Creative Scotland On Screen - Film Strategy 2014-17
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Creative Scotland
On Screen
Film Strategy
2014-17
© 2014 Creative Scotland
Contents
No part of this publication may be
reproduced in any format without prior
written permission of Creative Scotland
4
Introduction
Unlocking Potential, Embracing Ambition
5
Context
Scotland, the wider UK and Internationally
9
Draft Film Strategy, Consultation and Responses
13
The Ambition
15
Our Strategy
Film Education
Talent and Skills Development
Equal opportunities
Film Development and Production
Creative Scotland operates an equal Inward Investment and Co-Productions
opportunities policy. Our offices have Distribution, Exhibition and Audiences
disabled access. Certain publications
can be made available in Gaelic,
in large print, Braille or audio format.
34
Creative Scotland’s Role and Approach
Contact Enquiries on 0845 603 6000
Typetalk please prefix number with 18001
35
This plan is produced in electronic form by Monitoring Progress
Creative Scotland – please consider the environment
and do not print unless you really need to 38
Connecting Themes
Your feedback is important to us. Let us know what you think
of this publication by emailing feedback@creativescotland.com
39
Further Information and Contacts
Cover: The Black Cuillin hills on the Isle of Skye
from the road to Glen Brittle, Inner Hebrides.
Photo: Ian Paterson/Scottish Viewpoint
1
Peter Mullan and Freya Mavor
in Sunshine on Leith
Photo: courtesy of Black Camel Productions
2 3
Introduction Context
Unlocking Potential, Embracing Ambition Scotland, the wider UK and Internationally
In April 2014 we published Creative Scotland’s While the focus of this strategy is film, it is Scotland has a strong international reputation In recognition of the importance of film in the
10-year Strategic Plan, Unlocking Potential, framed in the context of the screen sector for film; our filmmakers and both on and Scottish cultural landscape, Creative Scotland
Embracing Ambition, presenting a shared vision as a whole including those individuals and off-screen talent are highly-regarded and commissioned BOP Consulting in partnership
for the arts, screen and creative industries for organisations whose work spans or overlaps internationally recognised. There has been with Whetstone Group and Jonathan Olsberg
the next ten years. At its heart is a set of ambitions with the film and television value chain, such as a steady output of films with some exciting to conduct a Film Sector Review which was
and priorities that will focus and inform our work facilities and post-production houses, digital recent successes. published in January 2014. Key aims for the
as well as our funding guidelines and decisions technology companies, animation companies sector in Scotland set out in the Film Sector
over the period 2014–2017; it reflects what and games companies. However, the sector has faced challenges, some Review included the following:
we aim to achieve in collaboration with others. that are systemic and others as a result
Through discussion with individual sectors We have appointed a new Director of Film of the growth in new viewing technologies, •C
reative Scotland should have a clear strategy
and the specialist knowledge of our staff, and Media to lead our team of specialists the continually shifting international market and brand identity in the context of film, widely
we also produced a suite of Companion Pieces with the aim of giving a clearer focus to for film and the global financial crisis. recognised for championing and networking
developed to be read alongside our Strategic Creative Scotland’s work in the sector in across the sector
future. We will translate this strategy into a The UK Government and the European Union
and Annual Plans. provide financial support for film in the UK • r outes into film careers and skills provision
work-plan and identify clear responsibilities
We have said that Creative Scotland’s remit within the team for each element of it. through a variety of channels. The BFI Statistical across the screen sector should be better
across the arts, screen and creative industries Yearbook 2014 notes that: co-ordinated and provided through the further
creates opportunities for us to: Through a sharper focus within the organisation, education system as well as by independent
matched with constructive collaboration with • t otal measured public funding for film in the organisations
• act as a conduit for cross-sector the sector and stakeholders, Creative Scotland UK in 2012/13 was £363 million, a decline of
connection and learning will be a driver and advocate for film in Scotland. just under 1% on 2011/12 • more international film and high-end television
We will review and refresh our application and productions should be encouraged to come
• understand the wider cultural system • t he principal sources of public funding for to Scotland through spend-related and other
assessment processes, make funding decisions UK film in 2012/13 were the film production
and economy and identify where to act with a sense of confidence in filmmakers based in incentives, bringing economic, skills and
in order to strengthen them tax relief (57%), the National Lottery (18%) employment benefits
Scotland, and ensure that we are engaging at the and grant-in-aid (8%) from the Department
• position the work that we fund at the appropriate stage in the film development and for Culture, Media and Sport • film in and from Scotland should be celebrated
heart of creative, artistic, cultural, social production process. domestically and renowned internationally
and economic development, stimulating • fi
lm development and production received
This strategy identifies our priorities for the film 71.2% of total UK public funding for film •d
iverse audiences across Scotland should
future growth for public investment in sector over the next three years and explains how
arts and culture enjoy greater film choice, at the cinema,
we will work with the sector and public partners •o
f the total UK public funding for film, the on the move and at home.
• help develop and diversify income streams to achieve the ambitions set out in Creative 2012/13 net film spend by Scottish agencies
for the arts, screen and creative industries, Scotland’s 10-year Strategic Plan. It reflects a with a responsibility for film (including film Scottish feature film production currently sits
maximising opportunities from intellectual dynamic and changing sector and, as such, we expenditure on the part of Creative Scotland at an average of six films annually, though the
property and stimulating collaboration will be responsive to changing sector needs and and the Scottish Screen Archive – part of the number does fluctuate from year to year.
between commercial creative companies, priorities in the implementation of this strategy. National Library of Scotland) represented Scotland strives to encourage a mix of large
artists and creative practitioners. £6.9 million (1.8%). international productions and indigenous
productions; it has had some recent successes,
but it is generally accepted that Scotland needs
to develop and produce more films (documentaries,
features, animation and artists’ films) each year
in order for its production community to stabilise,
grow and compete in a meaningful way at home
and internationally.
4 5
Jack O’Connell in`71
Photo: courtesy of Dean Roger
6 7
Neil Platt in I Am Breathing
Photo: courtesy of Scottish Documentary Institute
Draft Film Strategy,
Consultation and Responses
The objectives and aspirations set out in A core theme of the consultation responses
the Film Sector Review were translated was that Creative Scotland’s Film Strategy
into a Draft Film Strategy reflecting Creative must support the whole film value chain from
Scotland’s 10-year Strategic Plan, Unlocking education and skills development, through
Potential, Embracing Ambition. film development and production, to audience
development and exhibition.
The Draft Film Strategy was published for
consultation on the Creative Scotland website There was also a call for explicit acknowledgement
on 1 July 2014. We received responses from a that the film sector in the UK depends on public
range of individuals and organisations working in funds for developing cultural film and economic
school education, further and higher education, incentives to support commercial filmmaking.
film production, film distribution and exhibition, We accept this and will do everything within our
as well as from sectoral representative bodies. power to influence new public investment in film.
Around three-quarters of respondents were
working in some capacity in film production.
8 9
Agyness Deyn in Sunset Song
Photo: courtesy of Hurricane Films
10 11
Kiss the Water
Photo: courtesy of Independent Cinema Office
The Ambition
The ambition envisaged by this strategy • s upport for and commitment to Scotland’s
is to generate the conditions necessary production community, in particular
to position the film sector at the heart of documentary-making and animation, through
Scotland’s economic and cultural life. sourcing increased funding for production
In the context of our 10-year Strategic Plan, we • support for, and investment across, the distribution
will measure the success of this ambition by the and exhibition sector creating better links from
extent to which Scotland has become home to production through to distribution and exhibition
a vibrant, culturally diverse and commercially together with a focus on audience development
competitive film sector. The strategy is
motivated by a shared ambition to see growth in •g
reater emphasis on film and moving image
the number and diversity of films and filmmakers, education with clearer, more co-ordinated routes
with an enviable reputation for excellence from school to further education and on into
in filmmaking and as a key destination for the sector, together with development of real
international productions. We will be a nation professional opportunities and sustainable
that celebrates the importance of every aspect careers across the screen sector.
of film culture. Focusing our efforts on these priorities for film
Through our role as a funder, advocate, over the next three years will mean that Scotland
development body and influencer, we will lead is better equipped to compete on an equal footing
the necessary change for film in Scotland. with other territories, encourage international
We will reinforce our commitment to the promotion ‘mobile’ productions to establish themselves and
of film education, skills and talent development, shoot in Scotland and, at the same time, support
film production, distribution and exhibition, the nation’s own film sector. This focus is intended
and we will build on existing successes which to generate the conditions for a larger number of
recognise Scotland’s wealth of talent, diversity, films to be produced in Scotland each year; both
resourcefulness and vision. productions from Scotland as well as international
mobile productions.
Our key priorities for film in Scotland are:
In addition to the associated cultural and
• the establishment of a sustainable film studio commercial benefits that films bring to Scotland,
they also raise the profile of Scotland nationally
• increased incentives for film and television and internationally. This brings additional
production which match – or better – employment, expenditure and skills development
the incentives of other territories for craft and technical crew, together with business
•g
reater support for writers opportunities for production, distribution and
and script development exhibition companies. This increase in production
in Scotland is also fundamental to the studio
• t alent and skills development across the facility and maintaining its operation with demand
entire film value chain and addressing skills at levels which will make it successful.
gaps through specific targeted programmes
12 13
Maja Borg and Tilda Swinton, Future My Love
premiere at Edinburgh International Film Festival
Photo: courtesy of Edinburgh International Film Festival
Our Strategy
Over the next three years:
Film Education
•w
e will ensure film is a core part of Scotland’s
Youth Arts Strategy Time to Shine and Cashback
Moving images dominate global culture and for Creativity programmes, through a range of
communication. However, despite their ubiquity, Youth Arts Hubs and Cashback activities taking
social and political influence, artistic value, place across Scotland
historical importance, economic role and complex
and highly-evolved language, film and moving • we will review and develop film learning provision
image education remains relatively marginal in for those outside of the 5-19 years age range
most education systems around the world.
•w
e will work with European partners on two
Creative Scotland aims to put film and moving projects funded through the Creative Europe
image education where it should be on the learning Film Literacy programme: the development
agenda, in formal and informal education, at of a European Framework for Film Education
whatever age, to help develop discerning audiences. and the creation of a catalogue of European
Our ambition is to inspire future filmmakers films for children and young people
and for film literacy to be recognised as vitally
• learning from all of these programmes,
important so that everyone can be inspired and
we will work with partners to develop a more
equipped to understand, appreciate, explore,
comprehensive provision of film and moving
create and share film.
image education across Scotland.
We aim to drive the improvement of film and
moving image education in every context,
increasing the reach, depth and inclusivity of
provision, including currently under-served
communities across Scotland.
Over the next 12 months:
•w
e will continue to support the strategic
development of film learning through the
national Moving Image Education programme
for 5-19 year olds, in partnership with the BFI,
the Scottish Film Consortium, Into Film and
Education Scotland
•w
e will continue to support the delivery
of the BFI Film Academy, developing talent
among 16-19 year-olds in Scotland
•w
e will continue to support film education
initiatives provided by cinemas, multi-arts
venues and other organisations across Scotland.
14 15
The First Movie
Photo: courtesy of CONNECTfilm
16 17
Over the next three years: Developing a Skilled and Diverse Workforce Over the next three years:
Talent and Skills Development
• we will facilitate debate and critical thinking The strength of the sector relies on a continuous •w
e will encourage filmmakers to recognise the
across the screen sector, regularly listening to flow of skilled and creatively ambitious craft and importance of digital technologies and platforms
Identifying and Nurturing Talent the resulting information and views and working technical crew. The identification, inclusion and for distribution and exhibition and to be innovative
There are gaps and disconnects across current to bring about positive change through leadership development of this workforce is of paramount in their thinking. This will mean helping them to
provision for talent and career development. within the sector, with the support of the sector importance in underpinning the success of the connect their work to the world to find audiences
We aim to ensure that there is a structured sector. A core strategic priority is to foster real and identify specific skills training and forums
• we will drive for more high-quality productions professional opportunities and sustainable careers. which will develop market knowledge and
and co-ordinated approach to identifying and to be made in and from Scotland, working with
nurturing talent across the film value chain in awareness. All this will enable filmmakers to
our partners to create opportunities for writers Creative Scotland aims to encourage better operate more strategically and investigate
Scotland, including development, production, and directors to realise their vision and raise co-ordination across all areas of skills development
critical appreciation, distribution and exhibition. potential areas for support
their profiles through further and higher education as well as
Over the next 12 months: by independent organisations. • we will work to promote a more diverse workforce
• we will test the potential for better links across and create opportunities for disabled people and
•w
e are committed to identifying and supporting the arts, screen and creative industries especially Over the next 12 months: diverse groups in the workforce by challenging
emerging Scottish filmmakers to reach their between film, the performing arts and new existing approaches to working practices in
writing to maximise creative and experimental •w
e will map and review current provision
full potential and will work with partners in for entry-level training for craft and technical the screen sector and by supporting inclusive
the strategic delivery of talent development opportunities for Scotland’s screen sector in working practices. In particular we will seek to
all its forms. crew
initiatives such as Docscene, and the Scottish address barriers to access and progression and
Film Talent Network (in partnership with the BFI). • we will continue to fund festivals and associated encourage increased diversity within the sector
As part of this approach, we will continue to development work across Scotland
develop and support short film as a recognised • we will support producers to identify and
art form and pathway to longer form production •w
e will encourage a focus on audience and maximise audiences, exploring the opportunities
sector engagement, skills development, presented by digital platforms and the tools
•w
e will lead a review of support necessary for cultural exchange and raising Scotland and required to increase and broaden cinema access
emerging talent of all kinds and consider other its filmmakers’ profiles in the international and programming for as wide and diverse an
talent development programmes to address marketplace: in terms of creative output and audience as possible.
gaps in current provision, in particular in the as a location and production partner
context of equalities and diversity, for example
gender imbalance and under-representation • we will continue to support Scottish-based
of specific groups of people in the sector filmmakers’ attendance at international festivals,
giving them the opportunity to meet potential
• we will develop an artistic and creative framework co-production partners and to access global
across all the creative work we fund, including markets for their work
film, to help define how we will evaluate excellence
and quality and the potential for excellence from •w
e will direct the collective sector knowledge and
2015 onwards. We have begun this development experience in our Film and Media Team towards
process, which will include sector engagement assisting screen sector industries to
as part of its design. access global markets for their work, for example,
through schemes such as the Market Leaders
Scotland initiative for producers. We will review
schemes with similar objectives which run outside
Scotland and consider how we can work with
relevant partners to apply the most successful
key elements of those in Scotland.
18 19George MacKay in For Those in Peril
Photo: courtesy of Protagonist Pictures
20 21
Over the next 12 months: • we will lead the dialogue between the film
Film Development and Production sector and broadcasters, building the case for
• we will work to find the right balance between broadcasters to play more of a role in the film
films cultural and economic impact in the sector in Scotland through talent development,
Film is a cultural, creative art form as well as allocation of our Film and Television Funding,
a business, and filmmakers in Scotland create and the development and production of film
giving support to Scottish-based filmmakers and television drama projects.
a range of content aiming for critical, public and films that reflect or promote Scottish
and commercial success in forms encompassing culture, creativity and diversity. We will make Over the next three years:
commercially or socially-driven features as our application and assessment processes
well as the experimental. This breadth should reflect this more clearly •w
e will support our partners in creating new
be encouraged, supported and developed, and opportunities for emerging and established
artists and filmmakers should be empowered • through our Targeted Funding programmes, writers, directors and producers to develop
to take risks and create content with the we will prioritise funding for the development and create high-quality work
potential to have international appeal. and production of high-quality feature films,
documentaries and animation from Scottish- •w
e will encourage filmmakers to reflect
We want to work in partnership with Scotland’s based talent. This work should demonstrate a diversity of Scottish voices and promote
filmmakers, independent production companies, the need for public funding, be relevant to the value of Scottish culture and all of
independent cinema exhibitors, distributors, Scotland, connect to audiences at home and Scotland’s languages through their work
broadcasters and public sector partners to grow internationally and have strong potential for for national and international audiences
and strengthen Scotland’s screen sector, and UK and international distribution
will continue working in collaborative ways •w
e will support a diverse range of talent
to achieve this. • as part of our work with Scottish Government through all strands of our funding
and Scottish Enterprise to establish a film studio •w
e will work with Scottish Government and
We aim to foster a better understanding in Scotland, we will focus on the requirement
and awareness of the challenges facing the enterprise agencies, in particular Scottish
for the studio to operate in a way that supports Enterprise and Highlands and Islands Enterprise,
film-related businesses: growth, stability, and serves Scotland’s own productions as well
sustainability and the need for commercially to foster a better understanding and awareness
as international mobile productions of the challenges facing film-related businesses
appropriate, well-marketed support.
• our Open Project Fund will accept applications in terms of growth, sustainability and stability
The Film Sector Review reflected a view that to support high-quality and experimental work
independent cinema is vital for cultural diversity •w
e will review steps necessary to mirror the
falling outside the traditional film development BFI’s initiatives to strengthen the UK production
and that alongside commercial filmmaking it is and production model. This could include writers
important to encourage the development of film sector, including the BFI ‘Locked Box’, to help
and directors developing their creative practice producers in Scotland build their businesses,
as a cultural medium, one where a range of voices and professional skills to test new ideas and
can tell Scotland’s stories. These films should not subject to any necessary State Aid approvals
experimental approaches to filmmaking
be judged purely on commercial grounds but on • we will encourage the development of
the richness of their contribution to society and • Creative Scotland will continue to work closely partnerships between film and digital
our cultural identity. We recognise that cultural with Scottish Government and Scottish Enterprise companies (such as games companies)
film is vital for identity and, as is the case with to explore what possibilities might exist for to add depth and value to their productions.
other art forms, is not financially viable without sourcing additional funding through European
public subsidy. funds. This is an uncertain route, but every effort
will be made and we will maintain our engagement
with the sector to keep filmmakers informed
about progress
• we will promote opportunities in the Creative
Europe funding scheme and specifically through
the Creative Europe Desk UK in order to find
ways for Scottish-based filmmakers to access
its funding
22 23Robert Carlyle and Ray Winstone
in The Legend of Barney Thomson
Photo: courtesy of Sigma Films
24 25
Over the next 12 months: Over the next three years:
Inward Investment and Co-Productions
• Creative Scotland will continue to work with • a s a partner in the Scottish Locations Network,
Scottish Enterprise and Scottish Government we will work to promote Scotland as a filming
Securing inward investment and working through to establish a sustainable film studio location, raising awareness of crews and production
co-production partners is a crucial factor in services across the country, and encouraging
developing Scotland’s reputation as a culturally • through the right balance in our funding for film productions to work in all regions of Scotland
and commercially successful filmmaking nation. and television, we will welcome international
We recognise the steps that need to be taken filmmakers of high-standing to Scotland with • a s a partner in the Scottish Locations Network,
and we are already working with key partners projects that promote Scotland and Scottish we will lobby for local incentives and improved
to establish this. talent, crews, locations and tourism, and benefit delivery of local authority services and policies
the Scottish economy in all regions of Scotland
Our aim is to develop Scotland’s reputation as a
destination for international productions because • we will work with the Scottish and UK • to improve filming policy across Scotland
of its world-class talent, crews and facilities, Governments and international partners to as a whole, we will work to create a national
ensuring Scotland is recognised as a film-friendly advocate for improved policies, increased tax film advisory board with our national partners,
nation with unique landscapes and competitive incentives and to ensure Scotland is viewed including VisitScotland, National Trust for Scotland,
incentives. We will drive for more high-quality on the international production scene as a Historic Scotland, Transport Scotland, ScotRail
productions and co-productions to be made competitive country to film in. We will also work and Police Scotland
in and from Scotland. with the Association of Film Commissioners
International and European Film Commissions • in partnership with the sector, Scottish
The creation of a film studio has been identified as Network to ensure Scotland remains competitive Government and UK Government, we will
a key priority in order for Scotland to accommodate and informed in an increasingly expanding work towards a review of the policies and
high-profile international projects as well as incentives market issues surrounding co-productions, international
properly supporting and serving Scotland’s own film and high-end television drama production,
productions. A Scottish film studio would also • Creative Scotland’s Locations website will be and energetically press the case for increased
support and serve connected companies, such as expanded to incorporate a comprehensive tax incentives
picture and sound post-production facilities, and locations database accessible to registered
encourage the growth of digital companies users worldwide • combining the data analysis and research
including VFX companies, increasing output and capabilities at Creative Scotland with sector
creating employment with the associated economic • we will build on the successes of the Film in insight, we will work with the Scottish and UK
benefits. With this in mind, Creative Scotland, Scotland brand, which promotes all aspects Governments to develop Scotland’s image as
Scottish Enterprise and Scottish Government are of Scotland’s screen activity, raising the profile of a destination for productions. We will promote
committed to establishing a sustainable studio, our creative talent, crew, production facilities and Scotland’s reputation for excellent and ambitious
working within the European Union’s rules on locations. The brand will be promoted nationally filmmakers and a pro-active, skilled and adept
State Aid. and internationally at markets and festivals. approach to filmmaking.
26 27Caitriona Balfe in Outlander
Photo: © Sony Pictures Television
28 29Glasgow Film Theatre
Photo: courtesy of Glasgow Film Festival
Over the next three years:
Distribution, Exhibition and Audiences
• we will work with the key film festivals
and cultural cinemas across Scotland to provide
We aim to broaden cinema access and more opportunities for broadening engagement
programming in Scotland for as wide and with film and the moving image
diverse an audience as possible and to encourage
and deepen audience engagement with film. • we will encourage dialogue between cinemas
While there is world-class cinema programming and festivals, BAFTA, online distribution platforms,
and provision in Scotland’s key cultural venues and sector and audience bodies to cultivate
and festivals, we recognise that work is required stronger links between Scottish audiences,
to support distribution, exhibition and communities and filmmakers
audience development.
• we will work with our partners in Government,
A number of responses to the Draft Film Strategy local authorities and other public and private
consultation focused on the need to encourage sector organisations in Scotland to realise the
collaboration and a connected approach between potential for an integrated network of high-
programmers and exhibitors, particularly when quality modern cinema provision available to all
developing new initiatives and supporting best
practice. There was also a call for Creative Scotland • we will also encourage dialogue between these
to prioritise ‘support for and investment across organisations and producers, and others working
the exhibition sector’, including creating better in access and talent development
links from production through to exhibition and • we will work with local authorities and other
audience development. partners in the arts, screen and creative industries
Over the next 12 months: to support the growth of multi-arts centres,
which can act as creative hubs in the community
• through our funding routes we will support and promote public engagement through their
audience development initiatives that increase programming
and broaden cinema access and programming
for as wide and diverse an audience as possible • we will learn from the work of the Promoting
Equalities Programme, whose aim is to develop
• we will continue to fund filmmakers and a programme which puts equalities at the heart
projects which are using digital innovations in of the participating cultural and creative
film distribution and exhibition to encourage organisations. It does this through their structure,
better access to film. This includes developing policies and practices, programming and customer
new audience experiences and cinema-going engagement, and we will encourage adoption of
opportunities throughout Scotland, especially these policies and practices in the screen sector.
beyond the major cities
•w
e will review and identify opportunities for
the development of an integrated network
of high-quality modern cinema provision
available to all
•w
e will engage with the sector in the context
of digital distribution, rights management and
discussions over the virtual print fee (the subsidy
paid by a film distributor towards the purchase
of digital cinema projection equipment for use
by exhibitors).
30 31Donald Ewan MacKinnon, Debbie MacKay
and Tony Kearney, Bannan
Photo: courtesy of Young Films
32 33
Creative Scotland’s
Monitoring Progress
Role and Approach
The Film Sector Review identified the need We will focus on working with the BFI’s International Creative Scotland will work with the screen sector Places and quality of life are transformed
for a public-facing screen presence to work team, Scottish Government, the film sector in the and with partner organisations such as the BFI, to through imagination, ambition and an
with the sector. UK and internationally, and other key partners, capture qualitative and quantitative information understanding of the potential of creativity
to promote the commercial and cultural interests about the consumption of film in Scotland.
There is a distinct, skilled and expert screen-focused of Scottish film and the Scottish film sector. We will monitor:
group of people in the Film and Media Team within Over the next year, we will publish an international We will look at how audiences are engaging with
Creative Scotland. The Team applies its film-specific film, and how the sector is performing in economic • t he overall value of the film sector to
strategy spanning Creative Scotland’s work across the economy.
skills and experience to work for, and in partnership the organisation which will include specific terms, and in terms of the perception of the sector
with, the screen sector, Scottish Government, international priorities for the screen sector. at home and internationally. More generally, we
Scottish Enterprise and other sector partners. We will assess how film culture is embedded in the Ideas are brought to life by a diverse, skilled
will make the Film and Media Team more visible to We aim to help make our screen heritage more wider cultural life of Scotland. and connected leadership and workforce
the sector and its various roles more transparent. accessible to audiences through continued work
Over the next year, we will build an identity for with the Scottish Screen Archive as it moves into We will monitor progress against the priorities We will monitor:
Film and Media within Creative Scotland which is a public facing venue and further enhances set out in our Strategic Plan, Unlocking Potential,
Embracing Ambition, and the Performance • t he uptake of film and moving image
internationally recognised. its ability to make our digitised film heritage learning opportunities
available online. Management Framework set out in our Annual
We will draw on other skills within Creative Plan 2014-15. • c areer progression of creative,
Scotland, in the Arts, Creative Industries and We will support film productions to measure, craft and technical talent
Business Operations teams, to capitalise on the report and reduce their environmental impact. Excellence and experimentation across
opportunities presented by the organisation’s Emissions reporting will be mandatory for the arts, screen and creative industries • t he diversity of audiences and the film
multi-arts remit and the potential for cross-sector Regularly Funded organisations from April 2015. is recognised and valued workforce in terms of ethnicity, gender,
working and encourage the screen sector to geography and disability
do the same. We will work with Creative Carbon Scotland and We will monitor:
other relevant organisations to raise awareness of • t he percentage of key partners including
We will focus on building trust between Creative environmental and sustainability issues affecting • t he number of high-quality feature films the film sector who see Creative Scotland
Scotland and the wider sector, nationally and the screen sector. being made in Scotland as an effective lead supporting the interests
internationally, and encourage open communication. of film in Scotland.
One of Creative Scotland’s ambitions is to improve • t he level of investment in film from private
lives in terms of health and wellbeing. We will work and public sources.
Scotland is a distinctive creative nation
to raise awareness of the value of involvement in
connected to the world
artistic and creative activity and help communities Everyone can access and enjoy artistic and
transform through creativity. creative experiences We will monitor:
We will monitor: • t he Scottish-based talent receiving screenings
of their work at national and international film
• t he percentage of Scotland’s population that festivals, and winning major domestic and
engages with film as part of their cultural life international awards
• t he total size and diversity of audiences for • t he number of locations enquiries and number
film in general, and in particular Scottish film, of international projects shooting in Scotland.
measured across all platforms.
34 35Halle Berry and Keith David
in Cloud Atlas
Photo: © 2012 Warner Bros.
Entertainment Inc.
36 37
Connecting Themes Further Information and Contacts
Our 10-year plan has four Connecting Themes A new strategy for the Creative Industries Creative Scotland’s Companion Pieces
which are Creative Learning, Equalities and is being developed through our work with for the Arts, Screen and Creative Industries
Diversity, Digital and Environment. Everything Scotland’s Creative Industries Partnership, can be found at:
we do will take these four Connecting Themes a joint approach developed across public
into account. sector bodies to support creative industries, www.creativescotland.com/
business and skills development through what-we-do/companion-pieces
Further information about these can be found at: a shared strategy. It includes clarifying the Further information on Creative Scotland’s
Creative Learning Information roles and remits of each agency to provide Funding Programmes can be found at:
www.creativescotland.com/__data/assets/pdf_ ease of access for creative companies of all
file/0009/26775/Creative-Learning-Information- scales and sizes. www.creativescotland.com/funding
Sheet-2014-15-v1-1.pdf Current membership comprises Scottish Further information about the BFI’s initiatives
Equalities Information Government, Creative Scotland, Scottish to strengthen the UK production sector, including
www.creativescotland.com/__data/assets/pdf_ Enterprise, Highlands and Islands Enterprise, the BFI ‘Locked Box’, can be found in Film Forever,
file/0003/26778/Equalities-Information-Sheet- Scottish Funding Council, Skills Development the BFI’s plan for 2012-2017 at:
2014-15-v1-1.pdf Scotland, COSLA (Convention of Scottish Local
Authorities), VOCAL (Voice of Culture and Leisure), www.bfi.org.uk/about-bfi/
Digital Information SLAED (Scottish Local Authorities Economic policy-strategy/film-forever
www.creativescotland.com/__data/assets/pdf_ Development Group) and Business Gateway. If you want to know more about Creative Scotland
file/0010/26776/Digital-Information-Sheet-2014- We will also develop and publish an Arts Strategy and our work across film and television, contact
15-v1-1.pdf during the course of 2015. our Film team by email:
Environmental Information E: film@creativescotland.com
www.creativescotland.com/__data/assets/pdf_
file/0011/26777/Environment-Information-Sheet-
2014-15-v1-1.pdf
38 39Scarlett Johansson in Under the Skin
Photo: courtesy of JW Films
40 41Waverley Gate 2-4 Waterloo Place Edinburgh EH1 3EG Scotland UK F +44 (0) 131 523 0001 249 West George Street Glasgow G2 4QE Scotland UK F +44 (0) 141 302 1711 Reception +44 (0) 330 333 2000 Enquiries +44 (0) 845 603 6000 enquiries@creativescotland.com www.creativescotland.com @creativescots October 2014
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