Click to Skip Ad
Closing in...
Relativity Faces Bankruptcy, Spelling More Disaster for 'Jane Got a Gun' Relativity Faces Bankruptcy, Spelling More Disaster for 'Jane Got a Gun' 'The Witch' Won't Open Until 2016, But Its Sundance-Winning Director Has a New Film 'The Witch' Won't Open Until 2016, But Its Sundance-Winning Director Has a New Film Showtime Chief on David Lynch's 'Twin Peaks' Revival: "It's His Show" Showtime Chief on David Lynch's 'Twin Peaks' Revival: "It's His Show" Toronto Film Festival Lineup: What Did They Get? Toronto Film Festival Lineup: What Did They Get? Discover the Brothers Quay, Identical Twin Animators Who Inspired Christopher Nolan Discover the Brothers Quay, Identical Twin Animators Who Inspired Christopher Nolan Richard Linklater's Untitled New Film Pushed to 2016, Might Direct Jennifer Lawrence Movie Richard Linklater's Untitled New Film Pushed to 2016, Might Direct Jennifer Lawrence Movie Jill Soloway Says "There Is an All Out-Attack" on Female Filmmakers Jill Soloway Says "There Is an All Out-Attack" on Female Filmmakers 'Steve Jobs' Joins Fall Festival Contenders as NYFF Centerpiece Gala: What's Coming Up and What's Not (UPDATED) 'Steve Jobs' Joins Fall Festival Contenders as NYFF Centerpiece Gala: What's Coming Up and What's Not (UPDATED) Arthouse Audit: Is 'Phoenix' This Year's 'Ida'? 'Mr. Holmes' Stays Strong Arthouse Audit: Is 'Phoenix' This Year's 'Ida'? 'Mr. Holmes' Stays Strong Friday Box Office: Sandler's 'Pixels' Gets Mixed Response, 'Paper Towns,' 'Southpaw' Not Far Behind Friday Box Office: Sandler's 'Pixels' Gets Mixed Response, 'Paper Towns,' 'Southpaw' Not Far Behind Scott Foundas Explains Why He's Leaving Film Criticism--Again--for Amazon Studios Scott Foundas Explains Why He's Leaving Film Criticism--Again--for Amazon Studios Congrats to Monica Bellucci: She's Making History Congrats to Monica Bellucci: She's Making History Broad Green Dates 'Knight of Cups' and Two More Releases Broad Green Dates 'Knight of Cups' and Two More Releases Watch: The Secret Ingredient to David Lynch's Disorienting Cinema Watch: The Secret Ingredient to David Lynch's Disorienting Cinema First Look: 'No' Director Pablo Larraín Channels 'Neruda' with Gael García Bernal First Look: 'No' Director Pablo Larraín Channels 'Neruda' with Gael García Bernal Is 'The Revenant' the Most Hellish Shoot of All Time? Is 'The Revenant' the Most Hellish Shoot of All Time? Gabriel García Márquez Documentary Coming Soon (Trailer) Gabriel García Márquez Documentary Coming Soon (Trailer) Why I Can't Wait to See 'Crimson Peak,' Guillermo del Toro's Sumptuous Period Thriller (VIDEO) Why I Can't Wait to See 'Crimson Peak,' Guillermo del Toro's Sumptuous Period Thriller (VIDEO) Why Kevin Costner Paid for 'Black or White' (New Trailer, Sneak Preview Q & A) Why Kevin Costner Paid for 'Black or White' (New Trailer, Sneak Preview Q & A) Gabriel García Márquez and Akira Kurosawa Talk Film, Writing and 'Rhapsody in August' in 1991 Gabriel García Márquez and Akira Kurosawa Talk Film, Writing and 'Rhapsody in August' in 1991

British Film Institute Unveils New Five-Year Plan

Photo of Matt Mueller By Matt Mueller | Thompson on Hollywood October 3, 2012 at 11:41AM

The British Film Institute has unveiled its much-anticipated five-year Future Plan, which they’ve dubbed Film Forever and which spells out a comprehensive blueprint for public film policy in the UK over the next five years. With a substantial chunk of change to invest--roughly £50 million a year--the primary targets are developing creative talent and audiences outside of London, more investment in film production and development and the continuing heritage conversion of worthy British films into digital format.
0
British Film Institute

The British Film Institute has unveiled its much-anticipated five-year Future Plan, which they’ve dubbed Film Forever and which spells out a comprehensive blueprint for public film policy in the UK over the next five years. With a substantial chunk of change to invest – nearly £500m drawn from National Lottery funding (roughly £50m a year), grant money and the BFI’s own earnings – the primary targets are developing creative talent and audiences outside of London, more investment in film production and development and the continuing heritage conversion of worthy British films into digital format.

A big winner is development and production funding, which will rise from £15m when the BFI absorbed the UK Film Council last year to £24m by 2017. The BFI Film Fund will make approximately 20 major production awards per year although going forward, there will also be a greater emphasis on development (both talent and project-based) and new opportunities for filmmakers working in documentary and animation. The declared aim is to “put exemplary filmmaking talent at the heart of our strategy, supporting bold new visions from emerging and established filmmakers” – a signal that the BFI wants to be more transparent in its decision-making and move away from the “club factor” that some critics claim existed during the UK Film Council’s reign. (If you were in, you were in – if not, woe betide you.)

Equally crucial is the intention to distribute more resources outside London, with Greg Dyke, chairman of the BFI, firm in his resolve that the organization will no longer be called “the London Film Institute.” He sees regional growth and development outside London as vital to the future success in the British film industry. As such, the Future Plan outlines a strategy to “build, educate and inspire” audiences at the grassroots level through the providing of equipment, seed money to create the next generation of film-savvy cinemagoers and partnerships with local organizations including cinemas, art galleries and local media.

This article is related to: BFI


E-Mail Updates








Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.