Creative Industries

Baroness Garden of Frognal Excerpts

Thursday 3rd November 2011 Lords Chamber

[Lord Fowler]

My Lords, first I congratulate my noble friend on her speech and on securing this debate. In the glory days of the Communications Select Committee—that was when I was chairman and she was a member of it—we worked very closely together. Of course, we did carry out an inquiry into the creative industries as one of our last works. I also look forward very much to the maiden speech of the noble Viscount, Lord Colville. We all remember his father with enormous affection. His own career has been with the BBC, and he will find in this House that most of us regard that as being a very high recommendation indeed. In particular, in these years of phone hacking, the BBC has managed generally to preserve standards that are the envy of the world. Not all my later remarks will necessarily be as obliging to the BBC, but we very much look forward to his speech.

As my noble friend said, there is an enormous opportunity here. We already have a position where, in terms of jobs, the television, film and games industries are of vast importance. Of course, added to that is the revenue that is being earned, the taxes paid and the national reputation which has increased in areas such as theatre and music. We have truly important industries by any measure. The aim should now be to see where government policy can aid in future development. My noble friend highlighted education and training—and rightly so. She is absolutely right to stress the point that there are good careers for men and women with skills in these industries.

I should like to add one or two other essentials. On financial support from the Government, the great issue is consistency. The film production tax credit introduced in 2006 has been a great success and is absolutely essential. For those who argue that no government support is necessary, I would say that we need to recognise one central point about the film industry. There is intense competition in seeking to bring film-makers to individual countries from around the world: an array of financial incentives is offered. Germany offers them; Canada offers them; and even some individual states in the United States offer them. We all recognise the dominating importance of American studios and distributors and therefore compete for their investment. If Britain was not to do that, we would be removing ourselves from the market altogether.

There are a range of areas that the Government should examine to see what further practical help can be given: encouragement for independent British film-makers and animation companies, where we already do very well and could potentially do even better; an examination of the video games industry, which competes internationally with countries that give tax incentives; and in television I strongly support those who argue for exploring ways to help British children’s programmes.

There is a temptation in these debates simply to set out a shopping list for government aid, which is not currently a hopeful area in any event. Not everything needs to be government money, and television is an example of how progress can be made by taking off restrictions, promoting change and creating more jobs and revenue. We are fortunate in this country in having a range of excellent television companies: BBC, ITV, Channel 4 and, to be fair, BSkyB, which now makes some excellent programmes. The choice was illustrated a couple of weeks ago when, on Sunday night, you had to choose between “Spooks” and “Downton Abbey”. Programmes like these are sold around the world—that is the point.

BBC Worldwide is far and away the largest British distributor. It has built up sales of more than £1 billion a year, and a profit of more than £150 million a year. It has been an enormous success—there is no doubt about that—and the question is whether that success can be further improved. It is a company that is capable of being a truly global brand. It can expand further, increase revenue and create more jobs but it is held back because, basically, it is in the public sector. It has to fund its expansion from its own internal resources; it cannot borrow on the market. The BBC Trust is in the background, saying that it should not expand too much in any event. It is a typically British position. A company capable of being a world leader held back by a lack of ambition, not from within the organisation, but by the corporation that owns it. There is an overwhelming case for a public/private partnership. For those who think this is the view of some way out, right-wing think tank, the final report from Digital Britain, signed by two Secretaries of State from the last Government, said:

“BBC Worldwide has the potential to be a very significant global rights business for Britain and the Government believes it would be a missed opportunity to limit BBC Worldwide to a narrow supporting role to the BBC”.

That is entirely my case.

However, what has happened is, like in the worst of nationalised industries, that the corporation has replied that BBC Worldwide is not for sale and has made other remarks of that kind. We should remember that the BBC is not a corporation owned by a set of directors or executives; it is owned by the licence fee payers, who have provided the finance whereby it has developed. The question is not whether it is just in the interest of the BBC; it is what is in the national interest, the British interest and the interest of the creative industries. The decision here is an acid test of our intention and policy and whether we are truly serious about improving our creative industries.

[Baroness Garden of Frognal]

My Lords, I remind your Lordships that this is a timed debate and when the clock reaches six you have completed your six minutes.