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MAN FOR ALL
Although it has only been in existence for four years, the Isle of Man Film Commission has to date overseen the pro- duction of no fewer than 24 film and televi- sion productions.
Which is not bad for the Irish Sea location of 227 square miles, and a population of just under
“We can potentially invest 25% into a production,” explains Film Commissioner Hilary Dugdale. “That’s a loan more than anything, and we will get it back once we’ve reached a negotiated recoupment position. In return for that we would expect them to shoot at least 50% of their film here, and spend at least a fifth of their budget here.
“On the island we have an incredible diversity of locations, which is not so strange when you consider we’re right between Britain and Ireland so we offer the best of both places in one little area. And there’s also a high level of support that a film company will get from this office. We’ll hold them by the hand and get everything done for them.”
Established in 1995 by the island’s Minister for Tourism Allan Bell - whose brainchild it was - he was helped by consultant Steve Christian and Hilary Dugdale herself, among others.
That very first year The Brylcreem Boys was shot on the island. In 1996 Stiff Upper Lips and The Harpist were filmed there. A year later it was the location for a head- spinning ten movies, and one TV series. The movies included Deadly Instincts (aka Rampage aka Breeders), All The Little Animals, The Tichborne Claimant, Tom’s Midnight Garden and Waking Ned. This last film, a huge and unexpected box office success, remains the biggest hit to have been filmed on the Isle of Man to date.
“The amount of production in 1997 was really a little too much,” Dugdale adds. “Our target is to do half a dozen movies a year and hope- fully a bit of television as well. That’s
what we’ve settled at over the last two years, but still we never have more than two films in production at one time because the service has to be maintained at the high level we offer at the moment.”
With the film commission cur- rently funded by the Manx govern- ment, the long term aim is to make it self financing. This will, hopefully, be achieved out of the profits gener- ated by the productions that film on the island. But the initiative has already proved a huge success with local businesses, which have responded to this new industry with enthusiasm.
“Every film that’s been here has spent at least half a million pounds into the economy, straight out at the most democratic level. There’s £12 million of new money coming into the island. And that’s quite separate from the recoupment position on each of the equity investments that we make.
“Plus there’s always the possibil- ity of a real boost to the tourist econ- omy of the island, from films like Waking Ned. The number of people coming in, on the back of enquiries to the department of tourism is phe- nomenal. If we can get one of those every half a dozen films or so, which shows off the gorgeous scenery of the island we’ll be very, very happy.”
Even though Waking Ned was set in Ireland, the Isle of Man Department of tourism was quick to capitalise on the success of the film, commissioning a series of cinema ads that preceded screenings of the movie. And as it doubled perfectly for Southern Ireland, Waking Ned director Kirk Jones was grateful for the benefits of shooting within a
Shooting Manx tales of the unexpected
72,000. But the success the island has found in attracting all kinds of filmmakers has been the result of imaginative marketing and good, hard headed business sense. For the Commission offers something more than just moral support to filmmak- ers who come to them, they offer financial help in the making of the movies themselves.
Photo: The Isle of Man Film Film Commissioner Hilary Dugdale
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