Quantifying Film & Television Tourism OlsbergSPI 26 th - PDF document

08/10/2015 Quantifying Film & Television Tourism Olsberg•SPI 26 th September, 2015 Barcelona 2 1. Introduction 2. The Importance of Quantitative Measurement 3. Overview of SPI’s Creative England Study 4. Findings 5. Toolkit for Locations and DMOs 6. Areas for Further Assessment 1

08/10/2015 3 Screen tourism can deliver a range of positive and long-term impacts • Screen tourism results from screen exposure of a place and a people with features and television drama being the most potent generators – although other types of content can also induce screen tourism, such as reality entertainment, food and travel shows Increase visitor levels to existing destinations Diversify visitor Help establish new profile tourism sites Screen exposure Promote lesser- Branding and ‘soft known aspects of power’ destination Sharpen a destination’s competitive edge 4 The increasing recognition of ‘soft power’ value Extract from British Council Report “As Others See Us” In a multipolar, hyper connected world, a country’s power is increasingly measured by its ability to inspire and attract citizens of other nations to take an interest in its national story, enjoy its passions, and ultimately respect its values, ideas and aspirations 2

08/10/2015 5 There is increasing understanding of the value of screen tourism • Screen tourism is a cross-sectoral films came with requirements to boost tourism profile, such as upfront opportunity, relevant for productions, credits and including content on New distributors, locations and DMOs Zealand in DVD and Blu-Ray releases • Relevant to individual locations as well • A partnership launched in 2015 as cities, regions and countries between Creative England and • There is now more compelling VisitEngland aims to strengthen links between tourism and creative evidence of screen tourism effects industries • SPI’s work in this area includes studies • Some incentives, such as Malta’s, on the UK, the Rest of England and offer enhancements for productions Barcelona showcasing the country • Screen tourism to linked destinations • Screen tourism can also be used even if they are not explicitly featured strategically for a range of factors – for on screen (New Zealand) example by promoting lesser-visited • Some authorities are taking a strategic areas of a country approach to boosting screen tourism, and also utilising its links with production to maximise both areas • New Zealand’s funding for the Avatar 6 The screen tourism opportunity is increasing • Production of film and television • Consumption is also rising. In 2014, is rising global box office was $36.4bn – up 15% on 2010 • 7% increase in the total number of features produced by the 28 EU • Filmed entertainment revenue also Member States over last five years forecast to grow globally by a CAGR of 4.1% -- to reach $104.6bn in 2019 Total features produced by EU • Screen tourism can also intersect with Members, 2010-2014 current trends in tourism, such as the 1700 1603 desire for authentic, experiential travel 1600 1499 1500 1400 2010 2014 • Number of US films declined over the same period but rising budgets and voracious use of international locations at the top end • Spectre shot in the UK, Mexico, Italy, Morocco, Austria Sources: European Audiovisual Observatory, MPAA, pwc 3

08/10/2015 7 1. Introduction 2. The Importance of Quantitative Measurement 3. Overview of SPI’s Creative England Study 4. Findings 5. Toolkit for Locations and DMOs 6. Areas for Further Assessment 8 Creating a robust evidence base • Screen tourism is an area with limited hard evidence on economic value • SPI’s project for Creative England, Quantifying Film and Television Tourism in England , piloted a new, robust, valuation methodology to this challenge • Such measurement is vital for underlining the economic benefits to governments and other stakeholders when seeking further strategic development of this area and investment – anecdotal or limited evidence is less accepted • Measurement is also important to track a baseline of activity and evaluate the effectiveness of any targeted screen tourism policy for DMOs or locations • Screen tourism is a fast-moving area so reliance on previous insights/data may not reflect how current tourists are interacting with destinations • SPI’s methodology is focussed on hard evidence: linked to the actual expenditure of core screen tourists on site – quantifying the economic/financial effect at the destinations studied and extrapolating the results on a national level 4

08/10/2015 9 Measuring screen tourism is complex • A key issue is gauging motivation • Screen products can have differing levels of influence on tourists Screen product • Assessment of tourism impact must only reason for reflect these different motivations visit • Isolating the core screen tourist is key to the method • Requires a complex survey model • Then quantify the volume of these screen tourists • And assigning a value adds further Screen product complexity is irrelevant 10 1. Introduction 2. The Importance of Quantitative Measurement 3. Overview of SPI’s Creative England Study 4. Findings 5. Toolkit for Locations and DMOs 6. Areas for Further Assessment 5

08/10/2015 11 Quantifying Film and Television Tourism in England • Study undertaken for Creative England • Also created a predictive tourism model in association with VisitEngland • In response to the need for robust evidence and the desire to maximise screen tourism through closer working at national and regional level • New methodology resulted in a more robust annual valuation of screen tourism at eight specific filming locations. Value then scaled up for Rest of England • Conservative approach – only valued actual foreign core visitors to location not domestic visitors or those that were more generally influenced • Substantial interview programme of in- person and online surveying at six sites. Online surveys at a further two 12 Methodology • Three main aspects of methodology: • Designing survey to capture highly accurate data • Scaling this data to an annual value for each location • Scaling up this specific site data to a Rest of England valuation • Initial challenge – identify an accurate sample of locations • Longlist process collated a wide range of screen products and locations for further analysis before final selection for study • This assessed factors such as: • Pre-existing profile as a tourist destination • Potential to attract screen tourists • The associated screen product had received wide international exposure • The location / visitor agency was willing to co-operate with study • Detailed visitor data was available for the site • A visitor database was available for email survey • The screen product was part of site’s marketing, but not the only factor • Visit spend data was available for the site • The site was available on the survey days 6

08/10/2015 13 Selecting sites and screen products • A key factor was that a location had ‘dual appeal’ – i.e. potential to attract both screen and general tourists • Both important in order to understand the proportion of screen tourists within general tourist population • Location selection considered factors including: • Locations covered as much of the English regions as possible • Different types of filming locations – i.e. historical buildings, countryside locations, towns, villages • A combination of paid-for and free locations • Screen product selection aimed to include different types of film and television: • Costume drama • Big budget blockbusters • Family / children’s content • Fantasy shows • Darker content • Sci-fi 14 Key Study Productions and Locations • Harry Potter and the Philosopher’s Stone / Chamber of Secrets Alnwick Castle • Downton Abbey Bampton • Brideshead Revisited (1981 TV/ 2008 film), Garfield: a Tale of Two Kitties, Castle Howard Death Comes to Pemberley • Shakespeare in Love, The Duchess Holkham • The Awakening, Pride and Prejudice (1995 TV) Casanova, The Village Lyme Park • Star Wars, Atlantis, Da Vinci’s Demons, Doctor Who, Merlin Puzzlewood • Broadchurch West Bay • The Dark Knight Rises (Batman) Wollaton Hall 7

08/10/2015 15 Surveys developed to identify/isolate core screen tourists • Core screen tourists are those who visitors were international or would not have visited a location domestic visitors without the screen link, or would have • Also assessed which screen product visited but said a screen link was the had motivated the visit – and whether main reason they had seen it • The 23-question survey isolated these • Surveys in August 2014 visitors, alongside a range of other data, including demographics • Crucially, this included whether Core Levels change depending General screen on screen tourists product / location General tourists 16 Approach to valuing screen tourists • To value screen tourism, average day spend data from official tourism surveys was sourced and applied to core screen tourists depending on motivational level, i.e.: • Screen tourists who would not have visited 100% of average without the screen product day-spend value • Screen tourists who would have visited, but 50% of average pointed to the screen product as the main reason day-spend value • Value was also scaled up to reflect group size • Further scaling up to annual valuation for each site, based on 2014 visitor data 8