The Edinburgh Film Festival's keynote discussion with British Film Institute CEO Ben Roberts and Picturehouse creative director Clare Binns sheds light on the future of British independent film. The conversation delves into the challenges of funding smaller projects, the importance of discovering and promoting talent, and the misconceptions about genre films. Roberts highlights the success of films like Tom Holland's How I Live Now and Olivia Colman's Tyrannosaur, emphasizing that success can be measured in various ways beyond box office numbers. He also acknowledges the UK's shortcomings in comedy and horror, suggesting that these genres require specific skills to be executed well.
The BFI's distribution model and its complex relationship with government funding and lottery grants are discussed. Roberts clarifies that the BFI supports other distributors with lottery funds, despite not being eligible to apply for them. The conversation shifts to the UK's new Prime Minister, Andy Burnham, and his focus on decentralizing power from London. Roberts mentions the BFI's distribution across the UK, with a significant presence in London, but also emphasizes the importance of working at a UK-wide level through lottery funding.
One of the key takeaways is the idea that films don't need to be designed for commercial success. Roberts uses the example of Obsession, a horror film that grossed £20 million on a modest budget, to illustrate this point. He also mentions Tea Shop Productions, a British company that gained industry experience by making shark movies, as an example of how original films can succeed without extensive support from the BFI.
The discussion also touches on the role of cinema as a sanctuary from the distractions of AI and smartphones. Binns notes an increase in young people attending cinema events, particularly fan events, where they want to be together. She attributes this to the need for good content and the appeal of being in a cinema setting. Roberts adds that the BFI is cautious about AI, focusing on productivity tools rather than decision-making, and avoids framing AI as solely negative.
Overall, the conversation highlights the complexities and opportunities in the British independent film industry, emphasizing the importance of talent discovery, genre expertise, and the evolving role of cinema in a digital age.
