogetBritishdocumentariesmade Fundingfordocumentariesisindecline.Therehasbeenasignificantreductioninthefundingthatpublicservicebroadcastersoffer,especiallytoindependentdocumentaries.Startingin2002,Storyville,theBBC’sonlystranddedicatedtoshowingindependentdocumentaries,hasshowcasedsome340internationaldocumentariesfrom70countries‐filmswhichearned40Oscars,15Griersonawards,3Peabodysand3InternationalEmmys.Howeverwhereasin2007Storyvillewasco‐funding60filmsayear,itnowshowsonly20andthestrandhaslosttwothirdsofitsbudgetwhichhasfallenfrom£2.3mtoonly£850,000peryear12.TheBBC’sfinancialcontributioneventothose20filmsisnowusuallyquiteasmallpartoftheoverallbudget. Consequentlytheprocessofraisingthefundstomakeindependentdocumentariesisdifficultandtimeconsuming,involvingtravelabroadtoattendinternationaldocumentaryfestivals,pitchingsessions,producingtastertapesandapplicationsforfoundationgrants.Grantsviapublicfunds,particularlyviatheEUhavebecomecrucialtothisprocess. 5a.Theimportanceoffestivals...Theinternationaldocumentaryfestival,SheffieldDoc/FestisBritain’smaindocumentaryfestivalevent‐aweekofscreenings,pitchingsessionstocommissioners,trainingcourses,marketadviceandworkshops.Some32,769audiencesattendedin2016including3,534industrydelegatesfrom60countries‐athirdofwhomwerefilmmakersandindependentproducers.Thefestivalhasbecomeamajorhubfornetworkingandfundingopportunities,attractingemergingfilmmakersandstudentsofdocumentaryfromaroundtheworld.Forthefilmmakers,Sheffieldin2016wasachancetomeetandpitchtothe313executives,distributors,commissioners,fundersadvisersandbuyersinattendance.13 5b....andofFoundationsTheBritdocFoundation‐anon‐profitorganisationsupportingdocumentaryfilmfromproductiontodistributiontooutreachsays“ThereisnoprofitinindependentdocumentaryintheUKbutitmakesaprofoundculturalcontribution”.Thefoundationhassupported254filmssinceitstartedin2005includinggrantsworth£4,958,934tofilms.14Thereis,theysay,a“smallbandofcreativesmakinglongformnon‐fictionfilmswhohaveabigimpact‐winningSundanceandOscars.Buttheyexistwithinadelicateecosystemwhichisvulnerableandunder‐resourced”15 12InterviewwithNickFraser8thDecember13https://sheffdocfest.com/articles/432‐2016‐festival‐report14https://britdoc.org15InterviewwithBritdoc’sBeadieFinziDec11th


5c.MakingdocumentariesisnotalivingTheWhicker’sWorldFoundation‐whichisadocumentaryfundfinancedbythelegacyofbroadcasterAlanWhicker‐surveyed191documentaryfilmmakerstofindoutthecostofmakingdocumentariesattoday’sprices16.Apictureemergedoftheleveloffinancialchallengethatdocumentariansface–showingthatoftenfilmsonlycomeintoexistencebecauseofthepassionandcommitmentoftheirmakers.Thesurveyfoundthat87%ofthedocumentariansfelttheywerenotpaidenoughtorecovertheircosts.27%ofrespondentssaidthatiftheyhadbeenpaidforeachunpaiddayoffilmproductionontheirlatestproject,theirfinalsalarywouldhavebeenover£60,000.Inspiteofthisthemajoritywerepreparedtoworkforlittleornopay,eventhosewithmorethan30years’experience.FilmmakerEmilyJamessaidthat7/10hoursofherprofessionaltimeisspentonfundraisingratherthanprofessionalfilmmaking17 5d.HowevenBritishtvdocumentariesrelyoninternationalco‐productionIt’snotjusttheindependentdocumentarythatreliesonacomplexstructureofinternationalsupportandgrantfunding.ThisisalsobecomingtrueforsomeofBritain’smostprestigiousTVdocumentaries.TherecentsixpartDavidAttenboroughseriesPlanetEarth11wasaco‐productionbetweentheBBC,BBCAmerica,theGermanpublicchannelZDF,theChinesecompanyTencentandFranceTélévisionswhichtookalargeteamatBBCWorldwidetoputinplace.18OnlyhalfthefundingforInsideObama’sWhiteHousewasfromtheBBC;therestcamefromUStelevision,frompublicfundsandthecontributionsofmanysmallbroadcastersaroundtheworld.195e.BritainlacksmajorpublicfundingforfilmanddocumentariesOneoftheproblemsfacingthedocumentarianinBritainisthatdirectpublicfundingfordocumentariesintheUKisnegligible.TheBritishFilmInstituteaimsto“encouragethedevelopmentoftheartsoffilm,televisionandthemovingimagethroughouttheUnitedKingdom”accordingtoitsRoyalCharter.Butitsfundsarelimited.In2015itsupportedonly11featuredocumentaries,awardinglessthanamillionpounds(£800,000)ofproductionsupportthroughitsfilmfundtodocumentariesoutofatotalof£25.5millionworthofawards.20TheDanishFilmInstitutebycontrasthadatotalof€51millioneurosavailableforproductionsubsidiesin2015–ofwhich€7,359,000wenttoshortsand

16https://whickersworldfoundation.com/2016/02/challenges‐for‐freelance‐documentary‐filmmakers‐in‐todays‐market/17https://whickersworldfoundation.com/2016/06/an‐interview‐with‐documentarian‐emily‐james/18http://www.bbc.co.uk/mediacentre/worldwide/2016/bbc‐worldwide‐signs‐planet‐earth‐ii‐co‐pro‐with‐tencent19SeeBrookLappingsubmissiontothisinquiry‐appendixll20http://www.bfi.org.uk/sites/bfi.org.uk/files/downloads/bfi‐public‐investment‐in‐film‐2016‐10‐13.pdf


documentaries,supporting31shortsanddocumentaries,12ofwhichhadanonDanishproducer.21FormerBBCStoryvilleEditorNickFraserbelievesthatBritainlacksacoherentpolicyfordocumentarieswhichwouldenabletheBFI,CreativeEngland,CreativeScotlandBBCandChannel4toworktogether.“Britaincouldhavealotmoreinfluenceifitcommissionedfromallplayers.Wedon’thaveaneffectivefilmfundsowearelosinginfluence.”22AsBritdocpointedoutinitsevidencetothisinquiry,theimportanceofBritainmaintainingandreinforcingitscommitmenttoitsinfluenceintheworldwasunderlinedrecentlybyChristopherHillandSarahBeadle:

“Ifthestateitselfdoesnotprovideenoughresourcesforkeylong‐termassets,whetherdiplomacy,publicbroadcasting,languageteachinginschoolsortheuniversityresearchbase,theywillbothdiminishinscaleandlosetheirdistinctivenationalcharacterthroughbeinglefttothevagariesoftheinternationalprivatesector.Governmentneedstotakethelongviewbyinvestingbutnotexpectingimmediatereturns,eithereconomicorintermsofuseableinstrumentsofforeignpolicy.”23

6.HowtheEUsupportsdocumentaries TheroleoftheEuropeanUnion’sculturalprogrammeinsupportingdocumentarieshasgrowninsignificanceasfundingfromBritain’spublicservicetelevisionhasdiminished.TheEU’scurrentprogramme,CreativeEurope‐whichbeganin2014‐nowplaysavitalroleinsupportingmarkets,distribution,training,developmentandproductionofBritishdocumentaries.6a.CreativeEurope’sroleintheUK‐wegetmoreoutthanweputinDuringitsfirsttwoyears(2014and2015),CreativeEuropesupported230UKculturalandcreativeorganisationsandaudiovisualcompanies,aswellasthecinemadistributionof84UKfilmsinotherEuropeancountries.Withgrantstotalling€40million,thismeantBritainreceived13%oftheentire€319millionCreativeEuropebudgetinthisperiod.ThiscomparesfavourablywiththeUK’scontributiontotheCreativeEuropeprogrammeoverthatperiod,estimatedat€30million,whichwasonly10.7%oftheoverallCreativeEuropebudget.24ThisshowsthatbecauseofBritain’spivotalroleinEurope’screativeindustries,BritainreceivesmorefinancialsupportfromCreativeEuropethanitcostsittobelongtotheprogramme.

21http://www.dfi.dk/Service/English/Funding.aspx22NickFraserInterview,8thDecember201623TheArtofAttraction:SoftPowerandtheUK’sroleintheWorldbyChristopherHillandSarahBeadle,BritishAcademy,201424https://www.ceps.eu/system/files/Financing%20the%20EU%20budget_Final_Colour.pdf


6b.WhatCreativeEuropedoesfordocumentariesIntermsofsupportfordocumentariesalone,some166UKparticipantstookpartinCreativeEuropedocumentarytraininginitiativesin2015;20ofthesewereparticipantsintheninedocumentaryspecificcoursessuchasDocumentaryCampusMasterschool,IDFAcademyandEURODOC25‐justsomeofthe54trainingcoursesCreativeEuroperanacrossallEUmemberstates.CreativeEuropealsopaysforalargenumberofindustryinitiativesdesignedtosupportdocumentaryfilmmakersandintroducethemtofunders.Seeafulllisthere.26TheseincludegrantstoBritdoctowardsitsGoodPitchEuropeinitiative(wherefilmsintheirearlystagesareintroducedtocharitiesandfoundations)andgrantstowardsEDN’sSouthernEuropeanworkshops.AlsograntstowardsfestivalpitchingforumssuchasthatrunbytheAmsterdamDocumentaryFestival’sForum,SunnySideoftheDocandSheffieldDoc/Fest.SheffieldDocumentaryFestival’sMeetMarketandAlternateRealitiesMarketreceivedCreativeEuropegrantsof€129,704in2016‐a37%contributiontotheircost.TheimpactoftheMeetMarketcanbeseenbythisaccountof37successfuldocumentarieswhichwentthroughthemarketin201527BRITDOC’SImpactProducer’sLabreceivedagrantof€50,000in2016–a41%contribution.CreativeEuropealsoprovidesfundingfordevelopmentandproductionand,in2016,awarded€731,680toUKfilmandTVproducersforthedevelopmentandproductionofdocumentaryprojects.ForexampleBanyakFilmsreceivedfundingforitsdocumentaryThankYoufortheRain.Thecompanyhadover50%oftheirproductionbudgetinplaceandalonglistofEuropeanbroadcastersonboardbutstillhadnotsecuredtheirwholebudget.TheCreativeEuropefundingensuredthatthisimportantfilmcouldbemade.ChristopherHird,MDofDartmouthFilmssaysthat€60,000maynotlooklikealargeproportionofabudgetof£350,000butitcanbesignificantingettingafilmoffthegroundatearlystages.It’sparticularlycrucialforthetimelineinwhichmoneyisraised.28CreativeEuropesupportedthereleaseofAmyand20,000DaysonEarthinotherEuropeancountrieswithdistributiongrantstotalling€495,231.6c.WhatBrookLappingsaysIntheirsubmissiontothisinquiry,BrookLapping‐makersofInsideObama’sWhiteHouse,andmanyotherawardwinningseriesinterviewingtopdecisionmakersaboutmomentsofinternationalcrisis‐says“withoutfundingfromtheMEDIAProgrammeoftheEuropeanUnionouroutputwouldhaveceased12yearsago.”29Explaining 25https://eacea.ec.europa.eu/sites/eacea‐site/files/publication_of_results_‐_training_‐_with_reserve_list.pdf26https://eacea.ec.europa.eu/sites/eacea‐site/files/publication_of_results_‐_marketaccess_15‐2015.pdf27https://issuu.com/sheffdocfest/docs/mm_booklet_pdf_0128ChristopherHirdInterviewedDecember11th29SeeBrookLapping’sevidencetothisinquiry‐appendixll


thattheBBCpaysonlyhalfthebudgetandthatbigAmericanbroadcastersarereducingtheircontribution,thecompanyadds:

ItistheEU’sfilmandtelevisionsupportthathasfilledthehole–andsavedourseriesfortheBBC.....CreativeEurope’sMEDIAfundingencouragesEuropeancompaniestoworktogether‐bothbroadcastersandproductioncompanies.Soifwecangetadozensmallcountrybroadcasterstobuytheseriesforsmallsums‐say€8,000‐theEU’sMediaFundhasfilledthefundingholewithasmuchas€350,000.Onebeneficialsideeffecthasbeenthatwehavedevelopedrelationshipswithmanyoverseasbroadcasters–forexampleJapanandAustralia‐aswellasinEurope.Moreover,itallowsoursmallBritishcompanytoapproachforeignleaderswithaprojectthatcanclaimtoberelativelyobjective,atleastgenerallymulti‐sided–notthebiasedpointofviewofBritainalone.”

GiventhatBritain‐unlikeDenmarkandmanyotherEuropeancountries‐doesnothavealargenationalfundfordocumentariesandatatimeofreducedfundingforpublicsectortelevision,theseEuropeanfundsprovidecrucialsupporttoavitalindustrywhoseexistencehasbecomeprecarious.6d.OtherwaysinwhichdocumentariesbenefitfromBritain’sEUmembershipIntoday’sveryinternationalmarketforproduction,fundinganddistributionofdocumentaries,BritishfilmmakershavebenefitedinthefollowingwaysfromBritain’smembershipoftheEU:

• VATexemptionsforproductioncompaniestradinginEurope• EaseofhiringEuropeandocumentarytalent• Theeaseoftravellingacrossborderswithfilmingequipment• Abilitytooutsourcedigitalpostproductionfunctionstocountrieswhere

wagesarelower• Widerchoiceoffacilities• Easeofdoingco‐productiondealswithbroadcasters

AsBritdocpointsoutinitsevidencetothisinquiry:

Internationalismandcross‐bordercollaborationissewnintothefabricofthebusinessofindependentdocumentary,itsproducts(i.e.films)andtheservicesoftheUKdocumentaryfilmindustry30.

30SeeBritdoc’ssubmissiontothisinquiry


7.Therisksofa“hard”Brexit.

• Britain’smembershipoftheEU’sCreativeEuropeprogrammehasbeencrucialinallowingthedocumentarysectortoflourish.WithoutitssupportBritishdocumentarieswouldbecomeinwardlookingandtheindependentdocumentarysectorwouldflounder.Atthemoment,BritainmakesfilmsthatselltoEurope–FranceGermany,Benelux,Scandinavia(aswellastotheUSandAustralia).“We’dendupmakingfilmsthatno‐onewouldbuy”warnsChristopherHird31.NickFraserbelievesourviewoftheworldwouldbecomenarroweddowntoapopulist“factualentertainmentperspective”controlledbyahandfuloftelevisionexecutives.

• BritainwouldloseinfluenceonEuropeanrulesaffectingUKcontentifweare

notpartoftheCreativeEuropeprogramme.TherewouldbefewerBritishfeaturedocumentariesandfilmsdistributedinEurope.AlsofewerEuropeanfeaturedocumentarieswouldbedistributedintheUK.Independentcinemaswouldloseincome

• LeavingtheEUposesageneralisedrisktouniversitiesandfilmfestivalsasthe

collaborationwoulddryup.WithoutEuropeanstudents,manyoftoday’sdocumentarycourseswouldbeunderthreat.FewerEuropeanswouldvisittheUK.

• Makingdocumentarieswouldbesignificantlyharderandmoreexpensiveif

BritishfilmmakersweresubjectedtothesamerestrictionsfilmingandresearchinginEuropeaswecurrentlydotravellingintheUS.

• IfEuropeansarenotfreetoworkintheUK,Britishdocumentaryproducers

wouldnothavesuchawidetalentbasefromwhichtorecruitproductionstaff.

• British/Europeanco‐productionswouldbelessattractivetoEuropean

broadcastersassecuringaBritishco‐producerwouldnotqualifytowardsCreativeEuropesupport.Currently,indiescangetupto20%ofadocumentarybudgetiftheyhavethreeEuropeanbroadcastersonboard.IfBritainisnotinCreativeEurope,havingaBritishbroadcasterwon’tcount.

7a.SomepossiblebenefitsofBrexit:32

• ItmightbecomecheapertoshootfeaturefilmsintheUK• TheUKcouldchangeitstaxrules• BritaincouldspendthemoneytheycontributetoCreativeEuropeon

supportingUKdocumentariesdirectly 31InterviewedDecember201632https://stephenfollows.com/how‐will‐brexit‐affect‐the‐uk‐film‐industry/


8.Recommendations

1. TheonlywayBritaincanprotectitsstrongdocumentarycultureisifBritaincontinuesfullmembershipoftheCreativeEuropeprogrammepostBrexit.Norway,thoughoutsidetheEU,hasoptedtodothis,payingasubscriptionbasedonGDPandrespectingEUprinciplesandlaw.(EUaudiovisuallawstipulatesquotasforEuropeanproductionforbroadcastersandnon‐linearmedia).ItthereforebenefitsfromallthesupportofferedbyCreativeEurope.Switzerlandhoweverhasbeenexcludedfromtheprogrammesince2014withtheconsequentlossofinfluenceandfunding.

2. InadditionwewouldrecommendthattheBritishgovernmentcreatesnew

documentaryfilmfundstoincentiviseUKandEuropeanfilmmakerstocreatedocumentarythatissovitaltoourdemocracy.

3. EDNisalsoconcernedthattheeffectonproductioncompaniesoflosingVAT

exemptionwhentradingwithEuropewouldmakedocumentaryfilmmakingprohibitivelyburdensomebothfinanciallyandadministratively.

4. Documentaryfilmmakersrelyheavilyongettingtherightsskillsfortheir

industry.WewouldwantcontinuedaccesstotheEuropeanlabourmarketandthebestwaytoensurethisisthroughfreemovementofpeople.IfthisisnottobearguedforbytheBritishGovernmentthensomealliancefordocumentaryfilmmakerstobeabletocrossbordersinpursuitoffact‐findingandtruth‐seekingisessential.Wewouldnotwantmindstobeclosedalongwithborders.

5. TheEUisbeginningapublicconsultationonthefutureprogrammetoreplace

CreativeEuropein2020.Britainwithitsstrongdocumentarytraditionsshouldbeparticipatinginthesediscussionsandhelpingshapethefutureofthecreativeindustriesandcultureofwhichweareapart.

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APPENDIX 1 - UK Documentary Courses (Source: Whicker’s World Foundation) Name of Institution Course Details Contact Name: Telephone, Email

Address

Met Film School, London

BA Hons Practical Filmmaking, Practical Filmmaking DIPHE, Short Courses Documentary Filmmaking

General Inquiries: +44 20 8832 1933 [email protected]

University College London

Postgraduate MA Ethnographic and Documentary Film (Practice Based)

Dr Michael Stewart: +44 (0)20 7679 8637 [email protected]

City University, London

Short Course Documentary Filmmaking and Factual Filmmaking

General Inquiries: +44 (0) 2070405060 [email protected]

University of the Arts, London

Postgraduate MA Documentary Film

Chris Petter +44 (0) 20 7514 8498 / 8045 [email protected]

Goldsmiths University of London

Postgraduate MA Filmmaking (Screen Documentary)

Tony Dowmunt +44 (0)20 7919 7765 [email protected]

London Academy Short Course Documentary Filmmaking

Adam Roberts +44 (0) 2071382909 [email protected]

The London Film Academy

Documentary Diploma, Undergraduate BA Filmmaking, Documentary Certificate,

General Inquiries: +44 (0) 20 7386 7711 [email protected]

City Academy, London

Short Course Documentary Filmmaking

General Inquiries: +44 (0) 2070428833 [email protected]

City Lit Film School, London

Short Course Documentary Filmmaking: A Practical Course

General Inquiries: +44(0) 20 7492 2600 [email protected]

Queen Mary University of London

Postgraduate MA Documentary Practice

School of Languages, Linguistics and Film +44 (0)20 7882 8332 [email protected]

Kingston University, London

Filmmaking MA (Emphasis on visual storytelling for Documentary)

Abbe Fletcher +44 (0) 2084179000 [email protected]


The London Film School

Postgraduate MA Filmmaking, Short Course Documentary Producing: From Creation to Distribution, PhD Film by Practice

General Inquiries: +44(0)207 836 9642 [email protected]

Brunel University, London

Postgraduate MA Documentary Practice

Michael Wayne: +44 (0)1895 274000 [email protected]

Northeastern University, London

English Culture and Documentary Filmmaking

Michelle Carr: +44 (0) 617 3737871 [email protected]

The Documentary Filmmaking Gp, Shacklewell Studios, London

Various specialist training, consultancy and support courses for documentary filmmakers

General Inquiries +44 (0)20 7249 6600 [email protected]

Leeds Beckett University

Postgraduate MA Filmmaking, Documentary Filmmaking

University Admissions: +44 (0) 1138123113 [email protected]

University of Salford, Manchester

MA/PgDip Media Production: TV Documentary Production, Wildlife Documentary Production

Lloyd Peters: +44 (0) 161 295 6049 [email protected]

Manchester School of Art

BA (Hons) Filmmaking (Focus on drama, documentary and experimental filmmaking)

Joe Duffy: +44 (0)161 247 2917 [email protected]

The University of Manchester MPhil Ethnographic Documentary Vicky Barnes: +44(0) 161 275 4743

[email protected]

Sheffield Hallam University

MA Filmmaking (Strong links with Sheffield Doc/Fest)

General Inquiries: tel:+44 (0)1142255555 [email protected]

The University of the West of England, Bristol

MA Documentary Production, MA Wildlife Filmmaking, MA Documentary and Features

Tim Tarrant: +44 (0)117 32 85877 [email protected]

Anglia Ruskin University, Cambridge

BA (Hons) Film and Television Production

Information Services: +44 (0)12452049313 [email protected]

Newcastle Centre for the Literary Arts

Short Course Documentary Film Melanie Birch: [email protected] +44(0) 191 208 7619.


Nottingham Trent University Postgraduate MA Film Practice Dr David Downes:+44 (0)115 848

2050 [email protected]

Bath Spa University

Postgraduate MA Independent Filmmaking, Film, Television and Digital Production, Feature Filmmaking

University Admissions: +44 (0) 1225 875624 [email protected]

Film Oxford, Oxford

Short Course Shooting Documentaries

Film Oxford Office: +44 (0)1865 792731 [email protected]

The University of Portsmouth

Bsc Hons Television and Film Production (Focus on Documentary Storytelling)

University Admissions:+44 (0)23 9284 2421 [email protected]

The University of Southampton

Short Course Documentary Filmmaking (Practical)

Dr David Dunn: +44 (0) 23 8059 7238 [email protected]

The University of Worcestor

BA Film Production (emphasis on factual film)

Reuben Irving: 01905 855295 [email protected]

Farnborough College of Technology

BA Hons Media Production (Documentary), Media Production (Radio)

General Inquiries: +44 (0) 1252 407040 [email protected]

University of Cumbria

BA Hons Wildlife Media, Travel and Adventure Media

Carlisle Brampton Road Campus: +44 (0) 1228 616234 [email protected]

The University of Glasgow

Short Course Documentary Film and Television

Film, Television and Theatre Studies Office: +44 (0) 141 330 3809 [email protected]

The University of the West of Scotland

Broadcast Production, Filmmaking and Screenwriting

Andrew Jarvis: +44(0)1418494101 [email protected]

Edinburgh College of Art

MA/MFA Film Directing, BA Film and TV

Anna Wyatt: +441316515800 [email protected]

Screen Academy Scotland at Edinburgh Napier University

MFA Advanced Film Practice, Film, MA/MFA Film Directing (Students make frequent collaborations with The Scottish Documentary Institute)

Screen Academy Office: +44 (0) 131 455 2572 @screenacademyscotland.ac.uk


The University of St Andrews

Short Course Documentary Cinema

Dr Leshu Torchin +44 (0) 1334 467476 [email protected]

Filmbase, Dublin

MSc Digital Feature Film Production (Creative Doc), Short courses Documentary Filmmaking, Producing a documentary, Directing a documentary, DSLR Filmmaking

Reelart Office +353 (0) 1 679 6716 [email protected] +3531 679 6716

The National Film School, Republic of Ireland

BA Film and Television Production, MA Broadcast Production for Radio and Television

Dr Helen Doherty: +353 1 239 4696 [email protected]

Queen’s University, Belfast

MA Film and Visual Studies BA Hons Film Studies, Short Courses Documentary Film and the Publication of Historical Knowledge in the Republic of Ireland

Dr Des O’Rawe:+44 (0)28 90973677 [email protected]

Gorey School of Art, Wexford, Ireland

Advanced Portfolia Preparation Course in Documentary Filmmaking and Photography

General Inquiries: +353 (0)53 9421000 [email protected]

Galway-Mayo Institute of Technology, Galway

BA Film and Documentary Celine Curtin +353 (0)91 745415 [email protected]

Galway Film Centre

Short Courses Factual Storytelling, Documentary Film

General Inquiries: +353 (0)91 770748 [email protected]

Huston School of Film and Digital Media, Galway

MA Film Studies Theory and Practice, MA Production and Direction, Practice Based Film PHD

Dr. Seán Crosson: +353 (0) 91 495687 [email protected]

The University of South Wales, Cardiff

BA Hons Documentary Film and Television, BA Hons Documentary Photography, MA Film Production

Paul Reas tel +44 (0)1633432976 [email protected]

/appendixll


Brook Lapping Productions Ltd, Portland House, Bressenden Place, London SW1E 5BH, U.K. Tel: +44 20 7428 3123 Fax: +44 (0)20 7691 7106 Email: [email protected] www.brooklapping.com

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Brook Lapping Productions Ltd, Portland House, Bressenden Place, London SW1E 5BH, U.K. Tel: +44 20 7428 3123 Fax: +44 (0)20 7691 7106 Email: [email protected] www.brooklapping.com

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HOW BREXIT COULD IMPACT ON DOCUMENTARIES · Exodus: Our journey to Europe ‐ part funded by the...

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