Producing the Goods?
UK Film Production 1991 - 2001
by Phil Wickham


INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 DEFINITIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 That was then, this is now: From 1991 to 2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Typically British: Fully UK Funded Films . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Helping Hands: Co-Productions and Europe . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 A Special Relationship? American investment in Britain . . . . . . . . . . . . . . . . . .5 Doing the Business: Leading British Companies . . . . . . . . . . . . . . . . . . . . . . . . . .5 FilmFour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 BBC Films . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Working Title Films . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 PolyGram Filmed Entertainment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Recorded Picture Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 The State of Things: Government Funding and the Film Industry . . . . . . . . . . .9 What Next? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 APPENDICES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 KEY WEBSITES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 BIBLIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 NOTES TO TABLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15


ISBN: 1-84457-004-5

Phil Wickham is an Information Officer in the Information Services Unit of the BFI National Library. He writes and lectures extensively on British film and television. Ian O’Sullivan is also an Information Officer in the Information Services Unit of the BFI National Library and has designed a number of publications for the BFI. The opinions contained within this Information Briefing are those of the author and are not expressed on behalf of the British Film Institute.

Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Contact us at with your film and television enquiries. Alternatively, telephone +44 (0) 20 7255 1444 and ask for Information (Mon-Fri: 10am-1pm & 2-5pm) Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – - contains a range of information to help find answers to your queries. Film Links Gateway – - provides annotated links to other useful websites Details about the BFI National Library can be found at Search the book catalogue online at

Acknowledgements Much of the research that informs this report has come from the Information Unit’s work over the years compiling the statistics for The BFI Film & Television Handbook. We would like to thank the handbook editor, Eddie Dyja, our fellow researcher Erinna Mettler and Peter Todd the Information Services Manager for their support and advice over the years. This work would not have been possible without the co-operation of a number of bodies who have provided us with information since 1991. This particularly includes Screen Finance magazine, Screen Digest magazine and, in many cases, film producers and distributors themselves. This is the first of a planned series of reports and publications by the bfi Information Services Unit. An Information Briefing on UK production in the 1980s is forthcoming. Also, don’t miss our statistics database (‘The Stats’) of all our audiovisual statistics from 1991 to 2001 which will be available later this year. For further details please contact the Information Services Unit at the following email:



he BFI Information Service has been compiling data on the moving image industries in the UK for the bfi Film and Television Handbook since 1991. One of the key tables each year is a list of all film productions with any UK involvement. After over ten years of putting together this information it is a good time to look back over the last decade and see how the British film industry, and the structures and audiences that support it, have progressed. It is particularly interesting to look at the films themselves to see what production patterns have emerged, and how they have shaped the industry. What becomes evident is that the same problems, hopes and debates keep reoccurring in British film culture. We want to encourage reflection and discussion on these defining issues and offer some analysis of the future, present and recent past of British film. To do this the report surveys the ups and downs in the UK production sector since 1991, considering different aspects of the production business – indigenous filmmaking, foreign co-productions, and the influence of Hollywood on these shores. We look at the life (and sometimes death) of the handful of major production companies that have had an impact during this time and also examine the, sometimes labyrinthine, history of state funding and government support for film production. In addition, our data over the years has been reconfigured into an alphabetical database of all 966 films that we believe were made in Britain, or had some British involvement, between 1991 and 2001. You can search this resource easily for particular titles to find out production details, including budgets and box office information (see pages 18-40).

To this end we like to think we have created a list that is a bit more meaningful than just the films that fit the provisions of the Act, or a raw list of films that have the slightest British connection, however remote. We like to categorise the titles so that there is some sense of how ‘British’ they might appear to be to an audience, as well as in their financing. The categories we have devised are as follows: CATEGORY A – Feature films where the cultural and financial impetus is from the UK and where the majority of personnel are British. CATEGORY B – Majority UK Co-productions. Films in which, although there are foreign partners, there is a UK cultural content and a significant amount of British finance and personnel. CATEGORY C – Minority UK Co-Productions. Foreign (non US) films in which there is a small UK financial involvement. Most titles would not appear to be British films to the audience. CATEGORY D – American financed, or partfinanced, films made in the UK. Most titles have a UK cultural content. CATEGORY E – American films with some British financial involvement. Other sources categorise the year’s films differently – Screen Finance for instance class films according to whether or not shooting took place in the UK, as do UK Film Council International. Our other criteria are that the film should be a feature (which we define as over 72 minutes long) and that it was made with the realistic intention of a theatrical release. Thus we do not include the ‘home-made’ features shot primarily as calling cards (for details on these we suggest you look at the British Council’s website Realistic intentions do not always come to fruition of course and a number of titles have never reached a cinema near you. The films included do not have to be fiction. We are proud that in recent editions we have included a number of feature length documentaries (for instance THE FILTH AND THE FURY) These films are, after all, getting distribution deals now in numbers that did not seem possible in 1991.

In a global economy like the film industry what is a British film anyway? The official definition under the 1985 Films Act and its subsequent amendments (see Appendix 1) unhelpfully manages to be both excessively functional yet vague, referring just to a combined proportion of spend, personnel and controlling companies from the European Union. Although the act is loose, its qualifying criteria still excludes a number of titles that do have a major British contribution, either because they were filmed here (such as Harry Potter and the Chamber of Secrets), or because British production companies, and therefore British money, were involved. The cultural dimension is also overlooked. Surely an important definition of nationality is the degree to which the film reflects British society and culture and whether a viewer would experience it in that light.

BFI Information Services


much of the industry sees it as a threat. However equally clearly they prefer to go and see American films. and many individuals.1 228. a decade that had proved its nadir.1 The ability to copy and stream films can affect audiences and potentially damages copyright and profit. Now there is a government department specifically dealing with the cultural industries (Department of Culture.5 584. Value (£m) 312. AMC opened The Point cinema – Britain’s first multiplex. The film industry in Britain has its own particular problem. as older buildings became dilapidated or were transformed into bingo halls. As admissions kept on rising the economic argument for making films was strengthened.2 DVD puts money back into the industry by reinvigorating companies’ back catalogues and opening up new revenue streams for productions.That was then. now the fastest selling piece of entertainment hardware on record. In addition British audiences are a strange paradox. A variety of bodies oversaw aspects of film culture. and the lack of revenue generated by them means that distributors and exhibitors alike treat British films with caution.0 860. this is now: From 1991 to 2003 S o what happened to the British film industry in the decade from 1991? The following table shows the figures for films made and production value (adjusted to 2002 prices) from 1991-2001.8 558. In 1985.05 in 2001. Year 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 No. Commercial successes have been followed by sudden financial failures. to say the least.4 276. The % box office of UK only films was still a mere 1. By 1991 they had almost doubled to 100. of Films 59 47 67 84 78 128 116 88 100 98 95 Prod. It remains tough to find audiences for British productions. Admissions to cinemas hit an all-time low of 54 million in 1984. debates about the role of subsidy have raged (see the ‘Government Funding’ section). The structure of the industry at the beginning of the 1990s was loose.91 in 2002. Of course most people were visiting the multiplex to watch Hollywood blockbusters but at least the potential was there – perhaps they could be tempted to try some local produce. Unlike other national cinemas British films are unwittingly forced into competition with Hollywood – a competition in which the muscle of Hollywood will win every time.8 550. Prior to this the number of sites and screens had been dropping fast. The common language with America brings opportunities for export and investment but has its difficulties too. indeed we can tell you when and where it started. There is a terror that the film business could go the way of the music industry and lose its ability to mediate between product and consumer. Media and Sport) and a new super body in the UK Film Council (formerly just The Film Council) co-ordinating support and directing funding in order to create a susBFI Information Services 2 . There has been a much less problematic relationship with another transforming piece of technology – the DVD player. By 2002 the number of feature films had stabilised at around the 100 mark. This idea took some time to be established however. Despite these advances it has been far from plain sailing for the film industry in this period. although they did valuable work they offered little in the way of cash or cohesion. Hopefully some of this money will be directed into new material. now it is the main way in which business. Source: Screen Finance/BFI In 1991 the film industry in the UK was just emerging from the murky depths of the 1980s.29 million and have kept on climbing ever since. hitting a 31-year high of 176. and there has proved to be a systemic vulnerability to events beyond its control such as world economic downturns and the strength of the pound.6 483. There is little mystery about how this renaissance happened. in Milton Keynes.3 544. The way that we consume films has changed beyond recognition since 1991. The production low point was 1989 when a truly miserable 30 films with any British involvement were made. flocking to cinemas once more as new multiplexes sprang up all over the country. find and disseminate information.5 tainable industry. Overwhelmingly they want to watch British TV programmes – US shows are screened on minority channels and the most popular (Friends) has an audience of just 4 million.2 637. While the net can be an effective promotional tool. Audiences embraced this new environment in which to watch films wholeheartedly.9 843. Back then the Internet was but a gleam in a boffin’s eye.

Sliding Doors. if it is not numbers of productions or even average budgets? Surely it lies in the ratio of films that people actually get to see and ultimately their commercial or artistic success (ideally both!) On that score there is clearly some way to go because of the films made in 2000 as many as 51% were unreleased with no plans to do so 18 months later. The heritage film has gradually lessened in prominence but is still a reliable standby for producers working in the UK. although audiences. overstretches resources in an industry without the finance or infrastructure to deliver a large number of films to domestic audiences. This Year’s Love et al) have formed the bedrock for the industry . The distribution apparatus to screen so many British titles.Typically British: Fully UK Funded Films reliant on money from France. Derek Jarman’s EDWARD II and Terence Davies’ THE LONG DAY CLOSES are examples of another kind of British cinema – auteur works that are short on box office receipts but high on cultural kudos. This genre. In 1991 the number of totally British films was a paltry 18. Lastly 1991 saw a film that achieved the Holy Grail for the UK industry. This was particularly the case with FOUR WEDDINGS AND A FUNERAL. and the occasional break out hit that causes a rather temporary air of excitement. made in 1993 and released in May 1994. much of it not of top quality.3 Romantic comedies have become something of a cottage industry for British cinema.82%. Neil Jordan’s THE CRYING GAME became a conversation piece. HOWARD’S END and THE ENCHANTED APRIL were ‘heritage’ films – the costume dramas based on literary sources that had come to symbolise British films in the late 1980s. was just not there. MADLY. DEEPLY was a romantic comedydrama initially made for television that managed to pull in older. we can see the same pattern. At its peak – 128 films (53 UK only) were made in 1996 – this was an unsustainable high. and to some degree critics. There is a reliance on a couple of tried and trusted genres. but it is interesting to look at some of the titles as portends of trends that underpinned British film production in the following decade. an international crossover hit. The Wings of a Dove) and ‘romcoms’ (Notting Hill. and filmmakers like Davies have found funding projects difficult through the last decade. BROWN. made in 1996 and released in August 1997. got good reviews and managed some American commercial success(4) ironically after distribution problems on the initial UK release hindered box office receipts in the UK. Shakespeare in Love. The big box office hits led to an enthusiasm for investing in British films. have been harder to please on these shores. Even Loach and Leigh have been unable to work with purely UK funding and have become BFI Information Services 3 . and THE FULL MONTY.when all else looks bleak it is considered that Britain has some authority in these films. tended to be reviled by critics at home but were feted abroad. Heritage Cinema (for example MRS. racked up Oscar nominations. with both investors and with audiences. So what is the measure of success. however the real health of the industry in Britain should be gauged from the state of fully funded UK productions. and maybe the public’s appetite to see them. Too much product. many titles are made on micro budgets primarily as calling cards or are spurred on by possible tax incentives. In fact our database of 966 films in the decade shows us that a profoundly depressing 317 were never released – that’s a whopping 32. particularly the work of Merchant Ivory (seen as quintessentially English despite their Indian/American ownership) who made HOWARD’S END. This is simply because the indigenous industry does not have the size and financial scope to make big budget films without foreign assistance – a wholly British film with a budget of over £5 million is a rare thing indeed. Added to this the relative commercial success of the gritty Trainspotting (1995) also gave producers hope that hard-hitting visions of contemporary Britain could also inspire audiences to visit cinemas and support local product. giving some sort of profile to British film at the time. The industry and financiers have not always been receptive to these arguments however. an intermittent auteur cinema that struggles for finance. T he big money in the investment figures in the graph often comes from a handful of US visitors each year. received wisdom has had it that this is what we can do best. TRULY. In 1992 we see works by Ken Loach (RAINING STONES) and Mike Leigh (NAKED) and it is these two directors that have been the standard bearers for British cinema with international festivals and critics in the last decade. Germany and Spain. audiences that rarely ventured to the cinema at that time. These films form the bulk of the production numbers but often a minority of the total expenditure figure. Clearly there has been more supply than demand for British films. If we look at other years. Both did unexpectedly well in the American market and also proved that British audiences would come out to see British films if they struck the appropriate chord – the £52 million receipts for THE FULL MONTY have been a dream that the rest of the production community has clung on to ever since. wealthier. These trends in 1991 have largely informed the story of the British film industry ever since. They bring an intellectual and artistic weight to the industry and are also distinctively British in their sensibility.

In 1992 overseas funders were prominent in the production of some high budget titles. QUEEN OF THE DESERT (1993) or Irish dramas THE GENERAL and DANCING AT LUGHNASA (1997). However even if they do not swell box office numbers these titles BFI Information Services . such as DAMAGE. Thus a range of locales from Southall to Blenheim Palace have added a useful sum of money to the film economy and increased interest in the possibilities of filming in this country. New Zealand. 1996). There has not really been the same kind of emphasis on large scale international films since within the British industry. Australia and Canada. Norway. even if they are about the problems of folk in Greenock (Loach’s SWEET SIXTEEN in 2001) or Greenwich (Leigh’s All or Nothing made the same year). No longer does the artistic vision have to be compromised by casting or a change in location. Britain has seven official agreements with other nations. These films form the ‘Category C’ section of our production tables. Middlesex suburbia and football. More often than not the Category C titles have been disregarded. American Star and Italian director. An interesting development in the last few years has been the growth of Indian films shooting in the UK. Happily some European financiers and funders still see British films as a sound investment. The market in coproductions seems to have matured. reflecting the limited possibilities for release for a lot of these titles. and about contemporary Britain in its depiction of second generation Indian womanhood. moving away from the much derided ‘Europuddings’ of the early 90s – which attempted to please all participating countries and ended up lacking cohesion and identity – to a system of mutual collaboration and support between different European national cinemas. rather than an economic. unreleased or gained limited metropolitan outings. Germany. Naturally co-productions with foreign investors are subject to the whims of the global economy and at various points within the last decade numbers and value have peaked and dipped. 1998 saw a big drop in co-production numbers to a more feasible level. with a particular predilection for Scottish castles.Helping Hands: Co-Productions and Europe play a role in establishing British producers as part of the international industry with the goodwill and mutual co-operation that brings. Initially producers came to shoot dance sequences in dramatic locations. for example Australian comedy THE ADVENTURES OF PRISCILLA. Some of the films have been successful. TV Stations like ZDF or through the funding boards attached to the regional Lander. apart from Thomas’s company although The Film Consortium under former Recorded Picture Company executive Chris Auty has recently announced its intention to reactivate this area. concept. The dynamics between Britain and India have developed to the extent that London filmmaker Asif Kapadia shot 4 E ven leaving aside Hollywood interventions the last decade has seen an ever-increasing reliance on foreign money. Take last year’s homegrown smash hit Bend It Like Beckham. Investment from abroad. which sought money from as far afield as Russia and Japan. Little Buddha made by Jeremy Thomas’s Recorded Picture Company but with a Chinese theme. from big budget thrillers with a visiting Hollywood star (The 51st State 2000) to small scale psychological dramas from literary sources (REGENERATION. France. Alternatively producers have explored more informal arrangements with partners with whom they have built happy relationships or gone to countries that fit in with the stories they wish to tell. while Road Movies of Germany and Tornaso Alta of Spain have helped fund Ken Loach’s recent work. We have already mentioned that European backers have helped such quintessentially British filmmakers such as Mike Leigh and Ken Loach continue to make their films – Leigh receiving backing particularly from France and Loach from Germany and Spain. Mike Leigh has traditionally received support from French companies like Films Alain Sarde. Italy. but would not strike audiences as British. However happier economic conditions following the introduction of the Euro led to a new surge in co-productions in 2002. The arrangement with Canada has proved particularly well used over the years. investors and regional film funds but remains resolutely of. As a new exhibition sector for Bollywood films developed in Britain with astounding success Indian companies started to use British locations to connect with this British Asian market as well as to provide colourful backdrops. There seem to be fewer qualms about localised elements such as strong regional accents than with American investors.7 million budget from a raft of German production companies. Very few titles can make a profit from a domestic audience alone and globalisation means the idea of a national cinema for most countries is now a cultural. and ORLANDO. either through sales companies such as Senator and Meredien. As well as gaining foreign backing to help British audiences see culturally specific British films there has been some reciprocation – British companies contributing finance to essentially foreign films. It got a helping financial hand with its modest £2. especially Europe. This international funding market works in many different ways. is understood by both government and Wardour Street to be necessary to preserve the character of British filmmaking. particularly as a viable alternative to Hollywood. made with a French director and a high Gallic investment. The Germans in particular have helped to fund many films. Co-Productions can be an organic process of collaboration between different producers and financiers or be part of formal trade agreements between governments. and films made under these treaties qualify for substantial benefits (see Appendix 2).

A Special Relationship? American investment in Britain T he British Film Industry has long been reliant on its on variation of the ‘special relationship’ – American blockbusters filming in Britain. the reach and the back catalogues to absorb failure. have invested in predominately British features that they considered had some international audience sales potential. Even in famous cases where films go vastly over-budget then fail at the box office – for instance Heaven’s Gate for United Artists in 1979 – the operation can continue. In recent years the government has seen the economic potential in bringing American productions to the UK. yet the film was made possible by the financial backing of the all American Disney Corporation. particularly the rate of exchange between the dollar and sterling. filmed in Prague. However although we do reap the benefit of money coming in during the shoot – ensuring studios still function and technicians stay on these shores – Britain does not cash in on the profits of hit films made here as this revenue returns to the American parent company. like post-production facilities costs and crew wages. from terrorist alerts to threatened actors’ strikes in the US. or the period dramas that Miramax have backed. We have identified 5 companies that made a significant impression as producers since 1991. Big Hollywood studios have the volume. These are: FilmFour Working Title PolyGram BBC Films Recorded Picture Company T . These factors have helped Britain to maintain a profile in Hollywood over the decade but the scale of success has varied considerably from year to year – the boom year of 2000 being quickly followed by disaster in 2001. and in some cases the hardware on which it plays. studios are here to utilise studio space and perceived technical expertise. who are vertically integrated operations. When the pound is weak national economic consequences might be severe but Hollywood executives will be knocking on our doors. The fall from power and profit in the 1980s of Goldcrest after Revolution. It is worth looking in some detail at the history of these companies to see how they fared in this period. Celia Imrie and all. and Palace Pictures after Absolute Beginners are still emblematic of the eternal dilemma of the British film industry – do you stay small scale with modest dividends or do you risk the business on expensive ventures that can make or break the company? Only a handful of companies have had the capacity to make a real and sustained impact on British film production.his British film The Warrior in Hindi and Indian director Shekhar Kapur has filmed the quintessentially British stories ELIZABETH and THE FOUR FEATHERS. while British studio’s technical prowess and the quality of actors and stories are acknowledged. as in the making of STAR WARS EPISODE 1: THE PHANTOM MENACE. and indeed majors. exhibition of product. Sometimes. in this country. A strong pound might be desirable to keep inflation low but it means less return on the studio dollar as exportable goods. On other occasions the reasons are as much cultural. for example. distribution. the business of filming in the UK is very susceptible to difficulties beyond the control of the British film industry. They control production. No one can seriously deny however that the US injection of money has been vital in ensuring that there is something approaching a film industry in the UK. In the British context one or two medium budget misfires and a couple of bad investments can destroy years of steady growth. become too expensive. Cheaper locations like Hungary or the Czech Republic are chosen to double for London. Handmade Films after Shanghai Surprise. and now they are toasting the advent of the Harry Potter franchise. the announcement of a new James Bond film. British companies have rarely had the financial clout to be able to do this and unfortunately those that have tried have often been brought down by their ambition. Most culpable of all is the economic climate.I ladies in the Dales with Julie Walters. Many of those have had a chequered history or have failed to keep going in the face of adversity. The problem has been that. (5) It’s not just huge blockbusters that have represented American filmmaking in Britain in this period. These films are usually adapted from other media and have audience recognition as British. as with the Hughes Brothers film about Jack the Ripper FROM HELL. or BRIDGET JONES’S DIARY. The vogue for period films and literary adaptations brought companies like Miramax regularly to Britain and a number of smaller American companies. on many occasions Wardour Street and Pinewood Studios have had cause to be grateful for BFI Information Services 5 Doing the Business: Leading British Companies he film industry is dominated by American majors (and their Japanese parent companies in many cases). The British Film Commission (now UK Film Council International) was established in 1991 and a British Film Office set up in Los Angeles to encourage filmmakers to shoot here. Changing this brand identity would pose a commercial risk. For the credibility of the production it is preferable to make the HARRY POTTER films. To list but the most recent example CALENDAR GIRLS – the toast of Cannes in 2003 – couldn’t appear more quintessentially English with its tale of stripping W.

great sitcoms. Significant FilmFour titles at the UK Box Office 1991-2002 Title Year Budget (£m) 4. and occasionally incestuous nature.388. Instead some BBC executives began to see the value in moving into feature film both as an alternative showcase for talent and to attract additional revenue streams. PolyGram and Film Four. could lay claim to the success of Four Weddings and a Funeral.50 2. creating interesting films for television that frequently have a theatrical life.450 3. CHARLOTTE GRAY and DEATH TO SMOOCHY. There is therefore hope that the company will make a vital artistic contribution. in addition to the main terrestrial TV business. DEEPLY.53 2.466 456. The relative failure of expensive investments like LUCKY BREAK.216 1.00 0. The plan was to invest in larger films with an international potential.1990 the BBC had the reputation as a great engine room of British talent. the new head of FilmFour. have been a factor in this ascent and at the time of writing have established themselves at the forefront of the film industry in the UK.50 2.762. Working Title.281 FilmFour When in 2002 Channel 4 decided to close FilmFour as a stand alone film operation –ceasing distribution and sales and reducing production activity to low-budget ventures made in house – many felt that the rug had been pulled from beneath the British film industry’s feet. As the 1990s progressed FilmFour expanded upon these early successes and released a number of titles in cinemas each year.228 10.76 2. after success at festivals has encouraged them to put the film into cine- .00 3. studio based production style fell out of favour and it became harder to attract audiences for non-returning programmes. Pre.433. and a pay TV channel to showcase product. Gradually the emphasis has moved onto theatrical fare sometimes. formed at the beginning of the 1990s. the company ran into difficulties with overheads and margins. with international sales potential) for the SCREEN ONE and SCREEN TWO slots. as in the case of their biggest hit.185 494.Such is the small.027. After an early success with East is East. To begin with the newly constituted BBC Films Department remained fairly low-key. BBC Films.280 27. The dictates of the market.648 5. Its long-running series.254.342 12. Three companies for instance. For 20 years the various incarnations of FilmFour had ensured that at least some films were being made in the UK. such as TRULY.910 949.50 4. financial constraints and more commercial competition from Sky and others were starting to make their mark however.374. even if this was more perception than fact. A deal struck in 1991 with Arnon Milchan’s US company New Regency then allowed the possibility of working on larger scale international projects. BFI Information Services 6 Howard’s End Naked Four Weddings and a Funeral Shallow Grave Trainspotting Brassed Off Secrets and Lies My Name is Joe East is East The House of Mirth Lucky Break Charlotte Gray Once Upon a Time in the Midlands 1991 1992 1993 1993 1995 1995 1996 1997 1998 1999 2000 2001 2001 Source: BFI/Screen Finance/Nielsen EDI BBC Films The commercial fortunes of the BBC as a broadcasting corporation have risen dramatically over the last decade. This was particularly the case with the TV single play as the cheap. has announced a string of ambitious projects that they will be supporting in 2003.00 UK B. ensuring TV rights. of the British film business that more than one of these companies has frequently been involved in the same productions –and indeed vied for the credit. The best hope for the new FilmFour is that it will replicate this 80s model. but their industry influence will be diminished – Ross will not take Executive Producer credits and sales and rights will lie elsewhere.50 2. a sophisticated sales operation. Finally in July 2002 the new Managing Director Mark Thompson decided to pull the plug on the feature division and return filmmaking commissioning to the station. By 1993 they had gained sales rights to these films and some. MRS BROWN.40 7. began to be released theatrically. Eventually in 1998 FilmFour was set up as an autonomous feature division under Paul Webster. classic adaptations and hardhitting topical single plays were probably more culturally significant.319 1.772 1. LETTER TO BREZHNEV and DANCE WITH A STRANGER. Some of these were fully funded productions and others were films made by other companies where Channel 4 stumped up pre-sale cash. Tessa Ross. and certainly more popular with audiences than the British films being made for theatrical release at the time.00 2. Certainly the dark days of the 1980s would have been even murkier without the company and films like MY BEAUTIFUL LAUNDRETTE. THE HAWK and THE SNAPPER.926 709.O (£m) 4.90 1. weakened the company’s position.101. supported by a UK distribution arm. largely producing single films (on film. however. When in 1994 they hit the jackpot with PolyGram’s Four Weddings and a Funeral (£27 million at the UK box office and 11 million viewers on its first TV transmission) FilmFour felt encouraged to capitalise on their triumphs by expanding their business.00 14.567.969. More important however were the commercial pressures facing the parent broadcaster at a time when there was a slump in advertising revenues. MADLY.

BILLY ELLIOT. means Working Title could continue at the top for some years to come.617 160.175 235.197.00 3. with more expensive titles such as Wilde and Iris. WT2. Lynne Ramsay’s Ratcatcher is one of the films to have benefited from this funding.O (£m) 603. under the management of first Mark Shivas and then David Thompson. such as ALI G and MR. As if to underline their commitment to Britain a new low-budget arm. American links were forged still closer in 1999 when. Many of its biggest successes have been as a secondary backer for productions – putting presale money in to acquire TV rights. such as MY BEAUTIFUL LAUNDRETTE and A WORLD APART – often in association with Channel Four.75 3. have maintained a mix of UK art house films like Ramsay’s work and Pawel Pawlikowski’s LAST RESORT. Rivals might argue that their stability has been achieved because of the BBC’s favoured funding position over its competitors but at least that stability allows some of the UK’s best and most challenging filmmakers to continue to make films in Britain. star power and the wants of the international audience. Madly. Throughout the 80s they were involved in TV production and low BFI Information Services 7 . In 1993 Radclyffe left to set up her own company (Sarah Radclyffe Productions – makers of THE WAR ZONE and THERE’S ONLY ONE JIMMY GRIMBLE) and was replaced by American producer Eric Fellner.Brown Regeneration TwentyFourSeven Ratcatcher Last Resort Iris 1991 1992 1994 1995 1995 1996 1996 1996 1996 1997 1998 2000 2001 Source: BFI/Screen Finance/Nielsen EDI Working Title Films Most industry observers in the UK would probably agree that the most successful.197. Appropriately enough by this time Working Title had started operating in the US. Deeply The Snapper Priest Jude Small Faces Face Wilde Mrs.00 3. BBC Films.00 UK B. sometimes with a British angle.BEAN.126 431.025. It established a winning formula of sophisticated romantic comedies that hit the jackpot again with NOTTING HILL (1998).332 1. Working Title was formed in 1983 by producers Sarah Radclyffe and Tim Bevan.132 1. The company’s skill at comedy hits means that they have always proved very astute in turning TV successes. In the 1994 Working Title finally found commercial joy with their brand of low budget British films when FOUR WEDDINGS AND A FUNERAL broke box office records in Britain and enjoyed considerable success in the US. Grant is probably the only British based actor to qualify as a star – both through having a recognisable persona with the public and a marketable marquee value. BRIDGET JONES’S DIARY (2000) and ABOUT A BOY (2001). The gamble immediately paid off with a huge worldwide hit. such as ALI G INDA HOUSE (2001).048 1.75 0.492 1. but the company remains an integral part of the British industry as well. BBC Films. Working Title also has its own distinctive profile as a company. Working Title is now a wholly owned Universal subsidiary but very much retains its own brand.40 2.70 2. The LA part of the company makes US pictures. Most recently they resurrected a character Rowan Atkinson played ten years earlier in some Barclaycard Adverts into the £15 million plus hit JOHNNY ENGLISH.00 0. Significant BBC Films titles at the UK Box Office 1991-2002 Title Year Budget (£m) 0. British films.40 1. was set up in 1999.00 6. adaptable and prolific company in the last decade has been Working Title Films.547 1. This skill in using properties the public is already familiar with. combined with their understanding of the importance of marketing. like the relocated adaptation of Nick Hornby’s novel HIGH FIDELITY (1999).047. In 1988 the company began an association with the European conglomerate PolyGram.479 615. but prestigious. There is a wide range of product but recurrent success is built through long-running relationships with stars like Hugh Grant and directors like the Coen Brothers.942 4. is inextricably linked to the BBC’s central TV operation.50 1. although now a private company. Despite a bewildering history of ownerships in both Europe and America the company has managed to preserve a British identity.126 391. Truly.90 1. on the demise of parent company PolyGram the company was bought by Universal. into lucrative big screen earners.127 649.119. which moved into 100% ownership in 1993. While ownership by larger corporations has certainly helped give them a security that some of their rivals have lacked they can also point to continued commercial triumphs. It’s not all Hugh Grant however – other big Working Title hits have ranged from costume thriller ELIZABETH to slapstick comedy BEAN (1996). but the division has also attempted to reintroduce the notion of commercial films primarily for the home market.877. from TV comics to best selling novels.547 distribution prior to a TV screening. beginning a collaboration with actor/director Tim Robbins with the film Bob Roberts (and continued with DEAD MAN WALKING) and over the next few years making a number of well received (and relatively commercially successful) films with the Coen Brothers. with offices in both London and Los Angeles.20 5.

with distribution comes profit and power and without its enabling qualities production can become something of an academic exercise .101.00 15. Recorded Picture Company started up in the late 1970s. Parent Company Phillips decided to cash in on their software assets and sold PolyGram to Canadian drinks conglomerate Seagram.60 11.071. with creative control.401.2001 (Not including Working Title Films or productions involving BBC Films or FilmFour) Title Year Budget (£m) 2. the son of Doctor in the House director . quickly making an impression with Nicolas Roeg’s controversial classic BAD TIMING.779. A vindication of this often unfashionable policy is that. Significant PolyGram films by UK Box Office 1991 .604 Bob Roberts Fargo Bean Elizabeth Plunkett and Macleane Notting Hill High Fidelity Billy Elliot Bridget Jones’s Diary Captain Corelli’s Mandolin About a Boy Ali G Indahouse 1991 1995 1996 1997 1997 1998 1998 1999 2000 2000 2001 2001 PolyGram Filmed Entertainment.80 16.315 31.Stock and Two Smoking Barrels Spice World Being John Malkovich 1993 1994 1994 1995 1995 1996 1997 1997 1998 2.00 13.453 681.006. PolyGram were long established in the music industry before starting an involvement with the film industry in the late 1970s.20 4. was developing hits and making astute third party purchases like the three films named above – indeed Polygram had a hand in many of the titles already discussed under other companies.883 Source:BFI/ Screen Finance/Nielsen EDI Recorded Picture Company Jeremy Thomas’s Recorded Picture Company has ploughed an entirely different furrow to the other companies featured in this section.592 1.342 British filmmakers have frequently found to their cost.078. where others examined here are no more.567. the LA based president. Alas in 1998 it all came to an end.850.304.622 3.50 4. Most importantly the company understood the importance of distribution.109 5. As Sir Alan Parker argued vigorously in his speech to BAFTA in November 2002. the Recorded Picture Company continues to enjoy success on its own terms.80 14.00 N/A 2.071 16.683 Source: BFI/Screen Finance/Nielsen EDI PolyGram Filmed Entertainment PolyGram managed to be a hugely influential company in British production without actually technically being British at all.972. Instead Thomas has kept the torch burning for the ‘60s and ‘70s ideal of the international. In the mid 1990s PolyGram were a vital part of the international industry and British titles were a key part of that success from Trainspotting to JUDE to LOCK. including the UK. large-scale. Kuhn was very open about his ambitions to create a European rival to the US majors and he very nearly pulled it off.296. nor has there been a slew of romantic comedies or tales of heart-warming struggle against the odds. At no point has he tried to set up the company as an alternative to the Hollywood studios.001 5. often as a funding partner of other production operations. Jeremy Thomas.386. Although international in scope.855 N/A 2.895 17.90 2. Slowly PolyGram built up a production slate.90 0.082 5.239 10.70 16.562 5.870. In a bitterly ironic move Universal were quickly purchased by French utilities firm Vivendi – a Hollywood studio was now in the hands of Europeans but not the way that had been intended.20 13.141 4. and Stewart Till.O (£m) 460. head of PolyGram Film International in London – were keen to follow was of the Hollywood studios. STOCK AND TWO SMOKING BARRELS. An international distribution network was gradually put into place. art house film.673. were merged with Universal’s production and distribution wings. Rights libraries like Britain’s ITC collection were also acquired. The company’s distribution outlets and the associated sales operations meant that it maximised revenue from its own product and gave it the muscle to act as a benefactor to developing talent.517.790 2. PolyGram’s operations. but also with Hollywood outfits like Propaganda and Interscope. France. The distribution and sales functions were hugely successful – the marketing campaigns for Trainspotting and The Usual Suspects helped get crowds into potentially difficult material and will warm many an ad exec’s heart for years to come. London came to be the base for their film business. despite the protestations of Kuhn and Till.00 UK B. The scion of Dutch electronics giant Phillips. The model that PolyGram’s executives –notably Michael Kuhn.00 13.007.00 10.O (£m) 1.715 42.793.008 9.784. BFI Information Services 8 Backbeat Shallow Grave Jack and Sarah The Portrait of a Lady The Usual Suspects A Life Less Ordinary Lock.025 18. The production division.70 UK B. as we have seen with Working Title. who already owned Universal.Significant Working Title titles at the UK Box Office 1991-2002 Title Year Budget (£m) 2. and ultimately ownership of Gramercy pictures in the US.00 11.25 N/A 7.536.

a complex arrangement returning ticket money to producers. producing the films of auteurs like Terence Davies. British Screen Finance. Significant Recorded Picture Company Films at the UK Box Office 1991-2002 Title Year Budget (£m) 1991 1992 1995 1995 1995 1997 2000 10. The old Eady levy. Although until recently the company may have lacked identifiable ‘Britishness’ their films add to the sense of Britain as a player in the international filmmaking community. let alone on what shape such funding from government should take. Lynne Ramsey. the Recorded Picture Company succeeds in achieving its aims. are not British films in a cultural sense that would be evident to most of the audience. Working parties were put into place but many hopes foundered on Thatcher’s departure a few months later and on the scepticism of the treasury. Puttnam et al) to a seminar at Downing Street on 15th June 1990 with the aim to make Wardour Street great once more – and.186 3. without being distracted from its course or overreaching its capabilities. from women directors like Sally Potter to black filmmakers like Isaac Julien and Horace Ové. Cultural subsidy was thought by many to be against the principles of the then Thatcher government.Ballard’s novel Crash in 1996. Many of the productions have been fairly lavish but the company has been able to bear the cost because of their skill (through subsidiary HanWay Films) in selling the films to the international market. some suspected. The financial support to the National Film and TV School (still maintained) performed a similar role in realising new talent.00 3. was raised in the most parochial traditions of British cinema but has paradoxically spent his own career keeping the principles of the European art film alive in Britain. It produces films that it believes in and conducts its business in a way that allows this to continue.38 UK B. sometimes consistently as with Bernardo Bertolucci. However to make bigger projects the indirect funding that came through subsidised TV stations like Channel 4 was the only realistic option for many producers to obtain funds in the early 1990s.Ralph Thomas. Their next film. manages to combine this British focus with the values and ambitions of the European art film . on an occasional basis. like David Cronenberg. The only direct national subsidies in place were either through a private company set up under the act. Most of the films produced by the Recorded Picture Company. T At the end of the 1980s funding was feeble indeed.561 733.G. The Board encouraged work by social groups often sidelined by the industry. Jonathan Glazer.00 N/A 18. Although not particularly prolific and not obviously commercial. Thomas has proved his mettle in tackling risky material from the rows with Rank over Bad Timing in 1980 to the enormous furore over Cronenberg’s version of J.326 305.00 7. from Terence Davies to their latest star alumni. for films to wave the flag. The company’s strategy has been to support the careers of a small number of International auteurs by working in close partnership with them. Similarly the regional funds that Ramsey was able to take advantage of in making her first short through Scottish Screen have given small amounts of money for very low-budget filmmaking. but it still proved a hit with critics worldwide. assisting mainly in medium budget pictures or the British Film Institute’s Production Board. criticising British feature films for their supposed anti-Tory bias.shown by its warm reception at Director’s Fortnight in Cannes 2003.O (£) 542. In 2003 this subject remains as problematic as ever. often with American or Italian settings. was abolished in the Films Act of 1985.00 18. not to mention mainstream directors such as Ridley Scott.376 774. it also developed the careers of many technicians. with others. a black comedy about British gangsters from a first time director.976 928.942 The State of Things: Government Funding and the Film Industry he most contentious area of debate in the British film industry in the last decade has been over the role of the state. Although the Production Board specialised in experimental and low budget material. Derek Jarman and Peter Greenaway. Ironically the company changed direction somewhat for its last big hit SEXY BEAST. However the Iron Lady surprised them all when she called various film dignitaries (Attenborough. YOUNG ADAM.019 254.50 4. particularly after an article by conservative academic Norman Stone in The Sunday Times in January 1988. Commentators share little consensus on the matter and fail to agree on basic principles such as whether the government should offer more financial support to the film industry or whether such subsidy is an inappropriate use of our hard earned taxes. The one concrete achievement was the formation of The British Film Commission (now renamed UK Film Council International) to encourage foreign investment into UK facilities – a strategy that continues to this day and has had some success in attracting overseas spend and ensuring a co-ordi9 The Naked Lunch Little Buddha Crash Blood and Wine Stealing Beauty All the Little Animals Sexy Beast Source: BFI/ Screen Finance/Nielsen EDI BFI Information Services .

the issue of state funding gets caught in the same cleft stick every time. However the problem here . working towards that all-important critical mass that would allow good material to reach an audience through some sort of sustainable structure. Those that believe in production funding from the state at all have tended to fall into two camps. Even for those with a less purist view on the matter. Alexander Walker. At various times the powers that be have listened to the tax arguments and provided legislative backing for investors – notably in Section 48 Finance (No. The idea was that these conglomerates of various producers would come to resemble mini-studios. with its promise of bounty for deserving causes. As it happened this coincided with a change of ruling political party – after 18 years Labour was in power again. The direct grant idea in various forms has developed into the fairly complex funding landscape that faces us in 2003. which under the Arts Council’s auspices had been dubbed a resounding failure. was not a direct recommendation from the report at all. which by its nature seems to be in a process of constant change and refinement. BFI Information Services 10 The Labour Government’s cinema working group published a strategy document on the industry called A Bigger Picture in March 1998. Non-film specific breaks like the Enterprise Investment Scheme and the Business Expansion Scheme have also been used by filmmakers at different times. The time was right to think again about how to best exploit this potential new cash cow. The main function of the UK Film Council is to build up structures to enable a cohesive film industry to take shape. In 2002 GOSFORD PARK. One of the first acts of the new Labour government after their election in May 1997 was to announce at the Cannes Film Festival that much of the lottery grants would now go through three new film franchises. was considerably strengthened and career support improved. notably from the most vocal protester. BEND IT LIKE BECKHAM and MIKE BASSETT: ENGLAND MANAGER. There were also plans to increase opportunities for co-production but the government resisted entry into the EC’s Eurimages programme much to the chagrin of producers. The most pressing task on formation was to reinvigorate the subsidised production sector. His point is one of principle – public money should not be used for what are at heart commercial ventures. the capital projects that lottery rules dictated money had to be put towards. However fears of abuse by crafty producers has led to a pattern of useful loopholes opening only to be swiftly closed again.nated service for foreign film shoots in Britain. The former never materialised. replete with prodigious action plans full of good intentions about all-industry contributory funds and greater training support.2) Act of 1997. particularly when hospitals and schools are under funded. However the most significant industry development of the decade. The first believe that money should come through direct grants to particular productions.would nurture a slate of films from development to screen. Skillset. Titbits to disparate (and largely unsuccessful) projects do not an industry make. The second school of thought has considered tax to be the most effective instrument of change. the New Cinema Fund for edgier. The underwhelming results of the first couple of years of this led people to conclude that what was lacking was any kind of cohesion. in effect. to a slate of productions that could build up towards a sustainable industry. In May 2003 it was renamed the UK Film Council. Media and Sport (as the overseeing Whitehall department was now known) picked up on A Bigger Picture’s vague call for ‘sustainable industry structures’ and set up a rationalised film super-body incorporating the myriad of film organisations under one direct controlling hand. less mainstream work and a Development Fund. Greater success for lottery assisted films has not led to a ceasefire from the critics of the scheme however. Britain’s approach to film funding lies somewhere in the middle of the range of possibilities adopted over the world by governments (see Appendix 3 for comparisons). all proved to be box office hits and films like Morvern Callar won critical plaudits. Although nominally overseen by the Arts Council of England these three companies . In November 2002 there was also the irony of a fully fledged hit from the much criticised lottery franchises. The Department of Culture. The Arts Councils’ of the home nations were entrusted with the allocation of monies and from 1995 started to grant awards.DNA Films. as indeed the bfi Production Board did do for many years. What kind of films should be funded? If you fund films that large numbers of people wish to see and that will do well at the box office there may be some return to the exchequer (and ultimately the taxpayer) but if they are going to make money wouldn’t the industry make them anyway? As Walker points out this could lead to citizens funding already profitable businesses. but the training body for media. the film critic of the London Evening Standard. DNA Films 28 Days Later reaching number one at the box office just as the end of their contracts hove into view. Alternatively the state could support filmmaking that would not otherwise be funded by a market driven industry. They have attempted to do this through setting up a trio of funds – the big budget Premiere Fund. or as became more fashionable later in the decade. which emerged just a few months later. Needless to say this was easier said than done. This body became The Film Council. The Film Consortium and Pathé. Film productions were taken to be. particularly write-offs on production costs. The motor for this system proved to be the establishment of the National Lottery in 1994. officially launched in October 1999 and active from January 2000. After nearly three years they can claim some success.

I suspect. Despite ever-rising attendances. The money spent at cinemas is by and large going straight back to Los Angeles. Meadows himself has said how keen he is to get wide audiences but box office figures have consistently been that a large number of people end up contributing their money to work that is often not to their liking. no matter how good it is. Of those that have had a release the box office is often dispiritingly low. which has easily been spotted by an unconvinced public. What Parker also rejects however is the idea of a national cinema in the traditional sense. talent. There was a significant change of emphasis in the speech about the way in which support should be structured. This has the potential to bring costs right down and allow cinemas to show a greater range of films –although equally it could produce the reverse effect and lead to every cinema in town showing a Harry Potter or Matrix sequel to keep up with demand. have had to downsize or withdraw their film divisions. Sometimes there has been a cynical attempt to try and copy the blueprint of the last big hit. greater lottery dividends. exhibition and training are laudable in many ways. and an understanding of the problems of contemporary Britain are a case in point. The recurrent industry dilemmas that have been highlighted in this report continue to be mainly unresolved: · Should companies be ambitious and expand or should they remain smallscale and stick to what they know? · Should British films be subsidised and if so should be put money into popular hits or films that would otherwise not be made? · How do we get British audiences to come and watch British films. Until we resolve these philosophical dilemmas about the state funding of film the controversy will keep on raging. Similarly the new Distribution and Exhibition strategy has prioritised the implementation of digital delivery to cinemas. A wider media recession has meant that the TV companies. ever form the basis of a successful film industry – even if we double. and a supply of films for the international market. As TV has BFI Information Services 11 . Sometimes the reasons have been a lack of script development.” The Film Council’s intentions to switch support to distribution. also found. in an age of instant gratification it can be hard to get audiences for potentially difficult material. Well. other than James Bond and the occasional TV comedy spin-off? · Is there really such a thing as a British film industry at all? When you look through our database of nearly one thousand films you will see the full extent of the problems we face.. A third of films made over ten years have never even made it to the big screen. The Relph Report (written by experienced independent producer Simon Relph) that followed the speech gives a detailed analysis on the problems and possible solutions of budgeting – and indeed technical advances in digital cameras are already having an impact here.” What Next? A fter a decade of significant progress and fundamental change the British Film Industry finds itself at a crossroads once more. triple or quadruple the money presently on offer. for so long the core providers of films in Britain. it’s time for a reality check. and in the brutal age of global capitalism. Sir Alan Parker’s speech to BAFTA in November 2002. He (probably correctly) warns that budgeting and the mechanics of production need to be radically rethought. or an unseemly haste bringing half realised ideas to camera. The films of Shane Meadows. The emphasis on development in The Film Council is undoubtedly wise in contributing to a more consistent quality of product. Audiences outside London often complain that they do not get the chance to see all but the most mainstream of British films and there is always a need to top up the talent base. it never will. the audience. He imagines a future with Britain as a ‘film hub’ providing services. even with supportive marketing and wide opening releases. Parker told his audience that: “. The seriousness of the industry’s problems was highlighted by Chairman of The Film Council. A lack of connection with the audience is often to blame. full of warmth. Given the enormous expense of films and the huge amount of human effort that goes into making a feature it can make one feel that the whole process is futile. is what many people think of when they talk of a ‘sustainable’ British film industry. That. He claims that: “We need to abandon forever the ‘little England’ vision of a UK industry comprised of small British film companies delivering parochial British films. That ‘British’ film industry never existed. direct subsidy solely to production will never. critically praised.bluntly. This perhaps makes for a better economic and cultural argument but there is an understandable political sensitivity to the suggestion that the earnings of the masses should keep the loft dwellers of Shoreditch in clover. However there are also times when we might have to think about blaming ourselves. and some interesting new talent there has been a slump in production investment with the inevitable impact on jobs and business in 2002/3. which seemed to mark a line in the sand for the industry. What may be more debatable in Parker’s vision are his views on what British films should be. Sometimes the idea itself is just not going to drag busy people to a cinema for two hours of their life.

For all the travails and painstaking upheavals within the industry since 1991. In the 1970s the woeful state of the film industry was compensated for by the continued brilliance of the single dramas. By 2001 this had increased to 73% and 15% respectively. There is a good case that there is not.6% of television households worldwide. are still being made and seen. but funded by Warner Brothers. Obviously great TV shows. Shane Meadows’ early films received financial support from bodies in his East Midlands base and Michael Winterbottom’s first feature Butterfly Kiss was part funded by MIDA in Liverpool. there was a significant and interesting body of films produced that displayed British talent and had something interesting to say. In 1990 only 49% of people over 35 ever went to the cinema and only 3% regularly.6% penetration of television households globally over the same period. This is particularly worrying. and times of panic. What is perhaps more open to question is the use of the word parochial. a rather overused term of scorn these days. It is possible to make something that deals with life in Oban (MORVERN CALLAR). “ We are very concerned about what will happen to our product on the internet in the future”. has entered a state of turmoil. of the structures around them. By comparison. or Uttoxeter (ONCE UPON A TIME IN THE MIDLANDS) or indeed Sheffield (THE FULL MONTY) and Hounslow (BEND IT LIKE BECKHAM) and make it interesting for anyone.Much of this is realistic and right. The Crying Game made $62. a real film industry in the UK of any influence – rather that great talents and great films have occasionally emerged in spite. for all the poor distribution. serials and sitcoms on the BBC and the Independent TV stations. Audiences lap up films set in New York and Los Angeles. risky work will survive. Footnotes 1. mishandled subsidies. but we cannot be certain that the stable structures that supported an environment of bold. 3. and as audiences continue to pour into cinemas.5 million in the US. Source: CAA/CAVIAR 4. which unquestionably has been a great industry in the UK. rather than because. Source: ACNielsen/EDI 5. The James Bond films are produced by London based Eon Productions but the films are largely funded by MGM/United Artists. as the additional revenue streams come from DVD. Thus there is a necessity for film to contribute to the national culture and offer fresh voices. Funding through the regional bodies now affiliated to the Film Council has played an important role in developing some of Britain’s most important filmmakers. but aren’t they parochial too? 6 It would be a great pity if British films lost a connection with Britain’s culture and society. take the local and make it universal. The Harry Potter films are produced by Englishman David Heyman’s company Heyday Films. after all. BFI Information Services 12 . such as THE OFFICE and STATE OF PLAY. as broadcasting. and has never been.341 After its first five years DVD hardware had penetrated 5. 6. helping to finance the work of Lynne Ramsey for example. 2. the VCR achieved only 1. National funders like Scottish Screen and the Arts Council of Northern Ireland have been even more prominent players. ‘Broadband Blues’ by David Wood Screen International 17/11/2000 So does the MPAA think there is a problem? “Absolutely “ admits its senior vice-president of worldwide anti-piracy Ken Jacobsen. Great works of art. Screen Digest November 2002 p. let’s hope that that remains the case. As the structure of the industry continues to improve.

uk/creative/index. www.html Making a film under these agreements allows access to tax benefits in the UK. The United States and France form the ends of the subsidy spectrum –one has a negligible programme of aid and the other a complex system of support. France sees an important indigenous film industry as a vital part of the national culture. In contrast. In addition there are generous provisions of interest free loans for development and production and tax relief on private investment. These are with the governments of France. These are that: The producer was at the time of filming an EC Resident. www. and a Directory of British Filmmakers. You will statistics about the British film industry. of course. There is a complex system of production aid through box office receipts. and advice on researching film and television. The texts of the agreements are listed on the department of Culture. ). Links to useful film and TV websites are organised under appropriate headings and there are now options to search by keyword. The Act repealed previous legislation and set out criteria – albeit vague .on what constitutes a British film. TV companies also play an important funding role.ukfilmcouncil. Media and Sport’s website at www. Norway. giving daily film news from around the The website for Entertainment Data Inc. These are administered through a competing network of Film The website for the British Council’s film department. www. current projects and lottery awards.skillset. Australia and Canada. the Motion Picture Association of America is a hugely influential lobbyist for a favourable tax and competition environment.bfi. sections of the BFI Film and Television The website for the trade journal Screen International. The United States as the premier worldwide commercial filmmaking nation largely eschews central support for filmmaking. www. This US company researches box office information for films around the Appendix 2: UK Co-Production Treaty agreements There are seven official UK Co-Production agreements. ber of tax breaks and incentives available at State and City level to encourage production in their The website for the British Film The website for the UK Film Council. However there are a numBFI Information Services 13 . details of international film festivals. www. In a general sense. the training organisation for the media industries.APPENDICES Appendix 1: 1985 Films Act This act remains the primary piece of legislation governing film production in the UK. such as production The website for Skillset.entdata. The British Council exists to promote British culture around the world and this site has a selfentry listing of British films year by year.bfi. KEY WEBSITES The Facts on Film section of the bfi’s site.cnc. or the production company was based in the EC. New Zealand. giving details of their funding schemes. the main industry organisation.bfi. www. Appendix 3: Government Funding Comparisons It is interesting to note alternative government funding strategies in other countries when looking at the situation in the The Film Links Gateway section of the bfi site. Germany. which are administered by government film organisation the Centre National de la Cinematographie ( The film was shot primarily in an EC or Commonwealth country 75% of the film’s labour costs (with exception given for Hollywood leading players) are paid in the EC or the Commonwealth 70% of total expenditure on production to be spent in the United Kingdom The act was amended in 1997 and 1999 to allow a film to be defined as British even if post-production took place outside the UK – Little Voice had been used as an example of a film with an obviously British cultural imperative that was not classed as a British film under the Act because of this cost element. It also allows the coproduction partner in the non-UK country to access appropriate benefits there – effectively giving the production a double subsidy.

Film Council. BIBLIOGRAPHY The Arts Council of England and Spectrum. British Cinema of the 1990s. Murphy. 5th edition. Lottery Film Franchising: A Feasibility Study. Screen Digest. Beverly Hills-London: EDI. Alliance for Cinema and Television). Issue 30 1998 Media.herts. annual (1994 to 2001). EDI Release Schedule UK & USA. London: bfi.Alan Parker Presentation Nov 5 2002 http://www. Milan: Media Salles. 1999. Newton Abbot. 1994. Building a sustainable UK film industry . Film Policy Review Group. London : Cassell. annual (1998 to 2002).org. 1999. Hampton: Middlesex: Key 1997 Report on Production of Lower Budget Films . 2001. Exhibition in Cinemas in the UK. 1996. Towards a Sustainable UK Film Industry. David. Making Movies Matter: Report of the Film Education Working Group. annual (1992 to 2000). 1994/95.The Relph Report http://www. Cultural Trends. A Bigger Picture: the Report of the Film Policy Review Group. 2nd edition. London: Policy Studies Institute. British Films Catalogue. Enfield. Great Britain Monopolies and Mergers Commission. London: David & Film Council. annual (1992 to 2002). The website for PACT (Producers. Statistical Yearbook: Cinema. annual (1992 to 2001). Towards a Sustainable UK Film Industry.filmcouncil. Video and New Media in . British Council. 1993. European Cinema Yearbook: A Statistical Analysis. Film in England: a Development Strategy for Film and the Moving Image in the English Regions. The Film Industry: Market Report (Key Note Market Report). Martin.htm Guardian Unlimited www. London: Film Council. Europe and America. London: Screen Digest.filmcouncil. 2000 (available at www. Films: A Report on the Supply of Films for BFI Information Services 14 Robertson. The site operates a registration system. 2001. Dale. [Cm 2673]. The movie game: the film business in Britain.filmcouncil. Devon. the largest organisation representing producers in the UK. Cinema Exhibition and Distribution in Europe: Market Assessment and Forecast. Leicester: Dodona Cinemagoing 10. Strasbourg: European Audio-visual Observatory. Film Education Working Group. British Cinema and Film A website set up to give advice and services to filmmakers. Middlesex: Guinness Publishing. London: Film Council. 1986.www. Overseas Transactions of the Film and TV Industry. www. Gifford. London: HMSO. Contains briefing documents on copyright. London: The Arts Council of England. Denis. The Guinness Book on Movie Facts and Feats. Annual publication. Central Statistical Office (later Office for National Statistics). 2000.pact. Murphy.shootingpeople. The British Cinema Book. Hancock. The British Film Catalogue 18951995: A Reference 1998. Television. London: CSO (later ONS). Entertainment Data International. London: Screen Digest. (DCMS). 2002. London: Department of Culture Media and London: bfi. Robert (editor). employment laws and other useful hreport&qs=relph&st=site Film Industry Research Group (FIRG) – University of Hertfordshire . London: bfi. Robert (editor). 1990.

. . . . . . .PAKISTAN PT . there is a UK cultural content and a significant amount of British finance and personnel. . . . . . . . . . . . . . . . . . . .ROMANIA RU . . . BFI Information Services 15 . . . . . . . . C = minority UK co-productions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .UNITED STATES YU .NETHERLANDS NO .AUSTRALIA BE . . . . . B = majority UK Co-productions. . . . E = American films with some British financial involvement. . . . . . . We believe this kind of classification helps readers to understand the degree of ‘Britishness’ of the film and get a sense of its production background. . . . . . . . . . .SOUTH AFRICA ZW . . . . . . . . . . .BELGIUM CA . . . .Country AR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ICELAND IT . . . . . . . . . .NOTES TO TABLE TITLE English language release titles used in all cases. . . . . . . . . . . . . . . . . . . . . . . . . . . .ITALY JP . .RUSSIA SA . . . . .SAUDI ARABIA SE . . . . . . . . . . . . . . . . . . Most titles have a UK cultural content. . . . . .CANADA CH . . . . . . . . . . . . . .SPAIN FI . . . .ARGENTINA AT . . . . . . . . . . . . . BOX OFFICE Figures are given in GBPS (£). . . . . . . . . .YUGOSLAVIA ZA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ZIMBABWE BFI HANDBOOK CATEGORY The BFI Handbook categories referred to in the database of films (column G)are the way that we have classified different kinds of British films over the years in the BFI Film and Television Handbook.MACEDONIA NL . . .INDIA IS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CROATIA CZR . . . . . . . . . . . . . . . . .FRANCE GR . .JAPAN LU . . . . . . . . . . . CO-PRODUCING COUNTRIES The following key to country codes is taken from those codes employed in the British Film Institute’s database. . . . . . . . . . . . . . . . . . . . BUDGET Figures are given in GBPS (£) unless otherwise stated. . . . . . .CZECH REPUBLIC DK . . . . . . . . . . . . . . . . . . . . . . Films in which. . .FINLAND FR . . . . . . . . . . . . . . .HUNGARY IE . . . . . . . . . . . . . . . . . . . . . . . . .GERMANY ES . . . . . .NEW ZEALAND PK . . . . . . . SIFT (Summary of Information on Film and Television) Code . . . . . .AUSTRIA AU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LUXEMBOURG MAC . . . . . The categories are defined as follows: A = feature films where the cultural and financial impetus is from the UK and where the majority of personnel are British. . .DENMARK DL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HONG KONG HU . . . . . . .PORTUGAL RO . . . . . . . . . . . . . . . . . . . . . . . .IRISH REPUBLIC IN . . . . . . . . . . . . . .SWITZERLAND CT . . .GREECE HK . . . . . Foreign (non US) films in which there is a small UK involvement in finance and personnel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . although there are foreign partners. . . . . . .SWEDEN US . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .NORWAY NZ . . . . . . . . . . . . Figures marked with an asterisk (*) indicate an estimated total. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D = American financed or part-financed films in the UK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

90 2.20 1.60 N/A CA IE/DL NO IE IE Co-Producing Year of Countries Production CA/FR/US 2001 1995 1999 1998 2001 2000 2000 1999 1999 2001 1998 1998 Category UK Box Office according to (£m) as of BFI Handbook May 2003 C D D A D B B C C D B A x 20.00 1.50 3.00 0.50 4.673 0.00 14.076 16.60 2.50 6.091 0.50 15.049 0.50 9.38 6.00 2.00 1.50 2.80 6.57 32.02 x 0.005 6..00 3.003 x 0.30 10.573 0.008 0.A-Z of Films with British involvement produced 1991 .40 19.544 x 10.80 3.880 0.40 2.790 0.20 36.50 1.2001 Title Production Companies Budget (£m) 8.851 0.40 2.672 1.851 1.011 0.00 FR AT 1995 1993 2000 2001 1997 1998 1991 1995 1997 1994 2001 1997 2000 1991 1993 1996 1997 1996 1992 2001 2001 1994 2001 1999 1994 1998 1996 E C A A A D D A C C B A A A E C A D A C A D A A C A D 1.00 30.177 x $teal Spice Factory/ Transfilm/ Mandarin Films/ TF1/ Miramax 101 Dalmations Great Oaks/ Disney 102 Dalmatians Walt Disney 24 Hours in London One World Films 28 Days Later DNA Films/ Fox Searchlight/ Film Council 51st State Momentum Pictures/ Focus Films/ Alliance Atlantis/ Film Consortium/ Artists Production Group The Abduction Club Pathe/ Gruber and Samson Films/ KC Meridien Aberdeen Freeway Films/ Norsk Films/ Scottish Film Council About Adam Exchequer Film Co/ BBC/ HAL/ Venus/ Irish Film Board About a Boy Working Title/Universal/Canal+ Accelerator Imagine Films/ Gazboro/ Irish Film Board/ Irish Section 48 Tax Incentive The Acid House Channel Four/Picture Palace North/Umbrella Productions/Yorkshire Screen Development Agency/Glasgow Film Fund/European Regional Development Fund The Advenutures of Pinnocchio Allied/Savoy/ Kushner-Locke/ Davis Films/ Polygram The Adventures of Priscilla.240 3.00 3. Specific Films/Latent Image Queen of the Desert Al’s Lads Alchemy Pictures/ Evolution Films Ali G in da House WT2 Alien Blood West Coast Films Alien Love Triangle (Part 1) Figment Films/ Miramax/ Dimension Films Alien3 Twentieth Century Fox Alive and Kicking Indian Summer/ Channel Four All For Love Little Bird/ Tatfilm/ BBC/ WDR/ Compagnie des Phares et Balises/ Arts Council of Northern Ireland All Men are Mortal Nova Film/ Sigma/ Rio/ ECF/ BSkyB/ Eurimages All or Nothing Thin Man Films/ Canal+/ Films Alain Sarde All the Little Animals Recorded Picture Co/ BBC/ British Screen Alone CF1 Evolution Films Ama Efiri Tete/ Channel Four Amateur Zenith/ UGC American Werewolf in Paris Delux/ Comet/ Hollywood Pictures/ J and M Among Giants Kudos/ BBC/ British Screen/Arts Council of England/ Yorkshire Media Prod Fund Amy Foster Tapson Steel/ Canal +/ Sony/ Arts Council of Wales Anchoress bfi/ Corsan And now Ladies and Gentlemen.061 x 0.660 11.003 tbr x 0.297 x x 6.008 0.28 13.00 2.00 3.00* 1.935 0.50 1.183 x x IE/DL NL/FR FR FR/DL/US NL/BE BFI Information Services 16 .234 0.30 3.176 1.00 3. Les Films 13 An Angel For May Angels and Insects Anita and Me Another Life Antonia's Line Anxiety The Apocalypse Watch Spice Factory/ Barzo Productions/ Children’s Film and TV Foundation/ Gentian Prods Playhouse International/ Samuel Goldwyn Starfield Prods/ Film Council/ BBC Films/ East Midlands Film Initiative/ Chest Wig and Flares Boxer Films/ Arts Council of England Primitive Pictures/ Bergen/ Prime Time/ NOS/ ECF/ BSkyB Mortal Films Watch Prods/ABC/ Hallmark 15.50 1.00 24.

122 1.30 1.117 0.067 0.893 0.552 0.00 0.00 1.11 1.00 2.60 2.35 3.25 3.204 x 0.A-Z of Films with British involvement produced 1991 .00 1.80 0.031 0.75 1.012 x x 0.70 2.009 x 0. Monkey Baby Juice Express Babymother The Baby of Macon Backbeat Bad Behaviour Basil The Beach Beach Boys Bean Beautiful Creatures Beautiful Mistake Beautiful People Beautiful Thing Bedrooms and Hallways Before the Rain Before You Go Beg! Beginner’s Luck Being Considered Being Human Below Bend it Like Beckham Bent Best Between Two Women Beyond Bedlam Bhaji on the Beach Biggie and Tupac The Big Lebowski The Big Swap The Big Tease Billy Elliot The Biographer Birthday Girl The Bishop's Story The Alternative Cinema Company/ Loud Mouse/ 101 Films/ Schlemmer Films Samuelson Prods/ Lakeshore Entertainment/ PolyGram Dayavanti Pictures Sand/ Aim/ Reinhart Red Moon Films Teliesyn/ Hermes Film Granada Film Jerry Weintraub Prods/ Warner Brothers Portman/Wolfhound/ British Screen Scala Prods/ Synchronistic Prods Spice Factory/ Phantom Pictures/ Great British Films Formation Films/ Channel Four/Arts Council of England Allarts/ UGC/Cine Electra/ Channel Four/ Schlemmer Films/ North Rhine Westphalian Film Fund Scala Prods with Royal Films (Germany)/ Channel Four/ Polygram Parallax Pictures for Film Four Internationa and British Screen Showcase/ Kushner Locke Figment Films/Twentieth Century Fox Ragged Films WorkingTitle/ TigerAspect/ Polygram Creatures Ltd/ DNA/ Arts Council of England Boda Films/ S4C/ Arts Council of Wales Tall Stories Prods/ FilmFour/ bfi / MIDA/ British Screen/Arts Council of England World Prods/ Channel Four Berwin and Dempsey Prods/ BBC Aim Prods/ Vardar Film/ Noe Prods Big Fish Productions/ Pacificus/ Entertainment/ Isle of Man Film Commission Beg Prods Ltd/ Robert Golden Late Night Pictures/ Angel Eye Films Serendipity Films Enigma Films/ Warner Brothers Dimension Films/ Miramax Bilb Productions/ Kintop/ Film Council/ British Screen/ Hamburg Film Fund/ Future Films/ Roc Media Channel Four/ Arts Council of England/ Bent Prods Smoke and Mirrors/ Pembridge Prods/ BskyB/ Isle of Man Film Commission Julie Woodcock Prods/ North Country Pictures Metrodome Films backed by Business Expansion Scheme Umbi Films/ Film Four International Lafayette Films Working Title Moonlit Pictures/ Dandelion Crawford Prods/ Warner Brothers Tiger Aspect/ WT2/ BBC Films/ Arts Council of England First Biographer Films/ Pipeline Portobello Pictures/FilmFour/HAL/Miramax De Facto Film & Video/ K-Films/ BFilm/ Cinegel 17 1.05 9.01 5.00 0.00 0.144 x 13.480 0.00 0.2001 Title Production Companies Budget (£m) Co-Producing Year of Countries Production Category UK Box Office according to (£m) as of BFI Handbook May 2003 B E C A A C A D A A A A B A A D D A A A A A A A C A A A A D D B A B A A A A E A D A C D C x 1.117 0.125 2.870 0.973 0.310 0.865 x 0.134 x x x x x 11.387 x 0.00 13.64 1.50 0.00 23.00 6.00 2.635 x x 0.90 1.53 16.75 1.20 4.00 3.333 x 17.83 2.00 0.00 1.50 3.10 16.75 0.00 2.00 DL 1997 1998 IN DL 1997 1991 1998 1993 1994 1997 1994 1996 2001 1997 NL/DL 1992 1993 1992 1997 1999 1997 1996 1999 2000 1998 1995 1997 1993 2001 1993 2001 1998 1992 2001 2001 1996 MAC/FR DL IE 1998 1999 1993 1992 2001 1997 1996 1998 1999 DL IE/FR 2000 1999 1993 BFI Information Services .70 45.094 1.00 5.028 0.096 18.00 2.270 0.784 x Appetite Arlington Road Arzoo As You Like It Ashes to Ashes Au Pair August The Avengers An Awfully Big Adventure B.60 13.053 0.00 2.062 0.66 10.00 20.80 4.50 1.

008 0.09 0.382 8.607 0.712 x 42.80 10.10 1.007 tbr x 0.06 2.461 x tbr x tbr tbr x 0.004 0.005 Bitter Moon Black and White Black Beauty Blame it on the Bellboy Blonde Fist Blood Blood and Wine Bloody Sunday Blow Dry Blue Blue Black Permanent Blue Ice Blue Juice Bob Roberts Bob's Weekend Bodysong Bogwoman Bollywood Queen The Book of Eve Borderline Born Romantic The Borrowers Boston Kickout The Boy from Lucky Village The Boy from Mercury Boy Meets Girl Brassed Off The Brave Braveheart Breaking the Waves Breathtaking Bridget Jones’ Diary Bring Me the Head of Mavis Davis The Browning Version The Bruce The Brylcreem Boys Buffalo Soldiers Bullet to Beijing Bundy The Bunker A Business Affair Buskers The Butterfly Effect Butterfly Kiss Butterfly Man Timothy Burrill/ RP Productions Scala/ Duo Art Warner Brothers Prominent Features/ Disney Blue Dolphin Cantor Markham/ Loud Mouse/ Yorkshire Media Production Agency Recorded Picture Co/ Fox Searchlight/ Majestic Granada Film/ Hell’s Kitchen/ Film Council/ Irish Film Board. September Films/ Sky Pictures Working Title/ Universal/Miramax The Mission/ BBC/ Goldcrest Paramount British Bruce Pictures/ Cromwell Prods/ BSkyB Sherwood Films/ Rough Magic Films Film Four/ Good Machine/ Gorilla Entertainment/ Odeon Pictures/ Grosvenor Park Harry Palmer Prods/ J and M Teddy Films/ Tartan Films Millennium Pictures Film and General/ Osby Film Connexion/ Cartel Lyndania Films Kestrel Two/ Colomo/ Mainstream/ Canal +/ TVE/ Eurimages Dan Films/ British Screen/ BBC/ MIDA De Warrenne Pictures/ Harmonic Film 7.057 x 0.010 0.00 6.A-Z of Films with British involvement produced 1991 .00 1.005 x 3.00 1.60 3.064 0.92 2.004 0. Section 481 Irish Government tax incentives Intermedia/ Miramax/ West 11 Films/ Mirage Enterprises/ Internationale Medien Basilisk with Uplink (Japan) bfi / Viz Film/ Channel Four/ Scottish Film Production Fund Blue Ice Productions Skreba Working Title Erinfilm Hot Property/ FilmFour Lab/ Film Council/ MEDIA + De Facto Film and Video/ Hindsight/ RTE/ ZDF/ Arts Council of Northern Ireland/ Irish Film Board/Section 35 Spice Factory/ Enterprise Films/ Great British Films Focus Films/ Rose Films/ Telefilm Canada/SODEC Forever Films/ Mythos/ Greek Film Centre Kismet Films/ BBC/ Harvest Pictures/ Redbus Working Title Boston Films Brook/ Moonglobe Blue Rose/ Mercurian Prods/ Blue Dahlia/ RTE/ Canal +/ Irish Film Board Kino Eye Prominent Features/ Channel Four Recorded Picture Co/ Majestic/ Gaja/ Bac/ BMG/ Mikado Icon Prods/ Alan Ladd Prods Zentropa/ Trust/ Liberation/ Channel 1/ Arte/ ZDF/ Canal +/ Danish Film Inst.306 0.30 0.00 18.256 0.504 2.00 N/A 0.028 x x 0.40 35.35 0.004 0.00 3.388 x 12.53 6.123 0.237 0.60 3.35 2.28 1.20 1.50 5.60 0.00 6.40 14.20 29.50 0.89 0.211 0.005 0.00 5.00 5.207 0.62 0.00 n/a 0.00 3.00 0.50 2.00 1.006 0.50 4.003 x 0.00 1.50 1.007 0.34 6.2001 Title Production Companies Budget (£m) Co-Producing Year of Countries Production Category UK Box Office according to (£m) as of BFI Handbook May 2003 C C D D A A E B D A A A A E A A C A C C A A A A C A A B D C A D A D A A D A E A B A C A B 0.532 tbr 1.70 FR AU 1991 2001 1993 1991 1991 1999 1995 IE 2001 2000 1993 1992 1992 1994 1991 1995 2001 IE/DL 1996 2001 CA GR 2001 1993 2000 1996 1994 1991 1995 1993 1995 1996 1994 1995 1999 2000 1996 1993 1995 1995 2000 1994 2001 2000 1993 1997 1995 1994 IE/FR ES/FR/DL SE/DK/NO FR/DL/ES ES/FR TH 2001 BFI Information Services 18 .649 0.27 8.50 3.00 2.

257 0.70 1.00 5.00 5.98 10.107 1.077 7.40 4.096 x x 0.00 12.016 0.90 1.50 5.00 0.462 x x 0.50 2.927 0.80 5.60 2.50 13.50 1.63 2.80 Co-Producing Year of Countries Production IT/ES/FR/RO CA CA 2001 1996 1993 1991 2000 1997 1993 1996 1995 Category UK Box Office according to (£m) as of BFI Handbook May 2003 C A C C D A A A B tbr x 0.50 1.010 x 9.20 3.672 x x 4.00 2.00 1.40 27.67 14.50 1.123 FR/ES IE DL/BE CA CA CZR/CH FR/US BFI Information Services .40 1.60 1.00 0.00 FR/HU/DL FR 2001 1994 1992 2001 1995 E B A A C tbr 0.30 1.30 4.00 3.814 1.017 0.15 6.50 0.493 0.514 0.009 x x x x 0.90 16.00 13.00 0.834 1.245 0.00 1.50 3.069 0.090 29.2001 Title Production Companies Budget (£m) 14.332 0.00 DL FR/DL AU 2000 1995 1992 1991 2001 1994 1998 1995 2000 1999 2000 1993 2000 1999 1991 2000 1998 1994 1998 2000 1999 1997 1997 1999 1999 1998 2001 1996 1999 1996 C A B D B A D C D C D A A D D D A A D A A A C C A C A C A B x x 0.A-Z of Films with British involvement produced 1991 .101 0.005 * x 0.72 0.348 0.793 0.326 Callas Forever Cameleon Camilla Canvas Captain Corelli’s Mandolin Captain Jack Captives Career Girls Carla's Song Carolina Carrington Carry on Columbus The Case The Castle of Monkeys The Cat’s Meow Caught in the Act The Cement Garden Chaplin Charlotte Gray Chasing the Deer Chicken Run Chinese Portraits Chocolat Christie Malry’s Own Double Entry A Christmas Carol:The Movie A Christmas Reunion Chunky Monkey Circus City of Joy The Claim Clandestine Marriage Clockwork Mice The Closer You Get Club le Monde Cold Fish Comic Act The Commissioner The Company Man Complicity Conquest Conspiracy of Silence The Conspirators of Pleasure County Kilburn Cousin Bette Medusa/ Cattelya/ Business Affair Productions/ Galfin/Alquimia/Mediapro Elidir/ S4C Skreba/Shaftesbury Films Mark Forstater/ Optima Working Title/ Universal/ Canal+ Viva Films/ Granada/ Winchester Films/ Arts Council of England BBC/ Distant Horizon Thin Man Films/ Channel Four Parallax Pictures/ Road Movies/ Tornasol/ TVE/ Channel Four/ Glasgow Film Fund/ Filmstifung Nordrhein-Westfalen IAC Productions/ Martin Bregman Prods/ BIL Freeway/ Cinea/ Pyramide/ Polygram Island World/ Comedy House Productions Screen Production Associates/ Chana Film Steve Walsh Prods/ La Fabrique/ Les Films du Triangle/ Kershermetfilm/ Canal +/ BSkyB/ Eurimages/ ECF/ CNC/ Filmstiftung Nordrhein Westfalen Dan Films/ Cat’s Meow/ KC Medien (Germany) Midsummer Films Neue Constantin/ Laurentic Fimls/ Toni Prods Carolco/ Lambeth Productions Ecosse Films/ FilmFour/ Pod Films Chasing the Deer Plc Pathe/ Aardman Animations/ Dreamworks SKG Polar Prods/Ima Films/ UGC/ President Films/ Iberoamericana/ Channel Four/ ECF David Brown Prods/ Miramax Movie Masters/ Woodline Scala/ Illuminated Film Company/ Film Consortium/ Channel Four/ Winchester/ UIP/ Medien Beteiligungs Y Wennol Open Roads Films Film Development Corp/ Columbia TriStar Lightmotive/ Pricel/ Majestic Pathe/ Revolution Films/ United Artists/ BBC/ Canal + Portman Productions Metrodome/ BSkyB/ British Screen Redwave/ Fox Searchlight Screen Associates Opus Pictures Spider Pictures New Era/ Metropolis/ Saga/ Eurimages/Canal +/ Filmboard Berlin Brendenburg Studio Eight/ Prophecy Pictures Talisman Films/ Carlton/ Scottish Arts Council/ British Screen Shaftesbury Films/ Greenpoint Conspiracy of Silence/ Little Wing Koninck/ Athanor/ Delfilm/ ICA/ Eurimages/ Czech and Swiss Govts Watermark Films Sarah Radclyffe Prods/ Septieme Prods/ Fox Searchlight 19 DL/ES 15.00 4.40 3.50 18.567 0.70 0.00 1.002 1.

00 1.50 3.872 0.35 7.249 x x Crimetime The Criminal Crossmaheart Croupier The Crows of St.108 0.30 2.013 0.00 2.50 20.18 3.00 2.30 3.60 2.199 0.058 0.041 x 0.25 1.40 0.0015 x 1.025 0.39 4.80 0.52 3.001 tbr x 0.025 x x CT DL 2001 1992 2001 1998 1993 CA/FR DL 1999 1991 .00 2.001 0.50 6.20 2.00 1.00 0.00 FR/DL 1994 1993 C A E C C A A C C 0.54 1.63 IE/DL DL NL/PT Co-Producing Year of Countries Production DL/FR 1995 1999 1997 1997 1995 2000 1997 2001 1991 1997 2000 1992 1997 1996 1997 1997 2000 1998 1996 1997 1999 1999 1999 2000 1994 2000 1993 1995 1996 1993 1995 1996 Category UK Box Office according to (£m) as of BFI Handbook May 2003 B D A B C A C A A A A B C C C B C A A A B A A A E A A E A A A C 0.00 0.80 2.70 3.00 3.582 x 0.A-Z of Films with British involvement produced 1991 .00 0.30 3.50 1.012 tbr 2.00 1.018 0.00 n/a 1.005 * x x 0.004 x x x x x 2.50 2.170 0.836 x 0.968 0.50 1.00 2.70 7.60 1.90 4.2001 Title Production Companies Budget (£m) 4.10 2.Vincent Crush Crush Proof Crust The Crying Game Dad Savage Daddy Damage The Dance Dance of the Wind Dancing at Lughnasa Dangerous Obsession Dark Blue World The Darkest Light Darklands Day Release Daybreak Dead Babies Dead Bolt Dead Dead Creatures Dead Funny Dead in the Water Dead Lucky Dead Man Walking Deadline Deadly Advise Deadly Voyage Deadly Wake Death and the Maiden Death Machine Death to Smoochy Death Train Deathwatch The Debt Collector Decadence Deception Demon in My View BFI Information Services Focus Films/ Pandora/ Kinowelt/ Channel Four/ Eurimages/ Trimark/ Arts Council Christopher Johnson Company/ Storm Entertainment/ Palm Pictures Lexington Films/ Arts Council of Northern Ireland Little Bird/ Tatfilm/ Channel Four/ WDR The Spice Factory/ Taiga/ Europa 7/ KRO/ Dutch Film Fund/ Eurimages Pipedream Pictures/ Lee Thomas Productions/ FilmFour/ Film Council Woodline Films/ Liquid Films/ Continent Films/ ECF Giant Films/ Jolyon Symonds Prods/ Little Wing Palace/ British Screen Sweet Child Films/ PolyGram Imaginary Films NEF/ Skreba Films/ Studio Canal+ and the European Co-Prod Fund Oxford Film Co/ Island/ ECF Illuminations/ Pandora Films/ Arte/ WDR/ ECF/ German State Govts Funding Ferndale/ Pandora/ Sanisa/ Channel Four Working Title/ Film Development Corp/ Alberto Ardissone/ ZDF Helkon Media/ Portobello/ Czech Film Fund/ Phoenix Investments/ Fandango/ Eurimages Footprint Films/ Pathe/ Becker Pictures/ BBC Metrodome/ Lluniau Lliw/ Victor/ Arts Council of Wales Bolt-On Media Daybreak Films/ FilmFour/ Traumwerk/ Scottish Arts Council/ Scottish Screen Gunter/ Film Consortium/ Outer Edge Films It’s Alright Ma Productions Long Pig Productions Koninck/ Channel Four Spice Factory/ Redbarn/ Enterprise Films Cross Sound Prods Working Title/ Havoc/ Polygram/ Gramercy Alchemy Prods Zenith/ Mayfair Union/ Viva/ BBC/ HBO Yellowbill Productions/ Producers Network Assocs/ Concorde New Horizon/ Canadian Govt Funding/ Screen Partners Capitol/ Flach/ Channel Four/ Telemunchen/ Polygram Fugitive Features/ Entertainment/ Victor (Japan) Warner Brothers/FilmFour British Lion/ Jadran Working Title/ F and AME/ Apollo Dragon Pictures/ FilmFour/ Glasgow Film Fund Vendetta Films/ Schlemmer (Germany)/ DeLuxe (Luxembourg) Studio Eight/ GFT Kingsborough/ Next Film First City/ Project Filmverlag 20 FR IS DL IE/FR/DL DL DL/CZR CA 8.323 0.50 0.908 x 0.

002 0.43 2.50 3.002 0.10 2.028 The Designated Mourner Greenpoint Films/ BBC The Devil and the Deep Blue Sea Mark Forstater Films/ Mans Films/ Hyperion/ BRN/ Eurimages The Devil’s Snow Eye-Cue Prods The Devil’s Tattoo KCD Films/Scottish Screen Diana and Me Gemini Films/ Matt Carroll Films/ Village Roadshow/ Australian Film Finance Commission Different for Girls X-Pictures/ BBC/ Great Guns Dirty British Boys Firestorm Pictures Dirty Pretty Things Celador/ Miramax/ BBC Films Dirty Weekend Scimitar Films The Disappearance of Finbar First City/ Samson Films/ Victoria Film/ Channel Four/ Eurimages Disco Pigs Temple Films/ Renaissance Films/ Irish Film Board/ Irish Govt section 481 tax incentives Divorcing Jack Scala/I ma Films/ BBC/ Arts Council of England/ Arts Council of Northern Ireland Doctor Sleep Kismet Film Company/ Film Council/The Film Consortium/ BBC Films Dog Eat Dog Tiger Aspect/ FilmFour/ Shona Prods Dog Soldiers Kismet Ent Corp/ Carousel/Noel Gay Motion Picture Company Don't Go Breaking My Heart Bill Kenwright Films Don’t Look Back New Forest Pictures Double Vision Cameras Continentales/ Steve Walsh/ Gemini/ Astral Double X String of Pearls Downtime Scala/ Pilgrim Films/ Ima Films/ Pandora/ Channel Four/ BSkyB/ Arts Council of England/ British Screen/ Merseyside Production Fund Dragon World Paramount/ WLS/ Full Moon Entertainment Draum Spel Unni Straume Filmproduksjon/ Trust/ Nordic Film and TV Fund Dream Final Cut/ Scandinavian Entertainment Dream On Amber Films/British Screen/ Channel Four Dreaming of Joseph Lees Midsummer Films/ Fox Searchlight Driven Earthbound Pictures Dust Palm Oil Prods Dust History dreams/ Film Consortium/ Ena Films/ Fandango Prods/ Sky/ European Co-Prod Fund/ Filmstiftung/ Shadow Doel Dust Devil Palace/ British Screen E=MC Squared E=MC Squared* East is East Assassin Films/ FilmFour/ BBC Eden Valley Amber Films The Education of Little Tree Allied Filmmakers/ Largo Entertainment Edward II Working Title/ BBC/ British Screen Eight and a Half Women Woodline/ Movie Masters/ Delux/ Continent/ TF1/ Dutch Film Fund/ Eurimages The Eighth Day Working Title/ Polygram/ Home Made Films/ TF1/ Eurimages/ DA Films Elenya bfi / S4C/ Frankfuter Films/ ZDF/ Ffilmiau Llifon Elephant Juice HAL Films Elizabeth Working Title/ Channel Four Emma Matchmaker Films/ Miramax Emotional Backgammon Corazon The Emperor’s New Clothes Redwave/ FilmFour Enchanted April BBC/ Greenpoint End Game Various Films BFI Information Services 21 BE/DL AU NL/PT IE FR LU CA/FR FR 2.003 0.00 1.018 5.80 0.03 0.08 2.32 0.70 4.10 8.63 1.A-Z of Films with British involvement produced 1991 .99 1.020 0.01 6.24 NL/FR/DL/LU 1991 1994 1998 1994 1996 1991 1998 D A A A E A B 0.85 8.00 1.00 0.033 7.00 6.30 0.03 11.004 2.518 0.00 2.097 0.537 5.50 5.375 0.829 0.064 0.15 0.43 0.00 6.004 DL/IT/MAC 2.00 NO/SWE SE 1993 1993 2000 1991 1998 1995 1996 2000 D C C A D A A C x x x 0.019 tbr x 0.00 13.90 1.012 x 0.064 x .40 0.003 x 10.2001 Title Production Companies Budget (£m) 1.47 x 0.70 0.070 1.00 1.10 3.80 1.75 5.009 0.35 1.117 0.283 x tbr 0.50 1.366 x 0.90 Co-Producing Year of Countries Production 1996 1994 1997 2001 1996 1995 1997 2001 1992 1995 2000 1997 2001 2000 2001 1997 2001 1991 1991 1996 Category UK Box Office according to (£m) as of BFI Handbook May 2003 A C A A C A A D A C C B A A B A A C A B 0.50 FR/BE DL 1995 1991 1998 1997 1995 1999 2000 1991 2000 C B A A D A A A A 0.001 x x x x 0.60 4.00 1.002 x 0.00 2.30 2.50 3.80 0.

00 CA IE/FR/US 2000 2000 1997 1995 1994 1994 1999 1996 1998 1996 1992 2000 1993 2000 1994 1998 1991 1994 A A A D D A A A A B D D A B C A D E 0.15 30.18 0.60 CA/FR 1996 1996 1996 1998 1991 1996 1997 1994 1994 1999 1998 1996 1995 1996 1996 D A D A C E A A D A B A D D C 5.021 0.00 3.20 1.00 50.00 1.20 4.00 4.00 0.259 1.10 3.002 x x 0.002 x tbr 27.763 x 0.003 3.80 1.057 FR BFI Information Services 22 .194 x The End of the Affair The Engagement The Englishman who Came up a Hill and Went Down a Mountain The Escapist The Escort Essex Boys Esther Kahn Event Horizon An Everlasting Piece Everybody Loves Sunshine Evita Extreme Measures Eye of the Eagle Columbia TriStar Cornwall Films/ First Foot Films Parallax/ Miramax Sky Pictures/ Jolyon Symonds Productions/ Little Bird Pathe/ Renn Prods/ UGC Granada Films Zephyr/ Why Not Films/ Canal +/ Films Alain Sarde/Arts Council of England/ British Screen Impact/ Paramount Dreamworks/ Columbia TriStar/ Bayakite/ Baltimore/ Everlasting Prods The Mission Prods/ Isle of Man Film Commission Robert Stigwood Organisation/ Cinergi/ Dirty Hands/ Paramount Simian Films/ Castle Rock Metronome/ Victoria Films/ Nordic Screen Prod/ TV2/ Danish.070 x 14.105 0.65 5.467 0.35 3.69 4.00 3.00 26.40 SE/DK/NO IE FR FR Co-Producing Year of Countries Production 1999 2001 1994 2001 1998 1999 1998 1996 2000 1998 1996 1996 1996 Category UK Box Office according to (£m) as of BFI Handbook May 2003 D A D B C A C D D A E E C 3.00 7.021 0.040 x x 3.863 4.00 9.00 0.00 22.563 x 0.00 2.10 12.311 7.198 2. Swedish and Norweigan Film Institutes/ Nordic Fund/ Eurimages (UK Locations) Hobby Films/ Warner Bros Diagaro Face/ BBC/ BSkyB/ Distant Horizon/ British Screen Icon Prods/ Wendy Finerman Prods/ Paramount Film Consortium/ Scala Prods/ ITV Steve Walsh/ Gemini/ Astral Working Title/ Polygram Fast Food Films Kwai River Productions Peregrine Pictures/ Merchant Ivory Cake Media Marquis Films/ Alliance/Artisan Wildgaze/ Channel Four Fish Prods/ Jersey Films/ Universal Sony/ Zalman/ Gaumont(France) Strawberry Vale/ Ocean Films/ Geissendorfer Film/ BSkyB/ Chrysalis/ Irish Film Board/ British Screen/ Eurimages/ ECF/ Section 35 Film Four/ Sex Pistols/ Jersey Shore/ Nitrate Film Young Crossbow/ DNA Fugitive Features Carnival/ Wind Dancer/ Hollywood Pictures Columbia TriStar Wrightstuff Productions Scala/ Wildgaze/ BBC Films/ Matrix Film and TV Pelicula/BBC/Arts Council of Scotland Syncopy Films Intrinsica/ M.00 0.20 40.007 x 0.421 0.75 20.212 1.283 1.10 2.00 1.00 11.00 0.00 1.58 tbr 1.70 4.A-Z of Films with British involvement produced 1991 .60 4.00 29.089 x CA/US IE/DL The Filth and the Fury The Final Curtain The Final Cut Firelight First Knight A Fistful of Fingers Five Seconds to Spare Follow the Moonstone Following Food For Love Foreign Affairs The Four Feathers Four Weddings and a Funeral The Fourth Angel Frankie Starlight Freak Out Freddie's Gone to Washington French Kiss 0.00 2.533 0.A True Story Fanny and Elvis Far Better and Far Worse Fargo Fast Food A Feast at Midnight The Feast of July Fed Rotten Felicia’s Journey Fever Pitch Fierce Creatures The Fifth Element The Fifth Province 50.162 x 1.674 0.069 0.117 x 0.20 3.00 25.00 5.003 0.2001 Title Production Companies Budget (£m) 20.00 5.610 0.00 0.00 n/a 2.05 3.00 0.P Films/ Channel Four/ Arts Council of England Stagescreen/ Interscope/ Turner Entertainments Belhaven Prods/ High Command Prods/ Paramount/ Miramax Polygram/Channel Four/ Working Title Rafford Films/ Norstar Filmed Entertainment/ Sky Ferndale/ Rimb Prods/Fine Line/ Eurimages/ RTE/ Channel Four Beyond Therapy Entertainment Hollywood Road Working Title/ Fandango/ Polygram Eyes Wide Shut Face Fairytale .048 4.

A-Z of Films with British involvement produced 1991 .00 3.00 4.503 0.003 x 1.70 0.083 12.178 0.00 13.75 2000 1996 1996 A A C 0.60 8.50 2.50 2.10 IE/DL Co-Producing Year of Countries Production SA 1992 1996 1994 1993 1995 Category UK Box Office according to (£m) as of BFI Handbook May 2003 B D D A B 0.246 tbr 0.80 1.13 7.00 92.80 2.50 * 2.151 x x 0.10 5.014 0.00 11.75 0.66 4.659 18.50 2.50 15.093 0.62 17.151 0.45 1.128 0.65 3.021 0.50 9.12 3.75 0.11 1.36 1.329 tbr 1.00 4.90 10.00 0.85 DL 1999 2001 B A C C A A C A A D A D B A D D C A D A A D D A B A A A A A D D A C A 0.001 x x 0.10 2.42 5.029 0.137 x 0.010 0.020 x 0.004 Friends The Full Monty Funny Bones The Funny Man A Further Gesture Gabriel and Me Gallivant The Gambler Gangster No.067 0.00 0.201 0.1 The Gathering The General The German Undertaker Get Real The Ghost of Greville Lodge The Gift The Girl with Brains in her Feet Girls’ Night Gladiator Glastonbury the Movie Global Heresy Glory Glory Going off Big Time The Golden Bowl Goldeneye The Good Thief Goodbye Charlie Bright Gosford Park The Governess Great Moments in Aviation Greenfingers Greenwich Mean Time Gregory’s Two Girls Grey Owl The Grotesque Guardians Guest House Paradiso Guru in Seven Gypsy Woman Hackers Hamlet Happy Now Harald Hard Edge BFI Information Services Friends Prods/ British Screen/ European Co-Prod Fund Bodger Films/ Redwave Films/ Fox Searchlight Suntrust/ Buena Vista Nomad Pictures/ Redman Entertainments CSL Films/ Samson Films/ Channel Four/ Pandora/ Eurimages/ Road Movies/ Irish Film Board/ Filmstiftung Nordrhein Westfalen Samuelson Prods/ Film Consortium/ British Screen/ Isle of Man Film Commission bfi Gambler Prods/ Hungry Eye/ Objektiv Filmstudio/ Channel Four/ KRO TV/UGC/ Dutch Film Fund/ Eurimages/ Cobo Fund Tiger Aspect/ WT2/ BBC Films/ Arts Council of England Samuelson Productions/ Granada film/ Isle of Man Film Commission Merlin/J and M Claussen and Woebke/ Media II/ German Lander funding Graphite Films/ B Sky B/ Distant Horizon/ British Screen/ Arts Council of England Renown Pictures Jam Pictures/ Mark Forstater Lexington Films Granada/ ITV/ Showtime Dreamworks SKG/ Universal Videodrome GFT Entertainment/ Ultimate Pictures Peakviewing/ Transatlantic KT Films/ MIDA Merchant Ivory/ Miramax/ TF1 Eon Prods/ United Artists Alliance Atlantis/ Company of Wolves/ Metropolitan Films/ TNVO Cowboy Films/ Imagine Films Capitol Films/ USA Films/ Premiere Fund Parallax Pictures/ BBC/ British Screen/ Arts Council of England BBC Boneyard Ent/ Xingu Pictures/ Motion Picture Partners Anvil Films/ Icon Entertainment Lake Young Prods/ FilmFour/ Scottish Arts Council Grey Owl Ajawaan Prods/ Richard Attenborough Prods/ Largo Entertainment Xingu Films World Productions/ Channel Four Phil McIntyre Prods/ House Films/ Vision Video Balhar Prods/ Ratpack Films Sky Pictures/ Starfield Productions/ Imagico/ Wave Pictures/ Isle of Man Film Commission United Artists Fishmonger/ Castle Rock Ruby Films/ BBC Films/ Distant Horizon/ Arts Council of Wales Jolyon Symonds Prods/ Kinowelt/ SDR/ ECF/ German State Govt Film Boards DMS Films 23 3.30 1.605 tbr x x IE DL 1997 1998 1997 1999 1991 1996 1997 1999 1993 2000 1999 1999 1999 1995 2001 1999 2001 1997 1992 1999 1998 1998 CA ZA CA/IE CA/US 1998 1995 1995 1999 1997 2000 1994 1996 2000 DL 1996 1997 .2001 Title Production Companies Budget (£m) 1.718 31.00 3.259 0.313 0.016 0.699 x 0.014 52.232 0.00 10.15 11.80 0.022 3.90 NL/HU/FR 4.

183 # 0.072 # 0.096 0.50 0.80 4.048 0.00 1.A-Z of Films with British involvement produced 1991 .139 66.80 1.50 6.20 1.00 1.034 0.240 x 0.00 90.041 x 0.00 3.00 7.20 0.45 16.611 0.10 0.617 # 0.50 4.630 2.16 16.004 0.271 x x 0.014 1.50 1.90 0.A Chief's Childhood Hold Back the Night The Hole The Hollow Reed Honest The Honeytrap Honour thy Father Hope Springs Hostage Hostile Waters Hotel Splendide The Hour of the Pig The Hours House of America Venture Movies/ Ima/ UGC Bolt on Media/ Atlantic Celtic Heyday Films/ Warner Bros Warner Brothers Double A/ Zoetrope/ Lumiere BBC /Initial Films and TV Palm Tree Films UK Granada Martin Pope Productions/ BBC Films/ Take 3-Baker Street/ Isle of Man Film Commission Revolution Films/ Vestry Entertainment/ DNA/ Miramax Greenpoint/ L Films/ BBC/ Arts Council of England .83 3.20 6.50 17.027 x 0.190 x x 1.00 JP 1991 1991 1992 1998 1994 1996 2001 1998 1996 B A D A A C B B C 4.76 4.20 2.00 4.00 90.794 x 1.110 4.193 0.50 3.20 5.48 10.40 5.25 ES/DL FR FR/CA AR US/FR/DL FR FR NL FR IE/IT FR/CA Co-Producing Year of Countries Production FR 1996 1999 2001 2000 1994 1992 2001 1997 2001 2001 1997 1992 2000 1994 1997 1993 1997 1997 1998 2000 1995 1999 2000 2001 2001 1991 1996 1999 1992 2001 1996 Category UK Box Office according to (£m) as of BFI Handbook May 2003 B A D D D A A A A D B C D C A A E C B A B B A C D B B B B D B 0.008 2.50 1999 1999 A A 0.220 0.20 1.00 6.302 0.709 Howards End How's Business The Hudsucker Proxy Human Traffic The Hurting Hysteria I Capture the Castle I Could Read the Sky I Love Paris 4.The Film Consortium First City Fragile Films/ Buena Vista Fallingcloud/ Transfilm/Initial Oxford Film Co/ Channel Four/ British Screen/ Arts Council of England Children's Film Unit Working Title Antelope/ Galatee’ films/ JMH/Canal +/ ECF/ CNC Parallax Pictures/ Channel Four/Arts Council fo England/ Colofisiers/ Wave Films/ Alta Films Cowboy Films/ Granada/ Impact/ Pathe Scala Prods/ Iberoamericana/ Senator/ Channel Four/ Eurimages Honest Prods/ Pathe/Pandora Honeytrap Prods GMT/ Transfilm/ Spice Factory Fragile Films/ Buena Vista Portman/ Independent Image/Jempsa World Prods/ BBC/ HBO/ UFA/ Flach Renegade Films/ FilmFour/ Canal +/ British Screen BBC/ CiBy 2000/ British Screen/ European Co-Prod Fund Scott Rudin Films/ Paramount September Films/ Bergen Films/ BSkyB/ HTV/ Chrysalis/ ECF/ Dutch Film Fund/ Arts Council of Wales/ British Screen Wire Films/ Arts Council of England/ British Screen/CFI Three Rivers/ FilmFour/ Granada Films/ Arts Council of England/ Scottish Arts Council/ Glasgow Film Fund Merchant Ivory Children's Film Unit/ Children's Film and TV Foundation Working Title/ Silver Prods Fruit Salad Films/ BBC Wales Fluid Films Yellowbill Prod/ Hysteria Prods/ August Entertainment/ Screen Partners Trademark/ BBC Films/ Distant Horizon/ Take 3-Baker Street/ Isle of Man Film Commision Hot Property/ Spider Pictures/ Liquid Films/ bfi / Channel Four/Arts Council of England/ Irish Film Board NTTS Prods/Odessa Film/ M6 FR/CH FR/ES/DK House! The House of Mirth 2.022 Hard Men Hard News Soft Money Harry Potter and the Chamber of Secrets Harry Potter and the Philosopher’s Stone Haunted The Hawk The Hawk and the Dove Heart The Heart of Me Heartlands Hideous Kinky High Boot Benny High Heels and Low Lifes Highlander III Hilary and Jackie The Higher Mortals The HiLo Country Himalaya .00 1.80 2.065 0.80 6.022 x 54.00 1.00 0.00 4.86 3.2001 Title Production Companies Budget (£m) 1.023 # x x 0.456 2.011 x CA ZA IE FR BFI Information Services 24 .16 2.09 10.114 0.

009 x 2.50 26.90 4.936 0.567 4.50 3.009 x 0.60 9.01 FR/IT 1994 1996 2000 1996 1994 1998 1996 1994 2000 A D A A B A A E A 2.374 x 4.68 9.005 * 0.80 1.002 0.00 2.00 2.10 3.305 0.031 tbr 2.56 2.A Jack and Sarah Granada/ BSkyB/ Polygram Jackal Universal Jack Brown and the Curse of the Little Wing Films/ SDA Prods Crown The James Gang Revolution Films/BBC/Handmade Jane Eyre Rochester Films/ Flach Films/ Cinerito/ Eurimages Janice Beard 45wpm Film Consortium/ Dakota Films/ FilmFour Janus Imaginary Pictures Jefferson in Paris Merchant Ivory/ Disney Jesus the Curry King Aylesbury Films 30.20 1.00 14.137 x BFI Information Services 25 .918 x 0.00 DL IN Co-Producing Year of Countries Production FR/DL 1995 1997 1996 1994 1993 1998 1998 2001 1996 1995 1999 1993 1999 1996 2000 1992 1994 1994 1999 1994 2001 Category UK Box Office according to (£m) as of BFI Handbook May 2003 C A C A B A D D D A E D A D A B E A A A B x 0.223 x 0.00 1.013 4.00 2.520 1.086 0.50 FR 1993 2000 1995 1993 1991 D C A A D C C D A C 10.00 6.A-Z of Films with British involvement produced 1991 .412 0.70 30.M.2001 Title Production Companies Budget (£m) 2.019 0.00 8.226 x x CA DL 1999 2000 2001 2000 1996 DL/DK 2.00 DK/SE/NL/DL 1999 2001 A C 0.00 1.025 1.109 x 0.10 1.00 0.017 0.00 1.25 8.033 0.141 0.50 1.25 8.00 6.00 3.145 0.893 3.00 8.50 10.80 1.00 4.70 0.016 tbr I Love You .d Parallax/ BBC/ Metropolis/ British Screen/ ECF In Custody Merchant Ivory/ Likproof An Ideal Husband Scorpio Prods/ Wilde Films An Ideal Husband Pathe/ Fragile Films/ Miramax/ Icon Entertainment The Importance of Being Earnest Fragile Films/ Film Council/ Miramax/ Grosvenor Park In Love and War New Line In the Bleak Midwinter Midwinter Films In the Light of the Moon Tartan Films/ Flying High/ Santelmo In the Name of the Father Hell's Kitchen/ Universal Inbetweeners Britpack Films Incognito ReProductions/ Morgan Creek/ Warner Brothers Injustice Migrant Media The Innocent Lakehart/ Norma Heyman/ Chris Sievernich Wieland Schultz-Keil Prods Innocent Lies The Innocent Sleep Inside Outside Lydia’s Head The Institute Benjamenta The Intended Umbrella Films/ Polygram Timedial Covent Garden Films Koninck/ Channel Four Parallax Pictures/ Projekt Inc/ Productionsselskabet/ Danish Broadcasting Corp/ Film Council/ Danish Film Institute/ Film Consortium GR DK Interview with the Vampire Intimacy Intimate Relations Geffen/ Warner Brothers Greenpoint/ Telema/ CNC/ Canal + Handmade Films/ Boxer Films/ Paragon Intimate With a Stranger Independent International Pictures Into the West Little Bird/ Majestic/ Channel Four/ British Screen/ Miramax The Intruder Steve Walsh Prods/ GFT Kingsborough Invincible Werner Herzog FilmProduktion/ Tatfilm/ Little Bird/ FilmFour/ Arte WDR/ BR Iris Mirage Enterprises/ Robert Fox Prods/ Scott Rudin Films/ BBC Films/ Miramax/ Intermedia Is Harry on the Boat? Sky/ Ruby Films/ Rapido The Island on Bird Street April Prods/ Connexion/ M and M/ WDR/ Moonstone Ent/ Eurimages/ FNW/ Nordic Fund/ Danish Film Institute It Was an Accident Bukett Pictures/ Litmus Pictures/ Pathe/ Arts Council of England It’s All About Love Nimbus Film/ FilmFour/ Danish Film Institute/ Swedish Film Institute/ Dutch Filmfund/ Zentropa/ A.00 3.00 1.662 0.675 0.I Love You Not Polar Prods/ Die Hauskunst/ Rimo/Canal +/ Chrysalis/ Filmstiftung Nordrhein Westfalen I Want You Revolution Films I Went Down Treasure/ BBC/ Irish Film Board/ RTE/ Euskal i.00 0.064 0.50 1.70 3.168 0.60 7.00 1.

023 0.2001 Title Production Companies Budget (£m) 1.70 50.014 0.002 * 1.00 4.30 0.01 4.005 0.005 0.00 2.322 0.00 3.50 1.75 1.321 0.50 5.50 2.20 1.30 1.111 10.283 0.70 0.05 3.00 1.30 4.085 0.A-Z of Films with British involvement produced 1991 . My Friend The Jolly Boys Last Stand Jude Judge Dredd Julie and the Cadillacs Jump the Gun Just Like a Woman Keep the Aspidistra Flying Kevin and Perry go Large Kid The Killer Tongue Killing Me Softly Killing Time The Killing Zone Kin A Kind of Hush Kini and Adams Kiss Kiss Bang Bang Korea La Femme Francaise La Passione Ladybird.50 4.319 0.00 1.160 x 0.00 1.196 x x 0.050 0.15 4.50 1.00 5.10 5.82 2.00 60.063 3. Ladybird Laid Up Lalla Land and Freedom The Land Girls Lara Croft Tomb Raider Large The Last Great Wilderness The Last Minute The Last of the High Kings Last Orders Last Resort The Last Seduction 2 The Last September The Last Yellow Late Night Shopping Lava Lawless Heart Lawn Dogs The Lawnmower Man BFI Information Services Warner Sisters/ BBC Scotland/ British Screen Little Wing Petra Films Portman Prods/ Gemini Film/ Eurimages/ Irish Film Board/ Filmstiftung Nordrhein Westfalen Jolly Pics/ Bigger Picture Company/ Function Films Revolution Films/ BBC/ Polygram Cinergi Parker Mead Parallax Films/ Xencat Films/ Channel Four Zenith/ LWT/ British Screen/ Rank Bonaparte Films/ UBA/ Sentinel Films/ Arts Council of England Tiger Aspect/ Fragile Films Portobello Pictures/ Biograf/ Pandora/ CZTV/ Eurimages The Spice Factory/ Iberoamicana/ Noel Gay/ ECF/ British Screen Montecito Pictures/ MGM Pilgrim Films/ Metrodome Seventh Twelfth Collective Bard Entertainment/ M-Net/ Arts Council of England/ British Screen The First Film Co/ British Screen/ Arts Council of England Polar/ Noe Productions/ BSkyB/ Canal +/ Sales Co/ EDF/ CNC Pagoda Films/ Sky Pictures/ Television Production Company PLC Black Star/ Cathal Black/ RTYE/ NOS/ Arte/ Irish Film Board Recorded Picture Company/ UGC/ Studio Babelsburg Fugitive Films Parallax Pictures/ Channel Four/ UIP Rented Films Frankfurter Film/ ZDF Parallax/ Messidor/ Road Movies/ BBC/ British Screen/ ECF/ Eurimages Greenpoint Films/ West 11 Films/ Camera One/ Arena Films/ Channel Four/ Arts Council of England Paramount Picture Palace North/ FilmFour/ Film Consortium/ Yorkshire Media Production Agency Sigma Films Venom Entertainment/ Summit Entertainment/ Palm Pictures Northolm Ent/ Parallel Films/ Nordisk/ RTE/ Irish Film Board/ Eurimages Scala prods/ MBP/ Metrodome BBC Films Specific Films/ Ty Cefn/ Polygram Scala/ Ima Films/ Zaglos/ BSkyB/RTE/ British Screen/ Irish Film Board Scala Prods/ Jolyon Symonds Film/ BBC/Arts Council of England Ideal World/Film Four/Glasgow Film Office/Scottish Screen Sterling Pictures/ Waking Point/ Orange Top/ Ernst and Young Martin Pope Productions/ Isle of Man Film Commission/ British Screen/ Film Council/ October Toledo Pictures/ Rank Allied Vision 26 ZA ZA DL DL/ES FR IE/FR .001 0.574 12.40 0.50 IE DL IE/NL FR/DL FR CZR/FR ES PK IE/DL Co-Producing Year of Countries Production 1997 2001 1997 1995 1997 1995 1994 1996 1996 1991 1997 1999 1995 1995 2000 1995 1998 1999 1997 1996 2000 1994 1994 1996 1993 1997 1998 1994 1997 2000 2000 2001 1999 1995 2000 2000 1997 1998 1998 2000 1999 2000 1996 1991 Category UK Box Office according to (£m) as of BFI Handbook May 2003 A A C C A A D A C A A A C C D A A B A C A C C A A A C B B D A A D C B A A B A A A A E D x x x x 0.623 Jilting Joe Jimmy Fizz Jinnah Joe.461 x x 0.00 10.025 x 0.104 0.890 1.00 1.006 0.069 x x 0.00 2.50 1.60 4.00 1.60 1.00 3.017 0.65 8.947 0.00 0.005 0.50 16.50 1.02 1.00 1.00 0.85 2.025 7.001 0.002 * x 0.00 0.314 0.

90 IT/FR Co-Producing Year of Countries Production JP CA/FR FR 1994 1994 1993 1996 1992 1997 1996 1994 2000 1993 1996 1997 1995 1998 2000 1992 1999 1997 1993 1994 1997 1999 1993 1999 1991 1991 1996 2000 1997 Category UK Box Office according to (£m) as of BFI Handbook May 2003 C C C A A E A C A C E A C A A B C D B D D D A A A A A D B 0.00 3.017 x 10.774 x Lawnmower Man II Le Confessional Le Roi de Paris The Leading Man Leon the Pig Farmer Les Miserables Let's Stick Together Letters from the East Liam The Life and Extraordinay Adventures of Private Ivan Chonkin A Life Less Ordinary The Life of Stuff A Lift to Heaven Lighthouse Like Father Little Buddha The Little Vampire Little Voice Loaded Loch Ness Lock.96 2.60 5.518 0.50 1.50 10.00 0.50 18.00 7.002 1.202 0.339 8.664 0.60 0.002 3.001 x 0.A-Z of Films with British involvement produced 1991 .056 0.784 x 0.00 5.410 FR IE DL FR/IT FR/BE BFI Information Services .14 1.394 0.576 11.20 4.043 x 0.00 0.277 0.00 2.172 0.00 7.00 1.376 0. Honour and Obey Love’s Labour’s Lost The Lover The Low Down Lucan Lucia Lucky Break The Luzhin Defence Ma Vie en Rose 2.57 1.255 0.212 x 1. Stock and Two Smoking Barrels Londinium London London Blues London Kills Me The Long Day Closes Long Hot Summer Long Time Dead Los Angeles Without a Map Allied Vision/ Fuji 8 Enigma/ Cinemaginaire/ Ciea/ Channel Four/ ECF Adventure Pictures/ Rio Leading Man Prods/ J and M Leon the Pig Farmer Plc Sarah Radclyffe Prods/ Etic/ Mandalay Entertainment Indio Pictures Lantern East/ Lichblick/ Axel/ British Screen/ BSkyB/ Eurimages BBC Films/ MIDA Portobello Pictures/ MK2/ KF/ Trite/ Fandango/ Channel Four/ European CoProduction Fund Figment Films/Channel Four/ Polygram/ Fox Prairie Pictures/ BBC/ Scottish Arts Council/ Glasgow Film Fund Gargantua/ Crisaldi/ Flach Film/ Eurimages Winchester Ent/ Tungsten Pictures/ British Screen/ Arts Council of England Amber Films Recorded Picture Company/ CiBy 2000 Cometstone/ First look/ Filmstiftung Miramax/ Scala New Zealand Film Commission/ bfi / British Screen/ Channel Four/ Strawberry Vale/ Movie Partners Working Title/ Polygram Ska Prods/ Steve Tisch/ Paragon Entertainment Sun-Lite Pictures Koninck/ bfi / Channel Four Prince World Ent Working Title/ BBC/ British Screen bfi / FilmFour International Summer Films WT2/ Universal/ Lola Productions Dan Films/ Marianna Films/ Euro American Films/ Arts Council of England/ Yorkshire Media Prod Agency/ Finnish Film Foundation Red Mullet/ New Line Hotspur Prods New Line/ Prelude Pictures Film Consortium/ Scala/ Ima Films/ FilmFour/ Canal +/ TF1 Skyline/ Imagex/ BBC/ BSkyB/ Telefilm Canada/ British Screen/ Arts Council of England State Films/ bfi / BBC/ Arts Council of England Palm Tree Prods/ British Council/ Big Issue Scotland Fugitive/ BBC Films Pathe/ Miramax/ Intermedia Burrill Productions/ Renn Oil Factory/ Sleeper Films/ FilmFour/ British Screen Yellowbill Prods/ Film Eireann/ Screen Partners/ Section 35 Lexington Films Fragile Films/ FilmFour/ Senator Films Renaissance/ ICE/ Egmond/ Lantia Freeway Films/ Haut et Court/ WFE/ La Sept/ TF1/ Canal +/ RTBF/ CNC/ ECF/ Eurimages 27 DL CZR/FR/RU/ IT FR NL/DL NZ/DL FR/FI Loss of Sexual Innocence Lost in Africa Lost in Space The Lost Son Love and Death on Long Island Love is the Devil Love the One You’re With Love.675 0.00 13.70 2.00 0.70 1.00 2.531 1.20 1.50 0.002 0.297 x x 0.50 2.60 1.00 1.50 1.00 2.50 25.00 1.90 2.70 0.090 0.006 0.94 4.2001 Title Production Companies Budget (£m) 9.00 2.00 4.60 FR CA 1997 1992 1997 1998 1996 1997 1999 1999 1999 1991 1999 1996 1997 2000 1999 1996 D A D B B A A A D B A B A B B C 0.00 8.80 5.004 2.40 2.255 4.05 3.102 x 0.30 7.046 0.070 0.502 0.031 0.001 1.012 x 0.50 45.50 2.

70 2.025 6.049 5.45 0.20 0.00 2.20 6.568 x tbr 0.291 x 0.076 0.081 0.50 1.20 0.80 15.50 2.022 x 1.007 x 4.470 x x 0.091 0.50 3.92 AU/FR/CA IE/FR IE Co-Producing Year of Countries Production 1996 1998 1998 2000 1994 1994 1996 1994 2001 1998 1994 1994 1999 1996 1997 1996 1998 1991 2001 Category UK Box Office according to (£m) as of BFI Handbook May 2003 A B A A A A A A B A A C B D C C D B C x x 0.60 6.10 7.00 2.004 0.00 13.34 5.60 2.035 x 0.42 3.00 2.25 3.25 1.42 6.587 0. Petersburg Harry Palmer Prods/ J and M Midnight Movie BBC/ Whistling Gypsy A Midsummer Nights Dream Edenwood/ Channel Four/ Capitol/ Arts Council Mike Bassett:England Manager Gruber/ Entertainment/ Film Council/ Hallmark Entertainment Milk Gumfluh Films/ BSkyB Miranda Feelgood Fiction/ FilmFour/ Premiere Fund The Misadventures of Margaret Lunatics and Lovers/ Granada/ Mandarin/ TF1/ Canal +/ ECF Miss Julie Red Mullet/ Moonstone Entertainment FR/IE IE FR ES/FR/DL CZR 3.A-Z of Films with British involvement produced 1991 .030 x tbr 3.00 0.99 22.029 LU IE HU/CA LU LU AT/CA/DL ES/FR 2000 1993 1996 1998 1997 1994 1993 1995 2001 1998 2001 FR 1997 1999 BFI Information Services 28 .50 4. Daniel and Banshee/ Channel Four Laurence The Martins Tiger Aspect/ Isle of Man Film Commission Mary Reilly Hyde Films/Tristar Mary Shelley's Frankenstein TriStar Pictures/ American Zoetrope Mary's House Amy International/ Deluxe The Match Rafford Films/ Propaganda/ PolyGram The Matchmaker Working Title/ Polygram/ Section 35 Max Natural Nylon/ Jap Film/ Alliance Atlantis Maybe Baby Phil McIntyre Prods/ BBC/ Pandora Me Without You Dakota Films/ Isle of Man Film Commission/ British Screen/ Banque Luxembourg/ Matrix Film/ Britannia The Mean Machine Ska Films/ Paramount/ Ruddy Morgan Prods/ Brad Grey Prods The Meeksville Ghost Peakviewing Prods Mesmer Levergreen/ Satel Film/ Accent Films/ Filmstudios Babelsberg Metroland Blue Horizon/ Mact Productions/ Filmania/ BBC/ Canal +/ Pandora/ Arts Council of England/ Eurimages Mickey Blue Eyes Simian Films/ Castle Rock Middleton's Changeling High Time Midnight in St.50 1.60 0.2001 Title Production Companies Budget (£m) 0.026 3.193 0.50 5.00 1.00 1.222 x x 0.00 19.50 3.00 3.366 0.128 4.475 0.058 x x 0.64 8.980 0.50 4.001 x x 0.00 2.638 2.00 1.50 2.70 2.20 0.00 30.60 3.25 CA 1994 2001 1997 2000 1994 1993 1994 1998 1996 2001 1999 2000 2001 C A A A D D B D C C B B D A C B E A A A A D A A B D 0.00 3.272 x MacBeth Cromwell Films/ La Mancha Prods/ Grampian Mad about Mambo First City/ Plurabelle/ ACNI/ Irish Film Board Mad Cows Flashlight Films/ Entertainment Mad Dogs Roaring Mice Films Mad Dogs and Englishmen Movie Screen/ Moor Street Madagascar Skin Dan Films/ bfi Made in Japan Turn on Productions The Madness of King George Mad George Films/ Samuel Goldwyn Magdalene PFP Films/ Film Council/ Scottish Screen/ Temple Films Make Believe Make Believe Prods The Making of Maps Gaucho/ BBC/ S4C A Man of No Importance Little Bird/ BBC/ Irish Film Board/ Majestic The Man Who Cried Adventure Films/ Working Title/ Canal + The Man Who Knew Too Little Polar/ Warner Bros The Man With Rain in His Shoes CLT/ Escima/Mandarin/ UFA Mandragora Hamilton Prods/ Kopecky Group/ Kratky Film Mansfield Park Miramax Hal/ BBC/ Arts Council of England Map of the Human Heart Working Title/ Films Ariane/ Sunrise/ AFC The Mapmaker Oil Factory/ Grand Pictures/ Irish Film Board/ Section 41 Irish Government tax incentives/ Arts Council of Northern Ireland/ Northern Ireland Film Commission/ Arte Margaret's Museum Skyline/ Imagex/ BSkyB/ British Screen Married/Unmarried Spice Factory/ Meltemi Entertainment Martha Meet Frank.50 4.

096 0.50 1.028 2.789 0.90 N/A 8.60 2.30 0.00 8.106 x 0.456 0.588 3.00 3.40 2.007 0.00 1.687 0.390 2.071 CA FR/CA 1991 2001 1999 2000 1995 1994 2001 1999 ES/DL CT/US FR DL AU 1994 1995 1999 1992 2001 .00 8.80 2. Caldicot’s Cabbage War Much Ado About Nothing Mumbo Jumbo The Mummy The Mummy Returns The Muppet Christmas Carol The Muppet Treasure Island My Brother Tom My Kingdom My Life so Far My Little Eye My Mother's Courage My Name is Joe My Son the Fanatic Mystery of Edwin Drood Naked The Naked Lunch Napoleon Nasty Neighbours The Navigators The Near Room The Neon Bible Never Say Never Mind New Year’s Day Nightwatch Nil by Mouth The Nine Lives of Tomas Katz No Worries Nobody Someday BFI Information Services Metopolitan Films/ Sunny Side Up Cruise and Wagner/ Paramount Armadillo Films Portobello/ BBC/ BSkyB/ British Screen Hourglass Productions De Warrenne Productions Anuline/ Miramax Lodge Prods/ Little Bird/ MFG Spice Factory/ Staccato Films/ DeLux Working Title/ Polygram Outworld/ Threshold/ New Line BBC Films/ Company Pictures/ Film Council/ Scottish Screen/ Glasgow Film Fund Spice Factory/ Phantom Films Ecosse Films/ WGPH/ BBC Overseas Group/ Bergen Film/ BBC/ Bill Shepherd Prods Cabbage Films Rennaissance Films/ Samuel Goldwyn Company Mumbo Jumbo Prods/ Firelight/ Apollo Media Universal Pictures Universal/ Alphaville Prods Jim Henson Prods/ Walt Disney Jim Henson/ Walt Disney Trijbits Productions/ Film Council/ FilmFour/ British Screen/ Media II/ Filimboard Berlin-Brandenburg Close Grip Films/ Primary Pictures/ Sky Pictures Miramax/ Enigma Films/ Scottish Arts Council WT2 Little Bird/ ECF/ BSkyB/ BBC/ Eurimages/ Bavaria Film Fund/ Austria Film Fund Parallax Pictures/ Road Movies/ Channel Four/ Arte/ Scottish Arts Council/ Glasgow Film Fund/ Filmstiftung Nordrhein-Westfalen Zephyr Films/ BBC/ UGC/ Arts Council of England Bevanfield Films/ First Standard Media Thin Man Films/ FilmFour International/ British Screen Recorded Picture/ Telefilm Ontario GMT/Transfilm/ Spice Factory Ipso Facto/ Glenrinnes/ MPCE/ Northern Production Fund/ West Midland Support Agencies Parallax Pictures/ Road Movies/ Tornasol/ Alta/ FilmFour/ Film Consortium Inverclyde/ BSkyB/ British Screen/ Glasgow Film Fund/ Smart Egg Scala/ Channel Four Revenge Films/ Evolution Films Imagine Films/ Alchymie/ Flashpoint/ British Screen British Lion /J and M/ Jadran/ Fine Line The Smoking Room/Films du Dauphin/Gaumont Strawberry Vale/ GFF FilmFour International/ British Screen/ Palm Beach / Initial Film and TV in association with Southern Star Century Films/ IE Prods 29 IE/DL NL/LU DL 2.131 0.00 3.2001 Title Production Companies Budget (£m) 0.029 0.006 0.65 48.00 2.008 0.119 0.00 2.60 3.00 3.In-Between Mrs Brown Mrs Dalloway Mrs.009 0.00 5.00 2.40 0.014 0.632 0.027 x 0.506 x 17.002 x 0.654 x 0.00 5.50 1.75 3.20 1.00 2.50 3.00 1.84 30.A-Z of Films with British involvement produced 1991 .00 1.949 Miss Monday Mission:Impossible Mistress of the Craft Mojo Monarch Monk Dawson A Month by the Lake Moondance Moonlight Moonlight and Valentino Mortal Kombat 2: Annihilation Morvern Callar Mr.35 72.062 0.693 0.70 N/A FR 1996 1992 1992 B A A C C A B A A A A C B B B A 0.00 24.00 19.00 2.00 2.018 x 0.80 1.60 1.50 DL/AT DL/FR DL Co-Producing Year of Countries Production JP 1996 1995 1997 1996 1996 1996 1994 1993 2001 1994 1996 2001 2001 1996 1996 2000 1992 2000 1998 2000 1992 1995 2000 2000 1997 2001 1994 1997 Category UK Box Office according to (£m) as of BFI Handbook May 2003 C D A A A A E C C E D A A A D A D B D D D D B A D A C B x 18.542 x 0.237 0.00 2.016 5.797 20.70 1.70 2.50 10.005 0.011 x 0.387 x 4.00 5.002 0.

70 7.373 1.2001 Title Production Companies Budget (£m) 6.102 0.354 x 0.52 3.37 1.104 HK IE/DL/US JP/FR/RU 1996 1998 1992 1997 AU 1996 1995 CA CA CA 1998 1997 2001 1996 1997 1999 PL 1994 1991 1999 1999 1997 2000 DL 1997 1994 2000 1991 1996 ES/AR/CS 1991 1996 1992 1993 1996 BFI Information Services 30 .00 2.721 x 0.00 5.19 0.177 0.00 3.34 6.A-Z of Films with British involvement produced 1991 .20 4.00 0.50 3.00 1.00 11.00 0.018 x 6.12 2.00 7.003 x tbr 0.00 3.292 3.60 1.10 11.097 x x 0.280 0.269 0.10 1.00 1.00 5.413 0.542 x x x 3.50 2.00 3.03 3.488 0.076 0.00 3.99 4.50 20.60 FR/CH FR ES 1997 2001 2001 1999 2000 1998 C A B A B D C C B A C D A C C C E A E C A A D D A B A D A C A A D A 0.00 8.001 x Nostradamus Nothing Personal The Nutcracker Prince Off Key Offending Angels The Ogre On Connait la Chanson Once Upon a Time in the Midlands The One and Only One Life Stand One of the Hollywood Ten Onegin The Opium War Ordinary Decent Criminal Orlando Orphans Oscar and Lucinda Othello Out of Depth Owd Bob Owning Maloney Painted Angels Palookaville Pandemonium Panther Paper Marriage Paradise Grove Paranoia The Parent Trap The Parole Officer Parting Shots The Passion of Darkly Noon Pasty Faces Patriot Games Peggy Su! The Perfect Husband Pervirella Peter's Friends The Phoenix and the Magic Carpet Photographing Fairies Allied Entertainments/Vereingte Film Little Bird/ Channel Four/ British Screen Finance/ Irish Film Board Sands Films/ IMAX Corporation Lola Films Pants Prods Recorded Picture Co/ Bebelsberg/ Renn Prods/ Filmstiftung Nordrhein Westfalen/ Filmboard BerlinBrandenberg Greenpoint Films/ Arena Films/ ECF Slate Films/ Big Arty/ FilmFour/ Film Council/ East Midlands Film Initiative Assassin Films/ TF1/ Pathe Elemental Films Alibi Films/ Arts Council of Wales/ BBC/ Canal + Spain/ Morena/ Bloom Street/ Saltire Entertainment/ TVE Onegin Prods/ Entertainment/ Rysher Ent Film City Little Bird/ TATfilm/ Icon/ Greenlight Fund/ Irish Film Board/ Irish Section 35 Tax Incentive British Screen/ Rio SA/ Mikado Films/ Sigma Films/ Lenfilm Antonine Green Bridge Prods/ Channel Four/ Scottish Arts Council/ Glasgow Film Fund Meridian/ Artisan Films/ Dalton Films/ Fox Searchlight/ Australian Film Finance Corp Imminent Films/ Dakota Films/ Castle Rock Out of Depth plc Allied Vision/ Kingsborough/ Greenlight Films Alliance Atlantis/ Natural Nylon Greenpoint/ Shaftesbury Films/ Heartland/ BBC/ BSkyB/ CFP/ British Screen/ Telefilm Redwave Films/ Playhouse International/ Goldwyn Mariner prods/ BBC Films/ Arts Council of England Working Title/ Tribeca/ Polygram Mark Forstater/ Zodiac Paradise Grove plc/ Enterprise Investment Scheme Trijbits Productions/ Sky/ Isle of Man Film Commission Meyers-Schyer Prods/ Walt Disney/ Stansbury Prods DNA/ Figment Films/ Toledo/Universal Scimitar Films Fugitive/ Hauskunst Noel Gay Motion Picture Co/ Victor Film Co/ Metrodome/ Lone Wolf Paramount Deco Films/ BBC/ Arts Council of England/ Merseyside Film Production Fund Portman/ Jempsa/ Ion/ Barrandov Exotic Entertainments Renaissance Filmis Magic Carpet Films/ Smart Egg Pictures/ Zoran Films International Starry Night Film Co/ BBC/ BSkyB/ Polygram/ Entertainment/ British Screen/ Arts Council of England 5.520 0.002 x x 5.00 6.80 0.76 10.60 6.111 x x 0.40 1.073 0.50 0.494 0.40 6.50 4.00 2.14 24.284 0.25 Co-Producing Year of Countries Production DL IE CA ES DL/FR 1993 1995 1997 2000 1999 1995 Category UK Box Office according to (£m) as of BFI Handbook May 2003 C B B C A C 0.012 0.

006 The Pillow Book A Pin for a Butterfly The Plague Plato’s Breaking Point The Playboys Playmaker Plotz with a View Plunkett and MacLeane The Portrait of a Lady Posse Possession The Power of One Prague Preaching to the Perverted A Price Above Rubies Priest The Priest and the Pirate Prime Time The Prince of Jutland Prince Valiant Princesca The Princess Caraboo The Principles of Lust Prometheus Proof of Life The Proposition Proteus Prowokator Psychotherapy Puckoon Pulse The Punk Purely Belter The Queen of Clubs Quicksand Quills Raging Earth The Railway Station Man Rainbow Raining Stones Rancid Aluminium Randall’s Flat Rat Ratcatcher Razor Blade Smile The Real Howard Spitz Woodline Films/ Kasander-Wigman Prods/ Channel Four/ Polygram/ Eurimages/ Dutch Film Fund Skreba/ Heurekea/ British Screen/ Channel Four Pepper Prince/ CFC/ Oscar Kramer Robark Pictures/ Shawthing Media Green Umbrella New Era/ Steinhardt-Baer Spice Factory/ Lou Horowitz Org/ Snowfull Working Title Propaganda/ Polygram/ Gramercy Working Title Baltimore Spring Creek/ Warner Brothers/ USA Films Warner Brothers/ Regency International Christopher Young/ Constellations/ British Screen/ UGC/ SFPF Cyclops Vision/ Entertainment/ Victor Film Co Channel Four/ Miramax BBC Films Video in Pilton Imagine/ Praxino/ HD / Cinergetique Woodline Films/ Allarts/ Films Ariane/ Kenneth Madsen Filmproduktion Lakeshore/ Summit/ Constantin(Germany)/ Entertainment Parallax Pictures/ BIM/ Road Movies Artisan/ Longfellow Pictures/ Beacon Communications Blast Films/ Film Four Lab Holmes Associates/ Michael Kustow Prods/ Channel Four/ Arts Council of England Castle Rock/ Warner Brothers Bel Air Entertainment/ Anvil Films S4C/ Peakviewing/ Transatlantic Metrodome/Victor Films/ Trimark Mark Forstater/ Filmcontract/ Balzar/ PRT/ Eurimages bfi / TiMe/ Skyline/ Mervyn Film/ NWR film foundation/ WDR Insight Ventures/ Northern Ireland Film Commission/ Arts Council of Northern Ireland/ Irish Govt Section 481 Tax Incentives/ MBP Roaring Fire/ La Mancha/ Victor Videodrome Mumbo Jumbo/ FilmFour Santana/ Vital Productions Geoffrey Reeve Film/ Cinesand/ Visionview/ Cinerenta Charenton Prods/ Fox Searchlight Eagle Films/ REA Productions Turner Pictures/ BBC/ First Film Company/ Sand Productions Winchester Pictures/ Screen Partners/ Filmline/ Vereinigte/ Vine International Parallax Pictures/ FilmFour International Fiction Factory/ Entertainment Stage to Screen Universal/ Jim Henson Company/ Ruby Films Pathe/ BBC Eye Deal/ Beatnik Metrodome/Imagex/ Telefilm Canada/ Nova Scotia Development Corp CA NL/FR NL/DK/FR PL/CZR DL IE/DL 0.00 0.39 8.25 6.75 2.00 1.33 9.20 4.63 13.75 4.00 3.72 1.10 1.00 1.60 47.20 0.10 2.00 16.50 5.00 10.20 2.2001 Title Production Companies Budget (£m) 2.30 3.774 x x 0.90 6.90 1.A-Z of Films with British involvement produced 1991 .779 0.301 0.006 3.008 0.90 1.016 0.005 0.507 x x x 0.432 0.50 1.035 0.00 6.012 CA/DL 1994 1992 1998 2000 1999 1998 1996 1997 CA BFI Information Services 31 .681 0.545 x tbr 2.60 0.50 1.66 1.131 0.00 0.017 x x x 0.00 0.50 IT/DL FR Co-Producing Year of Countries Production NL CZR FR/AR 1995 1993 1991 2000 1991 1993 2001 1997 1995 1992 2000 1991 1991 1996 1997 1994 1993 1994 1993 1996 2000 1993 2001 1997 2000 1995 1995 1994 1992 2000 Category UK Box Office according to (£m) as of BFI Handbook May 2003 B C C A D E B A D E D D B A E A A C C D C D A A D A A C B B 0.00 20.97 4.236 0.047 x x x x x 0.00 2.322 0.80 2.282 0.00 2.50 0.00 0.742 x x x 0.20 3.60 DL 1996 1991 1999 1993 2000 1999 1993 1991 A A A A B D D D B A A A D A A C x 0.00 3.35 4.044 0.00 8.015 1.127 x 0.325 x 0.80 0.70 6.

084 x 0.70 4.121 0.025 x 0.13 4.00 3.017 19.2001 Title Production Companies Budget (£m) 2.00 0.00 16.A-Z of Films with British involvement produced 1991 .50 ES/FR ES/DL CA Co-Producing Year of Countries Production DL ES CA/IT 1991 2000 1997 1997 2001 1996 2001 1999 1992 1996 2001 1995 1994 1997 2000 1996 2001 1996 1995 1994 1995 2001 1997 1996 1992 1994 1998 1999 1996 1999 1994 2000 1996 1998 1991 1999 1994 1994 1999 1997 1996 1996 1997 2001 Category UK Box Office according to (£m) as of BFI Handbook May 2003 B B A C A B A D D A C A D A A B A C D D C A A A E A A B E C A D D A C C A C A D A A B C 0.75 2000 1993 D A x x BFI Information Services .25 6.00 0.464 x x 0.00 1.08 1.50 7.50 3.00 1.40 46.30 2.08 8.50 2.00 0.00 2.352 x x 1.456 0.62 0.098 0.845 4.86 30.171 x 0.00 6.019 x 0.80 1.649 x 0.132 x x 2.062 x x Rebecca's Daughters The Reckoning Red Mercury The Red Violin Redemption Road Regeneration Reinventing Eddie Relative Values The Remains of the Day Remember Me? Resident Evil Respect Restoration Resurrection Man Revelation The Revenger's Comedies The Revenger’s Tragedy Rhinoceros Hunting in Budapest Richard III Rob Roy Robert Ryland's Last Journey The Rocket Post Rogue Trader Romance and Rejection Romeo is Bleeding Room 36 A Room for Romeo Brass Room to Rent Roseanna's Grave Sabotage Safe Haven The Safety of Objects The Saint Saintly Salt on Our Skin Saltwater Savage Hearts Savage Play Saving Grace Saving Private Ryan The Scar The Scarlet Tunic The Sea Change The Seagull’s Laughter RDL/ Delta/ British Screen/ Astra/ BBC Wales Renaissance Films/ KanZaman/ MDA Films Red Mercury Ltd Rhombus Media/ Mikado/ Channel Four/ Telefilm Canada Spice Factory/ Great British Films/ Enterprise Rafford Films/ Norstar Entertainment/ BBC/ Arts Council of Scotland BBG Pictures/ Great British Films Midsummer Films/ Overseas FilmGroup/ Isle of Man Film Commission Columbia TriStar/ Merchant Ivory Talisman Films/ Channel Four Constantin/Impact Pictures/New Legacy/Davis Film Intense Productions Oxford Film Co/ Miramax Revolution Films Romulus Films Artisan Films/ Ima/ BBC/ J and M/ Arts Council of England Bard Entertainment Serious Pictures/ Davis Films/ KanZaman First Look/ BSkyB/ United Artists/ Mayfair/ British Screen Talisman Films/ United Artists Buxton Films/ Integral/ TVE/ Luna Films Ultimate Pictures David Paradine Prods/ Granada/ Newmarket Capitol Group Bloomsbury/ Leopard Working Title/ Hilary Henkin Nirvana Films Company Pictures/ BBC/ ACE Renegade Films/ Canal + / Ima/ FilmFour/ Arts Council of England/ bfi Hungry Eye/ Trijbits and Worrell/ Spelling/ Fine Line Spice Factory/ Cine B/ Kinovision/ Basque regional subsidies Insight Films/ Pilgrim Renaissance Films/ Infilm/ Killer Films/ Clear Blue Sky Prods Paramount Cool Beans Prods New Constantin Treasure Films/ BBC Films/ Irish Film Board First Look Koninck/ Channel Four Homerun/ Wave Pictures/ Sky Movies/ Portman/ Rich Pickings Dreamworks SKG/ Paramount/ Cloud 9/ Irish Section 35 tax incentives Amber Films/ BBC/ Northern Arts Scarlet Films-Scorpio Productions Winchester Films/ Granite Films/ Sogedesa Isfilm/ Hope and Glory/ Archer Street/ Icelandic Film Fund/ Eurimages/ Nordic Film and TV/ Film Board Berlin Brandenburg Sunlight Prods Seaview Knights Prods backed by Business Expansion Scheme 32 DL FR FR FR DL/FR/CA IE AU ES IS/DL The Search for John Gissing Seaview Knights 6.86 9.50 4.234 x 0.25 0.20 3.00 3.27 1.75 2.00 0.20 2.02 6.009 0.60 4.293 0.042 x 0.90 8.00 8.007 x x 0.50 3.00 50.18 x x x 2.00 2.90 2.008 2.25 0.00 3.768 x 0.50 0.253 4.10 6.20 4.

00 1.00 1.043 x x 0.002 0.A-Z of Films with British involvement produced 1991 .90 2.90 7.40 1.391 0.20 2.458 0.90 2.007 4.00 3.00 42.30 0.002 0.775 x x 4.50 8.00 2.007 x 0.80 2.101 x 0.38 1.00 4.2001 Title Production Companies Budget (£m) 3.45 FR DL/FR 2001 1995 2000 1995 A B C D C C D A B D C D A A B A A A D A A A E B C A B A D D D A A x 1.40 8.014 0.00 1.640 x 0.00 1.016 x 10.50 0.015 0.00 3.013 0.052 2.77 9.633 x x 0.50 3.20 1.967 x 13.50 3.862 x 20.20 15.00 1.60 4.101 0.70 1.00 0.039 0.20 6.00 0.50 4.70 4.002 3.00 1.40 15.034 0.815 5.00 0.40 14.005 FR/DL/IE AU/JP 1996 1993 1999 CA IN 1997 1991 1993 1999 1998 1993 2000 1999 1996 1993 2001 1999 2001 2001 1998 NL AU SWE/DK/NO IN 1991 1993 1993 1993 1996 1996 2000 1998 1997 1995 1998 BFI Information Services 33 .50 1.024 0.20 2.054 x Second Best Second Generation The Secret Agent Secret Friends The Secret Garden The Secret Laughter of Women The Secret Passage The Secret Rapture Secret Society Sarah Radclyffe Prods/ New Regency Second Generation Films Heyman Hoskins/ Fox Searchlight/ Capitol Whistling Gypsy/Film Four/Briar Patch Warner Brothers/ Zoetrope Elba Films/ Paragon Ent/ Septieme/ ECF/ Arts Council of England Delux Prods/ Zephyr Films/ Parnasse Greenpoint Films/ Channel Four/ British Screen Focus Film Prods/ Ena Film/ WDR/ Filmstiftung/ Isle of Man Film Commission/ Yorkshire Media Production Agency LATV/ VPS Ciby 2000/ Thin Man Films/ Channel Four Schlemmer/ Wandering Star/ Senator/ Septieme Sensible Prods/ Mirage/ Columbia TriStar Red Parrott/ Nes Filmproduktion/ Berryer/ Canal +/Z DF /J and M/ Eurimages/ Section 35 Portman Entertainment/ Sogovision/ Channel 10 Recorded Picture Company/ FilmFour/ Fox Searchlight Shadow Run Shadowchaser Productions Savoy Pictures/ Spelling Films International Surjit Movies Miramax/ Universal/ Bedford Falls Figment Films/ Channel Four Wisecroft Productions/ IAC/ Geoffrey Reeve Film and TV CoolBeans Films/Catapault Prods Gruber Bros/ Tomboy Films/ Entertainment/ Arts Council of England Impact Pictures/ Polygram/ Channel Four Miraster Films Butchers Run/ Eagle Beach/ Seven Arts Little Wing/ First Foot Films Simon Film Prods Silesia Films/ Jonescompany/ FilmFour/ Arts Council of England Zenith/ True Fiction Sarah Radclyffe Prods/ Samson Prods/ British Screen/ Australian Film Finance Corp Sandrews/ Shibsted Film/ Metronome NFH Films/ British Screen Finance/ Channel Four bfi / BBC/ Arts Council/ National Film Development Corp of India Skreba/ Channel Four/ Arts Council of England and Scotland/ Glasgow Film Fund Fine Line Scott Rudin Films/ Paramount Mirage Enterprises/ Miramax/ British Screen/ Sliding Doors Project Skyline/ Easterhouse Prods/ BBC/ Glasgow Film Fund Solo Films/ Seventh Twelfth Collective Secrets Secrets and Lies Semana Santa Sense and Sensibility The Serpent's Kiss The Seventh Floor Sexy Beast Shadow Run Shadowchaser Shadowlands Shaheed Udham Singh Shakespeare in Love Shallow Grave Shiner Shooters Shooting Fish Shopping Shoreditch A Shot at Glory Silent Cry Simon Simon Magus Simple Men Sirens Sista Dansen Sister My Sister The Sixth Happiness The Slab Boys The Sleeping Dictionary Sleepy Hollow Sliding Doors Small Faces Small Time Obsession 0.80 2.33 FR LU/FR DL Co-Producing Year of Countries Production 1993 1999 1995 1991 1992 1997 2001 1992 1999 Category UK Box Office according to (£m) as of BFI Handbook May 2003 A A D A D B C A B 0.820 0.047 12.

50 4.25 9.185 0.928 0.030 0.00 3.402 0.A-Z of Films with British involvement produced 1991 .50 2.Episode One: The Phantom Menace The Steal Stealing Beauty Stella Does Tricks Cavalier Dragon Pictures/ FilmFour/ British Screen Intrinsica/ Macht/ Lichtblick/ Staffi/ BSkyB/ Pandora/ ECF/ Eurimages The Grade Company MGM Peakviewing Transatlantic Jovy Junior Enterprises/ Advanced Medien Weston Union Medusa Fruit Salad Films/ Irish Screen Fantastic Films/ Clesi Cinema/ Film master Film/ The Good Film Co Pinnacle/ Parallel/ Star Line Leda Serene/ BBC/ bfi / Arts Council of England Fragile Films/PolyGram Catherine Bailey Productions/ Spider Films/ AIN/ Grosvenor Park Challenge Films/ Muse Productions Prominent Features Universal/ Beacon Pictures The Big Nowhere plc backed by Business Expansion Scheme Lucasfilm/ Jak Prods Poseidon Pictures/ HBO Recorded Picture Co/ Fiction Film/ UGC/ Fox Searchlight Compulsive Viewing/ bfi / Sidewalk/ Channel Four/ Scottish Film Production Board/ Arts Council of Scotland Cavalier Features/ Impact Films/Filmania/ Yorkshire TV/ Chrysalis/ Isle of Man Govt Marmot Tandy/ Columbia TriStar/ Greenlight Fund Stone Man Films BBC Perathon/ Senator/ German Lander funding Blue Orange/ DNA BBC Amy Intl/ Filmworks/ British Screen Sweet Tooth Films Corsan/ Thorema/ BRTN/ Eurimages/ Screen Partners Enterprise Films Scorpio Prods/ Northlands Film/ Arts Council of Northern Ireland/ Irish Film Board/ Irish Section 35 tax scheme Woodline/ Movie Masters/ De Lux Productions Merchant Ivory/ Warner Brothers Tartan Films/ Okulitch Pedersen Greenpoint Films/ Shaftesbury Films/ BBC/ Telefilm Canada 34 0.50 7.02 0.50 2.484 0.00 1.00 25.03 4.018 x x x 0.50 55.84 2.229 x 0.934 x 0.029 x 0.50 Co-Producing Year of Countries Production IE/DL 1995 Category UK Box Office according to (£m) as of BFI Handbook May 2003 C x Snakes and Ladders Nova Films/ Livia Films/ Sievernich Films/ ZDF/ RTE/ Irish Film Board/ Filmboard Berlin-Brandenberg/ Arts Council of Ireland The Snapper Snatch Soft Top.007 0.00 0.00 6.00 1.00 2.70 ES 1996 1998 1996 1994 1998 1999 1996 1997 1997 1994 1998 1997 2000 1995 1999 1995 B D A A C A A C A C A B C D E C 0.Sugar Suite 16 Summer Rain Sunset Heights Superstition Surviving Picasso Suspicious River Swann 3.30 1.064 0.00 4.007 0.042 DL IT FR/IT ES CA Stiff Upper Lips Still Crazy Stone Man Stonewall Straight Shooter Strictly Sinatra The Stringer Such a Long Journey Sugar.20 1.00 0. Hard Shoulder Soldier BBC Films Ska Films/ Sony Pictures Gruber Brothers Impact/ Jerry Weintraub Prods/ Warner Bros/ Morgan Creek A Soldier’s Daughter Never Cries Merchant Ivory/ British Screen Solitaire for Two Some Voices Someone Else's America Something to Believe In Son of the Pink Panther The Sorceror’s Apprentice Sorted Soul’s Ark South Kensington South West Nine Spaghetti Slow Spanish Fly Speak Like a Child Spice World:The Movie Spider Split Second Splitting Heirs Spy Game Staggered Star Wars .90 4.091 x x 0.00 3.25 1.50 1.049 x 0.375 1.203 0.028 0.00 0.47 2.012 DL CA BE/DL IE NL/LU CA BFI Information Services .20 30.00 2.50 10.00 1.35 4.40 13.002 0.00 2.13 4.2001 Title Production Companies Budget (£m) 2.00 4.80 1.96 0.326 0.338 0.082 x x x 11.325 4.00 8.50 4.615 12.023 1.149 51.60 2.45 FR/IT FR/DL 1992 1999 1992 1998 1997 1994 1999 1994 1996 1992 2000 1999 1999 2001 2000 1995 1996 1997 1997 2001 1991 1992 2000 1993 1997 1994 1995 1996 A D A D A A A C A D A C A C A C C A A B A A D A D D C A 0.028 x x x 0.50 0.00 1.93 7.

30 2001 1998 1997 2000 1994 1992 1997 1996 D D A A A A A B x 0.20 0.2001 Title Production Companies Budget (£m) 2.007 tbr 0.01 5.001 0.40 2.007 x 0.011 AU ES 1998 1993 1999 1997 1999 1994 2000 2001 IE 1995 1998 1999 1996 1998 1998 2001 1993 1994 2001 1997 2001 1997 1993 1997 1993 1994 PL CA 1998 BFI Information Services 35 .75 4.002 x x 0.40 0.05 0.70 3.016 0.30 IT IE 1998 2001 1999 C B D E B B A A A A A C A D A D A A D A A A A A C A A A B 1.A-Z of Films with British involvement produced 1991 .825 Sweet Angel Mine Handmade/ Mass Productions/ Imagex/ BSkyB/ British Screen Finance/ Telefilm Canada Sweet Killing Burrill Productions/ Makifilms/ BleuBlancRouge Sweet Sixteen Nehetan International Sweet Sixteen Parallax Pictures/ Road Movies/ Tornaso Alta/ BBC Films/ Scottish Screen/ Glasgow Film Office/ Filmstiftung Nordrhein-Westfalen Swept Away Ska Films/ Columbia Swing Last Time Prods/ Entertainment/ Kushner Locke Co.00 13.50 10.601 2.900 x x x x 0.00 3.970 0.75 3.45 5.00 0.101 x x x 0.026 x 0.50 0.30 3.00 0.355 0.40 3.00 3.017 0.75 12.20 1.004 0.40 2.399 x x x 0.14 3.12 0.00 0.00 2.106 x x x x 3.00 0.73 0.10 1.50 0.10 0.478 x 1.50 1.40 Co-Producing Year of Countries Production CA FR/CA IN DL/ES 1995 1991 1996 2001 Category UK Box Office according to (£m) as of BFI Handbook May 2003 B C C B 0.015 3.10 0.85 2.50 4.216 FR/DL/NL 8.50 0.40 3.60 0. Table 5 Raw Talent Prods Tabloid TV Ultimate Pictures Taboo LJ Pictures/ Ghana Films Tale of a Vampire State Screen Productions Talisman Ealing Touch Film Prods The Tango Lesson Adventure Pictures/ Alpha Film/ Pandora Film/ Sigma Film/ BSkyB/ Arts Council of England/ British Screen/ ECF/ Eurimages/ BadenWurtemburg Filmfond Tea with Mussolini Film and General/ Medusa/ Cineritmo Teenage Kicks-The Undertones Perfect Cousin Prods/ Arts Council of Northern Ireland/ Irish Film Board/ BBC The Testimony Of Taliesin Jones Frontier Features/ Snake River/ CPI/ HTV/ Arts Council of Wales Texas Funeral TF Prods/ J and M That Eye in the Sky Working Title/ Entertainment Media That Girl From Rio Casanova Films/ Lola Films The Theory of Flight BBC/ Distant Horizon There is Only One Jimmy Grimble Sarah Radclyffe/Impact/Pathe Thin Ice This Filthy Earth This is Not a Love Song This is the Sea This Year’s Love Thomas and the Magic Railway Thon Three Businessmen Three Days Three Guesses The Three Musketeers Three Steps to Heaven Thunderpants The Tichborne Claimant The Ticking Man Time Enough A Time for Witches Titanic Town To Catch a Yeti To Die For To Walk with Lions Thin Ice Films FilmFour/ Tall Stories/ Sky/ Yorkshire Media Production Agency/ East London Film Fund Footprint Films/ Strange Dog/ Film Council New Cinema Fund Judy Counihan Films/ Pembridge/ BSkyB/ ECF/ Irish Film Board Kismet Film Company/ Entertainment/ Scottish Arts Council Britt Allcroft Co/ Destination Films/Icon Rumneyvision Prods Exterminating Angel/ VPRO (Netherlands) Austin Hill Thirdwave Walt Disney/ Caravan Pictures Maya Films Dragon Pictures/ Pathe The Bigger Picture Co/ Merseyside Film Prod Fund Roaring Fire Film Productions Time Films Mark Forstater Prods/ Casting Service Film/ Elnor/ Odra-Film/ Max-Film Company Pictures/ BBC/ British Screen/ Arts Council of Northern Ireland String of Pearls TDF/ London Lighthouse/ British Screen Studio Eight/ Kingsborough Greenlight/ Cavco 4.00 0.

010 0.050 x x x 3.90 IT IE 1992 1996 2000 1995 1998 1996 1991 1999 1992 1995 2001 1997 1996 1998 1995 1994 2001 1993 2000 1994 1991 1996 1997 1997 1996 1997 1996 A A C C A A A A A D A A A A A A A A D A D A A A A A A A B D C B B 0. Deeply The Truth Game The Turn of the Screw Twelfth Night Twenty Four Hour Party People TwentyFourSeven Twin Town Two Bad Mice Two Blind Mice Two Deaths Two Men Went to War UFO Unconditional Love Under Pressure Under Suspicion Under the Skin Underground Understanding Jane Unknown Things Up ‘N’ Under Up on the Roof Urban Ghost Story Utz Velvet Goldmine Vent de Colere Very Annie Marie Vicious Circles 4.50 1.809 0.09 1.50 3.50 3.174 0.00 2.060 x 0. Madly.00 0.015 x 12.10 2.086 Tom and Viv Tom’s Midnight Garden Tomorrow Never Dies Topsy Turvy Total Eclipse The Touch Trainspotting Treasure Island The Trench New Era/ UGC-DA/ITC/ Entertainment/British Screen/ IRS Media Eastern and Hyperion/ BBC United Artists/ Eon Prods/ Danjaq Pathe/ Thin Man Films/ Greenlight Fund Portman/ Fit Prods/ SFP/ K2/ Capitol/ New Line/ Eurimages/ ECF Mark Forstater/ Tor/ DFI/ British Screen/ Metronome Figment Films/ Channel Four/ Polygram Allied Vision/ Kingsborough/ Greenlight Blue PM/ Skyline/ Galatee/ Entertainment/ Portman/Arts Council of England/ British Screen/ European Coproduction Fund BBC/ Santa Ana Deep City/ BBC Recorded Picture Company/ Fiction Initial/ Cairndawn/ Channel Four/ Eurimages/ Irish Film Board Rollercoaster Films Film and General/ Rafford/ Channel Four/ Arts Council of England/ Booker Entertainment BBC/ Samuel Goldwyn Screen Productions Associates Michael White Prods/ Lakedell Ltd/ Cinemax Renaissance/ BBC/ Fine Line Revolution Films/ Film Council/ Film Consortium/ FilmFour Scala/ BBC Figment Films/ Twin Town Prods/ Channel Four April Films Kill the Real Films BBC/ Dakota Films/ British Screen Little Wing/ Ira Trattner Busybrave/ Polygram Avery Pix/ New Line/ Zucca Bros Videodrome Columbia Pictures/ Rank/ LWT/ Carnival Films Strange Dog/ Channel Four/ Merseyside Production Fund/ bfi / Rouge Film Creative Film Sources DMS Films/ Flashpoint Pictures Approaching Fish Prods/ HBO Touchdown Films/ Colour Features/ Llanieu Lliew Cyff Carnival Films/ Granada/ Rank/ Production Line Living Spirit Viva/ NDR/ BBC/ Academy/ Mainstream Killer Films/ Zenith Prods/ Channel Four Millenium Films/ CNC/ CLC Prods/ ECF/ Rhones-Alpes Cinema/ Conseil General de la Drome Dragon Pictures/ FilmFour/ Canal +/ Arts Council of England/ Arts Council of Wales Scala/ BSkyB/ Pandora/ Trimark/ Senator/ Kazai The Trial The Tribe The Triumph of Love Trojan Eddie Trouble on Earth True Blue Truly.036 0.00 3.018 x x 0.41 4.648 1.00 3.40 0.00 1.149 x DL 1997 1991 1997 FR FR FR/US/DL/JP 1997 1999 1996 BFI Information Services 36 .00 13.A-Z of Films with British involvement produced 1991 .709 x x 0.603 0.42 1.884 1.00 3.85 2.20 CA FR FR/BE/US PL/DK Co-Producing Year of Countries Production 1993 1997 1997 1998 1995 1991 1995 1997 1998 Category UK Box Office according to (£m) as of BFI Handbook May 2003 A A D A C C A C B 0.152 0.50 1.66 0.30 1.30 40.004 x 0.454 x 0.265 0.80 3.00 2.016 0.07 0.00 2.42 4.30 3.60 4.004 x 0.2001 Title Production Companies Budget (£m) 4.76 2.006 0.410 x x 0.10 0.40 2.433 x 0.50 1.09 1.50 2.60 0.235 0.40 20.75 0.207 0.067 19.50 0.00 0.70 3.50 1.

00 3.00 5.40 BE/NL/LU 2000 1998 1995 1996 C D A A B E C B A B A D A A E C D A C A A C A A A B A B 0.779 0.006 0.325 0.00 3.004 x x 0.00 2.102 0.40 0.11 9.00 1.005 0.119 0.654 0.10 1.20 5.018 0.00 5.147 x 0.40 3.70 6.2001 Title Production Companies Budget (£m) 8.002 0.025 x 0.A-Z of Films with British involvement produced 1991 .005 Victory Vigo: A Passion for Life Villa des Roses Virtual Sexuality Virtual Terror Vol-au-Vent Waking Ned Walking and Talking The War Bride War of the Buttons The War Zone The Warrior Warrior Sisters Waterland Weak at Denise The Wedding Tackle The Weekend Weep No More My Lady Welcome to Sarajevo Welcome II the Terrordome Welcome to Woop-Woop What Rats Won’t Do Whatever Happened to Harold Smith? When Brendan Met Trudy When Saturday Comes White Angel Widow's Peak Wild About Harry Wild West Wilde Willie's War The Wind in the Willows The Wings of the Dove The Winslow Boy The Winter Guest The Wisdom of Crocodiles With or Without You Wittgenstein The Wolves of Kramer Women Talking Dirty Wonderland The Woodlanders Words Upon the Window Pane Telescope/ UGC/ Babelsburg/ BSkyB/ Eurimages/ ECF/ Recorded Picture Company Impact Pictures/ Nitrate Films/ Little Magic/ Mact Films/ Road Movies/ Tomasol/ Channel Four/ Canal +/ Arte/ European Script Fund Dan Films/ Favourite Films/ Isabella Films/ Samsa Films Noel Gay Co/ Canal +/ Sony The Film Co John McKenzie Prods/ Winchester Films Tomboy Films/ Gruber Bros/ Mainstream/ Bonaparte/ Canal + Zenith/ Channel Four/ Ciby 2000/ Good Machine Random Harvest/ DB Entertainment/ Vanguard Entertainment Enigma/ Les Productions de la Geauville/ Fujisankel FilmFour/ Sarah Radclyffe Prods/ Portobello Pictures The Bureau/ FilmFour Frank Scantori Films Palace/ British Screen/ Fine Line/ Pandora Cinema/ Channel Four Films Peninsula Films Viking Films Granada Films/ Yellow Room Productions Cameras Continentales Dragon/ Channel Four/ Miramax Non-Aligned Prods Scala/ Unthank Prods/ Samuel Goldwyn Co/ Australian Film Finance Commission Working Title Films West Eleven Films/Intermedia/Arts Council of England Deadly Films/ BBC Films/ Irish Film Board Pint o' Bitter Prods/ Capitol Films Living Spirit Prods Jo Manuel Prods/ British Screen Scala/ BBC/ Northern Ireland Film Commission/ Medien Beteiligungs Initial/ British Screen/ Channel Four Samuelson Prods/ BBC/ BSkyB/ Polygram/ Capitol Films/ Dove International/ NDF/ Pony Canyon/ Pandora Films/ Arts Council of England Children's Film Unit/ Channel Four Davrod Prods/ Allied Filmmakers/ Guild Renaissance/ Miramax Sony Pictures Classics Pressman-Lipper/ Capitol/ Film Four/ Fine Line/ Arts Council of Scotland Zenith Prods/ Arts Council of England Revolution Films/ Miramax/ FilmFour Bandung Films/ bfi / Channel Four Discodog Prods Rocket Pictures/ Sweetland Films/ Jean Doumanian Prods Revolution Films/ Kismet Film Company/ BBC/ PolyGram River Films/ Channel Four/Chargeurs/ Arts Council Pembridge/ Northpro/ British Screen/ Calypso/ DeLux 37 2.64 3.00 2.23 0.878 FR 1997 1995 CA FR/JP/IE 2000 1993 1998 IN 2001 1999 1991 1998 1998 1998 FR AU 1991 1996 1993 1996 1997 1999 IE 1999 1995 1992 1993 1999 1991 1996 DL JP/DL 0.334 0.055 0.254 0.00 0.80 3.32 6.011 0.00 1.58 3.021 0.60 3.20 3.750 x x 7.00 4.247 0.70 0.041 x x 0.70 5.40 Co-Producing Year of Countries Production FR/DL FR/DL/ES/JP 1994 1997 Category UK Box Office according to (£m) as of BFI Handbook May 2003 B B 0.727 0.00 5.015 0.002 0.275 0.50 2.50 3.177 x BFI Information Services .251 0.01 3.030 1.75 8.303 2.00 1.019 0.00 1.00 2.70 1.16 1.00 4.50 0.50 IE/DL/LU 1994 1995 1996 1998 1996 1997 1998 1992 1997 1999 1998 1995 1993 A A D D D A D A A D A A C x 1.423 0.25 4.70 5.58 1.205 0.

00 3.unreleased * estimated figure tbr .2001 Title Production Companies Budget (£m) 50.00 2. Box Office as of June 1 2003. Handmade Films/ Paragon Entertainment/ CFP/ Hollywood Pictures Wuthering Heights Paramount Year of the Comet Castle Rock You Can Keep the Animals Sterling/ Winchester The Young Americans Working Title/ Trijbits Worrell Associates The Young Poisoners Handbook Mass Productions/ Kinowelt/ Haut en Cour/ BSkyB/ Eurimages Source: bfi / Screen Finance/ Nielsen EDI KEY x .300 0.15 6.reasonable expectation of a release after June 2003 # . CA BFI Information Services 38 .211 The World is Not Enough Woundings The Wrong Guy Eon Prods/United Artists Stone Canyon Ent/ Muse Prods.00 12.183 x x 0.A-Z of Films with British involvement produced 1991 .still on release.00 1.00 1.577 x x 0.00 5.35 DL Co-Producing Year of Countries Production 1999 1997 1996 1991 1991 1996 1992 1994 Category UK Box Office according to (£m) as of BFI Handbook May 2003 D D C D D A A B 28.

Sign up to vote on this title
UsefulNot useful