If you’re passionate about your career in film, TV, animation or VFX and you’re unable to develop because of money, bursaries are here for you.
Region
UK-wide
Age
18+
Career stages
Entry, Early, Experienced, Expert
A ScreenSkills bursary is a cash grant to remove the obstacles to getting into the screen industries or progressing your career once you’re in. You can apply for money to pay for most things that relate to work and continuing professional development, such as training fees, accommodation, care, disability access costs, equipment, software and travel. Read the bursary guidelines to understand exactly what's covered.
Bursaries are supported by the BFI, awarding National Lottery funds, by industry contributions to the Animation, Children’s TV, Film, High-end TV and Unscripted Skills
Funds.
We aim to offer funding wherever possible, but we cannot promise that all applications will be successful.
In this 100th episode, we welcome two-time Oscar nominated cinematographer
Seamus McGarvey, ASC, BSC. Seamus has shot films including High Fidelity, The Hours, Atonement, The Soloist, We Need to Talk About Kevin, The Avengers, Anna Karenina, Fifty Shades of Grey, Nocturnal Animals, The Accountant, The Greatest Showman, and Die My Love. In our chat, Seamus shares his origin story, about his longtime collaboration with Lynne Ramsey, insights into shooting on 35mm, and about the making of Die My Love. He also offers recommendations for the next generation of creators.
Source: Netflix. ‘Wake Up Dead Man: A Knives Out Mystery’
US streamer spending on European original content increased by 42% in 2024 to hit €8.5bn, according to research by the European Audiovisual Observatory (EAO).
The EAO report said Netflix, Disney+ and Amazon Prime Video each spent over €2bn on original European content last year, while Apple TV+ accounted for €600m and HBO Max for €500m.
The report spans the wider Europe area, including the UK, but excludes Russia.
In total, global streamers accounted for 34% of all spending on European original content excluding news, sport and acquired film and TV shows.
However, the streamer spend is highly concentrated in Europe: the UK and Spain together accounted for 58% of their spend in original European content.
The streamers spent €2.9bn in the UK on original content last year and €2bn in Spain.
Next up was France and Italy which each saw a spend of €0.8bn, followed by Germany (€0.7bn) and Sweden (€0.3bn).
Scripted programming accounted for the lion’s share of global streamer spend, although unscripted programming spend also increased.
Among scripted content, series accounted for about 90% of global streamer spend compared to 10% for films. Netflix film Wake Up Dead Man: A Knives Out Mystery, as well asApple’s Slow Horses and HBO’s The Walking Dead: Daryl Dixon are among projects to shoot in Europe last year.
The research concluded total spending on European original works by streamers, public and private broadcasters - excluding news, sports rights and acquisitions - amounted to €25.1bn in 2024, up from €22.6bn the year before.
Traditional broadcaster spending still accounted for the majority of investment - €16.7bn - in original content, but it is growing at a slower pace than the streamers.
Private broadcasters were the biggest investors in European original content in 2024, spending a combined €8.8bn.
Public broadcasters together invested €7.9bn in European original content in 2024.
The UK recorded the lion’s share of total spend - €7.3bn - followed by Germany (€4.5bn) and France (€3.3bn).
