Thank you to those of you that took the time to respond to Creative England’s consultation on priorities for our film-related activity in 2011/12.
By the time the consultation closed on 31 March we had received more than 500 submissions, ranging from key industry organisations such as Skillset, Channel 4, PACT, Directors UK, Equity, BECTU, Pinewood Studios, ICO and the BFFS, to freelancers and independent filmmakers from across the country. The responses are now being evaluated by an independent assessor and full consultation feedback will follow in due course.
What’s already clear is that the majority of submissions broadly agree with our proposals and welcome the Government’s continued recognition of the value of film in the regions, and in particular the need to provide dedicated support and expertise to the wealth of creative talent outside of London. However, there were a number of concerns expressed that recurred through the online consultation and during the regional roundtables we have held across the country. We want to make sure these concerns are addressed as we go forward, but I thought it would be useful to make an immediate response to some of them.
1. Access
People want to know how and to whom Creative England support will be made available. Creative England will build on the work of the Regional Screen Agencies, supporting the content industries of Film, Television, Games, and Digital and Creative Services, supporting talent and business development, connecting creative and digital SMEs with national and international markets, and leveraging public and private funding.
We also have a remit to promote film culture and education, to develop audiences and to work with others to develop a sustainable and accessible archive. If we are to do all this effectively, with reduced public funding and in a way that reaches right across the country, we recognise that developing networks of partner organisations will be crucial, and it is very encouraging that many submissions argue for this approach or come from organisations that want to play an active role as partners with us.
2. Remit
Although we made clear that this first stage consultation was restricted to film priorities, there has been some concern from the wider creative industries that Creative England will have too narrow a focus on film. This is emphatically not the case. Creative England’s remit is to support independent creative businesses, concentrating on the digital content industries, including film, and the talent that drives them.
We have focused on film in the first instance because Creative England will receive circa £2.5m GIA and circa £2m Lottery funding for film from the BFI, and this core support will be used to leverage additional funds from public and private sources.
With the government’s declared ambition to see creative industries as a central element of its wider growth agenda, we are already in discussion about funding for this larger remit and, when we have confirmation on this, we will, as with film, consult with the industry to identify priorities and concerns.
3. Regional diversity
Some submissions have expressed concern about the three limited companies that we propose as Creative England’s operating subsidiaries (Creative North, Central and South) and the location of their hub offices in Manchester, Birmingham and Bristol. These decisions were taken last year by the Regional Screen Agency Chairs and CEOs together. While it obviously makes sense to locate the hubs in cities that are already major creative centres, we have an England-wide remit and must fulfil it. That is why we intend to work by forming alliances and partnerships that can give us the necessary reach across the full geographic and talent spread of England, with staff answerable to Boards of non-executive directors who also represent the full geographic spread of the country.
Some submissions regret the passing of the Regional Screen Agencies as they are presently constituted. Creative England’s purpose is to serve the needs of industry and communities, not to perpetuate the life of particular agencies. We will shortly be advertising for the key posts in the new Creative England operating companies. These will be openly advertised jobs, independent of the existing RSAs.
With the closure of Screen East, concern has been expressed by people living and working in the former Screen East area that they are not formally represented in on-going discussions about the shape and priorities of Creative England. Temporary arrangements have been made for EM Media and Screen South to make Grant in Aid and Lottery finance and film support services available throughout the former Screen East area. In addition, Roger Morris of Elstree Studios has generously agreed to convene a group of representative industry and cultural voices who can speak for the region as plans for Creative England and its operating subsidiaries are brought together.
4. Diversity
People are of course keen to hear that Creative England will be dedicated to diversity and equality. I can assure you that Creative England will have a clear and strong commitment to diversity, and will ensure equality of reach across all its programmes. Diversity will be a core element embedded in all Creative England activities and strategic priorities.
5. Moving forward
Creative England will be fully operational from October 2011. Between now and then we will be advertising for staff and for experienced industry professionals who would be willing to serve as non-executive Board members. We are establishing framework agreements with key industry partners at national, regional and local level. And, as and when we are able to access other sources of public and private funds, we will be consulting, through our website and by meetings, to ensure that we are addressing industry priorities and concerns.
We will also be developing working relationships with the other two main agencies in the re-organised structure of public support for film, the BFI and Film London. With the government’s film policy review shortly to be announced, the process of transition is not over. Our job is to make sure that in all this change the talent and ambition that exists beyond London is fully recognised in public policy and in the flow of public funds; supported where it needs to be supported and celebrated where it deserves to be celebrated.
As the operational delivery plan for Creative England develops, and as we are able to evaluate the mass of submissions we have received for the consultation, we will keep the industry up to date through the website and mailings to our database.
Thank you, again, to those of you who submitted a response.
Kind regards,
John Newbigin
Chair, Creative England
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