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What this year's BAFTAs tell us about the film industry
With Awards season upon us and a wealth of prizes already heading the way of British-made films and stars, this is an exciting time to be working in the UK Film and TV industry. A quick look at the BAFTA nominations for Best British Film 2011 (won, quite predictably, by The King's Speech) reads like a who's who of the creative media: Mike Leigh's Another Year, Danny Boyle's 127 Hours, Chris Morris' Four Lions, the aforementioned King's Speech and breakout hit Made in Dagenham, starring Sally Hawkins, Andrea Riseborough and Rosamund Pike.


Despite the recession, revenue for British arts and culture is still strong - rising in some departments - and as such there hasn't ceased to be a supply of competitive jobs in the market. A quick search of employment websites such as Reed.co.uk will provide plenty of information on the positions available, from runners to technicians, cinematographers and sales assistants. One of the key features of the film and television industry - and perhaps what keeps it in favour - is the wide range of employment opportunities it presents.


The launching of an Oscar-nominated movie requires more than a good idea: it needs manpower. There are hundreds - and often thousands - of individuals who go into the making of a film. Just a look at the credits which roll after the final scene will tell you the wealth of expertise required: from catering to hair and make-up, boom operators and cameramen to writers and script editors. Even smaller films require this kind of teamwork - and TV is another mammoth, and often longer-running, operation.


A distinctive feature of the UK film industry is its commitment to smaller budget work. A director of the immense quality of Mike Leigh makes his brilliant work without pomp or fuss, focusing on long rehearsal and shooting schedules, with an emphasis on ensemble and improvisation that we might expect from theatre. The UK seems to excel at supporting individual movies makers like this, without necessarily forming a scene or style akin to the US 'indie' movement - which we see represented in the form of Best Picture-nominated The Kids Are Alright.


British film manages to distinguish itself from the GBP 200 million budgets typical of Hollywood by specialising in more considered and financially modest productions (the never-ending Harry Potter saga aside...). Many big prize contenders have a focus on historical stories or political events - The King's Speech tells the story of King George VI's address to the nation in 1925 at the close of London's Commonwealth exhibition. Whoever wins come February 27th, no doubt that the awards presence of these British-produced films will have wonderful financial returns to the film industry here.