As well as being new-talent incubators, they nurture with significant funding and creative input the vast majority of independent UK films that go on to make an impression on the festival and theatrical circuit or as cultural or awards touchstones.Īnyone who still has our 2010 Brit 50 list sitting on their desks will notice a few names who featured then that aren’t part of our 2018 line-up. We decided not to feature them in the end, however, since the majority of their operations are run out of Ireland.Īs for the UK’s major public funders - BBC Films, Film4, the BFI - they remain the bedrock of UK independent film production. Ed Guiney and Andrew Lowe’s outfit has produced films including The Favourite and Disobedience out of the UK in the last two years, and they have a creative outpost in London. Pathé UK, meanwhile, occupies a unique position, often sourcing material that it can develop in-house before attaching a filmmaker, while also boarding later on in the process as a financier and executive producer with projects brought to it by third-party producers.Įlement Pictures was another company we strongly considered. Sales companies such as Independent have been producing for years, while others including Protagonist, HanWay, Cornerstone, Bankside and Embankment are increasingly moving into production in order to have a better position on projects and get in on the good ones earlier.ĭistributors including Lionsgate, Altitude, Vertigo, eOne and Entertainment Film Distributors are also actively engaged in this, while Studiocanal has indicated a stronger push towards production and away from distribution with its recent activities. In the UK, as the world of independent film grows increasingly precarious, more companies are looking to board IP at the earliest stage possible, in order to participate more fully in the success at the other end. In pulling together our Brit 50 this time, we decided to keep the focus on the independent production companies, and their accompanying producers, whose primary business is developing and producing original projects, rather than also being involved in the financing, selling or distribution of them. Scroll down for the full line-upīack then, we featured distributors, a sales agent and broadcast divisions BBC Films and Film4 on our list. It has become an exponentially more complicated world to navigate since 2010, which is the last time we spotlighted The Brit 50. While we aimed to keep our criteria simple and straightforward in drawing up this list, the industry of course is anything but those things in 2018. We can produce a high quality commercial in the range of $30,000 to $50,000, depending on the concept, whereas the DGA definition of a low budget commercial is $225,000 or less, with many commercials running even more.Welcome to The Brit 50, Screen International’s survey of the independent UK-based production companies actively engaged in originating, developing and producing feature films for both local and international distribution. Our creative director and company owner is also a DGA member as well as a writer, we collaborate with a professional storyboard artist to approve and refine the concept, and we hire talented crew members to execute the idea. In the traditional TV commercial model, the agency, the production company, and the director all pocket large fees for their services, meaning a lot of the client’s money doesn’t end up on screen. With our model, we serve as both the creative force in collaboration with the client and the production company, but without cutting corners on quality. With the average TV commercial running several hundred thousand dollars, the typical process is to hire a marketing agency, which comes up with the creative ideas, then hires a large production company to execute the chosen idea, which then hires a well paid DGA (union) director. In addition to corporate videos, JLB Media Productions can also produce high end commercials at a fraction of the price of the average national TV commercial.
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