IN RECOVERY INDUSTRY
A thriving independent film sector IS A CRUCIAL PART OF THE INDUSTRY’S ecology ”
“Films need to cost less money, and they must be bolder in that space,” argues Fellner, speaking at this autumn’s LFF and referencing Working Title’s divisive hit The Substance by writer-director Coralie Fargeat. “We’re aiming to start making more under-$15-million movies.” This is a positive move, despite what Bevan calls ‘a shyness at the studio level’ around more challenging films such as Fargeat’s. “But there’s an opportunity there,” he points out. “Right now, what the industry desperately needs is innovative new filmmakers and creative ideas.” Any of these innovative new filmmakers seeking to take advantage of the IFTC will have further opportunities from the summer of 2025, following the launch of the Pinewood Independent Film Hub. Announced alongside the IFTC, the Hub plans to offer sound stages as well as production offices and workshop space in packages specifically tailored to smaller productions. “This is great news for the UK film industry,” says Paul Greengrass, director of News of the World , Jason Bourne and United 93 . He notes that the move should ‘open the doors to new stories and talent’. As well as services and packages to support lower-budget, independent films, the Hub will also offer filmmakers access to the wider Pinewood ecosystem – from camera hire and drone photography through to post-production facilities. Pinewood is, of course, a jewel in the industry’s crown, and it’s fitting that the Buckinghamshire studio is supporting the government initiative. “Pinewood’s
been home to a huge number of all- time-great movies,” says David Puttnam, who produced the likes of Chariots of Fire and Midnight Express . “It’s brilliantly appropriate for Pinewood to offer the next generation of filmmakers a home.” Barbara Broccoli, producer of the James Bond franchise – synonymous with Pinewood – agrees, saying of the launch, “This is good for independent film in the UK. It’s essential for the British film industry that indie films get produced and exhibited.” Indie film is, among other things, a breeding ground for talent. “A thriving independent film sector is a crucial part of the industry’s ecology,” notes Slow Horses executive producer Hakan Kousetta. “It’s where myself and many others started, and is essential if we are to continue to produce talent.” The Hub, he says, will offer ‘vital support for the British independent sector’. Indeed, there is room for cautious optimism, says Bend It Like Beckham director Gurinder Chadha. “These measures send a strong message to independent filmmakers that we are valued and supported,” she says. “British cinema and screen industries contribute billions to the UK economy. It makes great business sense as well as cultural sense.” The UK film industry is currently estimated at £1.36 billion, employing over 195,000 people, and the government has clearly identified the sector as a target for further investment and growth. For those who survive until 2025, the rocky road to recovery might just be evening out.
focus on bringing stories by British talent to the screen’, while also building out co- production opportunities. She also notes that the IFTC will make UK indie films a more attractive investment prospect for international partners and co-producers, and will bring much-needed backing to the independent sector across the board. In a bid to foster home-grown creativity, films qualifying for the IFTC must have a UK writer or director, or be certified as an official UK co-production. Producing high-quality films on lower budgets is no easy feat, though there is now ‘a real opportunity’, state Tim Bevan and Eric Fellner, co-chairs of Working Title Films. Working Title is already focusing on smaller-budget productions. Examples include The Substance – which is doing well in domestic cinemas – and Alicia MacDonald’s new rom com CC: Emily , shot in Manchester earlier this year.
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