1. BFI Media Studies Conference
Thursday 4th July 2013
British Film Industry by numbers – Sean Perkins
Digital Cinema Screens (UK) – 4 (2002) – 3,538 (2012)
DVD Player penetration (% of households) – 26% (2002) – 90% (2012)
Tablet and Smart phone has also increased dramatically
Cinema going:
1.58 billion admissions (1945)
193 million (1970)
72 million (1985)
169 million (2010)
Film viewing
Cinema – Annual film viewing in the UK (2011) – 3.4%
Television - Annual film viewing in the UK (2011) – 77%
The UK Film Economy
UK accounts for 7% of global film revenues
USA – 35% (Although decreasing)
China – 3.2%
UK Film Exports
USA is our main market – 42%
Asia is growing – Around 6%
UK films took 15% of global box-office revenue in 2012 - $5.3 billion –
13% of this figure were studio backed films
VOD
Starting to emerge in 2012
OFCOM – Quarterly statistics on illegal downloads - Research!

2. Share of Box-Office in 2012
‘Skyfall’ (2012) accounted for 9%
Rest of the Top 20 – 46%
Other 546 releases outside of the Top 100 (546 releases) accounted for just 8%
UK Box Office Market Share
2012 – USA – 61.5%
2012 – UK Studio backed – 22.7%
2012 – UK Indie – 9.2%
2001 – 2012 – Look at film releases and relationship for UK Qualified Film
Market Share
1) Ben Wheatley – Case Study – “Multi-Platform” – Research!
2) ‘The Best Exotic Marigold Hotel’ (2012) - Research!
UK Indie Films – 2012
If a film costs £10m (Budget), the average release cost is £2.3m
57% of films in the UK were made with budgets of less than £500k
Top 20 Films at the UK Box-Office (1975 – 2012)
Research!
Distributor Market Shares (2002 – 2012)
Majors (2012) – about 75% of the market
Exhibitor Market Shares (2002 – 2012)
Major Circuits - about 81% of the market
Number of specialized releases – 2001 – 2012
Re-releases have increased dramatically - Research!
As have Documentaries – ‘Searching for Sugarman’ (2012)– Case Study
Genre – 2012
1) Action – 27.7%of total Box-Office – ‘Skyfall’ made a significant
contribution
Co-Production Deal – Tax breaks/relief - Research!
Conclusion

3. Digital technologies are transforming film production and consumption
The UK is still heavily reliant on the US
Others?
Online Marketing of Film
Case Study 1) – Curzon
In a ‘co-pro” with Artificial Eye
Their USP is that they’re an “On-the-go” and market across different
platforms.
They offer a home viewing experience and network of their films to
access from home through their Smart TV App http://www.curzoncinemas.com/samsung/
They’ve released over 50 “day and date” films in cinemas – for example ‘A
Late Quartet’ (2013) which was:
1) Released in 50 public cinemas
2) CHC (Curzon Home Cinema)
3) Also available on Sky Store and Film Flex – the deal being a minimum
guarantee of money
4) Box office: £418k
Case Study 2) – Distrify – VOD Service
http://distrify.com/
1,500 – 2,000 films sold in 153 countries
Check out the Guardian online’s ‘The Screening Room’
Tom Grievson – UK Film Marketing
Key – “How do you find your audience?” – Then, “How do you reach that
audience?”
For example ‘Spellbound’ was targeted at teachers and built a strong viral
campaign within the education sector.
Metrodome - Grievson has been responsible for the poster and trailer
campaigns for a number of hits such as ‘Donnie Darko’ and ‘Chopper’
Warner Bros. campaigns – such as ‘I am Legend’, ‘Inception’ and ‘The

4. Hangover’
‘I am Legend’ was initially a campaign that had a small Will Smith –
however this was changed to a larger Will Smith.
Marketing (Studio) – 35%
Exhibitor – 65%
E1 – Marketing campaigns such as ‘The Angels Share’ – KEY!
Marketing was largely concentrated on Scotland – to the extent it out
performed in it’s opening weekend over ‘Prometheus’ (2012)Dir.
Ridley Scott
Key Term: Lifecycle Marketing – for example how are you going to keep your
audience interested post-cinema release – “Day-and-date” release is meaning
that the control over marketing is tighter.
Rule of thumb:
Theatrical release – 16 weeks – DVD Release – 6 months – TV Release
“Day-and-date” release is shrinking this window.
Case study – ‘Donnie Darko’ (2001)
Executed through a targeted Guerilla campaign – for example they
printed out A4 sticker campaign that cost little to no money.
Lots of references to the film within the campaign
‘Inception’ (2010)
High Concept (Wyatt – 1994) film
Create a Blockbuster Action Event
Reveal then tease – Reverse the trend
Strong social networking campaign
60 second TV spot
After opening weekend Sustained TV Spot - “The spinning top” (The
signature moment at the end of the film) was used to create a further
talking point
Key Fact – Usually a films numbers at the box-office will drop by 40% ‘Inception’ only dropped by 20%
Social media – in particular Facebook – was used to create a link
between the film and current affairs issues. For example there was a
heist in Paris.
The likes on Facebook doubled within 10 days of the release

5. ‘The Impossible’ (2012)
A lot of sensitivity surrounding the Tsunami
Focus and ‘positioning’ was:
“One Family’s incredible true story of survival” – the marketing was always
geared around this idea of survival.
Make everything feel epic
Focus on scenes in the TV spot that would create an emotional
response
US Poster campaign was far more different to the UK Poster
campaign – e.g UK Campaign was much more star driven
US Trailer revealed the ending!
Good Case Study as the campaign used Twitter to help promote the
film – VITAL to show this!
Future:
‘Trans Media’ – Research this term!
Other Case Study
‘Bones Brigade’ – Produced by: Top Spin Media
- Merchandise associated to the film – for example Tony Hawk signed
Skateboard.