Lights, camera, action: collaboration increases between UK and international film-makers

The UK film industry’s award-winning talent is sought-after across the movie-making world.

And, thanks to a number of bilateral film treaties which have been ratified between the UK and seven partner countries, accessing this talent has never been easier.

Nations which have signed film co-production treaties with the UK are Canada, France, Australia, New Zealand, India, Jamaica, and South Africa. Over the last seven years, 480 co-production films have been made, including over 120 majority UK co-productions, with an average UK expenditure of 36 per cent - worth over £1.4 billion to the economy.

Eighth bilateral film agreement

In October, an eighth bilateral film agreement was announced, opening up new and exciting filmmaking possibilities between the UK and Morocco. Both countries have agreed to a package of incentives which will encourage co-production projects and boost both nations' film industries.

Any UK filmmaker who wants to work with a Moroccan producer under the treaty will now have access to a range of benefits including tax breaks, sources of funding and practical support; although – as of January 2010 - there are still formal constitutional procedures to complete until the agreement officially comes into force.

On announcing the UK-Moroccan treaty, Film Minister Sion Simon said: "Morocco has been a popular location for film-makers for many years, with credits including Kingdom of Heaven, Black Hawk Down, Troy and, of course, Lawrence of Arabia. But until now there have been few benefits for UK and Moroccan producers working together on projects.

“Without the co-production structure, films that are shot in Morocco would not have the incentive to use the UK's post-production skill and facilities, for example. Today's agreement will change all that, and enable film-makers to produce commercial and artistic films which are both attractive to audiences in the UK and capable of export around the world.

As Senior Executive for International Strategy & Co-production at the UK Film Council, Isabel Davis was instrumental in forging the UK-Moroccan film treaty and bilateral agreements with other nations. She says: “A treaty operates in a number of ways. Producers come together to work with crews from their respective countries and, critically, tap into sources of finance which are opened up to them.

“Co-productions strengthen the ability of UK producers to work independently and build up their businesses – so these bilateral agreements are extremely important.”

Bright star

Jane Campion’s latest film, Bright Star (2009), about the life of English poet John Keats, was made under the UK-Australia co-production treaty and co-funded by the UK Film Council. Campion is a New Zealander; the director of photography and some of the cast members - including Abbie Cornish - are Australian; and the film was shot in the UK using British film talent. Bright Star has been critically acclaimed, while Campion was nominated for the Golden Palm at the Cannes Film Festival.

Says Isabel Davis: “Bright Star used many creative elements from Australia, with principal photography undertaken in the UK. Finance came from tax credits plus public and private investment sources in the UK and Australia. It’s impressive that a filmmaker of global significance such as Jane Campion should be able to tell a beautiful British story on UK soil.”

Another recent UK-Australia film success is Triangle (2009), a horror thriller set at sea, directed by British-born Christopher Smith, shot entirely in Australia and also co-funded by the UK Film Council.

Indian film industry

While Canada enjoys movie-making ties with the US, it has also fostered a close relationship with the UK and Europe. The most recent success made under the UK-Canada treaty was Fifty Dead Men Walking (2008), starring Ben Kingsley, which was filmed in Northern Ireland. The UK-Canada treaty is also responsible for many TV productions, including Burn Up (2008), the BBC TV thriller starring Bradley Whitford, Neve Campbell and Rupert Penry-Jones.

In terms of ticket sales, the Indian film industry is the biggest in the world. To date, it has not collaborated on a large scale with the UK, although Isabel Davis thinks this is beginning to change.

“The success of Slumdog Millionaire (2008) shifted the way the UK-Indian partnership works,” she says. “We are now seeing more and more UK producers securing finance in India and potentially shooting there.

“A new film called West is West – a sequel to East is East (1999) – has just wrapped in India. I recently spoke to the UK producer of the feature, Leslee Udwin, and she said the shoot had been a wonderful experience. So the UK-Indian treaty has been a symbolic statement of intent for our two countries to work more closely together.” Indian producers are also looking to film in British locations and every year, use the UK for shooting - London Dreams (2009), for example, was filmed in the UK capital. Indian filmmakers have also called upon the expertise of UK post-production facilities.

Bilateral film treaties can also have a significant effect on tourism, says Isabel Davis. “Firstly, film can open up a window on other worlds – so Indian audiences are able to see incredible places around the UK where their relatives are living, which is a real draw at the box office.

“Plus, when locations such as London and Yorkshire, for example, are featured in Indian films, admissions from Indian visitors at those tourist destinations multiply greatly.” Research shows that some film locations receive up to a 30 per cent boost in bookings.

Isabel Davis says that high-end film productions are attracted to the UK because of its unique locations, world-class crews and facilities. “We can be rightly proud of our industry and of our technical skills and talent,” she says. “And, of course, our directors and writers are second-to-none, and our actors are internationally respected. Overseas filmmakers want to work in the UK to make use of all these benefits.”