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September 2018
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  • The Production 100
    Tim Dams introduces Televisual’s exclusive Production 100 survey of the indie television sector, now in its 26th year, and finds the rise of the streamers is creating opportunity –but also plenty of anxiety. The report includes the top 100 indies, the
  • The Genre report: Factual TV
    Demand for factual is growing as channels fight ever harder for audiences. Televisual Factual Festival producer Pippa Considine reports
  • All the Fun of the Fair
    ITV and Amazon’s new Vanity Fair adaptation demanded a period drama with a modern sensibility. But how was that balancing act achieved? Jon Creamer reports
  • The Art of the Vfx Super
    Creativity, tech know-how and a cool head are essential attributes for a vfx supervisor. Three top supers tell Jon Creamer how they help create screen magic
  • Channel 4's big move
    Three cities are still in the running for the new out-of-London Channel 4 HQ and three for the two creative hubs. The indies in those cities say the potential prize is immense. Jon Creamer reports
  • IBC preview
    IBC is a great place to check out both new launches and to get your hands on something already announced at NAB. Here’s a small taste of what’s likely to be on offer
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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.


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