The BFI has invested £13.2m in 20 feature films since 1 April 2011, when it took over lottery funding from the now defunct UK Film Council.
Upcoming BFI supported projects include Mike Newell’s Great Expectations, adapted by David Nicholls (One Day) which had £2m invested in it. The BFI also put £1.67m into Sexy Beast director Jonathan Glazer’s Under The Skin, starring Scarlett Johansson, while £900k went into Mat Whitecross’ ‘Madchester’-set, Spike Island. Other big winners in terms of lottery funding include Martin McDonagh’s Seven Psychopaths (£1m), Sally Potter’s Bomb (£1m) and Ruari Robinson’s Last Days on Mars (£1m).
The BFI is, of course, still looking for a film funding boss following the resignation last year of Tanya Seghatchian.
The organisation is also busy digesting many of the recommendations of Lord Smith’s film review published earlier this month. The implications of the review seem to be that the BFI will have to scale up further, incorporating all the work that the UK Film Council used to do - on top of the BFI’s traditional cultural and educational functions.
Following the review, I put a few questions to BFI chief executive Amanda Nevill to gauge her organisation’s reaction to its findings - and to get her sense of the outlook for the British film industry in 2012.
What is the BFI’s reaction to Lord Smith’s film review? How is it likely to affect the workings and function of the BFI in the future?
We really welcome the report having worked closely with Chris Smith and the panel, which actually included three of our Governors, throughout. We’re particularly pleased that the report looks at the film sector completely in the round, and we welcome its strong emphasis on the role played by audiences.
At the moment we’re busy developing the BFI’s own Five Year Forward Plan for Film, taking input and views from as many people as possible. It will of course be informed by the findings of the Film Policy Review, and we are looking forward to taking our plan out to consultation with industry in the spring.
In the meantime we know it’s essential to maintain the momentum we began in April. So through our Film Fund we’ve been backing exciting new British films across a range of genres and budgets; we boosted our P&A Fund by £1m and have been investing to ensure audiences across the UK enjoy greater access to films; and we’ve moved quickly to launch new support for the promotion and export of British films internationally.
2011 was a strong year for British film-making, both critically and in terms of box office. What’s the outlook for the British film industry in 2012? Are you expecting significant levels of local production and inward investment?
This is a great question and it’s true, we are enjoying a wonderfully vibrant period for British film. 2011 was a phenomenal year, with international acclaim for homegrown films, fantastic box office results, especially in the independent sector, and inward investment from film production continuing to achieve record levels.
But this should never make us complacent. The film industry is forward facing and we must continually focus on tomorrow: tomorrow’s audiences, tomorrow’s talent, and tomorrow’s markets. It is only by maintaining this focus on the future that we will remain competitive.
2012 is already off to a good start with British talent featuring strongly at the Golden Globes, high hopes for the BAFTAs and Oscars®, and nine new British feature films, alongside 11 shorts, premiering at the Sundance Film Festival. We’re seeing the UK’s locations, facilities, talent and highly skilled crew, supported by the vital work of the British Film Commission, continue to attract productions from around the world; and the UK Government has demonstrated its clear commitment to film as a growth area and driver of inward investment though the extension of the film tax relief until 2015.
However, we are pragmatic and while 2011 has been a particularly strong year, exceptional in many ways, we know it will be a hard act to follow.
It’s still a challenging time for many across industry as traditional business models break down, we continue to wrestle with the threats from piracy and copyright infringement, and the economic landscape remains tough to navigate.
But for me one of the best ways we can address these challenges is for the industry to really pull together in support of the Film Policy Review. In fact one of the best things I think has already come out of the review is a much greater sense of connectedness across industry; a real sense that working together we can achieve more and reap rewards across the board. There’s no doubt in my mind that the key to a future successful and prosperous industry is keeping that connectedness going – and the BFI wants to be a vital link in that industry-wide chain.
Which BFI funded films have recently / are set to go into production?
The BFI Film Fund’s production slate is looking incredibly exciting, featuring films across every budget level and genre, with some of the UK’s most well known and respected directors there alongside the bright new filmmaking talent of tomorrow who are making their first or second features.
Since 1 April last year the BFI Film Fund has awarded over £13.2m in Lottery funding to the production of 20 British feature films. To highlight just a few, we have the latest adaptation of Dickens’ ever-popular Great Expectations directed by Mike Newell, adapted by David Nicholls and starring a host of top UK film talent including Helena Bonham Carter, Ralph Fiennes and Robbie Coltrane. We also have the eagerly-awaited film from Sexy Beast director Jonathan Glazer, Under The Skin, starring Scarlett Johansson. Max Giwa and Dania Pasquini's Streetdance 2 3D is set for release on 30 March and was backed by the BFI. Alongside these we have films such as Fast Girls, a really heartwarming sports drama co-written by Noel Clarke and Broken, the directorial debut of acclaimed theatre director Rufus Norris.
The BFI Film Fund works closely with writers, directors and producers to develop projects. Since 1 April the Fund has invested over £2.3m in the development of 99 film projects, including Peter Ackroyd’s Dan Leno and the Limehouse Golem, currently being adapted for the screen by Jane Goldman with Number 9 Films, and the latest project from Michael Powell award-winning director, Nick Whitfield, co-written with Rachel Tunnard, The Dirty Little Book of Stolen Time, which is being developed with Forward Films.
There’s been a very supportive reaction from the film industry this week to Chris Smith’s Film Policy Review, published on Monday.
The report’s 56 recommendations have been described as ‘sensible and practical’ and ‘comprehensive’ by film industry executives that Televisual has spoken with.
Director Roger Michell, whose credits include Notting Hill, Enduring Love and The Mother and is former chair of Directors UK's film group, says: “The review is very positive, very detailed, very sensible - and pretty cheap. Most of the proposals they are making are not going to cost the government or taxpayer anything.”
Even before the Review was published, the industry was confident that Lord Smith was the right man to lead it. He earned a reputation as a knowledgeable, engaged Culture Secretary during his time in Tony Blair’s administration, when he oversaw the creation of the UK Film Council.
Lord Smith then gathered a solid, respected panel to work with him on the Review: Big Talk film producer Matthew Justice, Film4’s Tessa Ross, British Film Commission chair Iain Smith, Vue chief exec Tim Richards, Optimum Releasing founder Will Clarke, writer Lord Julian Fellowes, Sony Pictures Entertainment chairman Michael Lynton and Olswang’s head of film and television Libby Savill.
Their input, plus their extensive consultation with the industry, means that the Review’s contents are pragmatic and considered in their scope. “It’s one of the few reviews I can think of in recent years where…there isn’t an awful gulf between government pronouncements and what practitioners on the ground say would help them,” says Adrian Wootton, chief executive of Film London and the British Film Commission.
Crucially, the Review doesn’t advocate a big bang, top heavy solution that promises to solve the industry’s problems, but sets out an evolutionary framework for improvement across a broad front - skills, education, funding, research and inward investment.
Culture minister Ed Vaizey has expressed his support for the Review, and is likely to accept many of the recommendations - as he should given its positive reception.
After all, there’s now a widespread view within the Coalition and amongst civil servants that the film industry is a grown up business and an important contributor to UK GDP, rather than a fluffy cultural nicety. As the report says, 2011 is shaping up to be the most successful year in over two decades for British film at the box office thanks to films such as The King’s Speech and The Inbetweeners. Inward investment from Hollywood films such as the Harry Potter saga, Pirates of the Caribbean and X Men: First Class also continues to boom.
Such success means that film is a key part of the UK’s creative industries, which have been fastest growing area of the economy over the past decade outside the financial sector.
The challenge now, of course, is to ensure that the 56 recommendations are implemented - and that will take time. There's likely to be opposition from some quarters, particularly broadcasters who have been asked to take a more pro-active role in the film industry. And there's a question mark over whether the BFI is adequately structured and resourced to take a lead on many of the proposals.
I spoke with Lord Smith just after the Review’s press launch and he said he would like to see all of its recommendations implemented. But he added that if he could pick just three points that would have the biggest impact, he said they would be: to recycle more of the financial success of films back to creatives; the joint venture proposal to bring producers and distributors together from the outset of a film’s life; and to encourage more broadcaster participation in film production and acquisition.
“If those three recommendations were the only ones implemented, we would be some way along the road to success,” concluded Lord Smith.
See Televisual's February issue for a full analysis and a report on the UK film industry in 2012
There’s been a flurry of big drama announcements this week, with BBC1, ITV and C4 unveiling their latest commissions for 2012. The commissions all point to drama becoming the big battleground for broadcasters this year.
The BBC’s drama boss Ben Stephenson unveiled five new drama commissions, including the historical adaptation War of the Roses and Room on the Broom, a follow up to The Gruffalo.
These are on top of upcoming 2012 dramas such as Birdsong, Call the Midwife and Restless on BBC1; Tom Stoppard adaptation Parade’s End, Stephen Poliakoff’s Dancing on the Edge and a Shakespeare season on BBC2; the £11m Titanic as well as new runs of Scott & Bailey, Downton Abbey and Vera on ITV; The Mill, C4’s first period drama in many years; and Sky’s big budget Sinbad.
Buoyed by the ratings and critical success of shows such as Downton Abbey, Sherlock and Top Boy, the major broadcasters are all choosing to invest in drama as they seek to standout with a genre that allows them to offer something truly distinctive. By comparison, entertainment ratings juggernauts such as The X Factor and Strictly Come Dancing are still for the most part delivering the goods – but they are looking very familiar as they roll around year after year.
And it seems that most broadcasters can afford to spend on drama, despite it being the most expensive genre to produce. In a sign of the relative health of key commercial broadcasters, C4 revealed this week that its revenues had crossed the £1bn mark for the first time ever last year.
The BBC, of course, is cutting back its overall production spend following DQF, but it has chosen to protect its drama investment on BBC1 and BBC2 from the worst of the cuts.
Last summer, ITV said it was boosting its drama output by 40 hours a year, or nearly £30m. And Sky has also become a key player - and investor - in the genre.
It’s very hard to avoid the cliché, but it really does promise to be a dramatic year for television in 2012.
The BBC’s director of London 2012, Roger Mosey, talks with Tim Dams about the unique challenges of broadcasting the UK’s biggest ever event in peacetime
If Roger Mosey is feeling the pressure from overseeing the BBC's coverage of the Olympic Games this year, he is not letting on. The BBC's director of London 2012 will not even confess to a sleepless night caused by the challenge of broadcasting the UK's biggest ever peacetime event.
It's all the more surprising when one considers the scale of the 2012 broadcasting offer. It is not just about the 17 days of Games coverage itself, but the 70-day UK torch relay as well as the 80-day Cultural Olympiad, which Mosey describes as "the biggest arts event in our lifetime." Mosey is also keen to stress that the Olympics are a very big part of what promises to be "a pretty amazing year" - one that also includes the four day Diamond Jubilee, Euro 2012 and "run of the mill events" like Wimbledon. "The key thing for us is the national narrative next year and putting it all together."
Focusing on the Games, Mosey says that the biggest single innovation of London 2012 is "simply the amount of choice that people will be able to have." The BBC - which takes most of its Games footage from the host broadcaster OBS – will provide live coverage of every single event, with up to 24 screens of sport available each day across BBC1, BBC3, via the red button and the BBC website.
"A pledge of 2012 is that we will show you everything from first thing in the morning to last thing at night," says Mosey, explaining that audiences will be able to "personalise" their Olympics viewing more than ever before. By comparison, the BBC aired about half of the host broadcaster content from the Beijing Olympics, which meant it was impossible to watch niche events such as fencing in long form.
London 2012 will also be the first Olympic Games to be captured in super hi-definition, with the footage broadcast on giant screens in Glasgow, Bradford and London. Some events will also be filmed in 3d (following in the footsteps of the Barcelona Olympics in 1992, the first to be captured in 3d). And social media will also be a key component of the Games; the BBC recently announced via Twitter that Elbow was composing its Olympics theme tune.
But Mosey is in no doubt that the TV will still be the main focus. "We shouldn't lose sight of the fact that this will be a 42-inch screen HD Olympics for most people. Even though we’re very proud of all the innovation and it will be enormously valuable to the people that use it, people will want to watch the 100m final on a big screen in HD if they can."
Mosey will not be drawn, however, on the details about the size of the BBC's Olympic operation, no doubt fearing a press backlash over the corporation's budget and resources in this era of austerity. Budget and staff numbers will be published this year, he says. "The BBC sent 437 people to Beijing, which prompted the odd fainting fit in the more sensitive members of the press. NBC sent 2,850, the Germans over 700. We are very confident our numbers will be what we need to do the job." He does say that the BBC's budget for the Games has not been reduced as a result of the corporation's recently announced DQF cuts. "DQF is rightly about 'fewer, bigger, better', and people would expect the BBC to deliver the Olympics properly and not randomly cut costs. Reputationally, if we try to do big events on the cheap it wouldn't work."
Much of the BBC's effort will focus on customising the Olympics for a British audience, enhancing the neutral footage captured by the host broadcaster. As usual, it means additional BBC cameras and presenters at venues, as well as two BBC studio locations - one inside the Olympic Park, the other just outside.
This, says Mosey, is one of the more straightforward parts of the operation. "The thing we know how to do is the sport. The BBC has been televising the Olympics since 1948. The bits that we know less how to do are the torch relay, the cultural Olympiad and the news dimension of having the Games in the country."
The start of the relay ceremony in May is the moment that "Britain will get in the mood for what is going to come," says Mosey. But he wants to ensure that 100% of the country gets some value out of the BBC in 2012. "Sport reaches about 75-80% of the population. How you reach the other 20% is a challenge." That is where the Cultural Olympiad comes in, offering Shakespeare productions through to documentary events like Britain in a Day, a music festival in Hackney and the Proms. "Take the Proms," says Mosey. "There will be some people who don't want to watch the opening ceremony. If they can have the opportunity of seeing Daniel Barenboim conducting Beethoven's Ninth, that is giving them something special that night."
With such a range of output being lined up for the Olympics, it's little wonder that Mosey can confidently describe 2012 "as a year like no other."
Born in Bradford, educated at Bradford Grammar School and Wadham College Oxford (Modern History and Modern Languages) 1980
Joins BBC Radio Lincolnshire as a reporter. Then joins network radio for The Week in Westminster, before working for Today as a producer and the BBC's New York bureau. 1987
Editor of Radio 4's PM 1993
Editor of Today programme 1997
Controller of BBC Radio 5 Live 2000
Head of BBC TV News 2005
BBC director of sport 2008
BBC director of London 2012
How do you go about mounting the UK's biggest ever broadcast operation in peacetime? The people in charge of televising the Olympics reveal their plans for the Games coverage.
From July 27th, an estimated four billion people around the world will tune in for what’s likely to be the biggest broadcasting event in history – the London 2012 Olympic Games.
The scale and complexity of mounting such a broadcast operation is mind-boggling: over 5,000 hours of Olympic coverage will be provided to viewers in around 200 countries and regions worldwide via some 20,000 media staff who will work from an International Broadcast Centre (IBC) big enough to fit five jumbo jets. For the duration of the Games, the IBC will be the biggest broadcast production centre in the world.
The host broadcast
Coverage of the Games is overseen by Madrid-based Olympic Broadcasting Services (OBS), which is the host broadcaster responsible for providing neutral coverage to every rights holding broadcaster around the world. The OBS was set up in 2001 by the International Olympic Committee (IOC), which owns the Games, with the aim of providing a continuity of production expertise and standards for successive Olympic Games. It’s run by veteran Olympic broadcast producer Manolo Romero.
“We provide the core, unbiased coverage of the Games,” says head of OBS London Paul Mason. “Because it has to be accessible to the world’s top broadcasting nations, the coverage has to be top quality and as good as anything they produce.”
The concept of a single host broadcaster for the Olympic Games is a long-standing one. After all, it wouldn’t make sense for some 140 broadcasters from around the world to shoot their own separate coverage in each venue; if they did, it would leave hardly any room for the spectators.
London 2012, however, marks the first time that OBS is in name the host broadcaster of the Olympic Summer Games. In Beijing, by contrast, the host coverage was provided as a joint venture between OBS and the Chinese organising committee.
The fact that coverage of the London Games is being managed entirely by a Spanish company has raised some heckles in the UK production community, which takes pride in its global reputation for producing sports events. Jeff Foulser, chairman of top sports producer Sunset + Vine, comments: “In a country where the production community is as vibrant as it is over here, it’s just sad that we don’t have more of a stake in our own Games. It should be our Games, we should all have a stake in it really.” He adds that having one company permanently in charge of coverage, without competitors, isn’t healthy in terms of innovation either.
OBS, however, contracts in production teams with recognised expertise in their field to provide its host coverage of key sports. The BBC, for example, has been asked to provide all the coverage for sports such as tennis, rowing and football. Cuba’s ICRT, meanwhile, takes care of volleyball coverage while Japan’s Fuji TV looks after judo (see box, below).
The OBS operation is huge and involves years of meticulous planning and considerable attention to detail. Its host footage is captured using some 1,000 cameras, 50 OB trucks and 5,500 production staff (including 1,200 broadcast students who will gain invaluable work experience on the Games). OBS is also responsible for taking the shell of the newly constructed International Broadcast Centre, and fitting it out both for its own purposes, and for the rights holding broadcasters. This includes preparing the master control area, known at the CDT, which takes in the feeds from all of the venues. Mason comments: “The telecoms network is extensive and has to be resilient. One of the things that we are absolutely clear on is that the OBS feed has to be the one that broadcasters can rely on. A lot of planning goes in to that.” The OBS is also responsible for the large server in the IBC that will record the games. In Beijing the server held about 1,500 hours of HD footage, with the rest in SD. But for London it will hold the complete games in HD.
Mason, formerly chief technical co-ordinator, international operations, at the BBC, points to a number of key challenges in producing the Games, which he has been preparing for since his appointment in 2009 as the first employee at OBS London.
“The scale is one aspect of it,” he says, explaining that a multi-sport event like the Olympics has to be pulled together and go through a single quality control process in the broadcast centre if it is not going to look like a series of separate OBs.
There are also multiple factors to take into account, such as negotiating with the Civil Aviation Authority and NATS to allow aerial coverage of the road races in a way that doesn’t interfere with air traffic at Heathrow, or working through LOCOG with Ofcom to ensure sufficient broadcast spectrum, which is always tight in a big city.
Then there are the broadcast innovations to consider, such as arranging for parallel 3d coverage of some events and super hi-definition coverage of others. This year the core coverage is also entirely in HD with 5.1 surround sound, and Mason points to a dramatic increase in the number of super slo-mo cameras which are now a crucial component in sports coverage.
The BBC’s coverage
Within the UK, the neutral OBS feed will then be taken by the rights holding broadcaster, the BBC, which will customise it specifically for British audiences.
Dave Gordon, the head of major events for BBC Sports, says: “There is a huge amount of customisation for the audience. We provide the commentary, the presentation, the interviews, the features, the context, the explanations, the graphics, the guides.” The BBC’s line-up for the 2012 Olympics will see Match of the Day presenter, Gary Lineker, anchoring BBC1’s primetime evening coverage, with Sue Barker in the late afternoon slot and Jake Humphrey, Hazel Irvine and Clare Balding in the studio to guide viewers through the day.
Gordon has worked at the BBC for 40 years, and London 2012 will be his tenth Olympics. He says his key priority is a “ruthless focus on our domestic audience.” And this year it means offering up every single session of every sport every day to viewers. No sport will be left without coverage.
Viewers will be able to watch up to 24 screens of sport every day, either on BBC1 or BBC3, on radio, online, on mobiles and on up to five red button screens. “We are going for this all embracing approach where it is all about what we offer on every platform and every device,” says Gordon.
In all, he estimates that the BBC will make 2,500 hours of sporting content available to viewers. By comparison, the BBC aired 300 hours of the Sydney Olympics in 2000, and used the red button for the first time at a summer Olympics in Athens in 2004.
Gordon acknowledges the added pressure of having the games in the BBC’s back yard. He says: “It is different because it is more multifaceted. There is more expectation so the offer is bigger. We are also doing a lot around the Olympics in terms of complementary programming as well as the torch relay and the cultural festival. There’s an enormous amount of extra content that we are making in the build up to the Games as well.”
He’s confident that the BBC team is on track to deliver its coverage, despite facing up to key challenges such as the move of the BBC Sports department to Salford during the lead up to the Olympics (although the core Olympics planning team remains in London). “We’ve a significant number of people who will have worked on Beijing, Athens and Sydney. We’re very lucky that we have a terrific team pulling it all together with lots of experience.”
The impact on UK production
London 2012 promises to have a huge impact on the UK production sector, creating a massive demand for experienced production staff and facilities before and during the Games.
A large number of international broadcasters will set up their own production operations for the Games, hiring in UK freelance crews, production facilities and OB trucks. In fact, the Games is such a big event that no single country can resource it on its own. Even China had to ship in OB trucks to cater for the Beijing Olympics.
Roger Mosey, the BBC’s director of London 2012, says: “We are finding people are booked three or four times already.” He adds that there is “a massive demand for skilled camera operators and technicians of all kinds,” and that OB truck availability is incredibly limited through the summer. There’s also likely to be a shortage of skilled engineering talent during the Games. “People who can engineer these big events are few and far between and are really at a premium.”
This sentiment is widely echoed elsewhere. Olly Wiggins, director of camera and crewing outfit S+O Media, thinks the Olympics will provide a major boost to the broadcast industry with a “huge demand” for kit and crew. “Of course some foreign broadcasters will bring their own personnel and equipment, but it’s not always feasible for productions to freight over everything.” Wiggins anticipates that “freelancers will be booked up pretty early and those with specialist skills will have a very productive month. I expect us to be very busy with pre-booked shoots and of course the last minute camera hires to UK and foreign crews.”
The Olympics is also likely to leave its mark on the industry, both in terms of an improved broadcast infrastructure around the Olympic Park and on the skills of UK production staff. Dave Gordon concludes: “The opportunity to work on such a major event will be a great legacy for this country’s technical talent. In terms of refreshing and recharging the industry in years to come, it is very good news.”
London 2012: the broadcast challenge
• An estimated 4bn people will watch the Games
• The host broadcaster, OBS, will provide 5,000 hours of core HD coverage to rights holding broadcasters
• OBS will capture the Olympics with 1,000 HD cameras, 50 OB trucks and 5,500 production staff
• The hub for the Olympics broadcast operation is the International Broadcast Centre/Main Press Centre, which will be the largest single broadcast production centre in the world for the duration of the Games. The IBC will host 20,000 broadcasters, photographers and journalists. Its 12,000sq m catering village will serve 50,000 meals a day. The steel frame of the IBC is big enough to house five jumbo jets placed wing tip to wing tip.
• London 2012 is set to be the first Olympics to be captured with a fully file-based, HD workflow. Many events will also be captured in 3d and some in super hi-definition.
London 2012: an Olympic production
Although the UK is hosting the Olympic Games, the core broadcast coverage is provided by Spanish company OBS, the Olympic Broadcast Service, which is run by events producer Manolo Ramero. As host broadcaster, it provides a ‘neutral’ feed which is supplied to each country’s rights holding broadcasters, such as the BBC in the UK. The feed is then customised by the rights holding broadcasters, who add their own commentary and additional footage for their own audiences. The OBS hires various venue production teams from around the globe to produce coverage of certain sports, based on their expertise in covering the events. The following organisations are responsible for producing the footage of the London 2012 games.
OBS Teams – Swimming, Diving, Synchronised Swimming, Water Polo, Modern Pentathlon - Swimming, Basketball, Equestrian, Fencing, Handball, Sailing, Shooting, Beach Volleyball, Wrestling
BBC – Boxing, Rowing, Canoe/Kayak - Sprint, Tennis, Football
YLE (Finland) – Opening/Closing Ceremonies, Athletics-Integrated/Track/Throws
SVT (Sweden) – Athletics-Jumps
SBS(Korea) – Archery, Taekwondo
Fuji TV (Japan) – Judo
TVE(Spain) – Canoe/Kayak - Slalom, Triathlon, Aquatics-Swimming Marathon
CCTV (China) – Modern Pentathlon, Badminton, Gymnastics, Table Tennis
NOS (the Netherlands) – Cycling-Road Race, Time Trial, Athletics-Walks/Marathon
STV (Slovakia) – Hockey
ICRT(Cuba) – Volleyball
ERT(Greece) – Weightlifting
VRT (Belgium) – Cycling (BMX, Track, Mountain Bike)
This article is taken from the January issue of Televisual magazine. See the magazine for a full interview with the BBC's head of London 2012, Roger Mosey
Hats off to Jack Morton Worldwide for creating the impressive Mayor of London’s New Year’s Eve Firework Display this year.
It’s the eighth year in a row that brand experience agency Jack Morton - which came second in Televisual’s annual Corporate 50, our ranking of the top corporate production companies - has created the London New Year fireworks.
2012’s display was seen by millions of people on BBC1, and marked the arrival of the Olympic and Diamond Jubilee year for the capital with a historic first – the launching of fireworks from Big Ben.
The music soundtrack for the display was conceived by Jack Morton's creative director David Zolkwer and executive producer James Donald and produced in close collaboration with Radio 1’s DJ Nihal and producer Dan Mumford.