Bristol’s globally respected Encounters film festival will make a comeback in September next year following a change of management which sees Dave Taylor-Matthews take over as Executive Director.

The festival – widely praised for its knack of discovering new talent – cancelled its 2024 edition and cast doubts about the future after it was hit by a series of challenges triggered by Brexit’s impact on access to European funding and the pandemic.

But now Dave Taylor-Matthews, a veteran producer of festivals and live cinema events in the UK and beyond, is working on a re-launch – fixing 24 to 28 September 2025 as the dates of the landmark 30th Encounters and opening the call for entries.

He says:

“There is no way that Bristol, a UNESCO City of Film, nor the sector was prepared to let go of a festival which has a 30 year track record of showcasing brilliant short film, nurturing emerging film-makers and identifying talent and whose alumni include such stand-out figures as Andrea Arnold, Rungano Nyoni, Ruben Östlund, Martin McDonagh, Lynne Ramsay, and Denis Villeneuve.

“We are determined to lead the fight against ‘enshittification’ and are powering ahead with a 2025 programme which will screen bold and inventive new works, feature headline events of wide appeal, provide a space where new creative projects and partnerships are born and where all film fans feel welcome. 30 years of Encounters deserves an epic celebration!”

Submit films for Encounters film festival

Entries are being invited now via www.filmfreeway.com/encountersfilmfestival for live action, animated, documentary or experimental films of under 40 mins in length and (to make up for the 2024 festival’s cancellation), completed on or after 1 January 2023.

There will be cash prizes for the top performing films in competition for the international and national grand prix plus the chance to qualify for entry to the British Independent Film Awards or BAFTAs &/or get nominated for a European Film Award.

Among those welcoming the return of Encounters to Bristol’s events calendar are Aardman co-founder David Sproxton; Mark Cosgrove, Cinema Curator at Watershed, and Natalie Moore, manager of Bristol Film Office and of the Bristol UNESCO City of Film programme.

Natalie Moore says:

“For thirty years, Encounters has played a pivotal role for Bristol; nurturing and springboarding film talent, leading industry conversations, and elevating our international profile. The festival’s return in 2025 is fantastic news for both filmmakers and audiences, and the 30th edition promises to be a celebration of everything Encounters does best – gathering film lovers, filmmakers and industry figureheads to enjoy the best shorts around and create film experiences to remember.”

To stay up to date with Encounters’ news, sign-up for the free e-bulletin via the festival’s website at www.encounters.film or find/follow the festival’s accounts on Bluesky, Facebook, Instagram, Vimeo or YouTube.

Creating a corporate video is a fantastic way to convey your brand’s message, values, and offerings to a broader audience. However, to ensure that your video is effective and professional, a bit of thoughtful planning is essential. Let’s dive into five key considerations when embarking on your corporate video project, each expanded to provide you with a richer understanding.

1 // Define Your Objective

The first step in any successful corporate video project is to clearly define what you want to achieve. Are you introducing a new product, showcasing your company culture, training employees, or boosting brand awareness? Identifying your main goal will guide all your decisions and keep your video focused and relevant.

For instance, a product launch video will have different requirements than an employee training video. A product video should emphasise key features and benefits, perhaps including customer testimonials and a strong call to action to encourage engagement. On the other hand, a training video should be instructional, easy to follow, and break down complex topics into manageable steps.

Clear objectives are the foundation of your video. They’ll help you craft a message that resonates and makes it easier to measure success. Start by asking what you want your audience to think, feel, or do after watching the video. This will shape everything from your script to your visuals.

2 // Understand Your Audience

Knowing who will be watching your video is crucial for making it engaging and impactful. Consider your audience’s demographics, interests, and challenges. Tailoring your content to their needs will make your video more relevant and effective.

For example, a video aimed at potential clients should highlight what sets you apart and how you can solve their problems. Testimonials and case studies can help build trust. Conversely, an internal training video should prioritise clarity and usefulness, addressing your employees’ specific challenges and using real-life scenarios to make the content relatable.

By understanding your audience, you can choose the right tone, style, and messaging. A younger, tech-savvy audience might prefer an informal, fast-paced video, while senior executives might appreciate a more formal and data-driven approach. The better you know your audience, the more effective your video will be.

3 // Craft a Compelling Story

At the heart of every successful video is a great story. Develop a narrative that not only resonates with your audience but also aligns with your brand message. Good storytelling captures attention, evokes emotions, and makes your message memorable.

Start with a strong hook to grab your viewer’s attention—perhaps an intriguing statement, a surprising fact, or a compelling visual. Then, ensure your story flows smoothly from one point to the next, using a mix of visuals, text, and voiceover to keep the audience engaged. Don’t forget to end with a powerful call to action. Whether you want viewers to visit your website, contact your sales team, or share the video, make sure this final step is clear and compelling.

Incorporating real-life examples, customer testimonials, or behind-the-scenes footage can add authenticity and relatability to your story. People connect with stories about real people and situations, so showcasing your team, your workplace, or satisfied customers can make your video more engaging and trustworthy.

4 // Focus on Quality Production

The production quality of your video can significantly impact its success. High-quality visuals and sound convey professionalism and can greatly enhance your brand’s image. Investing in good equipment or a professional production team can make a big difference.

Good lighting, sound, and high-definition cameras are key to a polished video. If your budget allows, hiring professionals for scripting, filming, and editing can elevate your video’s quality, ensuring it looks professional and engaging.

Pay attention to details like background settings, props, and attire, as these should reflect your brand’s image. Remember, poor production quality like shaky cameras, or bad audio can distract from your message and make your video seem unprofessional. Quality production is an investment that pays off in the form of a positive impression on your audience.

5 // Plan for Distribution and Optimisation

Even the best video needs a strategic distribution plan to reach its intended audience. Think about where and how you’ll share your video. Consider using your company’s website, social media platforms, email newsletters, or even industry events.

Each platform may require different formats or lengths, so tailor your video accordingly. For instance, a full-length video might work well on your website or YouTube, while shorter clips could be better suited for social media. Optimise your video for search engines by using relevant keywords in the title, description, and tags to improve visibility and reach a broader audience.

Timing is also crucial. Showcasing your video during a product launch, event, or when your audience is most active can significantly impact its success.

Conclusion

Creating a corporate video that effectively communicates your brand’s message requires careful planning and attention to detail. By defining your objective, understanding your audience, crafting a compelling story, focusing on quality production, and planning for distribution, you can produce a video that not only resonates with your audience but also supports your business goals.

Remember, a well-executed corporate video is more than just a collection of visuals and sounds – it’s a strategic tool that tells your brand’s story, connects with your audience, and drives action. Whether your aim is to attract new clients, train employees, or enhance your brand’s presence, focusing on these five key areas will help you create a video that stands out in a competitive market.

If you’re interested in creating a corporate video, reach out to us today – we’d love to help you see what’s possible.

Hit shows Rivals, The Outlaws and A Good Girl’s Guide to Murder and upcoming releases The Crow Girl, The Road Trip and The Forsyte Saga were among the titles fuelling Bristol’s production boon last year

Film and TV productions shot on location in Bristol or at The Bottle Yard Studios generated an estimated £30 million towards Bristol’s economy in the 2023-24 financial year, according to the latest annual figures from the city’s Film Office.

A total of 32 major productions were assisted by Bristol Film Office and/or The Bottle Yard Studios throughout the reporting period, of which nine were feature films and 23 were high-end TV productions. Altogether 730 filming days were supported in the studio and on location. The economic impact of this production activity was worth £30,038,739 to the Bristol economy. 582 licenses were issued by Bristol Film Office, permitting filming to take place on council-owned streets, properties and green spaces.

Councillor Tony Dyer, Leader of Bristol City Council, says: “These latest figures demonstrate the vital role that Bristol Film Office, The Bottle Yard Studios and our flourishing film and TV sector continues to play in supporting our city’s local economy. We know that since the pandemic some areas of the film industry have struggled, however it’s fantastic to see that the latest television and film hits are attracted to and supported in Bristol. A huge congratulations to all those who contribute to making our local sector such a huge global hit. These figures truly demonstrate the value of their continued dedication and hard work.”

Head of Film Laura Aviles (Bristol City Council) says: “We are pleased to announce these impressive figures, our first to be calculated using Creative England’s improved methodology. Having access to the most up-to-date estimation of the annual economic impact of the productions we support is central to our ability to leverage investment and stimulate further growth for Bristol’s film industry. These new figures show that not only is the city’s film sector continuing to perform well, it is also worth more to Bristol’s economy than previously thought.

“The fact that filming supported by the Studio and Film Office generated an estimated £30 million for Bristol’s economy in 2023-24, a strike year, is an incredible achievement. We know it has been tough for many freelancers working in different parts of the film and TV industry, particularly unscripted. But these figures underline how Bristol has continued to push forward its reputation as a trusted home for high calibre scripted productions, such as Rivals, The Outlaws and A Good Girl’s Guide to Murder. By supporting filming, we are creating direct benefits for the local economy and with our studio hub, supportive Film Office and skilled crew and companies, we hope to continue that momentum in the year ahead.”

Hayley Armstrong, Head of Production Services at Creative England says: “We’re thrilled to see Bristol making the most of the Local Economic Impact Toolkit – a first of its kind resource supporting the accurate measuring and reporting of local economic impacts to demonstrate the true value of the Film and TV sector in local communities across England. The work that Bristol Film Office and The Bottle Yard Studios do is essential in ensuring Bristol continues to attract high-profile productions again and again, and we are proud that the updated Average Local Production Spend Rate Card has evidenced just how successful they have been this past year. We encourage all local authorities to embrace the Toolkit, enabling them to effectively measure and communicate the sector’s benefits, and unlock the full potential of what Film and TV can bring to their communities.”

Titles that were active in pre-production or filming during the reporting period at The Bottle Yard Studios and on location with Film Office assistance included: upcoming romantic comedy The Road Trip (streaming from 26th December on Paramount+); upcoming feature film Bad Apples starring Saoirse Ronan; upcoming period drama adaptation The Forsyte Saga (Masterpiece PBS); upcoming Agatha Christie adaptation The Seven Dials Mystery (Netflix); Jilly Cooper’s Rivals (Disney+); series three of teen spy thriller Alex Rider (Amazon FreeVee); series four of detective drama McDonald & Dodds (ITVX); series three of Stephen Merchant’s comedy-thriller The Outlaws (BBC One/Amazon Prime Video); twisty thriller TrueLove (Channel 4); teen comedy-drama Boarders (BBC Three); and hit young adult mystery thriller A Good Girl’s Guide to Murder (BBC Three).

Daisy May Cooper and Selin Hizli’s BBC One comedy thriller Am I Being Unreasonable and series 5 of CBBC Enid Blyton drama Malory Towers were also filmed at the Studios (and locations outside of Bristol). Wolf Hall: The Mirror and the Light (BBC One/Masterpiece PBS) based production at the Studios whilst filming on location in England and Wales.

Additional titles filmed during the reporting period at Bristol locations with Film Office assistance included: upcoming contemporary psychological thriller The Crow Girl (Paramount+); upcoming feature film The Salt Path starring Gillian Anderson and Jason Isaacs and directed by Marianne Elliot; upcoming feature film Surviving Earth directed by Thea Gajić; Pollywood blockbuster Jatt & Juliet 3; series three of finance drama Industry (BBC One/HBO Max); and action thriller Paris Has Fallen (Amazon Prime Video).

About the figures

Why the rise?

The 2023-24 economic impact figure of £30m is almost 50% higher than the £20.1m recorded in 2022-23. The reason behind this increase is that this is the first time Bristol’s figures have been calculated using the new Average Local Production Spend Rate Card recently launched by Creative England’s Filming in England team.

Previously, local authorities calculated the economic impact of their film production sectors using national average ‘spend-per-day’ figures compiled by Creative England with contribution from all national Film Offices’ data. However in 2023, Creative England launched a new  Local Economic Impact Toolkit devised by global film industry consultants Olsberg•SPI, “to help local authorities in England more accurately calculate and report on the average local economic impact of location filming activity in their region.”

The Toolkit’s Average Local Production Spend Rate Card offers an improved level of precision as to how productions of certain sizes spend their budget in a location. Previous average spend figures focused primarily on location budgets. This new approach analyses total production expenditure based on where it was spent and the classification of a local authority’s location. This can be whether the production is London-adjacent, shooting in a ‘production hub’ or a ‘developing production location’. Combined with the updated methodology, this accounts for the significant increase in spend per-day figures compared to those which were used prior to 2023.

How are the figures calculated?

A significant number of resources are required to create a film or TV production. Every film crew that works in Bristol needs accommodation, food, transportation, security and other services. A single feature or high-end TV series can spend hundreds of thousands of pounds locally, boosting the revenue of local businesses including hotels, guesthouses, cafes and restaurants, taxi and car rental services and retail stores. Securing part, or all of a shoot in Bristol results in varied levels of expenditure flowing into the local economy, with the range of spend depending on the type of project, what services and resources the project needs to access, and the budget range.

The Average Local Production Spend Rate Card takes all these different types of spend into consideration, including Screen-Production Specific (e.g. crew’s wages and specialist suppliers of local film and TV equipment and services) as well as other categories of Business Support, Construction, Digital Services, Fashion & Beauty, Hospitality & Catering and Local Labour. It provides a frame of reference to gauge the average amount of daily expenditure that can be expected from a specific type of production, depending on the designated classification of the location and the budget range into which the project falls. This is then applied to the data of all productions supported by the Film Office and Studios teams, to calculate an overall estimated economic impact.

Boosting screen tourism

As well as creating short term opportunities for local crew and specialist companies, plus knock on spending in wider business sectors, film and TV shows made in a city have been proven to have a positive longer-term impact on tourism and the visitor economy. Iconic locations featured in popular productions become film tourism attractions, drawing visitors from around the world. Rising numbers of Bristol venues, charities and businesses are working with Bristol Film Office to be introduced to productions as potential filming locations. Being hired for filming helps venues, businesses and community spaces create valuable new revenue streams, whilst in the longer term it leads to an increase in footfall after a TV show or film’s release. Recent examples include Aerospace Bristol which featured in Rivals (Disney+), St Werburgh’s Farm which featured in series three of The Outlaws (BBC One/Amazon Prime Video) and The Georgian House, featured in Sanditon (ITVX).

Distortion Creative Group, the parent company of Studio Giggle, has announced the appointment of Rob King as its new CEO and investor. King’s arrival comes as the company embarks on a rebrand and ambitious expansion strategy, targeting growth in Bristol and the South West, with a vision to become a global creative leader.

With a background in senior roles at renowned organisations such as Abbey Road Studios, Zinc Media owned The Edge Picture Company and a number of award-winning creative agencies.  King brings a wealth of experience in sales, marketing, and creative strategy. His focus will be on scaling Studio Giggle’s operations in live events, film, animation, and content production, while transforming Distortion Studios into a world-class virtual production hub.

King sees his new role as an opportunity to take Distortion Creative Group to the next stage of its growth and development. “Studio Giggle is entering its 18th year, and this ‘coming of age’ marks the start of an exciting new chapter for the company. We’ve been a maverick creative force in Bristol, but now we’re set on becoming the go-to agency for creative content in the South West as well as for our clients nationwide and beyond,” he said.

Despite a well-documented downturn in the film world, Distortion Creative Group has seen growth over the past year, expanding its staff by 20% following new work for clients and producing events in locations as far-flung as Singapore and the Middle East. “The vision that directors Jonathan Brigden and Steve Garratt have shown crafting the region’s go-to creative agency is phenomenal. I look forward to collaborating with them on the next steps, as well as working with the talented staff base that has made Distortion Creative Group what it is today.”

While Studio Giggle has traditionally worked with clients in London and internationally, its plans include a focus on Bristol’s burgeoning tech and fintech industries, offering creative and technical production solutions that align with the region’s growing reputation as a global hub for creativity.

“Bristol has been our home for 18 years and it’s a great opportunity to now give back and help businesses in the area excel creatively,” King emphasised.

As part of the expansion plan, King will also oversee the development of Bristol’s first permanent virtual production facility, positioning Distortion Studios as a pioneer in sustainable and cutting-edge production technologies. “We have an incredible mix of creativity, technology, and storytelling that puts us in an advantageous position as the world enters a new era of production possibilities. In particular, our early adoption of AI and software, including Unreal Engine, has revolutionised the creative potential for clients of all sizes,” he added

Looking ahead, Distortion Creative Group is preparing to expand its portfolio. “Our rebrand positions us as pioneers in exciting new areas of creative technologies, so expansion is certainly front of mind,” King noted. “We’re keen, however, to stay true to our values of true collaboration with our clients, technical innovation and award-winning creativity. 

Distortion Creative Group is preparing to unveil the details of its growth plans, including the addition of new companies to the Distortion Creative Group. “This isn’t just about a rebrand or staying the same size,” King noted. “We’re on a growth trajectory, and in the next few years , we’ll look back at this moment as the time when we transitioned from a boutique agency to a larger creative group.

Steve Garratt, Distortion Creative Group’s Founder and Creative Director, added: “Rob’s addition marks a pivotal point in our on-going plan to grow a world class creative agency and Virtual Production studio in Bristol. Both Jonathan Brigden and I are excited to welcome Rob to the team and draw on his unique expertise.”

Rob King’s move to Bristol further underscores the company’s commitment to investing in the city’s creative future. His appointment marks a pivotal moment as the company positions itself for sustained growth and global reach.

For further information or to arrange an interview with Rob King, please contact:  

Tom Hall: tom@newwordorder.co.uk (07545980782)  

Amy Hunter: amy@studiogiggle.co.uk (0117 972 0081)

 

About Distortion Creative Group:

Distortion Creative Group is a leading creative agency based in Bristol, UK, offering a full range of services across live events, film, animation, and content production. Its flagship company, Studio Giggle, is known for its innovative approach to storytelling and creative production, with clients including Sky and British Airways. Distortion Studios is at the forefront of virtual production technology, delivering sustainable solutions for clients worldwide.

Do you live in Bristol, BANES or South Glos and fancy working in film/TV, but just don’t know where to start? Applications are now open for Round 3 of the 2024 West of England Film/High-End TV Workforce Development Programme delivered at The Bottle Yard Studios, which supports local people looking to break into behind-the-camera roles on scripted productions made in the region.

Backed by West of England Combined Authority investment, the industry-led programme is delivered by the Studios in partnership with Bristol UNESCO City of Film and Bristol Film Office. The deadline for Round 3 applications is 5pm on Monday 14th October 2024.

The Programme offers tailored training to demystify the world of scripted production and prepare trainees for entry level positions in the industry, with the aim of strengthening the pipeline of diverse local crew talent.

Sessions include an Industry Induction Day at The Bottle Yard Studios and a bespoke 5-week training scheme delivered by Bristol training provider Stepping Up, focused on confidence-building, set etiquette and work-readiness, communication skills and teamwork, wellbeing and resilience, as well as digital and financial literacy and how to find work as a freelancer.

After completing the training, participants are added to a New Entrants Portfolio shared with film and high-end TV productions filming in the region. An Access Fund is provided to support any participants who face a financial barrier to taking part.

One recent participant, who took part in Round 1 of the Programme and went on to work as a trainee on a major High-End TV production filmed at The Bottle Yard Studios this Summer, said:

“Working in film and TV felt unattainable to me before the course and there were so many barriers stopping me from being able to work in the industry, not even knowing where to start for one. The Access Fund meant I could afford to do the course and helped provide what I needed to be able to take on the role fully when I was offered the job.”

Applications are invited from residents of Bristol, Bath and North East Somerset, and South Gloucestershire aged 17 and above* from backgrounds that are currently underrepresented in the industry. Underrepresented groups include: young people aged 17-25*, those not in education, employment or training, under-employed people and those on zero-hour contracts, women, people from the global majority, disabled people, people living with mental health issues, carers and care leavers.

The West of England Combined Authority is working in partnership with Bristol City Council’s Film Services (comprising The Bottle Yard Studios, Bristol UNESCO City of Film and Bristol Film Office) to deliver the Mayoral Priority Skills Fund. This fund provides flexible grant to meet current priority skills gaps in the region. This project is part-funded by the UK Government through the UK Shared Prosperity Fund.

For more information and to apply, visit: https://www.thebottleyard.com/home/skills/west-of-england-film-high-end-tv-workforce-development-programme-2024/

Birch, Bristol’s newest podcast studio, has opened at Nine Tree Studios in Brislington.

Designed with both “audio and video first”, the space offers high quality audio recording in a comfortable suite that’s designed for film.

“When we opened Nine Tree Studios, supporting the local creative industries was at the heart of everything” said Russell, Co-Founder of Nine Tree Studios.

“We have a huge amount of versatile space, and we want it to be useful, accessible and affordable – not just sit there empty. Bristol doesn’t have a huge amount of podcast suites, with some professionals even travelling to London just to record.”

“With our space we hope to welcome and support a variety of creatives, content producers, influencers and hobbyists alike.”

With full-RGB lighting and space for branding, the studio is perfect for both guest and episodic podcast recording.

Birch also has access to Nine Tree Studios’ other facilities, including ample parking, green rooms for hair and makeup, and a large kitchen breakout space.

The studio can be hired from the hour for just audio recording or including video, with various options to suit beginners and professionals alike.

Nine Tree Studios is Bristol’s biggest independent studio. Located just outside the centre of Bristol there’s parking for over 30 vehicles with easy access to Bristol, Bath and the M4.

For more information visit www.ninetreestudios.co.uk, email info@ninetreestudios.co.uk, or call 01173706372.

We have recently opened a new creative working space in Easton and we have a few desks available to rent.

We are a bunch of film-makers & animators so far, and the space would suit more film/motion types, designers, developers & photographers.

The space has 24hr street-level access, a meeting room/private edit-suite, kitchen and storage.

Please get in touch to find out more!

Sir Peter Bazalgette is one of the most influential figures in the UK’s creative industries. 

As the former chairman of Endemol UK and creative director of Endemol Group Worldwide, he was responsible for some of the most successful and recognisable television shows of the past 25 years, including Big Brother, Ready Steady Cook, Ground Force and Changing Rooms.

Sir Peter, who was also chairman of Arts Council England and non-executive chairman of ITV, was recently appointed as the new chancellor of the University of the West of England (UWE Bristol).

In an interview with Dan Martin, he discusses his career, the support needed from the new government to grow the UK’s creative industries, how to improve the sector’s diversity, and why he has taken on the role of UWE Bristol’s new chancellor. 

For an extra insight, read to the end to discover Sir Peter’s favourite TV show of all time! 

Sir Peter Bazalgette officially took up his role as chancellor of UWE Bristol at the university’s graduation ceremonies in July, which were held for the first time at Bristol Beacon following a new partnership between the two organisations.

You’ve been in the TV sector for over 40 years. How has it changed?

“Until 1955, there was only the BBC, and until 1982, there was only the BBC and ITV. Then there was Channel Four, and then Channel Five came along in the 90s. So even by the 1990s, there were very few channels. Sky Television and Virgin weren’t there at that point, but subscription TV came along when they arrived.  

“Fast forward to recently and when I was chairing ITV, we launched ITV X and to be listed we had to negotiate with more than 30 platforms. 

“In terms of production, that has changed a lot too. We used to just have public service media putting money into television production, but now we’ve got Netflix alone spending more than a billion in the UK, not to mention Apple, Amazon, Disney and so on. 

“It’s changed massively, and people are consuming their TV when they want and how they want.”

What’s your advice to small production companies in today’s TV landscape?

“As much as documentaries are wonderful things, try to have a repeat series, whether it’s factual or fictional, but one that can be repeated and can come back again because that gives you certainty and turnover. 

“You should also have a range of clients among both the streamers and the public service media.”

When you launched Big Brother in the UK, did you know how big it would be?

“None of us ever know the night before a show goes out for the first time whether it’s going to be a complete flop or a big hit. 

“Big Brother had already become a massive phenomenon in Germany, Spain and Holland before it came to the UK, but not every format works in every country. For example, Survivor has never really taken off in the UK, but it has been a hit in America since the 1990s.

“When Big Brother launched, it was like trying to ride a bucking bronco. It got bigger and bigger. It was on the front page of every newspaper every day, and we had the press on our doorsteps. 

“In most of the early Big Brother houses in other countries, the key talking points were two housemates getting amorous with each other. But true to form in Britain, we instead had a class struggle, with working class Craig defeating middle class Nick, who became known as Nasty Nick. Lots of people couldn’t believe we hadn’t set the whole thing up, but we had no idea any of that was going to happen, none at all.” 

What impact do you think Big Brother had?

“It was massively controversial wherever it was broadcast. People thought it was exploitative and invasive, but actually it was interesting in that it had a transsexual woman, a gay man, someone who suffered from Tourette syndrome, and all sorts of extraordinary people who at the time were demonised. But they won because people saw their lovely character shining through, and so it did have a positive element. 

“It was also an example of early fusion technology because it was on TV as an edited programme, it was on the internet, people watched it live, and you could vote on the telephone. It represented a convergence of media, and it was part of the process of the generation, who today on their mobile phones shoot and edit videos, becoming media literate. They used to watch the live transmission, and then watch the edited programme, before complaining we hadn’t put certain bits in, or we’d been unfair to certain characters. 

“They then realised that the programme was an edited piece that was entirely subjective and what the director thought the story was. There was a big element of the viewer developing media literacy which was groundbreaking.”

How do you think the new government should support the creative industries?

“The creative industries, as they say on The X Factor, have been on a journey. We were the first country in the world in 1997 to define an industrial sector called the creative industries, but we then had to catch up because we didn’t have any data about our GVA, our employment etc. In time we had the Creative Industries Council, and we then established an advocacy body that is now called Creative UK, but in many ways, Britain is still playing catch up with the creative industries. With the new government, I hope that the journey and process will continue.

“The creative industries are 6% of the UK’s GVA, but we get 1% of public investment. Clearly that is not aligned with the creative industries as a priority sector for growth which we have been told is the case by both the former Conservative government and the Labour Party. 

“Private investment is currently not good enough. The British Business Bank, which encourages investment in small and medium sized enterprises, is not really attuned to the way the creative industries run, the way small creative businesses work, and the criteria by which they have to be judged and invested in. We need to make progress on public and private investment. 

“We also need to make progress on research and development tax credit definitions. The UK has a narrow definition of R&D, which is different to the one in other countries in Europe which includes the creative industries so creative businesses can claim tax credits for the innovation that they carry out. 

“We need a more flexible apprenticeship scheme because small companies find it difficult to use the apprenticeship levy.”

You have done a lot of work on encouraging creative clusters around the UK. What more do you think needs to be done in that area?

“The creative industries are naturally and organically arranged into clusters. When I made a proposal for public investment in clusters in 2017, which was enacted in 2018 in the creative industries sector deal, it was going with the flow of where clusters typically are. For example, there’s the fantastic screen cluster in Bristol, an advertising cluster in Manchester, fashion in Leeds and games in Dundee. All of those things were happening organically and I suggested that we got behind it. 

“The investment was £56m in nine creative clusters and each of them had an anchor partner of a university which could feed the value of applied research into local SMEs. It was fantastically successful over five years. It was matched by about £260m from industry and other sources. It’s a very good example of how you use small amounts of public money to generate growth and investment. It connected applied research with more than 2,500 SMEs, and created lots of new jobs, products and services. 

“We found it incredibly difficult to get clusters two funded, despite the extraordinary success story which underlines my point about public investment not being aligned with the national policy to grow the creative industries. 

“In the end, we did get it funded, but it still depends on UK Research and Innovation honouring the commitment in the next Spending Review, which has to be agreed by the new government. 

“That’s another example of how Britain has not caught up with the creative sector, and isn’t backing it in the way that we are organised.”

What needs to be done to improve diversity in the creative industries?

“We need to do a lot better in this area. If we claim that the creative industries is not just an economic powerhouse, but a social and cultural powerhouse, and that what we produce, our music, theatre, films, TV, books and so on, touches the pulse of the nation, then it has to represent the whole nation and all of the communities. It can only do that if all of them find easy career pathways. 

“One of the key things to do is defining better career pathways, which was set out in the former government’s creative industries sector vision last year. When I work with Speakers for Schools, the charity set up by Robert Peston, and speak to first year sixth form students, I ask them ‘what’s your favourite music?’, ‘what’s your favourite fashion?, ‘what’s your favourite film?, ‘what’s your favourite TV show?, ‘what games do you play?’. It always leads to a big discussion about who has the best taste.

“I then ask them to tell me about the jobs that all of those products represent and there’s dead silence. As an industry, we have not defined the career pathways properly. If we do, we’ll have a much more diverse sector. 

“We also need much better outreach. When I was deputy chair of the National Film and Television School, we greatly increased the money we put into finding people of talent from all communities, such as having bursary funds dedicated to Black and Asian people. These are the sorts of things you can do to make a difference, but we have a way to go.”

🤝 This morning at #UWEGraduation Sir Peter Bazalgette was presented as the new chancellor of UWE Bristol – succeeding Sir Ian Carruthers OBE who has performed the role with distinction for the past 13 years 👏

Welcome, Sir Peter! pic.twitter.com/K6DSUZ5D5u

— UWE Bristol (@UWEBristol) July 18, 2024

Why did you decide to become chancellor of UWE Bristol?

“The role higher and further education plays in training, inspiring and producing the next generation of talent in the creative sector is critical. 

“The particular thing that interested me about UWE is that the creative industries is one of the key areas in which they specialise. 

“Activities that impress me about UWE include The Foundry which encourages collaboration, new ideas and development of technical knowledge. I also like the fact that they have a student ventures centre which encourages graduates to set up businesses, I like the university enterprise zone, and I like that more than 50% of graduates tend to work in the surrounding area after they’ve graduated. This is a very good statistic, and shows the contribution that UWE is making to Bristol and its surroundings. 

“Finally, as a TV producer and chair of the Arts Council, I visited the city many times and I love what Bristol has already and its potential for growth.”

Finally, what’s your favourite TV show of all time?

“Antiques Roadshow. I can’t get enough of it! 

“I love the combination of the personal histories and regional histories that are linked to an object. You learn so much about history, and individual stories of brilliant heroism. There’s also the arts and culture, the wonderful locations they visit and the element of greed when it’s revealed what the item is worth. It’s the perfect TV show. I wish I’d invented it myself.”

Nine Tree Studios in Bristol celebrated their opening earlier this month with an event that saw over 150 attendees from across the creative sector.

The 10,000sq ft facility includes two soundstages for film and photography plus a podcast suite, office space, green rooms and a fully-equipped kitchen studio.

Backed by Bristol-based commercial production company JonesMillbank, the studios have been designed to support both small-scale and broadcast-level productions.

“This has been a long road, but it was amazing to see so many new and old faces, all coming together to support and celebrate our launch.” said Russell Jones, Co-Founder of Nine Tree Studios.

Located in Brislington (BS4), the studios are perched near the centre of Bristol allowing them to service productions mixing studio and on-location filming, aided by its 8,900sq ft secure yard for trucks and trailers.

The studios are now Bristol’s largest independent studio, joining a raft of creative spaces throughout the city including neighbouring virtual production stage Distortion Studios and the established Bottle Yard Studios.

“Like restaurants on a high street, the more there are, the better they are, the more their reputation builds. We’re proud of everything Bristol has to offer and stands for, and the more facilities, talent, crew and creative companies that are based here only goes to benefit the region as a whole” Russell continued.

Nine Tree Studios features:

For more information and bookings please visit www.ninetreestudios.co.uk, call 0117 3706 372, or email info@ninetreestudios.co.uk.

Boomsatsuma is transforming Creative Industries education with the launch of Bristol Film School and Bristol Creative Technology Centre.

For the last three years, boomsatsuma has been delivering cutting-edge, industry aligned film, photography and games degrees. The next step in the region’s leading creative training providers’ evolution sees Bristol Film School become home to filmmaking and photography degrees, with Bristol Creative Technology Centre (BCTC) housing Bristol Games Studio, alongside the entrepreneurial Venture Studio.

CEO and Founder Mark Curtis says:

“Boomsatsuma has developed a reputation for changing lives. Through our innovative courses we are helping to nurture and develop highly skilled, talented young people, whether that’s at college or degree level. Our new structure focuses on preparing students for successful careers. We are committed to ensuring Bristol remains a powerhouse of creativity and we want the Film School and BCTC to become cornerstones of the city’s successful Creative Industries sector.”

Bristol Film School

Bristol Film School has ambitious plans. Dr. Susan McMillan, Executive Dean, explains why this dynamic rebranding is important for the company, the city and its students:

“The new name, Bristol Film School, says ‘what’s in the tin’ making it clearer to those who don’t know us what we do, how we do it and where. Bristol is globally renowned for its film and television production, and we are trailblazers in shaping new talent to ensure its success, working alongside our wonderful industry partners.”

Bristol-based director of Netflix hit The Crown, Philippa Lowthorpe, three-times BAFTA Award winner, sums up the mood from industry:

“Changing the name really positions boomsatsuma where it should be – as a leader in film and TV in the South West and nationally. Bristol needs its own Film School. It’s incredible we don’t have one. This is fabulous news.”

Bristol Creative Technology Centre

BCTC builds on boomsatsuma’s growing connections with the region’s creative technology sector and its’ ambition to combine degree level learning with the delivery of entrepreneurial, commercially viable projects for partners.

A key development has been the foundation of an in-house incubator, Venture Studio. Led by Richard Blows, Head of BCTC, a team of Game Art graduates and students have been engaged as freelance developers to recreate the world’s first historically accurate digital reconstruction of Hadrian’s Wall for Microsoft Flight Simulator, in partnership with Time Machine Designs.

BCTC Production Manager Mark Fisher comments:

“I had the opportunity to work on the Hadrian’s Wall project through being a boomsatsuma Game Art graduate. I started at boomsatsuma as a college student on the Games, VR and VFX course. Once I finished that I moved onto the Game Art degree and as soon I finished that I was able to start on the Hadrian’s Wall project. Being able to go straight into a job was an amazing feeling and it has been an amazing experience from start to finish.”

To find out more about boomsatsuma degrees and the opportunities available through Bristol Film School or BCTC, come along to our next Open Day on 15th June.