EXCLUSIVE: Ed Vaizey, the British culture minister, hosted a meeting at the Department for Culture, Media and Sport this morning to thrash out who should administer UK’s lottery film funding. He tells me that the government has drawn up a shortlist of 3 to 4 organisations which could run it after the UK Film Council is due to be shuttered in April 2012. Organisations in the running include the Arts Council of England, the British Film Institute, and technology fund NESTA. Vaizey tells me that everybody was “on the same page” as to what should happen: he said those at the meeting agreed there shouldn’t just be one “gatekeeper” reflecting one person’s taste. But the question on every producer’s lips is which state organisation will run state film funding?
Vaizey tells me the amount of lottery money available for all UK film activity will rise from $42 million this year to $47 million once the UKFC closes. The government plans to announce its thinking by end-of-November latest. Vaizey also tells me he wasn’t phased by the amount of hostility towards scrapping the UKFC. “No industry ever likes change,” he says. “Privately, a lot of people I’ve spoken to have been open to innovation than they let on in public.” Other organisations attending this morning’s meeting included the British Screen Advisory Council, Cinema Exhibitors’ Association, Film Distributors’ Association, Film London, Mayor
of London’s Office, PACT, Screen England and the UK Screen Association. Phew, I imagine the meeting was nearly over by the time that lot finished introducing themselves. Surely, each of those organisations will just be arguing their own corner. What’s needed is a handful of experts who really know what they’re talking about and then implement the new strategy.


“Those at the meeting agreed there shouldn’t just be one “gatekeeper” reflecting one person’s taste.”
So a major complaint at the moment is that the UKFC is too cliquey … and now we want one person to make all the decisions? And it might be NESTA, a science foundation.
Has Ed Vaizey ever even been to the cinema? Maybe people are angry at him scrapping the UKFC because he has no idea what he’s doing.
While the UK industry is world class in many areas it’s apparatchiks have always failed to stabilize the business side of production. The end of the UKFC will hopefully make way for a focused, industry-led drive to new production form small and medium sized companies and let the more established players fight for their place in the open market. UK producers have always had to head west to find a business environment they could rely on not to move the goal posts over night. Lets try some well planned focus on production where the investment targets not only physical production but a means of getting to market.
Is this going to be another leftist BBC anti-American concoction??
Puh-leeze.
“Privately, a lot of people I’ve spoken to have been open to innovation than they let on in public.”
yeah, the ones that want to keep their overpaid jobs.
No one disputes the need for cutbacks and efficiencies in all public spending, but there is a huge danger in these difficult times of knowing only ‘the cost of everything, and the value of nothing’. The UKFC (r.i.p) was not some sinecure, feeding off a healthy industry and a careless government. The UKFC (for all its faults) was a ‘strategic body’; the first organisation in British filmmaking history to provide the tactical ‘glue’ that kept its disparate parts together. This is particularly true of the split between culture and commerce as evidenced in the Soho/Pinewood divide, but is also apparent in the coming struggle between the various cultural groupings that are now readying to fight over a diminishing pot of money. The lack of prior consultation, and therefore the lack of foresight, now means that the DCMS has unfortunately unleashed a cacophony of opinions, mostly contradictory, that must surely lead to hasty decisions, mediocrity and confused leadership for British film. Perhaps, in the macro view, these are all signs of an inescapable reality, and the fact that the British public seems to care little about these issues, is telling us is that Britain no longer needs its own film industry, when there are plenty others ready to fill our screens?