Subscribe Online  
 

November 2018
£15.00


In the magazine
Only available in print
  • The Facilities 50
    Jon Creamer launches Televisual's 31st exclusive annual Facilities 50 survey featuring the top post production houses in the UK and 48 pages of analysis of the sector
  • The Commercials 30
    Jon Creamer introduces Televisual’s exclusive Commercial 30 survey, reporting on a year of highs and lows for commercials producers.
  • The Drama Genre Report
    With competition from streamers intensifying, UK broadcasters are exploring new drama strategies. Tim Dams reports
  • Primary Colours
    Five leading movie colourists tell Michael Burns the secrets of their craft, and explain the techniques they use to grade movies like The Danish Girl, Peterloo and Baby Driver
  • Up, up and away!
    Thanks to advances in camera technology, the possibilities of aerial filming are greater than ever before. Pippa Considine reports on some of the year’s standout aerial projects
  • OB: Which Way Now
    The OB industry is embracing major change as it adapts to the worlds of UHD, HDR and IP. Michael Burns reports
From the magazine
Available to read online
Read >>

Reports&
surveys

Film 40, 2013 Back to Reports & survey Listing

Welcome to the Film 40, Televisual’s second annual survey of the UK film industry. Tim Dams reports

Timed to coincide with this month’s Cannes Film Festival, it kicks off with a round up of the top 40 film production companies in the UK, and in subsequent pages profiles the UK’s leading DoPs and studios and investigates trends in sound production and film grading.

How The Film 40 works
The Film 40 survey of indie producers has been compiled with off the record guidance and input from leading film producers, agents, financiers and independent film PR consultants. But the choice of companies is Televisual’s alone.

Unlike Televisual’s other industry surveys – such as the Production 100 or Facilities 50 – the Film 40 does not rank companies by revenues, awards or size. That’s because the film industry is very different from other creative sectors. Projects take years to develop, produce and release – meaning that a film producer’s revenues and output can vary tremendously from year to year. It’s very much a long-term game.

So we have chosen the following companies based on their reputation within the industry. The companies selected are those that have a track record of making films that attract box office, critical acclaim and/or awards.

They are not just producers for hire – rather they are producers who look for and develop scripts, attach talent to projects, raise finance and risk their own money in films that they believe in. We’ve also tried to pick companies that are capable of making a broad slate of films rather than those that are best known simply as the production vehicles for particular directorial talent.

Missing from the list are companies that are owned by broadcasters (like Film4 and BBC Films) as well as outfits that are predominantly distributors (Lionsgate, Pathe) or financiers (Ingenious, Prescience).

We’ve chosen to list the companies alphabetically. But if we did try to rank them, Working Title would sit at the very top of the list. The top-tier of film production companies would then comprise about 20 other outfits. They are companies that make one or two films a year – some of which, like The King’s Speech or Skyfall, become global phenomena.

Those companies are: Aardman, Blueprint, Big Talk Pictures, Cloud Eight, DNA, Ealing Studios, Eon, Ecosse Films, Heyday, Hammer, Number 9, Recorded Picture Company, Revolution, Ruby Films, See-Saw, Sixteen, Slate/Potboiler, Vertigo and Warp.


More Chapters

 



Televisual Media UK Ltd 23 Golden Square, London, W1F 9JP
©2009 - 2017 Televisual. All rights reserved
Use of this website signifies your agreement to the Terms of Use | Disclaimer