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December 2017

In the magazine
Only available in print
  • The Televisual Commercials 30
    Jon Creamer introduces Televisual's exclusive annual report, the Commercials 30, and finds that while budgets are down and production companies are under threat from agency in-house units, commercials producers are finding new horizons beyond ads too.
  • Commercials 30: Best in Show
    Commercials producers also get to vote for their favourite directors, stand out ads and top rated agencies along with their favourite post houses, editors and vfx ops. We reveal the results
  • Commercials 30: The Top 30
    Televisual reveals the Commercials 30 itself, the 30 top rated commercials production companies in the UK
  • Music in Motion
    So what’s next for the music behind the commercials? Will it be another year in the ascendant for London Grime perhaps? Portugese house? Afro beats or the Angolan kuduro sound?
  • Televisual Factual Festival report
    Last month saw Televisual's annual Factual Festival return to Bafta. How to stand out in a world of ever increasing viewer choice was the big theme this time. Tim Dams reports
  • Alison Kirkham in interview
    At the Televisual Factual Festival, the BBC's controller of factual Alison Kirkham outlined the shows the corporation is looking for in the year ahead
From the magazine
Available to read online
  • 2017: the year in review
    Two very different stories – the rise of SVOD players and the Harvey Weinstein abuse allegations – defined TV’s year. Tim Dams reports
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Film 40, 2012 Back to Reports & survey Listing

The British film industry is currently enjoying the best of times and the worst of times. 

Home grown hits such as The King’s Speech and The Inbetweeners have delivered awards and huge box office.

The UK is also a magnet for big budget Hollywood shoots, with features such as Prometheus, Snow White and the Huntsman and John Carter employing thousands of crew.

But it’s still an industry that remains as tough as ever in which to do business. In particular, financing and getting films made has not become any easier.

Former UK Film Council chairman and ex-Polygram boss Stuart Till summed up the situation neatly last month at a Bafta debate on the future of independent production.

Citing the box office rewards of The Inbetweeners and The King’s Speech, he said: “It’s like a one arm bandit. The jackpot pays out more, but the chances of hitting it are getting less.”

The UK does have, however, several factors in its favour that increase its chances of hitting this global jackpot.

In particular, the UK has benefited from the existence of a stable and easily understood film tax credit system that can deliver up to 20% of budgets.

Most importantly – and as the following pages demonstrate – the UK boasts a wealth of world class filmmaking talent and a respected film heritage.

The UK’s talent pool – so evident as you scan the lists of top directors, producers, DoPs, vfx houses and studios in this film special – provides a solid base to make acclaimed UK films and reassures Hollywood that its big budget shoots are in good hands here. 

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