www.creativeeuropeuk.eu@CEDUK_MEDIA#creativeeurope

CREATIVE EUROPE IN THE UK2014 - 2015Support for the UK’s audiovisual sector

Front cover image: The winner of the Palme d’Or at Cannes Festival 2016, I, Daniel Blake, directed by Ken Loach, is one of the projects funded through the Slate Development scheme. Image courtesy of Sixteen Films.

CONTENTSINTRODUCTION Creative Europe’s MEDIA sub-programme 6

PRODUCING FOR THE INTERNATIONAL MARKET Development 10TV Programming 14Video Games 18

EXPORTING UK FILMS AND IMPORTING EUROPE’S BEST Selective Distribution 22Automatic Distribution 24Sales Agents 26Investment in UK Films 28Online Distribution 30

HONING SKILLS AND BUILDING NETWORKS Training 34Markets and Industry Events 36

ATTRACTING AUDIENCES Festivals 40Cinema Networks 42Film Literacy and Audience Development 44

CREATIVE EUROPE DESK UK What we do and how we help 48Get in touch 50

During its first two years (2014 to 2015), Creative Europe has supported 230 UK cultural and creative organisations and audiovisual companies as well as the cinema distribution of 84 UK films in other European countries with grants totalling €40 million.

Creative Europe offers support to European projects with the potential to travel, reach new audiences and encourage skill-sharing and development. The programme is strengthened by the coming together of the cultural, creative and audiovisual sectors and the addition of a new guarantee fund. Its new priorities, such as audience development and digital innovation, have made it fit for the converging, globalised world.

Creative Europe’s MEDIA sub-programme supports film, television, new media and video games. It offers funding, training and networking opportunities for producers, video game developers, distributors, sales agents, audiovisual training providers, organisers of festivals, markets and networks, film education specialists and cinema exhibitors.

Meanwhile, Creative Europe’s Culture sub-programme supports the cultural and creative sectors, and funds collaborative projects and initiatives across all art forms, such as visual arts, dance, theatre, literature, performance, music, heritage, architecture, design, circus, festivals, craft and fashion. There is also support for publishers to translate European fiction.

From 2016, Creative Europe’s cross-sector strand will offer a €121 million Cultural and Creative Sector Guarantee Fund, which is expected to improve access to finance for cultural and creative SMEs and unlock €600 million in affordable loans from the private sector.

In this publication we outline how the UK has benefitted from the first two years of Creative Europe’s funding and opportunities, and we spotlight some of the many successful projects involving UK-based organisations and companies.

Thanks to our team members and the support from our partners, Creative Europe Desk UK has been able to promote Creative Europe in England, Scotland, Wales and Northern Ireland better than even before. As a result, each nation has benefitted from funding from Creative Europe’s MEDIA and Culture sub-programmes.

Over the coming years, we aim to encourage a more diverse range of applicant organisations from across the UK, whilst continuing to work closely with the beneficiaries of the programme.

Agnieszka Moody, Director, Creative Europe Desk UK

INTRODUCTIONCreative Europe launched in 2014 with a budget of €1.46 billion to support the cultural, creative and audiovisual sectors across Europe until 2020. With a 9% budget increase, this European Union programme builds on the legacy of the previous Culture and MEDIA programmes, which ran from 2007 to 2013.

4

5

MEDIA€28.5m

AUDIENCES€1.1m

DISTRIBUTION€4.2m

PRODUCERS€8.4m

TRAINING & NETWORKS

€2.3m

84 UK FILMS RELEASED IN EUROPE

€12.5m

CULTURE€11.3m

COOPERATIONPROJECTS

€9.9m

EUROPEANPLATFORMS

€1.3mLITERARY

TRANSLATION€165,000

€40mof funding received

by the UK

230UK organisations

supported

Image: © Linda Nylind

6

CREATIVE EUROPE’S MEDIA SUB-PROGRAMMECreative Europe’s MEDIA sub-programme responds to the needs of Europe’s audiovisual sector by supporting a wide range of players in the audiovisual industry across the entire value chain. Europe produces around 1,600 films a year and yet only around 30% of the screen space is filled with European audiovisual content. The programme’s objectives are to enhance and protect cultural diversity and to improve the sector’s competitiveness by creating opportunities for working internationally.

UK RESULTS 2014 AND 2015

The UK’s creative industries are thriving and are estimated to be worth £9.6 million an hour to the UK’s economy.* Creative Europe can help to further strengthen these industries and enable them to fully realise their international potential by producing content for international markets and by increasing audience choice.

During the first two years of Creative Europe, €28.5 million was invested in the UK’s audiovisual sector:

- 82 UK companies and 53 UK cinemas in the Europa Cinemas network benefitted from grants totalling €16 million.

- 84 British films had their distribution supported in other European countries with €12.5 million of investment.

* Source: www.gov.uk/government/news/creative-industries-worth-almost-10-million-an-hour-to-economy

AUDIENCES€1.1m

DISTRIBUTION€4.2m

PRODUCERS€8.4m

TRAINING & NETWORKS

€2.3m

84 UK FILMS RELEASED IN EUROPE

€12.5m

AUDIENCEDEVELOPMENT

€440,000

FILM FESTIVALS€140,000

EUROPA CINEMAS€490,000

ONLINE DISTRIBUTION

€1.8m

THEATRICAL DISTRIBUTION

€2.4m

VIDEO GAMES€625,000

FILM & TV€7.8m

TRAINING€1.5m

ACCESS TO MARKETS€780,000

SELECTIVEDISTRIBUTION

€1.2m

AUTOMATIC DISTRIBUTION

€700,000

SALES AGENTS€440,000

TV PROGRAMMING€5.9m

DEVELOPMENT€2m

SINGLE PROJECT€470,000

SLATE FUNDING

€1.5m

MEDIA€28.5m

7

AUDIENCES€1.1m

DISTRIBUTION€4.2m

PRODUCERS€8.4m

TRAINING & NETWORKS

€2.3m

84 UK FILMS RELEASED IN EUROPE

€12.5m

AUDIENCEDEVELOPMENT

€440,000

FILM FESTIVALS€140,000

EUROPA CINEMAS€490,000

ONLINE DISTRIBUTION

€1.8m

THEATRICAL DISTRIBUTION

€2.4m

VIDEO GAMES€625,000

FILM & TV€7.8m

TRAINING€1.5m

ACCESS TO MARKETS€780,000

SELECTIVEDISTRIBUTION

€1.2m

AUTOMATIC DISTRIBUTION

€700,000

SALES AGENTS€440,000

TV PROGRAMMING€5.9m

DEVELOPMENT€2m

SINGLE PROJECT€470,000

SLATE FUNDING

€1.5m

MEDIA€28.5m

PRODUCING FOR THE INTERNATIONAL MARKET

Over half of the direct income awarded to the UK went to film and TV producers or video game developers through four different funding opportunities:

• Development Single Project • Development Slate Funding• TV Programming• Video Games

Animated film Jasia was supported through the Single Project Development scheme. Image courtesy of ArthurCox.

DEVELOPMENT€2 MILLION AWARDED TO UK PRODUCERS TO HELP THEM FIND FINANCE FOR THEIR PROJECTS

During the first two years of Creative Europe, 16 UK production companies secured nearly €2 million of funding for the development of their film, TV and digital platform projects.

Nine companies received Slate Funding, sharing a total of €1,497,914. This included Baby Cow Films, Belfast-based animators Sixteen South and documentary producers Spring Films.

Animation projects dominated the Single Project selections, receiving 89% of the €470,000 awarded to the UK through this scheme. The south-west of England proved to be a hub of animation activity, with selected projects coming from Aardman Animations, King Rollo Films and Arthur Cox, all of whom are based in the region.

10

€2m of development funding awarded to UK producers

YEAR COMPANY UK NATION PROJECT TITLE (PROJECT TYPE) AMOUNT €

Single Project 1973 Films England Hettie Makebelieve (Animation) 60,000Single Project Aardman Animations England Village Idiot (Animation) 60,000Single Project Blue Zoo Productions England Planets: The Greatest Show in the Universe (Animation) 60,000Slate Funding Film & Music Entertainment England Fiction Slate 185,017Slate Funding Matador Pictures England Fiction Slate 183,278Single Project Optimism Film England Step Thirteen (Fiction) 50,000Single Project Red Star 3D Productions England The Good, the Bad and a Horse (Animation) 60,000Slate Funding Spring Films England Documentary Slate 76,000Single Project The Illuminated Film Company England Story Story (Animation) 60,000 794,295

2014

11

2015YEAR COMPANY UK NATION PROJECT TITLE (PROJECT TYPE) AMOUNT €

Single Project ArthurCox England Jasia (Animation) 60,000Slate Funding Baby Cow Films England Fiction Slate 200,000Slate Funding Ecosse Films England Fiction Slate 147,500Single Project King Rollo Films England Gnora & Nibs (Animation) 60,000Slate Funding Number 9 Films England Fiction Slate 180,000Slate Funding Sixteen Films England Fiction Slate 172,828Slate Funding Sixteen South Northern Ireland Animation Slate 173,291Slate Funding The Illuminated Film Company England Animation Slate 180,000 1,173,619

2014 and 2015 also saw the releases of several critically acclaimed and award-winning films that had received development funding through the previous MEDIA Programme (2007 to 2013) including Jimmy’s Hall, Half of a Yellow Sun, Mr. Turner, Brooklyn, Carol and High-Rise.

Courtesy of Lionsgate. Courtesy of StudioCanal. Courtesy of StudioCanal.

Hettie Makebelieve.Image courtesy of 1973 Films.

DEVELOPMENT: CASE STUDIES

1973 Films – Hettie Makebelieve

1973 Films is a UK-based production company founded by multiple Emmy and BAFTA-honoured producer Tim Goodchild and director Louise Scott. Their stop-motion animated series Hettie Makebelieve is about a collection of toys who come to life and create amazing new worlds of adventure. Aimed at 3 to 5 year-olds, the series is planned to be produced in the UK by award-winning stop-motion animation studio and model makers Mackinnon and Saunders, whose work has contributed to Wes Anderson’s Fantastic Mr. Fox, Tim Burton’s Corpse Bride and Frankenweenie, as well as TV series such as Twirlywoos, Bob the Builder, Postman Pat and The Clangers, and many more. After securing a Single Project development grant in 2014, 1973 Films went on to submit a successful TV Programming application the following year.

“Creative Europe Desk UK gave us prompt and

extremely helpful advice for both of our applications.

The Creative Europe development grant has helped us to create new

creative material and concept artwork, and has been a vital part of our strategy to convince broadcasters

and other potential partners to support our project.”

Tim Goodchild, Producer, 1973 Films

12

Spring Films – Documentary Slate

Spring Films is an award-winning, London-based production company specialising in international co-productions and high-end documentaries for television, cinema, and multimedia platforms. Previous collaborations include Joshua Oppenheimer’s Oscar nominated The Look of Silence and The Act of Killing. The three projects funded through this slate include the story of one Canadian woman’s quest for salvation in the form of Islamic jihad, a feature-length documentary about British artist Francis Bacon, and a Werner Herzog production on the relationship between volcanoes, our planet and human society.

“Spring Films submitted three projects to the 2014 MEDIA Slate Development

fund. So far, one is still looking for investment, another is fully funded

and is currently in production, and the third has been completed and broadcast on CBC Canada. A success rate of 2/3 is extremely rare in the factual production

industry and it would not have been possible without a MEDIA grant for

the development phase.”Ed Dallal, Development Producer,

Spring Films

13

Into The Inferno.Image courtesy of Spring Films.

COMPANY UK NATION PROJECT TITLE PROJECT TYPE AMOUNT €

Aardman Animations England Shaun the Sheep: The Farmer’s Llamas Animation 190,983APT Film & Television England Sour Grapes Documentary 109,000Beakus England Toggle Animation 254,885Brook Lapping England America in the Obama Years Documentary 300,000Coolabi Productions England Scream Street Animation 400,000Monster Paw Productions England Monster School Animation 350,000Orange Eyes England Stick Man Animation 194,457Red Kite Animation Scotland Bradley and Bee Animation 356,350Spotless Productions England Spotless Fiction 1,000,000Springshot Productions England Europe: Who do you think EU are? Documentary 96,991Urban Canyons England Samurai Warrior Queens Documentary 54,454VooDooDog England Swan Lake Animation 150,000Warp Films England Barbarians: The Last of the Pink Panthers Fiction 1,000,000 4,457,120

2014

TV PROGRAMMINGUK BENEFITS FROM NEW €1 MILLION GRANTS FOR HIGH-END TV DRAMA

€5.9 million was awarded to UK companies through the TV Programming scheme in 2014 and 2015, helping to co-finance international animation, documentary and drama programmes. This equates to 23% of the total amount awarded EU-wide and is a 90% increase on the UK’s average results for this scheme under the previous MEDIA programme.

This significant increase is mostly due to the introduction of €1 million grants for high-end, internationally co-produced TV series, which two UK-based shows, The Last Panthers and Spotless, both benefitted from. Of the 18 projects supported, nine were animations, six were documentaries and three were TV dramas. Companies in the UK’s nations were also supported, with Cardiff-based drama producers Fiction Factory and Edinburgh’s Red Kite Animation both receiving grants.

€5.9m of TV Programming funding awarded to

UK producers

14

In addition to the projects led by UK producers above, three successful applications also came from projects led by other European companies with a UK co-beneficiary.

YEAR COMPANY UK NATION PROJECT TITLE PROJECT TYPE LEAD PRODUCER

2015 Cwmni da Wales Europe’s Last Nomads Documentary Interspot Film, Austria2014 Dercan Media Northern Ireland Gladiators. A Different World Documentary Studio Nominum, Lithuania2014 Klikk Productions England 360º of Being Human Documentary K.O. Framleidsla, Iceland

Audiences in the UK also benefitted from Creative Europe as many successful TV drama imports have been funded through the TV Programming scheme. New hit foreign language shows such as the Icelandic crime series Trapped (BBC4) and Norwegian political thriller Occupied (Sky Arts) have both been supported, as well as returning shows such as The Bridge Season 3 (BBC4) and The Returned Season 2 (Channel 4).

COMPANY UK NATION PROJECT TITLE PROJECT TYPE AMOUNT €

1973 Films England Hettie Makebelieve Animation 500,000Brakeless England Tokyo Girls Documentary 75,955Hinterland Films 3 Wales Hinterland Series 3 Fiction 500,000Magic Light Pictures England Revolting Rhymes Animation 300,000Rise Films England The Love Commandos Documentary 19,280 1,395,235

15

2015

The Bridge Season 3. Image courtesy of Filmlance International © Baldur Bragason.

TV PROGRAMMING: CASE STUDIES

Warp Films – The Last Panthers

The Last Panthers is a six-part drama based on the true story of an international crime gang that emerged from the former Yugoslavia after the Balkan war. Starring Samantha Morton, Tahir Rahim and John Hurt, the series is a co-production between the UK’s Warp Films (This is England) and France’s Haut et Court (The Returned) for Sky Atlantic and Canal+, and was the first project to be awarded the new maximum grant of €1 million through the TV Programming scheme.

“Creative Europe funding helped to enhance the production value and ensure we could shoot in genuine locations

Europe-wide rather than be dictated solely by economic criteria. In a highly-competitive international

marketplace, quality and distinctiveness are essential for the European audiovisual production sector to remain competitive and the Creative Europe programme and

personnel understand and support that to the full.”

Peter Carlton, Producer of The Last Panthers and Co-CEO of Warp

16

Samantha Morton in The Last Panthers. Image courtesy of Warp Films.

Fiction Factory – Hinterland/Y Gwyll

Fiction Factory is a Cardiff-based production company making high-quality, original and popular drama. They haveproduced over 150 hours of programming, distributed their work to over 100 countries, and developed strong and successful relationships with broadcasters. Shot back-to-back in English and Welsh, crime drama series Hinterland/Y Gwyll received support for its third series. Sold to more than 30 countries and available on Netflix worldwide, the programme is scheduled to be first broadcast in Welsh on S4C in autumn 2016, followed by a bilingual version on BBC One Wales in early in 2017. The first series of Hinterland/Y Gwyll was also funded through the previous MEDIA Programme.

17

Richard Harrington in Hinterland/Y Gwyll. Image courtesy of Fiction Factory.

“Without support from the MEDIA programme Hinterland/Y Gwyll would

not have been produced. The fact that we are currently shooting our

third series is testament to the massive benefit the company has derived from our partnership with Creative Europe.

Celebrating and nurturing the diversity of culture and language across Europe is vital, and our partnership has given a voice to a small country, its culture

and its people.”Ed Thomas, Creative Director,

Fiction Factory

VIDEO GAMESNEW FUNDING OPPORTUNITY SUPPORTS SIX NARRATIVE-LED VIDEO GAMES

The introduction of the new support for video games was quickly embraced by the UK’s dynamic games sector.

Six UK developers received €625,043 in 2014 and 2015 to support the development of their video game titles. The grants support the early stages of a game’s development, from concept to the first playable prototype. 2015 also saw the UK receive the highest total allocated to a single country from the EU-wide budget of €3.4 million.

Successful companies include multi-BAFTA award winners The Chinese Room, Belfast-based company Italic Pig and Revolution Software, developers of the popular Broken Sword series.

18

Total Dark concept artwork. Image courtesy of The Chinese Room.

€625,000awarded to UK

video game developers

YEAR COMPANY PROJECT TITLE UK NATION AMOUNT €

2014 Plug-in Media Create World England 78,0392015 SFB Games Detective Grimoire 2 England 150,0002015 Italic Pig Mona Lisa Northern Ireland 122,5012015 Revolution Software The Enemy Within England 150,0002015 The Chinese Room Total Dark England 124,503

625,043

19

CASE STUDIES

The Chinese Room – Total Dark

Brighton-based developers The Chinese Room, who saw recent success with their multi-BAFTA winning release Everybody’s Gone to the Rapture, were one of the five companies to receive support through this new funding opportunity. The grant received helps them to develop the early stages of their next project Total Dark, allowing them to experiment with the story, mechanics and gameplay of this isometric RPG and create the first playable prototype of the game.

.

Italic Pig – Mona Lisa

Italic Pig is an indie game developer based in Northern Ireland. Their debut release - Schrödinger’s Cat and the Raiders of the Lost Quark (published by Team17 for Xbox, PS4 and Steam) - was nominated by the Writers’ Guilds of both Great Britain and Ireland for Best Game Script in 2015. Thanks to successful applications to Creative Europe and Northern Ireland Screen, they are now in development on a new heist and forgery adventure game entitled Mona Lisa. The mysterious Mona Lisa is Renaissance Italy’s greatest art thief, using the gadgets of Da Vinci to break into 16th century strongholds to steal iconic works of art from the great masters of the time. Italic Pig describes the adventure as “Dan Brown meets Terry Pratchett with a twist of steampunk.”

“We are so excited to be diving into our next wild

adventure game so hot on the heels of our last one. As a company which

believes that the story is the key element to a great game, it’s wonderful to know

that Creative Europe is providing funding specifically for original stories and ideas

in games and other media. In a world where match-3s, endless-runners and shoot-em-ups

are saturating the market, it’s so great to know that there’s an organisation out

there that still believes in the importance of a good story.”

Kevin Beimers, Director, Italic Pig

“The funding we’ve received is

invaluable at this early stage of development, where

it’s hugely important to be able to experiment and iterate - you are laying the groundwork for production and it’s

critical that you are able to take the time you need to get it right. Early prototyping

funds are a valuable resource for UK games developers and it’s been

great to work with Creative Europe Desk UK.”

Dan Pinchbeck, Creative Director, The Chinese Room

Mona Lisaconcept artwork. Image courtesy of Italic Pig.

EXPORTING UK FILMS AND IMPORTING EUROPE’S BEST

Creative Europe’s MEDIA sub-programme commits nearly 40% of its annual budget to helping European films travel across borders through four funding opportunities:

• Selective Distribution• Automatic Distribution• Sales Agents• Online Distribution

Thomas Vinterberg’s Kollektivet (The Commune) received both Selective and Automatic distribution support for its release in the UK. Image courtesy of Curzon Artificial Eye.

SELECTIVE DISTRIBUTIONIn 2014 and 2015, 11 UK-based distributors received grants totalling over €1.2 million to release 31 European films in the UK through this scheme. These grants resulted in a greater number of prints, more generous marketing campaigns and consequently, larger audiences.

Oscar winners Ida and Saul fia (Son of Saul) were both supported, as were box office successes Deux jours, une nuit (Two Days, One Night) and Tourist (Force Majeure). All four were released in the UK by Curzon Film World.

22

€1.2m of Selective

Distribution funding awarded to UK

distributors

UK BOX OFFICEFILM TITLE DISTRIBUTOR AMOUNT € UK RELEASE DATE (TO 2015 END) IN £

Amour fou Arrow Film Distributors 35,700 06/02/2015 16,604Clouds of Sils Maria Curzon Film World 45,700 15/05/2015 217,831Deux jours, une nuit (Two Days, One Night) Curzon Film World 45,700 22/08/2014 714,974En chance til (A Second Chance) Hammingden Pictures/Vertigo Films 45,700 20/03/2015 11,621Fehér isten (White God) Metrodome 64,400 27/02/2015 60,571Ida Curzon Film World 45,700 26/09/2014 514,319Il capitale umano (Human Capital) Arrow Film Distributors 13,200 26/09/2014 23,217La sel de la terre (The Salt of the Earth) Curzon Film World 35,700 17/07/2015 294,613Le meraviglie (The Wonders) Soda Pictures 35,700 17/07/2015 50,982Macondo New Wave Films 22,800 TBC n/aSacro gra Soda Pictures 13,200 07/11/2014 4,130Svecenikova djeca (The Priest’s Children) Cinefile 22,800 18/09/2015 The 100-Year-Old Man Who Climbed Out the Window and Disappeared StudioCanal 64,400 04/07/2014 429,810Timbuktu Curzon Film World 13,200 29/05/2015 307,436Turist (Force Majeure) Curzon Film World 45,700 10/04/2015 593,432Vi är bäst! (We are the Best!) Metrodome 64,400 18/04/2014 125,617Violette Soda Pictures 35,700 03/10/2014 48,445 649,700

2014

UK BOX OFFICEFILM TITLE DISTRIBUTOR AMOUNT € UK RELEASE DATE (TO 2015 END) IN £

A Pigeon Sat on a Branch Reflecting on Existence Curzon Film World 45,700 24/04/2015 169,469Bande de filles (Girlhood) StudioCanal 22,800 08/05/2015 232,511Das große museum (The Great Museum) Matchbox Films 13,200 12/12/2014 6,646Eden Metrodome Distribution 45,700 24/07/2015 126,078Fasandræberne (The Absent One) Picturehouse Entertainment 13,200 08/04/2016 n/aKollektivet (The Commune) Curzon Film World 64,400 01/07/2016 n/aLe tout nouveau testament (The Brand New Testament) Metrodome Distribution 35,700 22/03/2016 n/a Les combattants (Love at First Fight) Curzon Film World 35,700 19/06/2015 38,287Marguerite Picturehouse Entertainment 45,700 25/03/2016 n/a Mia madre Curzon Film World 45,700 25/09/2015 134,159Phoenix Soda Pictures 35,700 08/05/2015 122,540Retour à Ithaque (Return to Ithaca) Network Distributing 35,700 TBC n/aSaul fia (Son of Saul) Curzon Film World 64,400 01/04/2016 n/aVictoria Curzon Film World 64,400 29/04/2016 n/a 568,000

2015

23

As well as supporting foreign language releases in the UK, this scheme helps UK films to reach audiences in other European countries. Four UK titles had their European releases enhanced by the Selective Scheme: 20,000 Days on Earth, A Long Way Down, Jimmy’s Hall and Pride, sharing a total of €2,389,500.

Posters courtesy of Curzon Home Cinema/Curzon Artificial Eye.

AUTOMATIC DISTRIBUTIONEvery year distributors across Europe report to the MEDIA sub-programme on cinema admissions for the non-national European films they released in the previous year. These admission figures form the basis for the calculations of the Automatic Distribution scheme grants, which can be used to pay minimum guarantees or print and advertising costs of new non-national European acquisitions.

During the first two years of Creative Europe, nine UK distribution companies were allocated grants totalling €707,683.

€700,000of Automatic

Distribution funding awarded to UK

distributors

24

COMPANY 2014 AMOUNT € 2015 AMOUNT €

Alliance Films UK - 10,205Curzon Film World 194,852 217,893Entertainment One UK - 100,865Metrodome Distribution 13,710 37,001New Wave Films 15,432 -Peccadillo Pictures 18,025 15,223Picturehouse Entertainment - 28,869Soda Pictures 42,476 -StudioCanal 13,132 - 297,627 410,056

With these grants, UK distributors acquired distribution rights and released a range of European films including: Jim Jarmusch’s Only Lovers Left Alive, Paweł Pawlikowski’s Ida, Jacques Audiard’s Dheepan and László Nemes’ Son of Saul.

“Creative Europe support makes all the difference for certain titles we acquire. It allows us to be

more confident while launching them on the UK market, and consequently they reach

wider audiences. In an increasingly busy release calendar the risk that distributors are taking with every film is growing. The grants help to mitigate

this risk and support us in pursuing more ambitious release strategies. Dheepan is a case in point, as it was released on 48 screens and has so far

attracted box office revenues of £357,913, which is a really good result for a foreign

language film in the UK.”

Danny Perkins, CEO, StudioCanal

25

Dheepan, directed by Jacques Audiard. Image courtesy of StudioCanal.

SALES AGENTSThis scheme allocated €5.5 million over the two years to European sales agents and it is linked to an agent’s performance in selling European films. The funding awarded depends on the amount of cinema admissions generated by the films sold in the previous calendar year and can be used for acquisitions (sales guarantees) as well as the promotion and marketing costs of non-national European films.

Three UK sales agents, Bankside, HanWay and WestEnd shared grants totalling €437,953. Examples of films that have benefitted from these grants since 2014 include Matteo Garrone’s Tale of Tales and Kasper Barfoed’s Summer of ‘92.

COMPANY 2014 AMOUNT € 2015 AMOUNT €

Bankside Films 21,761 24,419HanWay Films 248,455 91,423WestEnd Films 26,761 25,134 296,977 140,976

€440,000awarded to UK

sales agents

26

Summer of ‘92, directed by Kasper Barfoed. Image courtesy of HanWay Films.

27

“HanWay came on board at script stage

for Tale of Tales and, with the support of Creative Europe,

we were able to elevate the market launch of the film by investing in

the sales and creative materials. The continuing support we receive from

Creative Europe allows HanWay to be at the forefront of investing in new and

existing talent worldwide across a range of projects.”

Thorsten Schumacher, Managing Director, HanWay Films

Tale of Tales, directed by Matteo Garrone.Image courtesy of HanWay Films.

INVESTMENT IN UK FILMSBRITISH FILMS SOUGHT AFTER BY EUROPEAN DISTRIBUTORS

European distributors and sales agents decide themselves which non-national European films they wish to invest their Creative Europe grants in. The Automatic Distribution scheme alone allocated nearly €35 million EU-wide in the two years, out of which 24% was used for British films.

Through three Creative Europe funding opportunities (Automatic Distribution, Selective Distribution and the Sales Agents scheme), the distribution of 84 UK films on the continent was supported by a total of €12.5 million.

The films that benefitted the most included Pride (€1,012,579), Jimmy’s Hall (€961,180) and Paddington (€661,455).

€12.5m awarded to UK films for their theatrical

distribution in other countries

28

29

FILM TITLE AMOUNT €

‘71 65,03120,000 Days on Earth 388,81345 Years 273,926A Little Chaos 538,172A Long Way Down 649,619A Man at Sea 45,000A Royal Night Out 83,323Absolutely Anything 187,003Albatross 1,600Amy 106,418Broken 3,154Byzantium 3,002Calvary 36,125Catch Me Daddy 55,987Desert Dancer 37,801Diana 305,011Dom Hemingway 10,000Early Man 9,000Eisenstein in Guanajuato 51,212Exhibition 6,500Filth 74,273Florence Foster Jenkins 614,465Get Santa 3,024God Help the Girl 45,172Goltzius and the Pelican Company 26,770Good Vibrations 10,000Hector and the Search for Happiness 106,136High-Rise 115,862

FILM TITLE AMOUNT €

How I Live Now 10,149Hyena 49,000Icon 21,233I Want to be Like You 20,597In Fear 9,244Jimmy’s Hall 961,180Light Years 21,126Lilting 58,352Locke 27,079Love Punch 123,302Love, Rosie 81,107Macbeth 357,554Man Up 81,857Metro Manila 44,976Moonwalkers 34,265Mr. Turner 259,879Next Goal Wins 37,733Now is Good 3,906Our Kind of Traitor 246,379Paddington 661,455Philomena 344,046Pride 1,012,579Queen and Country 11,600Rush 219,990Shaun the Sheep 441,972Slow West 41,877Snow in Paradise 82,800Song for Marion 22,600Soy Negro 12,000Starred Up 106,442

FILM TITLE AMOUNT €

Still Life 348,537Suffragette 123,093Suite Francaise 214,635Sunset Song 1,680Testament of Youth 116,258The Devil’s Violinist 25,000The Double 6,124The Duke of Burgundy 101,072The Face of an Angel 9,203The Gunman 67,404The Invisible Woman 17,523The Program 530,533The Quiet Ones 73,317The Riot Club 132,409The Selfish Giant 3,591The Trip to Italy 28,385The Woman in Black 2: Angel of Death 263,259The Zero Theorem 98,301Two Faces of January 660,073Under the Skin 60,259Unlocked 172,914Viceroy’s House 27,000Walking on Sunshine 118,356Waste Land 18,000What We Did on Our Holiday 30,165X+Y 14,772 12,520,541

In response to the changing behaviours of audiences, the MEDIA sub-programme offers support to distributors making European audiovisual content available online through VoD services. It also encourages experimentation with new distribution models such as day-and-date releases.

Curzon Film World and the Scottish-based company Distrify continued to receive support from Creative Europe for their Video on Demand services, sharing a total of €1.4 million to help secure a high percentage of European content on their platforms.

In addition, in 2015 Curzon Film World also received a grant to experiment with the simultaneous release of Matteo Garrone’s Il racconto dei racconti (Tale of Tales) across multiple platforms simultaneously. The film is due to be released in the UK and Ireland on 17 June 2016.

“Curzon is proud to be a forward-thinking

integrated content group that has been quick to respond to the audience’s changing behaviour and also one of the

early adopters of day-and-date releases. We are grateful to Creative Europe support for allowing us to experiment in this area.

The selling point of Curzon Home Cinema is that it gives our customers the choice to see new releases in the comfort of their homes. The content on our service is meticulously curated and Curzon Home Cinema has

become a trusted destination for discerning cinema lovers.”

Philip Mordecai, Director, Curzon Home Cinema

30

COMPANY PROJECT TITLE 2014 AMOUNT € 2015 AMOUNT €

Curzon Cinemas Curzon Home Cinema 450,000 350,000Curzon Film World Tale of Tales D&D - 345,763Distrify muvies.com 380,000 300,480 830,000 996,243

ONLINE DISTRIBUTIONAUDIENCES ENJOY ACCESS TO EUROPEAN FILMS AT HOME

€1.8m awarded to UK

online distribution companies

31

Victoria, directed by Sebastian Schipper, was released on the Curzon Home Cinema platform and in cinemas simultaneously. Image courtesy of Curzon Home Cinema/Curzon Artificial Eye.

Notes on Blindness was selected for several Creative Europe-funded initiatives including Good Pitch Europe, MeetMarket and Documentary Campus Masterschool. Image courtesy of Curzon Home Cinema/Curzon Artificial Eye.

HONING SKILLS AND BUILDING NETWORKS

Nearly 120 initiatives were funded to bring audiovisual professionals together to learn, exchange ideas, raise finance, build networks and make connections through two different funding opportunities:

• Training• Access to Markets

TRAININGTHREE NEW COURSES OFFERED BY UK TRAINING PROVIDERS

Each year the MEDIA sub-programme supports around 60 international training programmes for audiovisual professionals. Seven UK-based training providers received nearly €1.5 million in 2014 and 2015 to impart their expertise to international participants.

Out of the seven organisations, three are newly supported by Creative Europe, and they focus on varied topics such as how to enhance the social impact of a documentary project, how to skill up artist filmmakers to produce their first feature film, and how to support the development and progression of feature film talent.

34

Two further UK organisations received grants as partners on non-UK led initiatives. These courses received grants totalling €241,000 across the two years.

Training Course Lead organisation, Provider Name Country Creative Cross Channel Le Groupe England Film Lab Ouest, FranceLondon The Film Garage Scuola Holden,International ItalyFilm School

In addition to the UK training providers benefitting from the support, in 2014, 114 UK audiovisual professionals took part in many of the 60 courses on offer.

€1.5m awarded to

UK-based training providers

TRAINING PROVIDER COURSE NAME 2014 AMOUNT € 2015 AMOUNT €

BRITDOC Foundation Impact Producers Lab 50,000 50,000Creative England Talent X 53,600 53,600HOME (Greater Manchester Arts Centre) Feature Expanded 80,000 80,000Independent Cinema Office Developing Your Film Festival 75,000 75,000National Film and Television School Inside Pictures 217,716 217,716Peaceful Fish Productions Enter Europe 49,363 49,363Power to the Pixel The Pixel Lab: Cross Media Workshop 222,601 222,601 748,280 748,280

Participants at Feature Expanded. Image courtesy of HOME.

“Feature Expanded is the first course aimed specifically at

the development of feature films by visual artists. This wouldn’t have happened

without the innovative approach by Creative Europe to fund and support this initiative. The response to Feature Expanded from

industry, artists, press and academics has all been incredibly positive, and we are really proud

that all of the first year’s 12 artists are still developing their films. It’s also important that this is a major collaboration between two key

non-capital cities, with additional partnerships with University of Salford, Nederland

Filmfonds, Creative Scotland and Toscana Film Commission.”

Professor Sarah Perks, co-director Feature Expanded, Artistic Director,

HOME 35

“Feature Expanded provided a great platform for

understanding tools and strategies that helped me build a precise frame for

my project. Through the online sessions and the masterclasses I learned to work with

established frameworks which allowed me to crystallise an otherwise broad and niche subject, such as the history of alternative publishing and

censorship, into a feature-length proposal. During the course, I also learned about all

aspects of publishing practices and production, and developed tools and strategies that helped to communicate the project in

a simple and clear form to industry professionals.”

Clara Casian, Feature Expanded participant

Clara Casian Feature Expanded participant. Image courtesy of HOME.

Feature Expanded is an international professional training programme for filmmakers from a visual arts background who are looking to make the transition to film. Spanning six months and two locations, the programme combines masterclasses, case studies, workshops, screenings, one-to-one meetings and pitching sessions. The course is run as a partnership between HOME, Manchester’s brand new cross-art centre, and Lo Schermo Dell’Arte Film Festival, Florence’s unique artist film festival. The aim is to deliver a tailored set of activities that respond to the important trend of visual artists bringing new vision and strong innovation to feature film production.

CASE STUDY

HOME (Greater Manchester Arts Centre) – Feature Expanded

MARKETS AND INDUSTRY EVENTSUK ORGANISATIONS AWARDED GRANTS TO RUN INTERNATIONAL INDUSTRY EVENTS

Four England-based organisations were awarded grants totalling €782,192 in 2014 and 2015 to organise events that allow professionals to seek finance for their projects.

ORGANISATION PROJECT TITLE 2014 AMOUNT € 2015 AMOUNT €

BRITDOC Foundation Good Pitch Europe 75,000 75,000Film London Production Finance Market 99,315 99,315Power to the Pixel The Pixel Market 87,077 87,077Sheffield Doc/Fest MeetMarket 129,703 129,704 391,096 391,096

MeetMarket is a documentary pitching event held at Sheffield Doc/Fest, where filmmakers pitch their project ideas to UK and international broadcasters, funders and distributors. It was introduced to Doc/Fest in 2006 and has been supported by MEDIA and then Creative Europe since 2008. Since its introduction, 7,300 meetings have taken place, raising £30.5 million for 433 documentary and digital projects (as of July 2015). Notable films to achieve funding through MeetMarket include Joshua Oppenheimer’s The Act of Killing and The Look of Silence, Searching for Sugarman, Jeanie Finlay’s The Great Hip Hop Hoax, Ping Pong, 5 Broken Cameras and God Loves Uganda.

€780,000awarded to UK-based

markets and pitching forums

“Throughout the development of

Notes on Blindness we were fortunate to attend two Creative

Europe-funded initiatives - Doc/Fest’s MeetMarket and Britdoc’s

Good Pitch Europe. Both were formative experiences and played an

integral role in helping us put together the finance for the project.”

Pete Middleton and James Spinney, Writers/Directors, Notes on Blindness

36

CASE STUDY

Sheffield Doc/Fest – MeetMarket

“In essence, MeetMarket facilitates

a way to connect directors and producers with funders, commissioning

editors and distributors. It’s about giving a platform to new ideas and new work and

helping people to realise that work. We work really hard to create an intimate meeting space where both sides of the table are empowered and inspired. There’s a real buzz in the room over those two days and it works – so many of the films go on to achieve great things

and this wouldn’t be possible without Creative Europe support.”

Anna Parker, Marketplace Manager,

Sheffield Doc/Fest

37

Participants at Sheffield Doc/Fest’s MeetMarket. Image © Maria Patagiotidi.

ATTRACTING AUDIENCES

Audience development is a key priority of Creative Europe’s MEDIA sub-programme, with specific support for projects that aim to attract new and more diverse audiencesthrough three different funding opportunities:

• Festivals• Cinema Networks• Audience Development

ATTRACTING AUDIENCES

In 2015, The Lobster achieved the highest number of admissions for a non-national European film in the Europa Cinemas network in the UK. Image courtesy of Picturehouse Entertainment.

FESTIVALSTWO UK FILM FESTIVALS CONTINUE TO BE SUPPORTED

Creative Europe supports over 80 film festivals every year because they play an important role in expanding audiences for European film.

The two UK film festivals supported through the previous MEDIA programme continued to receive funding through Creative Europe. Collectively they were awarded €141,000 across 2014 and 2015 for placing a strong emphasis on films from other European countries and delivering various outreach and audience development activities both during and outside of their festivals.

40

€140,000awarded to

UK film festivalsLeeds International Film Festival at Leeds Town Hall.

ORGANISATION FESTIVAL 2014 AMOUNT € 2015 AMOUNT €

Encounters Festivals Encounters Short Film & Animation Festival 33,000 33,000Leeds City Council Leeds International Film Festival 37,500 37,500 70,500 70,500

A qualifying event for both the Oscars and the BAFTAs, with over 4,000 submissions from 98 countries in 2015, Leeds International Film Festival (LIFF) is a major national platform for the work of worldwide filmmaking talent. LIFF is also a leading driver of audience development for film culture in the North of England, and an innovating curator of new film experiences. Organised by Leeds City Council and taking place for 16 days every November, LIFF presented 326 films last year in 304 screenings and events at 18 venues for a total audience of over 40,000. LIFF celebrates its 30th anniversary in 2016.

41

Leeds International Film Festival at Leeds Town Hall.

CASE STUDY

Leeds City Council – Leeds International Film Festival

“LIFF has received funding from the MEDIA

programme for film festivals since 2000, which has enabled us to

present over 3,000 European films and helped us to grow the audience significantly for European film culture in the city and the

Yorkshire region. This consistent funding from the EU, alongside excellent support from Creative Europe Desk UK, has led to very strong demand for European film from a constantly expanding LIFF audience. We experience high attendance

across the diverse selection and increasing participation in our year-round activity in Leeds and beyond, including in Hull, the

UK City of Culture in 2017.” Chris Fell, Director,

Leeds International Film Festival

Leeds International Film Festival. The 2015 film festival catalogue.

CINEMA NETWORKS53 CINEMAS ACROSS THE UK ARE PART OF THE EUROPA CINEMAS NETWORK Creative Europe supports the European cinema exhibition sector through the co-financing of Europa Cinemas, a pan-European network of 902 cinemas totalling 2,130 screens in 547 cities in 31 countries. 60% of the films screened across the network are European, which is a much higher percentage than in other commercial cinemas.

53 cinemas are members of the Europa Cinemas network, spread across 40 cities in all four nations of the UK. Jointly they received €492,459 in 2014 and 2015.

YEAR UK MEMBERS AMOUNT €

2014 52 UK Cinemas 236,2622015 53 UK Cinemas 256,197 492,459

€490,000awarded to UK members of the Europa Cinemas

network

NAME CITY

Aldeburgh Cinema Aldeburgh

Barbican Cinema London

Belmont Filmhouse Aberdeen

BFI Southbank London

Broadway Nottingham Media Centre Nottingham

Cambridge Arts Picturehouse Cambridge

Chapter Arts Centre Cardiff

Chelsea Cinema London

Chichester Cinema at New Park Chichester

Ciné Lumière London

Cinema City Norwich

Curzon Bloomsbury London

Curzon Mayfair London

Curzon Richmond London

Curzon Soho London

DCA Dundee

Derby Quad Cinema Derby

Duke of York’s Picture House Brighton

NAME CITY

Eden Court Theatre Inverness

Filmhouse Edinburgh

Forum Cinema Northampton

Glasgow Film Theatre Glasgow

Gloucester Guildhall Gloucester

Gulbenkian Theatre Canterbury

HOME Manchester

Hyde Park Picture House Leeds

ICA Cinema London

Ipswich Film Theatre Ipswich

Light House Wolverhampton

Ludlow Assembly Rooms Ludlow

mac Birmingham

National Media Museum Bradford

Phoenix Leicester

Phoenix Cinema London

Phoenix Picturehouse Oxford

Plymouth Arts Centre Plymouth

NAME CITY

Queen’s Film Theatre Belfast

Reading Film Theatre Reading

Rio Cinema London

Saffron Screen Saffron Walden

Shortwave London

Showroom Sheffield

Stoke Film Theatre Stoke-on-Trent

Strode Film Theatre Street

The Barn Cinema Dartington

The Courtyard Hereford

The Dukes Lancaster

The Gate London

The Lexi Cinema London

Tricycle Cinema London

Tyneside Cinema Newcastle upon Tyne

Watermans Arts Centre Brentford

Watershed Bristol

EUROPA CINEMAS IN THE UK

42

“Being part of Europa Cinemas is

much more than receiving a grant for European programming.

Bringing together nearly a thousand European independent cinemas, the

network helps in exchanging know-how, adapting to digital shift and changing customer habits and business models.

Each cinema is a small business – together we are a strong voice for

independent exhibition.”Jaki McDougall, Chief Executive,

Glasgow Film Theatre

43

Glasgow Film Theatre. Image © Eoin Carey/Glasgow Film.

FILM LITERACY AND AUDIENCE DEVELOPMENTUK AWARDED NEARLY 25% OF TOTAL FUNDS AVAILABLE IN FIRST YEAR OF AUDIENCE DEVELOPMENT SCHEME

Introduced in 2014, the Audience Development scheme supports activities aimed at increasing audiences’ knowledge of, and interest in, European audiovisual works (including archive works) as well as facilitating the circulation of European films worldwide on all distribution platforms via international cooperation projects in the audiovisual sector.

This scheme supported three UK-led initiatives in 2014, which were cumulatively awarded €439,396, amounting to nearly a quarter of the €1.9 million available Europe-wide that year.

Projects supported include:• A framework to support film educators across Europe in designing, managing and evaluating film education programmes• An initiative that used radio in an innovative way to increase awareness and understanding of European film among young people• A pilot project to test new models that could help with the development of film clubs in Europe.

YEAR ORGANISATION PROJECT TITLE PROJECT TYPE AMOUNT €

2014 British Film Institute European Framework for Film Education Film Literacy 69,3962014 Emerald Clear Fred at School Film Literacy 200,0002014 Film Literacy Europe European Film Club Pilots Film Literacy 170,000 439,396

44

€440,000awarded to UK-led

film literacy and audience development

projects

In 2012/13, the British Film Institute led a group of film education experts from across Europe in a survey of film education practice – the biggest of its kind ever attempted. One of the findings of Screening Literacy, the report of the survey, was that there are a multitude of competing and overlapping conceptions of film literacy in Europe. The report recommended the creation of a model, or models, of film education, that covered appreciation of film as an art form, critical understanding, access to national heritage, both world cinema and popular film, and included creative film-making skills. In June 2014, a consortium of film education experts (the Film Literacy Advisory Group, or FLAG) were awarded funding from Creative Europe to create a Framework for Film Education, that would synthesise the various approaches into a single page – to support and encourage film educators, NGOs and government agencies, national cinematheques and archives into speaking a ‘common language’ for film education. The Framework was launched at the Cinémathéque Française in Paris, on 18 June 2015.

“Since its launch, the Framework has been presented at

numerous gatherings of film educators, and been discussed in and shaped to different national contexts.

It is being used and cited across Europe, as a policy document, a pedagogic tool,

and as a point of convergence. Several of the partners have joined with others in designing new projects that follow the

principles of the Framework.”

Mark Reid, Head of Education and Learning, British Film Institute

45

European Framework for Film Education. Image © Christina Compton for BFI Education.

CASE STUDY

British Film Institute – European Framework for Film Education

FILM LITERACY AND AUDIENCE DEVELOPMENTTwo of the UK-led projects, Fred at School and the European Framework for Film Education, had additional UK partners. Seven further projects were led by organisations in other European countries and featured the involvement of a UK partner.

YEAR ORGANISATION PROJECT TITLE PROJECT TYPE LEAD ORGANISATION, COUNTRY

2014 Watershed ABCinema Film Literacy Cineteca di Bologna, Italy2014 The Children’s European Children’s Media Conference Children’s Film First Film Literacy Film Association, Belgium2014 Creative Scotland European Children’s Film Catalogue Film Literacy Cinekid, Netherlands2014 Creative Scotland European Framework for Film Education Film Literacy British Film Institute, UK2014 Sub-ti Fred at School Film Literacy Emerald Clear, UK2014 University of Roehampton Fred at School Film Literacy Emerald Clear, UK2015 Centre for the Moving Image Moving Cinema Film Literacy A Bao A Qu, Spain 2015 SDI Productions Moving Docs Audience Development European Documentary Network, Denmark2014 SDI Productions Moving Docs Audience Development European Documentary Network, Denmark2014 Regional Screen Scotland North by Northwest Film on the Fringe Audience Development Fis na Milaoise Teo, Ireland2014 Soda Pictures Scope 50 Audience Development Moving Scope, France

46

CASE STUDY

Scottish Documentary Institute – Moving Docs

Moving Docs aims to engage urban and rural audiences across Europe through regular and simultaneous screenings of the best European and international documentary films. This is achieved through the joint action of six innovative and pioneering organisations in conjunction with the expertise and leadership of the European Documentary Network (EDN). The initiative is structured around ‘European Screening Days’, unique media moments which connect diverse European audiences. These screening days consist of the simultaneous European screenings of documentaries that have already premiered at important festivals or received significant awards. Taking place in multiple locations and on multiple platforms across Europe, they engage audiences through issues relevant to contemporary life, communicated through theme-led European campaigns. Special attention is given to films that promote inter-cultural understanding, sustainable living and human rights.

“Moving Docs is a very special initiative that enables us to further

promote creative documentary in Scotland while remaining connected

to the rest of Europe. We have access to bold storytelling from a diverse

mix of filmmakers. By creating unique screening campaigns around each film, we are ensuring that new audiences are getting to see documentaries in unique

circumstances and collectively with European audiences.”

Rebecca Day, Production and Outreach, Scottish Documentary Institute

47

Moving Docs screening of Bikes vs Cars. Image courtesy of Scottish Documentary Institute.

CREATIVE EUROPE DESK UK WHAT WE DO AND HOW WE HELP

With our MEDIA sub-programme team based at the BFI, Creative Scotland, Welsh Government and the Arts Council of Northern Ireland, we work with these partners to reach out to new audiences and provide expert support to applicants. In 2014 and 2015, we have helped companies in all four UK nations to secure funding for their ambitious audiovisual projects.

With the arrival of the new video games funding, we established connections with the sector by attending a range of industry events such as EGX, the BFI Video Games Day, Wales Games Development Show, Gameopolis and Games Republic workshops to promote the scheme. A strong turnout at our video games application workshops and webinars resulted in UK games companies securing the highest share of the European funding in 2015.

To encourage television producers to make the most of the increase in funding available for TV Programming and to take part in international co-productions, we set up a French-UK industry day and producer speed-dating at London’s TV series festival Totally Serialized. We also hosted a session on European TV drama co-production and had a stand at the Guardian International Television Festival in Edinburgh.

Encouraging networking is a key part of our role and we organised an annual networking dinner for British and international producers attending the Creative Europe-funded Sheffield Doc/Fest. We facilitated networking events at Celtic Media Festival in Glasgow and the Edinburgh International Film Festival, and took part in The Producers Forum in Cardiff.

Furthermore, we brought together over 100 audiovisual professionals and 20 Creative Europe-funded international training providers, including EAVE and Berlinale Talents, at Back to School with Creative Europe, which was a day-long event introducing professionals to a wide range of courses on offer.

Collaborating with a range of partners and peers is a great way to extend our audience and meet new prospective applicants. For example, we worked with BAFTA Cymru to hold Drama and Children’s Commissioner Panel events in Cardiff, and took part in Wales Doc Day and Belfast Film Festival.

Panel discussion organised by Creative Europe Desk UK at the Guardian Edinburgh International TV Festival in 2014. Image © Rob McDougall.

48

We have also worked with successful beneficiaries of Creative Europe in the UK to raise awareness of international opportunities. This includes speaking at and attending various funded training programmes, such as Screen Leaders’ training course in Glasgow, The Pixel Lab in Inverness and Fred at School’s conference in London.

Our team have responded to around 6,000 enquiries by phone, email and in person across the UK and we have advised companies on the MEDIA sub-programme’s 14 funding opportunities. Applying for public funding may be a daunting prospect, especially for first-time applicants, and we have been on hand to help hundreds of companies through the application process.

Our online audiences went from strength to strength, with the launch of Creative Europe Desk UK’s website and a range of film content to inspire and assist UK applicants, from video tutorials and application workshops to producers in conversation about their Creative Europe-funded projects.

Follow us on Facebook and Twitter (@CEDUK_MEDIA) to get the latest updates on our events and activities.

We look forward to working with many more of you in the years to come.

Creative Europe Desk UK

Panel discussion at the Back to School with Creative Europe event organised by Creative Europe Desk UK in 2015. Image © Linda Nylind.

Meet the Commissioners event in Cardiff in 2015, organised by Creative Europe Desk UK – Wales. Image © Natasha Hodge.

Panel discussion organised by Creative Europe Desk UK at the Guardian Edinburgh International TV Festival in 2014. Image © Rob McDougall.

49

GET IN TOUCHCreative Europe Desk UK offers free advice and support to UK creative professionals. Come to one of our regular workshops, seminars and networking events, drop us an email or call us for a chat to discuss your ideas and get application advice.

Our team of specialists is based across the UK, in London, Manchester, Edinburgh, Glasgow, Cardiff and Belfast:www.creativeeuropeuk.eu/contact-us

Visit our website to browse funding opportunities, be inspired by funded projects and keep up-to-date with the latest deadlines via our e-newsletter: www.creativeeuropeuk.eu

Follow us on Twitter: @CEDUK_MEDIA Like us on Facebook: /CEDUKMEDIA#creativeeurope

The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

This report was published by Creative Europe Desk UK in May 2016.

50

Read our other report on the the Creative Europe

Culture sub-programme’s support for the cultural,

creative and heritage sectors:www.creativeeuropeuk.eu/

publications

Pride, directed by Matthew Warchus. Poster courtesy of Swedish distributor TriArt Film.The Trip To Italy, directed by Michael Winterbottom. Poster courtesy of Dutch distributor, September Film.20000 Days on Earth, directed by Iain Forsyth and Jane Pollard. Poster courtesy of Polish distributor Gutek Film.Philomena, directed by Stephen Frears. Poster courtesy of Hungarian distributor Mozinet.A Long Way Down, directed by Pascal Chaumeil. Poster courtesy of Czech distributor A-Company Czech.

Under the Skin, directed by Jonathan Glazer. Poster courtesy of Italian distributor BiM Distribuzione.45 Years, directed by Andrew Haigh. Poster courtesy of Finnish distributor Future Film.Jimmy's Hall, directed by Ken Loach. Poster courtesy of Hungarian distributor Mozinet. Paddington, directed by Paul King. Poster courtesy of Hungarian distributor A Company.

INVESTMENT IN FILM (page 28) Image credits:

Creative Europe Desk UK is led by

In partnership with

With support from the UK Department for Culture, Media and Sport and the European Commission.