Ian Bonhote

New research from film and TV union Bectu shows that little has improved from their report back in 2023, highlighting more than two thirds of respondents to a February survey are still out of work, diving into the wider picture behind the current ‘industry slowdown’. Head of Bectu Philippa Childs said: “There has been a lot of discussion about the state of the UK’s film and TV industry over the past year – about strikes in the US, a downturn in ad revenue, and reduced commissioning. “Alongside rampant mental health challenges and debilitating financial difficulties, one of the most concerning takeaways from our research was the emphasis respondents placed on how the current crisis is amplifying existing inequalities across the industry. 👉🏻 According to the Bectu survey, 68% of respondents are currently not working. 👉🏻 30% have had no work at all in the past three months 👉🏻 88% are concerned about their financial security over the next six months. 👉🏻 75% reported that they are struggling with their mental health. 👉🏻 37% of freelancers are planning to leave the industry within the next five years, up from 24% in September. “The time for warm words and platitudes is over. You cannot have a thriving industry without a thriving and properly supported workforce, and we hope this report is the alarm bell the industry needs. Broadcasters and government must act now to halt the exodus of diverse and talented crew and tackle the structural challenges that leave workers feeling isolated, that damage their mental health and devastate their financial security. “We consistently hear from the Secretary of State and other government officials about how much they value the creative industries. We now call on them to step up, put their money where their mouth is, and take decisive action to protect our much loved and revered film and TV industry, and the workers who make it all happen.” Please remember; 👉🏻 We need to be kind to ourselves. 👉🏻 This isn’t our fault 👉🏻 We’re all in survival mode 👉🏻 It’s brutal out there 👉🏻 The immediate future looks bleak However; 👉🏻 The storm will pass 👉🏻 We learn to dance in the rain 👉🏻 We are survivors …and maybe, just maybe; we’ll all get by with a little help from our friends (and families). My heart goes out to you all ❤️ https://lnkd.in/e8GUrN_q

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There is always a period during which the novel is nearly done but there are niggling things to do, subplots to tidy up, scenes to link, characters to develop or delete. Read the full article: Fixing The Novel ▸ https://lttr.ai/AX0Pd #ThrillerCalledHeresy #DozenCharacterArcs #CharacterArcs #SeparateSheet #SentenceDescription #StoryCompletes #PlottingAgaini #ShortSections #BottomDrawer #StoryLives

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This is a fascinating long read on the boardroom wars at Disney and sheds great light on the current state of the film and TV industry after the lingering effects of Covid "Few feuds among top executives have ever reached the level of intensity and bitterness of the one between Mr. Iger and his handpicked successor. Mr. Iger has called hiring Mr. Chapek for the top job the worst mistake of his career. Still, the question lingers: How could Mr. Iger have so misjudged Mr. Chapek after working with him for nearly 30 years? " https://lnkd.in/dB-NYt76

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Excellent news today that the government has confirmed the introduction of what is known as the Independent Film Tax Credit (its proper name is "enhanced audiovisual expenditure credit for low-budget films"). This was proposed by the previous government but the election prevented its confirmation. It applies to British films with budgets of less than £15 million and is thus a massive boon to documentaries - most of which are made for less than 5% of that. It will make it easier to fund independent documentaries aimed for a cinema release. But there is now a new battle to fight. When the original tax credit was introduced in 2004, the idea was that "The relief will go direct to the film-maker and not to any third party." (I've looked it up in the 2004 Budget Report in the National Archives -paragraph 3.115 if you are interested). The idea was to help create sustainable British production companies. For many in the independent documentary sector this has not happened as the big American platforms, broadcasters and studios have forced UK producers to put the whole of the benefit of the tax credit into the individual film they are helping to fund, leaving nothing for the filmmaker to help create a sustainable business. That's the next battle.

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Check out this week's Friday Filmmaking Blog! We cover the possible decline of AI in filmmaking, celebrate the 25th anniversary of Kubrick’s "Eyes Wide Shut," and highlight five unique directors shaping cinema. Stay updated with the latest film insights! #Filmmaking #AI #Kubrick #Directors #FilmIndustry #Cinema #FilmBlog

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Interesting article about structual rather than cyclical change amongst production companies in BM (Broadcast Magazine) Read here: https://lnkd.in/e2jwgtDX Topline point here: "Data from Ofcom, Pact and Broadcast, plus the 14 interviews conducted for this analysis, suggest it could be structural rather than cyclical change, and that the production community could become polarised between small, distinctive true indies and (largely) super-indie-backed major producers." Start of article "The Great British Dig producer Strawberry Blond has placed top in Broadcast’s Best Places to Work survey for two years running. Among its staff perks are flexible working, team holidays, enhanced parental leave payments and even a Christmas food shop. But after a whole year without a single commission, what it hasn’t been able to offer for some time is actual work on a TV show. “It’s the toughest period I’ve ever known in 30 years,” says founder Steve Wynne. It wasn’t meant to be like this. The indie had six shows in production at the end of 2022, including series four of the More 4 archaeology series and the debut run of Channel 4 daytime format Strangers On A Plane. Wynne quietly hoped at least half of them would return, but none did. “Something was afoot quite early on in 2023,” he says, “but we just didn’t realise how dry it was going to be.” Wynne, the sole owner of Strawberry Blond, keeps the business afloat through podcasts, record label work, commercial video projects and international sales from distributor Hat Trick International. “But it can’t go on forever,” he says. Most companies, big or small, are feeling the pain of the market contraction, but those with annual turnovers of £1m to £10m are feeling it the most. The perfect storm of factors is well known by now: high inflation, Hollywood strikes, the advertising recession and its impact on commercial broadcasters, the BBC licence fee freeze and Wall Street’s streaming correction. Cuts in US content budgets and a £154m drop in PSB origination spend (source: Ofcom Communications Market Report 2024) have meant there is less money to go around, and there has also been a shift in what that money is being spent on. Fewer, bigger and (ostensibly) better shows are being ordered, while mid-market titles like Remarkable Places To Eat and Your Home Made Perfect are disappearing."

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