Public Bodies Bill [HL]

Baroness Benjamin Excerpts

Monday 7th March 2011 Lords Chamber

[Baroness Benjamin]

My Lords, I, too, support Amendment 65A, particularly subsections (1)(d), (2)(c) and (2)(d). I declare an interest as an actress, broadcaster and producer. I shall speak first on subsection (1)(d) and the subject of diversity. For nearly 40 years now, I have spoken about the need to reflect diversity in film and media and, over those years, there have been many attempts to address the issue. Yet, sadly, this year, it was glaringly noticeable that there were no black or Asian nominees in the BAFTAs or the Oscars, which I find shocking in the 21st century. This is why I am supporting this amendment to ensure that provision is made actively to continue to address this situation.

I fear that this will not be undertaken because there is currently no diversity strategy in place at the BFI beyond a diversity programming group, which delivers various seasons and the Lesbian & Gay Film Festival. I find it difficult to understand that a modern organisation such as the BFI is without a focused diversity strategy that is actionable and measurable externally throughout the film industry. Diversity requires strong leadership from an individual to ensure success. It cannot just be an add-on to a blanket organisational remit. There is far too much proof that, although people mean well, there are always other priorities. The BFI says that it is passionate about diversity, but how will it demonstrate that to a diverse talent pool that wants more of what the UK Film Council’s diversity department has been delivering for the past few years?

My concern is that without an industry-focused diversity strategy there will be no further collaborations between the Film Fund, which distributes the funding, and the film sector to provide career-enhancing opportunities for diverse talent, which, in broadcast terms, relates to the new Equality Act. I fear that without a diversity strategy no one will actively provide real job opportunities, either in front of or behind the camera, thereby sending a clear message to the sector that diversity is not a vital necessity in order to reflect modern Britain. This will be disastrous.

Over the past few years, the UK Film Council has supported diversity projects to support the sustainability of diverse talent through proper training opportunities. These have been wide-ranging. They included: funding scriptwriters, runners and make-up artists; graduate fellowship schemes through Diversity in Visual Arts; funding digital shorts for disabled film-makers; supporting a mentoring scheme with Skillset and Women in Film and Television; and pioneering an outreach project with Pinewood Studios that hopes to encourage a greater diversity of applicants for apprenticeships and jobs. Ultimately, diversity offers the UK’s highly skilled but fragmented and diverse workforce the chance to strengthen their careers through strategic support. The industry is united in a single vision to ensure the inclusion of modern voices, so it is imperative that the BFI continues to uphold this vision and puts in place a diversity strategy overseen by experienced people. I urge the Government to ensure that that happens.

I now move on to subsections (2)(c) and (2)(d). I want to highlight the need to allocate a percentage of funds for films targeted at children and young people. The state of UK children’s film production is dire. In 2010, the UK Film Council made only six grants totalling £113,500 towards children’s and young people’s films. This works out at 0.75 per cent of the UK Film Council’s budget for filming in that year. Over the years, it was always believed that little was being done to produce culturally significant, good-quality British films for children, but it is clear to see that children’s films are a highly popular genre, as recent reports on UK film audiences in 2010 show that most of the popular films received U or PG certificates and so were classified for children.

Yet the problem for British film does not lie with trying to attract an audience to watch the films. Instead, it occurs with trying to keep the money made by successful children’s films in this country. Many of the most profitable and lucrative films since 2006 have been British-born stories and ideas, yet they were not necessarily UK film productions, as we do not have the money to make large-budget blockbusters. These are films such as “The Chronicles of Narnia”, “Harry Potter”, “Pirates of the Caribbean”, “The Golden Compass” and, most recently, “Alice in Wonderland” and “Fantastic Mr Fox”. The accomplishments of these films show that, through investment in quality children’s films, large profits can be achieved and this can bring about a good return. It also shows that, by investing in ourselves, we will be able to keep profits at home and put them straight back into funding and making even better British films for children.

The real question at hand is how the British film industry can benefit from UK children’s film productions. On 21 January 2011, BAFTA, along with members of the Danish film industry, hosted an event entitled, “Is Something Rotten in the State of Children’s Cinema?”. The event focused on the work done by the Danish Film Institute, since the UK is facing similar issues to those dealt with by it a few years ago. Denmark now has a strong film industry in which Danish kids’ films take 38 per cent of all box office takings. This can be linked to its film Act in 1997, under which an allocated 25 per cent of the state-funded film budget is put directly into funding children’s films. This figure has been ring-fenced, which has allowed Danish film-makers to produce films specifically for children. From 1999 to 2008, the market share of Danish films for children and young people was a staggering 41 per cent of the total and, in 2010, it rose to 50 per cent. What the Danes have done to create this success is quite simple; their film industry has made sure that there has always been a seat at the table for children’s film. This in turn strengthens the partnership between Danish and international producers and creates a balance between Danish and foreign participants in the technical and creative areas of production.

If the Government encourage the BFI to adopt the Danish model and if the BFI actively promotes the availability of funds for UK children’s film productions, this will attract co-production, create an active UK children’s film market and establish a creative outlet for our talented British creators so that they too can stand on the world stage and be honoured, like those who created celebrated films such as “The King’s Speech” this year. An agreed percentage of funds should be allocated to UK film productions for children and young people to enable this to happen, so I support this amendment.

[The Earl of Clancarty]

My Lords, I congratulate the noble Lord, Lord Stevenson, on tabling Amendment 65A, which I support, as it is an imaginative amendment that seeks to discuss the UK Film Council and the British Film Institute and how their continuing respective functions will relate to each other. It quite deliberately uses the term “merger”.

I will speak to the work of the British Film Institute and to my concerns and hopes for this important organisation in the light of the changes that are to be made. Its multifaceted work does not have a primarily commercial imperative. Its work is inherently good for British culture and British society as a whole. Film has become, as in other countries but particularly in Britain throughout the 20th century and into the 21st, part of the lifeblood of the nation, so the BFI is as relevant today as it has been in the past and will be in the future.

Over decades, the BFI has done tremendous work, not least in saving, restoring and rediscovering British films that would otherwise be lost because of the fragility of the film medium. My own father, Terry Trench, worked in the post-war British documentary film industry, mainly as an editor but sometimes as producer or director. His films are among the close to a million titles that the BFI now holds in its national archive. My father was one of a number of still often unsung heroes of the original British documentary film movement, although now there is a much greater interest in this tradition, due in no small measure to the BFI—the success of its DVD compilations such as “Land of Promise” are a testament to this.

Indeed, the BFI is keen to allow work to be as accessible as possible to the public, although, given the copyright issues, this is not always easy. As it happens, the very first film that my father edited was directed by Anthony Asquith. The BFI recently restored Asquith’s early features, including “Underground”, leading directly to something of a critical reappraisal of his work. At present, the BFI is in the process of restoring nine of Hitchcock’s silent films in readiness for a retrospective in 2012, which in the year of the Olympics will garner considerable international interest.

I think on reflection that it could be a good thing if the UK Film Council was merged with the BFI—I choose my words carefully. However, I hope that this will not lead to the current BFI becoming some type of junior partner within this cinematic coalition, as with clear overall leadership its current role could and should be kept intact and necessarily as properly funded as the UK Film Council, which I understand from Ed Vaizey’s announcement on Thursday stands to benefit from a well deserved multimillion-pound injection of financial support, just as the BFI faces an undeserved 15 per cent cut in funding.

Ideally, the BFI would become the guardian of film of the past, the present and the future—the Paul Newman Butch Cassidy role to the UK Film Council’s Robert Redford Sundance Kid, if you will. However, if the overall framework overburdens the BFI and then threatens its current work, the merger will be a disaster, whatever extra funding the UK Film Council in effect receives, as there will be no legacy to aspire to and no heritage to make. In the light of this, I call on the Government to look carefully at the balance of funding and to reappraise those cuts, which are aimed at the heritage of the national film industry.

We are still fighting the same ideological battles as 50 years ago, even though the stages for such battles might have changed. My father worked for the state-funded Crown Film Unit, a much respected quango that was set up to replace the GPO Film Unit, whose work of course included the celebrated “Night Mail”. What then happened in 1952 to the Crown Film Unit, fresh from its recent BAFTA and Oscar-winning triumphs? A newly elected Conservative Government abolished it, the reason cited being financial in a time of austerity. I hope very much that the BFI goes from strength to strength and that the Government will continue to support its important work.