Fionn Fitzpatrick-
The success of Tom Hooper’s ‘The King’s Speech’ has been an amazing story. Produced by an independent British production company, See-Saw Films, it was released quietly last September to several festivals where claims of Oscar-worthiness began almost immediately. What followed was a rolling snowball of hype and acclaim, resulting in box office figures to rival ‘Toy Story 3’. By the end of last month, without a moment to catch the breath, ‘The King’s Speech’ had claimed four Academy Awards including Best Picture, Best Director for Hooper, and Best Actor for Colin Firth. Critics spoke of how Britain had made a statement to Hollywood; the British film industry was positively beaming with pride.
Mere weeks later and the same industry is coming down from its collective high. The reality of ‘The King’s Speech’ is it could stand alone, not as a benchmark for future projects, but a reminder of what could have been. Last July, the decision was made by the British government to abolish the UK Film Council. The UKFC was set up in 2000 to help promote, develop and invest in British film. Their influence has been massive, not least because of the lottery money allocated to them that helped significantly support commercially-driven British films; commercially-driven British films such as ‘The King’s Speech’. The UKFC invested about £1 million in Tom Hooper’s film. Without the UKFC, ‘The King’s Speech’ would never have been made.
'The Wind That Shakes The Barley' which the UK Film Council invested €500,000 in
British film is hugely important for Irish filmmakers, scriptwriters, actors etc. and naturally they will be supporting anti-abolishment campaigners for the UKFC. The body has been massively important for the Irish film industry in the past, investing over €500,000 towards ‘The Wind That Shakes The Barley’ starring Cillian Murphy, and €300,000 towards ‘Hunger’ starring Michael Fassbender; the former winning the Palme D’Or at the Cannes Film Festival in 2006. It can’t be understated how important British film is for our best acting talent, from Aiden Gillen and Cillian Murphy to Michael Fassbender and Brendan Gleeson.
The UKFC will be taken over by the British Film Institute (BFI), a charitable organisation that will immediately have its resources slashed by 15%. It remains to be seen whether they can carry on the good work of the UKFC in promoting, developing and, most importantly, investing in British film. However, one sure positive to have come from the success of ‘The King’s Speech’ is the decision by major studio giants Pinewood Shepperton to work with four British films every year, investing a 20% stake in films that have a budget of about £2 million. These films will have access to the many ancillary services provided by the major studio, home to the James Bond and Harry Potter franchises. Perhaps the support of major studios is the way forward for independently financed British films. Film production accounting is a complicated beast, and without the support of a major studio, smaller independently financed British films will simply get lost in the quagmire.
Whatever happens with the British film industry over the next few months and years, the Irish film industry should be paying very close attention. Britain have obviously decided in times of economic crisis and the need for cuts, culture and the arts are the most disposable aspects of public life. Should Fine Gael and Labour decide the same is true of Ireland, the effects would be even more damaging.
'Reign Of Fire' shot in Co.Wicklow
The Irish Film Board is a body that has supported the indigenous industry of Irish filmmaking since 1993, helping produce such films as the aforementioned ‘The Wind That Shakes The Barley’, ‘Intermission’ and ‘Man About Dog.’ These films and more have helped Ireland’s best on-screen talent break through to the international stage. Were it not for the IFB, who knows where Colin Farrell would be today. As well as assisting indigenous projects, the IFB also looks after international producers and directors who need information on filming in Ireland, tax incentives, crews, equipment etc. Their influence has seen the likes of ‘Braveheart’, ‘King Arthur’, and ‘Reign of Fire’ filmed in Ireland. Economically, this is all hugely significant. In 2008, the Irish audio-visual sector was valued at €557.3 million by PWC and responsible for over 6,000 employed. It was estimated the same year that 18% of all tourists visited Ireland as a result of Irish film. The support of indigenous filmmaking is important for Irish culture and Irish identity, and this should not be ignored, but its effect economically is interesting. This is a positive growth industry with real talent and firm infrastructure.
This month, US Irish Film Festivals will be taking place all across America. Unsurprisingly, the biggest of these will be the Irish Film Festival Boston which is in its 12th year. An Bord Snip Nua proposed in 2009 that the IRB be abolished and their enterprising efforts be moved to Enterprise Ireland. This would not just be a disappointment, it would be a tragedy. Irish film is growing all the time and the talent this tiny island has consistently produced over the years is staggering.
Let’s hope our filmmaking is not the victim of short-sighted, ignorant government cuts.
We’re just too damn good for that.
